The Project


The project was born out of the idea that the language accumulated during the produced experiences could be dissociated from its context and deformed through the use of digital equipment, which would make the bare sound of the violin acquire colours and characteristics that will rend it undistinguishable from its classical traits. The origin of this narrative can be traced back to my earlier university studies regarding the linguistic “de-structuralism”. To the narrative is also important to connect the social characteristic that, with the example of the track “ULURU”, wants to bring up to light the personal experience of Australia: a journey into the stray roots of sounds and rhythms unconstrained from the styles’ conformity; an attempt to listen the neglected voices of a vulnerable minority ruthlessly scarred by western civilisation. Such concept represents the symbolic scope of the project which aims to explain the intersection between mystic background of aboriginal tradition, the land where I was born but where I never felt belonging to and the academic formation within classical western music. A stew of sounds aimed to evoke a mix of sensations based on the strive for unconventional elements which could be considered “ethnic” but are not, and a language experiment.

The loops are rigorously are created during the performance without being previously tested. The ensemble of the structure evolves through the overlap of various loops on the track, which includes digital instruments and synthesised sounds played through a hand and foot pads. Although being digitally channelled the violin keeps its original sound with the aim of giving the particular character to the genre. In sum the project is based upon a research in the production and scramble of various themed elements

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