Another work with coreographer Francesca Foscarini, hypnotically interpreted by Romain Guion – Biennale Danza in Venice. Made with this Japanese imitation Telecaster from the 80’s (HB) and a some Max/MSP processing.




Low-intrusiveness sound design for L&L

This is the stand designed by Traverso-Vighy architects for L&L (Italian brand of lighting systems), in occasion of the Light + Building 2018 trade fair.

For this project I created a low-intrusiveness soundscape, experimenting on convergences with the features of the lights design. Our goal was to create a peaceful space, an oasis of tranquillity in the usually chaotic ambience of trade fairs : the semi-closed design of the space gives a feeling of privacy, while the semi-transparent nature of some of its elements prevents a sense of claustrophobic separation. We wanted to avoid the use of background music, which adds up to the general sonic confusion of a trade fair soundscape and, in the long run, fatigues the attention processes of the people working in the stand. We decided to use only concrete sounds (field recordings + procedural audio made with MaxMSP) and to articulate them following a structure of breathing cycles.

(photos by Giovanni Traverso)

There are two cycles. The fast one repeats at 8,5 seconds intervals, the slow one at 1 minute intervals. The faster cycle functions almost like a LFO modulation of the overall amplitude. The slower cycle controls the long cross-fading between audio materials. The lights works in the same way for each RGB channel : the fast cycle controls the relative fades, whose actual boundaries are set by the slow circle. A MaxMSP patch sends a sync signal to the lights controllers, every 3 minutes. The loudspeakers are hidden in the architecture, and it is almost impossible to locate them acoustically; the sounds are diffused at very low amplitudes, which makes the installation very fragile acoustically (a change in number of visitors can make the sounds almost disappear).

Renault Trezor

In 2016 I collaborated with IRCAM and Renault on the signature of the Renault Trezor engine sound. You can listen to the engine sound it in this teaser (mixed with music) :

Or, with more details, in the following video, where I used in-car-camera footage to have a visual ground to help me develop the race-car components of the sound :

The sound of the Trezor is based on the Zoé sound signature, which we created in 2010/2011, but features a different personality, somewhat unpredictable and dangerous, with traces of combustion race engines, meant to evoke the voice of the great sport cars of the 60s and 70s.

The Trezor, a beautiful electric concept car, won the “2016 Concept Car Design of the Year” prize.

Other moments of my collaboration designing sounds with Renault can be found here :

Sound for Renault INITIALE

Sound for Renault FRENDZY

Interview Le Monde

Papers about Renault ZOE

Click to access eVADER_WS1_21_11_2013_7_Misdariis.pdf

Collaboration with Antonio Camurri’s team in Genova, 2016/2017.

In 2016 and 2017  I collaborated with Antonio Camurri’s team (University of Genova / Dipartimento di Informatica, Bioingegneria, Robotica e Ingegneria dei Sistemi), imagining strategies for the sonification of expressive qualities of dance.

This is an example of the sonification system we designed (EyesWeb and MaxMSP) at work in “Esodi”, a choreography by Virgilio Sieni (Genova, Palazzo Reale, 27.03.2017). “Esodi” is a performance for a large number of non-professional dancers (citizens of Genova). We used the sonifications to create a form of cohesion among performers located in different rooms of the Palazzo.

The sonification system is based on these features : EyesWeb part 1 : analysis of Fluidity, Lightness, Fragility, and other features. MaxMSP : sonification of each quality (2 granular engines, 2 microloops engines, 1 [agents + emerging behavior] engine). EyesWeb part 2 : mixing of the sonification channels, based on Salience.


This is another example of the full sonification process. The dancer is Virgilio Sieni.


Another example : in this case, we were working on the analysis and sonification of fragility.

After the Gate Machines

In the frame of the Skat-VG project, I was invited with four other fellows sound designers to create sketches for the sonification of an artwork from the collection of the Chateau La Coste (in South France), using Skat-VG technology (synthesis controlled by voice).
This is my choice (“AIX”, sculpture by Richard Serra) and the sketch I concocted. All sounds are SDT (Sound Design Toolkit) and Mubu/CataRT, except for a sample of breeze through leaves that I layered in the mix (along with the synthetic wind from the SDT) to confound the listener about what is real and what not.
I imagined that we are in a not too distant future where the Gate Machines sprayed the world with swarms of metallic audio nano-agents, changing forever the natural soundscape. The passage in the sky of the Gate Machines woke up their ancestors, and they are calling them.


A personal, small, independent project : Pink Squirrels (in collaboration with curator Steve Paterson of Plakart and artist/videomaker Dimitrjie Roggero).

"Pink Squirrels" (2015) de Dimitrije Roggero et Andrea Cera from Plakart on Vimeo.

The Pink Squirrels project is a near-future fiction, about the suicide of our culture, a ritual performed according to the laws of invasive entertainment. It depicts the damaged brain of a person affected by the “Tom Cruise Enacting Script Disorder”, an imaginary personality disorder [ ], in a post-catastrophe Italy, among the last living persons, mentally and physically destroyed by the evolution of more and more penetrating forms of entertainment. The not-so-distant ills described in the text are : the “Compulsory Fitness Syndrome”, the damages inflicted by new psychotropics twisted drinks, the “Portfolio Tactile Feedback” market crash in Chinese stock markets, the effect on adolescents of the the “Simu-Suicide” kits, the “Tele-Me Syndrome” [ ].