Vocazione all’asimmetria – Francesca Foscarini

Back to my roots : contemporary dance and the pleasure of exploring whatever musical form the project may hint at (in this case, improvisations with an old EKO Ekomaster 400 found in a garage sale, coupled with a few drum samples – to be played very loud).

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 [ http://www.plakart.org/pink-squirrelsI2.html ], 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” [ http://www.plakart.org/pink-squirrelsH4.html ].


I composed the music for “A Christmas Eve“ (ricci/forte + TLS Belli, conductor Marco Angius) : this is a gripping tale of domestic violence, the story of two sisters and their dying, violent father. The text is written by Ricci/Forte, a duo of Italian directors, known for their uncompromising approach, violence, and attitude towards risk.

And risk is what it’s all about in this work, starting from the unusual logistics of the creation (I blindly wrote materials for months, having just some hints about the themes, to have to reconfigure everything in just three frantic weeks), to the experiments with the singers. The singers are young, talented artists, from baroque or classical repertoire : I asked them to forget everything they learned, and to experiment the uncomfortable non-lieu where the whispering crosses the vocal production. This zone produces wonderful artifacts, speaks of the body and of deep seated emotions, but is also profoundly contrasting with the way a classical singer normally projects sound and creates a representation of the self.


I created the soundtrack for “Sound of Music” by Yan Duyvendak). A work inspired by Broadway musicals, where extremely grim lyrics describing the end of our civilization are used in songs which musically synthesize the happiness, the joy, the optimism which are the trademark of the musical comedy.

My job here was to create songs and arrangements which had to sound atemporal, too much corny, artificial. The singers were a great cast from Germany, which embodied each song with the stardom, the gloss, the everlasting smile that only the showbiz can provide.

Needless to say that I had gigantic fun jumping from a genre to another, quoting everything I know, hiding bouts of melodies, chord sequences, arrangement topoi from songs ranging from the 40’s to the 80’s, and to mimic the sounds of the worst Muzak we are fed intravenously day and night.