ONGAKUAW 

GNOSIS#1 is a biotic dance performance for 4 dancers and live electronics. Dance is perceived by Vincenzo Carta as a tool to reach ravishment or trance, i.e. a deep level of consciousness allowing a thorough investigation of the way we interact with and learn from environment in a direct way. During this process, biotic material in the form of dancers' brain waves are constantly produced and wireless transmitted to a Biotic Audio System developed upon previous research on biotic compositional strategies by Ongakuaw. The resulting sound environment not only follows the altered consciousness states of the dancers, but embeds them into a soundscape that induces a powerful bio-feedback on them. 

A short solo dance performance based on the single concept of an ocean wave. The basic conceptual idea it to expand the time during which a wave appears, grows, curls, breaks, and finally dissolves on the shore into a white tickling foam. Within this evolution the entire history of the Universe might be encoded and sensed as a time defect. The usual time flow breaks creating a temporary autonomous zone into which the body of the dancer and the sound become the unique expression of a gesture that will never repeat itself throughout  cosmic time. 

A solo dance performance based on a real-time interaction between the dancer and the musician. Radox is structured in four different parts distributed in the performing space. each of which is associated with a specific body part visually represented by its own radiography. For different movement textures are inspired by the interaction with the sound emerging from the real-time elaboration of sonic material gathered on the stage through a set of microphones and sensors. The sound is further projected in space by a multi-channel diffusion system. The figure in the panel shows Radox's abstract choreography.

In Sonic Gestures, the raw material is represented by the sounds produced by dancers’ bodies, captured stage microphones; they are divided in 7 categories, broadly ordered by timber. Hence, the performers, through their dance movements,  provide the audio material and control the musical rhythmic flow.  The above cognitive process stimulates the construction of  a meta-language: as we continue to listen to the sounds produced by the dancers, we assist in the emergence of a second, more abstract musical level, which nevertheless is rooted in the raw, concrete body sounds. The two levels cannot exist in isolation, each one owes its existence to the other one: body and spirit are parts of the same biological system.       

Spazio dell'Assenza is a dynamic installation, that is a visual, sonic, moving artwork in which video, music and dance are in a mutual interaction. The performing space, rather than being an objective, real volume is instead an imaginary landscape filled by the audience with the emotions deriving from the forms, colors, and transparent reflections conveyed by a white canvas under which the performer moves. The missing body, being hidden from the view, recalls the idea of "absence" while dialoguing with the disembodied presence of the self (video by P. Patapi) projected on the top of the canvas. The music in four movements (Disperazione, Inquietudine, Rabbia, Malinconia) participates to such dialogue by building an in-tense sonic dimension.