Basilicata, Southern Italy
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UTM-33T
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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
Lectures
Politecnico di Torino
2026
Interactive Media Course, Cinema and Media Engineering
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
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”
Liminaria MMXXV - Hauntologica
My intervention for the Liminaria MMXXV residency took shape precisely on this margin of friction. I sought to dwell in that open wound not to document it, but to build a tactile and perceptive bridge between the stream's invisible currents and the human community that had forgotten it.
Interrogating a traumatized watercourse requires abandoning the arrogance of data extractivism. I didn't want to measure the river; I wanted to listen to it. To do so, I assembled a sensory suite that was, in itself, a bearer of a marginal history. The hardware I submerged in the Caudino's waters did not come from a pristine laboratory. It is the result of patient scavenging: pH, oxidation-reduction potential (ORP), temperature, and total dissolved solids (TDS) sensors that I explanted from decommissioned swimming pool monitors and abandoned industrial facilities. There is a subtle irony, and perhaps a sort of poetic justice, in taking devices originally designed for the control and sterilization of recreational or industrial waters, and rehabilitating them as sensory organs for a wild ecosystem. Through precarious soldering and microcontrollers exposed to the valley's damp air, these components ceased to be tools of biopolitics to become an epistemic interface, an empathic prosthesis lowered into the flow. pH became the stream's chemical breath; TDS, the material memory of its sediments; ORP, its capacity to resist external corruption.
With the instrumentation anchored to the current, my research shifted into a performative and almost empirical dimension. I began extracting water samples, isolating them as microcosms, and then deliberately introducing minute doses of alterators: buffer powders for pH meters, foreign sandy sediments, vegetal macerates. I wanted to simulate, by accelerating it, the weight of human and environmental impact.
As the chemical equilibrium of the solution was compromised, the sensory suite registered spasms and drifts. This raw data, these electrical tremors, were intercepted and fed into sound synthesis algorithms. The result was a generative composition, a speculative computation of collapse that unfolded in a narrative arc of four movements:
Latent Homeostasis: The onset of listening. The system apparently at peace. The sensors yield smooth curves, translated into dilated, almost hypnotic frequencies. It is the illusion of stability, the stream concealing its fragility beneath the surface.
Distributed Corruption: The introduction of the first impurity. A grain of sand, a drop of reagent. The redox potential wavers; the pH attempts to compensate. Micro-dissonances and digital crackles creep into the soundscape, like an itch beneath the skin. System noise begins to erode the harmony.
Structural Degrowth: The burden alters the very nature of the water. Dissolved solids saturate the liquid; the local temperature undergoes anomalous micro-variations. Acoustically, the ecosystem loses its rhythm. Sounds become syncopated, fractured, heavy. It is the sound of a network of interdependencies unraveling and surrendering to toxicity.
Systemic Disintegration: The point of no return. The water's chemistry breaches every range of biological tolerability. The sensors, pushed to their limits, transmit chaotic data strings. The sound explodes into total noise saturation, a ruthless and disorienting wall of feedback. It is the acoustic translation of that torn concrete in 2019: the scream of a collapsing system.
Observing the decline of an ecosystem on a monitor, or even listening to it through speakers, preserves the comforting distance between the spectator and the studied object. But the rupture of the Caudino demanded visceral involvement. For the final act of the performance, I integrated a nebulization system into the sonic architecture. As the sound traced the arc of ecosystemic collapse, the physical water of the stream itself—extracted, filtered, and loaded into the device—was aerosolized into the air. The suspended particles, pierced by LED matrices that shifted their chromatic spectrum according to data alterations, formed a dense fog that invaded the physical space of the spectators. This was no longer about witnessing an audiovisual performance, but about enacting a somatic reassembly. The audience was induced to inhale the river. Human lungs filled with the Caudino's molecular memory, its phantom sediments, its chemical latencies. In that instant of atmospheric saturation, the boundary between us and the stream dissolved. The water, once buried beneath the square, entered the bodies of those who walked above it, completing a cycle of territorial reappropriation and recoding, through shared breath, the trauma of a restless landscape.