Le città invisibili
Music and machinery for a dance production based on Italo Calvino’s work of the same name. Choreography by Gianfranco Paoluzi.
“Kublai Khan does not necessarily believe everything Marco Polo says when he describes the cities visited on his expeditions…”
‘Introdans’ Dance Company, Arnhem (NL) 1993
Giacomo Casanova wrote of an alien people living in the centre of the Earth. For some reason, the alien always appears to be one step ahead in the future: what would the future look like in the mind of an eighteenth century gentleman?
Music and machinery for “Casanova Ikosameron”, choreography by Gianfranco Paoluzi, Stadteater orchestra and dance group.
Augsburg, 1996
remote dialogue between the plants


Set design (unbuilt project) for the Prometeo by Luigi Nono
at the Teatro Farnese of Parma. 2017
The gray goose
What if the structure of the music were visible during the concert?
Emplacements with microphones are dotted about the stage; their programming allows a collage of vocal tonalities in real time, almost a Klangfarbenmelodie, whose architecture reveals itself in the continuous movement of the individual singers in various coloured costumes.
Commissioned by RAI television, 1979


Vengo a prenderti stasera
Scenery for the comedy in two acts, directed by Diego Abatantuono.
Whether real or hypothetic, death appears in the form of a charming man ready to take you for a ride in an old Fiat Panda in a theatre amongst the clouds.
An average room in a working-class neighbourhood evolves into the very shape of our thoughts.
Milan, 2012
Contrappunto a 5
Counterpoint in five parts
Glass, copper, iron
300x50 cm.
Orizzonte tascabile
iron, bronze, mirror
Based on a Tahmisath planetarium, Kriv’el is located in the residence of Lapo Sagramoso, official spokesperson of the mysterious culture.
In that remote place, the vernal equinox is celebrated yearly with the regeneration of the starry sky.
copper, steel, LED, 2006-2012
Like Nomos I and II, this instrument uses the acoustic nature of drops of water colliding with elastic membranes.
Here, four drippers measure out the flow and rhythm. Each transparent cylinder contains a membrane equipped with a microphone which digitally elaborates the sound. 2002


A cycle of floating projects



Filo rosso 

The red line is the subject of a dispute between opposing forces:. in its movement alters the relationships of space in which it is located


21 long carbon fibre rods set up on motorized bases and illuminated so that their shadows are projected onto a large semitransparent screen. The movement of the rods is programmed along with the light sources. Each sequence of movements is associated with a different luminous configuration, as the distance between the light sources and the structure also varies with time. The resulting changes in scale and proportional alterations come together to determine the final image. 1991

Emerging as a corollary of Vathek, these crafts were meant to be vehicles for the demons who had seized control of the Caliph’s good soul. Creeping over water with the movements of a salamander, or twisting and spiraling like a helix, it remains unclear whether more importance is given to the movement from one place to another, or to the manner in which they move. 1993
A floating stage for the dance production inspired by Beckford’s novel.
A dance on a surface at a 45° angle, held up by visible counterweights in the background, as an integral part of the whole image.1993
Fluvial project
Anchored to the river bank, Ondivaga’s paddlewheel turns two rollers shaped to a specific design, which in turn move a series of long rods: the tips of these skim over the water, creating ephemeral lines.
Length 8 metres.
Wood, steel, bronze. 1995
Organo a percussione
A percussion instrument operated by a special numerical score
with direct control over the tone. 1991
Cima del Grappa.
Project for the Military Memorial of the First World War.

The series of elements that play in close sequence the rigid sheets that represent everyday gestures related to the rural world, creating an animated effect as in the early days of cinema.

Pompeii. A long strip of volcanic sand that slides slowly from one end of its pavilion to the other. Across this page of ashes, the “machina scriptoria” digs with its prongs, racks, and metal moulds attached to moving mechanical arms: marks, scratches, almost like signs or codes from the ancient city. 
The installation was designed as a prologue to the visit of the excavations
(with  "Spazi Consonanti").
Disegni, stampe
some works are traces of research on the close relationship between music and three-dimensional form, investigating the possible transfer from the architecture of signs to that of sounds and vice versa.
Orfeo in Egitto
micro-opera for shoulder-mounted theatre.
The village-stage is worn over the shoulders: the wearer’s head is positioned in the central part, where large windows allow the wearer to look out. It’s time for a rehearsal of Monteverdi’s L’Orfeo. But rehearsal times seem to have been mixed up, or at least that’s what the union members in the choir say as they demand a rehearsal of Aida.
The inevitable clash between the two scores comes to a head, culminating in the triumph of Radamès.
Rome, 1982
Camera Obscura
installation on the site of the ancient Port of Farfa. The images concern details of the landscape taken in real time from close-up points of view that overlook the centrality of an observer.
landscape material, obtained in real time from cameras arranged in the environment
 Seggiano (GR)
Porta del Silenzio
For a cloistered monastery in Sabina
Invisible Monument

in memory of Filippo Rocci, photographer