H | ERE is a computer-generated sound composition performed live with a 1715 organ during the artist residency Madeinfilandia 2015 (Arezzo, Italy). On this occasion, the artist presents the “Nn” theory and interprets the chemical formulas related to water, the beginning of life, and the propellants for space shuttles. The Nn theory was developed in 2015 by Alessio de Girolamo, with the help of scientist Vincenzo Schettino and conductor Francesco Oliveto. The Nn theory highlights the curious structural identity as well as the disconcerting contemporaneity of Bohr's atomic model (which still interprets the periodic table of elements) with the Bosendorfer Imperial 290 piano with 97 keys, built by composer Ferruccio Busoni. The study reveals that the two systems are so identical as to be interchangeable, hence the compositional idea of assigning each chemical element a note on the piano. In this performance, de Girolamo explores this concept live.

original soundtrack

Etna rêverie08-2016"Slicing Mozart" is a computer sound composition about the scientific studies called "Mozart effect". Starting from a recording of "Concerto per Piano n.21" by Mozart, Alessio de Girolamo transforms notes resampling them and weaving a protective blanket of sounds that evoke natural landscapes. Performed during the artistic residence "Etna rêverie" curated by Danele Perra at the "Primaterra" Vineyard. 

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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

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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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

“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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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.

original soundtrack

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

original soundtrack