I investigate the intersection of art, science, technology, and marginal territories, examining computational cultures, landscape ecologies, and collective agency. I approach computation as a fragmented, relational, and context-aware practice, deeply embedded within social and local fabrics. Rooted in technological degrowth and disobedience culture,
my research engages strategies such as salvage, patchwork, and redundancy, rejecting linearity in favor of iterative and collectively negotiated alternatives of experimental knowledge. Through the development of multi-channel installations, I explore experimental models of (s)low-tech and benign computing that prioritize sustainability, accessibility, and the right to opacity in digital interactions. This approach embraces lightweight, adaptive, speculative, and relational forms of computation, reclaiming the capacity to build, break, and reassemble systems beyond commodification and centralization.
My educational background includes a master's degree in Cinema and Media Engineering from Politecnico di Torino. Currently, I am a PhD researcher at Kunstuniversität Linz.
My interdisciplinary research is conducted in collaboration with the Interuniversity Department of Science, Project and Policies of the Territory and the Department of Control and Computer Engineering at Politecnico di Torino, examining how technologies reconfigure placemaking practices, community infrastructures, and spatial computing.
In 2025, I co-founded the Radura collective, a research and open experimentation platform operating at the intersection of artistic practices, political ecologies, and emerging technologies in rural contexts.
Teaching & Lectures
Politecnico di Torino
2025
Interactive Media Course, Cinema and Media Engineering
2023
Open lecture – “New Media Art for territories storytelling”
University of Turin
2021
Workshop – Dancing for Immersive Cinema, Officine Sintetiche w/ DAMS
2020
Workshop – Dancing for Immersive Cinema, Officine Sintetiche w/ DAMS
Conservatorio A. Casella
2024
Matera 2019 Open Future
2025
Open lecture – “Arte e tecnologia: nuove grammatiche nell’interazione uomo-¿-ambiente”
2024
Open lecture – “(S)low Technologies: Tecnopratiche di Prossimità nei Territori Post-Digitali”
Publications & Appearances
2023
ISEA 2024 – “Art, Technology and marginal communities”
2023
MIT Leonardo ISAST – “New Media Art for re-coding territories. Design and curatorial practices of an application case in a rural area in Lucania”
✸ Leonardo Graduate Abstract Selection
✸ Leonardo Graduate Abstract Selection
Exhibitions
2025
Spazio Zephiro, Castelfranco Veneto – “Limen. Soglie fluide tra umano, macchina e natura”
2025
Spazio Putega, Latronico – “Il giorno in cui tornammo ai campi”
2023
Il giorno in cui tornammo ai campi
The day we returned to the fields
The day we returned to the fields
The project unfolds as a site-specific investigation into the stratified materialities and temporalities of post-industrial rural landscapes. Grounded in the Fondovalle del Sinni, it engages with spatial residues left by infrastructural failure and economic discontinuity, rearticulating them as active agents within a broader ecological and cultural metabolism.
Rather than documenting decline, the work operates as a compositional system—assembling spatial, sonic, and atmospheric data into a responsive framework. It resists both the aesthetics of decay and the rhetoric of restoration, proposing instead an open-ended methodology based on situated observation, slow interaction, and experimental modulation.
Three outputs emerge from this process as interdependent articulations—each functioning not as an autonomous piece, but as a perceptual and operational interface. Together, they form a distributed sensorium: a composite system through which the landscape is not represented, but reconfigured in real time.
Each articulation engages a different register—visual, spatial, atmospheric—yet all are grounded in the same epistemic gesture: to listen to the territory not as object, but as co-agent.
The first articulation operates through visual and sonic mapping, producing a series of monographic studies of selected post-industrial sites in the Fondovalle del Sinni. Backlit photographic prints and field recordings, collected through iterative site visits and situated listening protocols, construct a partial and sensorial atlas—where spatial morphology and acoustic ecology intersect.
Rather than functioning as documentary evidence, these materials act as navigational cues—psychogeographic vectors that highlight spatial transitions where anthropogenic structures degrade into residual matter
The second articulation is structured around a logic of subtraction. Zone Morte/Dead Zones intervenes on official geospatial datasets retrieved from the Basilicata regional geoportal, applying a practice of critical hacking to selectively remove industrial infrastructures from the Digital Surface Model of the Fondovalle del Sinni. This operation produces a counter-cartography—one that makes visible the spatial consequences of abandonment through absence rather than accumulation.
The resulting output is not a map in the conventional sense, but a spectral rendering: a ghost-map in grayscale, where the voids left by vanished infrastructures become zones of perceptual and political intensity. By stripping the territory of its imposed geometries, the project reveals what remains when development fails to reproduce itself—residual space, indeterminate form, and the lingering affect of unrealized futures.
The third articulation, Resìdua, takes the form of an immersive, sensorially responsive environment. Entering the space, visitors encounter a fragile ecosystem where fluctuating light fields, granular sound textures, and suspended atmospheres unfold in continuous transformation. The installation is not designed to represent a place, but to embody its ongoing metabolic negotiation—to render its instability palpable.
Ambient variations—thermal, acoustic, atmospheric—are spatialized through generative processes that resist linearity. The experience is modulated by proximity, slowness, and gesture: touching a fragment of concrete, brushing past a suspended thread of plant matter, lingering in silence. The system does not perform in predictable ways—it hesitates, absorbs, reacts, and listens.
Resìdua proposes an alternative mode of environmental encounter: not interpretive, but relational; not didactic, but affective. It constitutes an ephemeral interface between the human sensorium and the residual vibrancy of a post-industrial landscape—where meaning is not extracted, but emerges through co-presence, disturbance, and attentive dwelling.
The device is entirely open-source and built using recycled electronic components and structural materials recovered during field explorations of abandoned sites. Its architecture includes low-power microcontrollers, multi-sensor arrays, and a GSM communication module for remote data transmission, allowing long-term, autonomous deployment in off-grid locations.
Resìdua contributes to a situated and low-cost model of environmental monitoring, drawing from citizen science practices while integrating data directly into a generative audio-visual system. Instead of relying on conventional data visualization, the installation spatializes sensor input into a responsive environment, establishing an embodied relationship between the dynamics of the site and its perceptual translation.
The three outputs are not representations but situated operations—ways of engaging with the landscape through proximity, attention, and material response. The project does not aim to describe the Fondovalle del Sinni, but to work within it, assembling a low-tech, self-built system that foregrounds process over product, listening over control.
This approach produces a form of environmental narrative that focuses on what persists at the edges of abandonment. Rather than restoring or monumentalizing, it lingers in zones where structures decay, vegetation returns, and meaning remains unsettled. These are spaces often overlooked by planning and development—interstitial areas where biological, spatial, and social processes continue to unfold. The project’s realization was made possible through local collaboration. Materials were gathered from the sites themselves; tools and knowledge were shared by residents; Spazio Putega—a former hardware store—was reopened collectively and temporarily reconfigured as an exhibition space. These informal forms of cooperation were not peripheral to the work—they constituted its infrastructure.
Photo Credits:
Spazio Putega