ONGAKUAW 

Trans_bio_0001 is a performative sound execution controlled by biotic materials. In general, biotic materials can be defined as secondary products of the necessary vital activities of living beings. The brain activity regulates a large number of processes and functions of living beings and manifests itself  in the production of a particular type of biotic material: brain waves. The performer follows an emotional score, which prescribes the kind of emotions to "run". The brain waves produced by this process are used to control the audio stream. The sound material of the composition is the micro-internal noise generated by a computer during its operation (thought?). The interaction is thus established between human and microchip biotic materials. 

A modern lecture of the "Missa Cuiusvis Toni" of the Flemish XVth century composer Johannes Ockeghem, an "open work" in which the TREE ensamble of electronic musicians dialogues with the Homme Armé choir in the form of a Missa made of five distinct panels. Sonic elaborations by the TREE occur in real time and are intimately connected with the video-scenography, inspired by both the work of the great florentine architect Giovanni Michelucci and by the facades of flemish gothic cathedrals. 

An ensamble of electronic musicians plays a new digital instrument: a network of interconnected laptops that continuously exchange information and controls thus shaping the sound generation process. Musical forms emerges and manifests itself in a new and very coherent, neural-network type framework. The Arazzi Laptop Ensemble is now deeply immersed into a project which aims, starting from sound objects field-recorded in a long-term campaign which has explored a comprehensive variety of Venetian urban environments, to reconstruct virtual sonic representations of this unique city. 

Phonomachia is a musical project assembling five contemporary composers into a performed sound battle. Such short-circuit comes into reality through five interconnected digital stations sending/receiving signals. Each composer can influence/disturb the sonic flux produced by the other performers, through plagiarism, hackerage, manipulations. The mutual relations are bound between the extremes of cooperation and aggression. The sonic magma erupting  from such a network shapes new imaginary 3D soundscapes.  

From a cosmic environment where everything is static and the empty space is filled with circular trajectories a "laudans" being is detached and given the gift of the word. His terrible voice is heard as he tells mankind the sense of history. The live electronics material blends with the voice of the Angel and with fragments bearing sounds of the distant past, merging them through experimental techniques to tell the story of the many Angels that have populated the human fantasy and the need to imagine the face of the unknown future. 

Ofelie explores the psychological contaminations among five important female shakespearian characters, converting their peculiar aspects in an undetermined continuum generating a sonic environment resulting in a real time musical score. Each character finds a novel form of espiation and re-birth experience in the never-completed water death of Ofelie. The humors can be interpreted as consciousness auto-states (in the quantum physics meaning), i.e. pure emotional states interacting and self-assembling in Ofelie's character.

Serpentine is a project born in the context of the collaboration between the poet Elisabetta Beneforti and Ongakuaw. It consists of a spoken word performance in which the poet reads her free style text while interacting with the digital sonic environment. All the rough audio material is made by the poet voice samples (speech spin-off sounds) hence indicating a novel route to the long-standing integration difficulties between human voice and sound. To learn more about the theoretical aspects of the work read this essay (in italian) or listen to a related Ongakuaw interview broadcasted by NovaRadio.