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
2025
2023
2021
2020
2024
2025
2024
Publications & Appearances
2025
2024
Publications & Appearances
2023
2023
2023
Exhibitions
2025
2022
2020
2022
2020
Politecnico di Torino
Interactive Media Course, Cinema and Media Engineering
Open lecture - “New Media Art for territories storytelling”
University of Turin
Workshop - “Dancing for Immersive Cinema”, w/ University of Turin, DAMS
Workshop - “Dancing for Immersive Cinema”, w/ University of Turin, DAMS
Conservatorio A. Casella
“Le nuove frontiere della ricerca artistica-musicale”
Matera 2019 Open Future
Open lecture - “Arte e tecnologia: nuove grammatiche nell’interazione uomo- ¿ -ambiente”
Open Lecture - “Slow Technologies: Tecnopratiche di Prossimità nei Territori Post-Digitali”
ISEA 2024 - “Art, Technology and marginal communities”
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
“Limen. Soglie fluide tra umano, macchina e natura”, Spazio Zephiro, Castelfranco Veneto
“Il giorno in cui tornammo ai campi”, Spazio Putega, Latronico
“Vanessa Vozzo - Missing Out”, Circolo del Design, Torino
L’Aquila
KH-135A
The project is situated within a theoretical framework drawing from computational media studies, emotional geography, and the phenomenology of urban space. L'Aquila, with its distinctive architectural features and its dense stratification of post-seismic memories, has been interpreted as a multisensory device capable of activating dynamic and non-linear modes of orientation and meaning-making. The city itself, with its historical layers and material traces of the earthquake, becomes an active element in the performance, triggering interactions between past, present, and potential future scenarios.
The performance involved a plurality of sonic and visual agents. The mechanical sound of the plotter, reminiscent of the construction machinery that pervades the everyday soundscape of L'Aquila, accompanied the progressive translation of psychogeographic trajectories onto paper, materializing the mapping process as a physical stratification of signs. The plotter, typically conceived as a precise technical reproduction tool, in this context became an autonomous interpreter of data, imprinting a visual and sonic rhythm onto the performance. Over the rhythmic pattern generated by the plotter—captured using a contact transducer and amplified in the auditorium—musicians articulated a sonic narrative that responded to the emerging spatial configurations, establishing an emergent dialogue between algorithmic structures and performative interpretation.
L'Aquila KH-135A thus emerges as an exploration in the field of performative cartography, redefining territorial representation not as a static and objectifying description, but as an experiential process arising from the interaction between computational systems and bodily practices. The traditional opposition between map and territory is dissolved in favor of a processual and relational conception of space, in which movement, sound, and sign act as agents of cartographic rewriting. Through the synergy of territorial data, interactive technologies, and performative strategies, the project questions the possibility of new ecologies of spatial representation, where territory is not simply recorded but continuously re-signified through the perceptual and interpretative actions of its inhabitants.
From this perspective, performative cartography is not just a means of representation but a device for critical spatial exploration. The work reflects on how mapping, traditionally conceived as an act of recording, can become an active process of negotiation between data, representational models, and subjectivity. This approach opens up new ways of experiencing and interacting with territory, which is no longer read as a fixed entity but as a continuously evolving organism. L'Aquila KH-135A redefines new experiential geographies of the city through emotional modalities of cartographic representation.
Antonio Arpino|mandolino
Agnese Borra|pianoforte
Alessia Carlino|pianoforte
Matteo Fracassi|strumenti a percussione
Roberto Nicolò|pianoforte
Federico Maria Fiamma|elettronica in tempo reale
Daniel Scorranese|elettronica in tempo reale
Mara Ciuffetelli|plotter da taglio Vevor KH-135A
Riprese video
Cristian Casano|Conservatorio “Casella”
Daniela Macchione|coordinatrice, Conservatorio “Casella”
Giordana Castelli|CNR
Maria Cristina De Amicis|Conservatorio “Casella”
Mariangela De Vita|CNR
Alessio Gabriele|Conservatorio “Casella”
Carlo Gioia|Kunstuniversität Linz, Politecnico di Torino
Tatiana Mazali|Politecnico di Torino
Carlo Nannicola|Accademia di Belle Arti dell’Aquila
Claudio Rufa|Conservatorio “Casella”