INDUSTRY ICONS: ISE SPECIAL
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In this case, it wasn’t just the projection equipment we needed to discuss – there were also plenty of conversations about creating a suitable lighting condition. There was a question about how many lights we would be able to turn off from the street to avoid spillage, and there are some additional lights we’re installing to projection mapping provided a lot of feedback about what might result in a better image on the facade, so there has been a bit of back and forth about that. complement the projection. The company involved in the You are also providing a musical element for Arborescent, as you have for many other projects. How do you approach this component? My music here is conceptually related to the idea of emulating some historical, acoustic traditions with algorithmic and other sorts of aesthetics and logics. I’ve been using a physical modelling system to generate guitar and string-style sounds, which have been sequenced using algorithmic strategies developed within my software. I really like this idea of having something familiar, rooted in a tradition, but which is then driven by a completely different kind of logic. The interaction between sound and image has always been an important part of my work. As well as being a musician myself and exploring that side of things, I’ve done an extensive range of collaborations with classical pianists and orchestras and some more experimental projects with a variety of electronic musicians. Each collaboration tends to be quite unique. On one hand, I’m fascinated by the idea of working out how to visualise an existing composition, as if the subject of my work is the music itself. On the other hand, I think a sweet spot occurs where you’re able to create some interchange between these two worlds, and can bounce from one to the other. If the musician is able and open to work on the music as a response to the visual inputs, and vice versa, then this is where it all becomes much more interesting for me. How do you view your relationship to previous artistic traditions, including those in Rome, where you were born and lived until you were 19? Growing up, this heritage is something that you simply Iive with, and in one way or another it’s constantly influencing A sweet spot occurs where you’re able to interchange between these two worlds – and can bounce from one to the other”
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