08-03 / 28-05-2024
Since 2016, the work on "real-time" has evolved in various forms, culminating in a collaboration with the LIM (Department of Musical Informatics of the University of Milan) in 2023, which implements an interactive software called "Real Time," aimed at fostering an immersive dialogue between the audience and the sound landscape.

The first presentation takes place at the Linea gallery spaces in Lecce, Italy.
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"Arcanum is an audiovisual code derived from the symbols used for the divinatory reading of the 'arcana.' Created on orchestral scores, the code magnifies and simplifies the rich details of historic tarot cards, presenting twenty-two images 'constructed' on a musical staff and corresponding chords of three notes each, which can be listened to online in succession. Continuing my work on alphabets and numbers, I explored the arcane code of the tarot, transforming visual details into fundamental structures that are scaled up to fill the entire musical staff, sometimes becoming Escher-like figures. For the composition, I drew inspiration not only from the divinatory art of the tarot but also from Aleksandr Nikolayevich Scriabin and his mystic chord: a succession of notes conceived by the Russian composer and pianist both as a harmonic foundation and as a key to reading the 'Divine' in the symphonic poem Prometheus. By sampling the wind, the quintessential invisible element, I synthesized a digital instrument similar to an organ, with which I performed the sound track."

exibart digital gallery exibition link

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Atlantis is a project on the new soundscape that emerged during the first lockdown due to the COVID-19 pandemic. The composition was created for Leaving Room by NAM - Not A Museum, and commissioned by Manifattura Tabacchi (Florence). It is conceived as an Atlantis revealed by the retreat of the field of "decibels" that submerges it, interacting through echoes and paracusia with the architecture deprived of its social functions and the inhabitants who occupy it. 

Leaving Room by NAM - Not A Museum is a contemporary art program of Manifattura Tabacchi, based on the principle of interdisciplinarity among the arts and community engagement.

NAM catalogue

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Background Noise from the Window
05-2020 / 09-2020
Private collection of 5 soundscapes recorded during the first Milano Covid lockdown. The tracks are from the window of the Alessio de Girolamo’s studio in Milano, spring/summer 2020. #1 original soundtrack

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Lsystem3 is a generative sound composition installed at MUPAC for the 2019 Shenzhen Biennale. The composition, inspired by algorithms called L-systems observed in nature, is a metaphor for the anomalous growth of Shenzhen.

The sounds used to activate the generative algorithms are samples of traditional Chinese musical instruments that slowly grow on themselves as they develop according to an L-system. The sound installation interacts with Loris Cecchini's "Water Bones" installation within a black cube.

Curated by Manuela Lietti.

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Memories of  You (Real Time Prototype)
The computer sound composition is dedicated to Lionel Hampton, who was interrupted by a thunderstorm during the first edition of the Festival.

In the first part of the performance, the artist translates the sounds of space into the notes of "Memories of You" using the "SuperCollider" software in real time. Then, he dilutes the original track into the rain, redesigning it according to his compositional method, Nn.

The Nn theory was developed in 2015 by Alessio de Girolamo, with the help of scientist Vincenzo Schettino and orchestra conductor Francesco Oliveto. The Nn theory highlights the curious structural identity and the coincidental same age of Bohr's atomic model (which still interprets the periodic table of the elements) and the 97-key Bosendorfer Imperial 290 piano, designed by composer Ferruccio Busoni. The study revealed that the two systems were so identical that they were interchangeable, making it ideally possible to attribute a note of the aforementioned piano to each chemical element.

(Milena Becci)

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“L-system is a composition created for an acousmatic installation for the 2018 TAI (Tuscan Art Industry) festival.
The score is composed using a method I've named "Nn" (nomen nescio), where the overlay of the structure of Bohr's atomic model onto that of the Bosendorfer Imperial 290 piano assigns a note to each element of the periodic table.
I performed the sequence of elements present in the chemical formulas that describe the process of chlorophyll photosynthesis, recreating on the computer the extension over 97 keys of the Bosendorfer piano. The resulting score was then inserted into a c-sound programming environment that manages pre-samplings, evolving them into a growth climax that becomes a metaphor for biological growth in the work.
On the obtained track, recorded in its evolution until the buffer overload limit, accompanies a concrete sound sample, namely the nighttime recording in the courtyard of via Genova 17, which captured the sounds of activity from the adjacent factory.
The increasing climax generated by the program lies on this sound bed, articulating into 4 variations of the algorithmic process.” (Artext Interview by Dino Ascardi)

*Lindenmayer used L-systems to describe the behavior of plant cells and to model the growth processes of plant development.

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The sound installation is a composition of generative sounds programmed through L-systems*  functions. The work originated from the collaboration with Loris Cecchini on the occasion of the exhibition "Inaffabile Giardino" in San Gimignano. Galleria Continua, 2018.

*An L-system (Lindenmayer system) is a parallel rewriting system and a type of formal grammar applied to the phenotypes of plant cells.

excerpt sound installation

Skyline Rapsody
From the sampling of a pencil drawing an urban skyline, the sound of graphite is processed, becoming a dynamic urban space filled with echoes, distant paracusia, and phantasmagoric memories. The project was conceived to provide sound for Luca Pancrazzi's solo exhibition in 2016 in Palermo at the FPAC.

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text exhibition link

A duel between the noise of the airplane and the techno track, created in real-time from its own sound, gives life to a unique performance that paves the way for Alessio de Girolamo's research on the role of time in sound and music. Noise and music try to overpower each other, increasing the volume to trigger a reflection on the so-called "loudness war," an invisible battle fought between record companies to capture the customer's attention by compressing the sound, but neglecting the dynamic range.

Performed and conceived by Alessio de Girolamo on the occasion of Noise in Filandia 2016, Arezzo, Italy.
video performance