You seem to have a multifaceted musical career, including sensorial-sound experimentation, droning ambient, concrete sound sculptures. Could you discuss your background in electronic music and how it leads in your work? When I was 8 years old I started to study piano. After some years, I listened to my older friend speeches since than I’ve been totally fascinated by electronic music. At the age of 12 I received my first two turntables and my first mixer. So I started to play. Up to now I’ve been deeply involved in techno music for almost 8 years. I loved techno very much but at the end I started to feel necessary to create my own sounds, to reduce all tracks at minimal. At that point I started to have no more interest in electro pop music and in short time I created my first electroacoustic work.. Two years ago I started studying music-therapy, this is the last side of my music activities but never than less it is now fully involving me. How would you define your music? When I describe my music I love to make a parallelism with painting: from one side I feel my works similar to a Mark Rothko’s “colour-field” painting, and from the second side similar to an “arte povera” work of Mario Merz or Michelangelo Pistoletto. In all my pieces I feel necessary to use different, and maybe opposite elements and I try to find an expressive balance. Which materials do you use to create electronic textures, forms and colours (sound synthesis, algorythms, tape loops) and to transform, to treat the original sounds taken from natural ambient environment? For my electronic pieces I use a synth Oberheim OB-12. In the past, especially in “Vetri di carta” (S’agita recordings), I created many sounds using c-sound. At that time I was studying electronic engineering and I was interested in algorithm sound production but actually I don’t work anymore on that topic. Every time after recording I heavily edit sounds using a couple of softwares. For my outdoor recordings I use a Rhode NT4 microphone and a Zoom H4. What are your compositional techniques / sources of influences (particular moment of life, experiences, dreams, ideas, images, believes...), motivations for composing. When I start a new solo-work I always have a special emotion-inner state that I’m trying to translate. Many times I’ve have been influenced by particular moment of life, “Le baptême de la solitude” (Petite sono) for example. When I started to work on “Pipe smoking in a balloon” I clearly had in my mind the sound of the burning tobacco inside the pipe and the image of a flying balloon, it was a starting point. On which projects are you currently working? Can you describe your musical collaborations, the history behind each of them and your contribution? Actually I’m working on a new long term project related to my music therapy studies, for me it’s very important because it tries to combine social and recording works. Recently I’ve been involved in a big project for a sonic garden in Italy, and I’m waiting for two new collaborative CDs: the first one is a “and-oar release” dedicated to Michelangelo Antonioni and the second one is a project which involves several Italian musicians (under the name “Meerkat”) called “Kapnos”. In collaboration with Luca Sigurtà I’m preparing the field recordings and the sound design for one of the last films of Manuele Cecconello. My most important musical collaboration is with Luca Sigurtà. I get to know him some years ago when he called me for a festival. He organized it in our city. From that day on we constantly work together on different projects and although we have a very different musical approach it has always been a very constructive and creative experience. During the last years I worked with Claudio Rocchetti (and Luca Sigurtà) for some improvisations like “Pocket progressive” (Creative Sources) and “Untitled” (Setola di maiale). Some years ago I was in Bologna with Luca for a live performance, the day after our concert we decided to have a concrete improvisation in Claudio’s flat. That recording after a light editing became “Pocket progressive”. One of my last collaborations was with Maurizio Bianchi and Matteo Uggeri (Hue) I worked on one part of the “four elements projects”. I worked with Matteo editing Maurizio’s material and adding sound arrangements. After months of work Digital Industries released the achieved project: “Erimos”. Your music seems to bring the listener into an unique world of sounds that can be perceived in kinetic, sculptural proportions. You create sound sculptures that interact directly with the different level of spaces and ambient objects. Consequently I was wondering if you already experience Interior performance space, I mean compositions performed spatially with a hundred of speakers (live event)? I’ve not experienced Interior performance space of other musicians but this is exactly what we tried to develop in our sound exhibition : “La fabbrica e la sua voce”. Visitors were completely surrounded by the sounds in the different spaces of the old factory. I’m very proud of that result, we studied a lot the relation between the shapes, the reverbs and the response of every listening point. The exhibition was promoted by the association DOCBI. The main objective was to give a voice to the factory and to explore the sonic capabilities of each space of the building. How can we re-discover sound objects localised in our everyday / ordinary live? How can they communicate new meanings for us? Taking inspiration for the concrete music tradition I really believe in the creative value of “sonic objects” that’s why I love to explore sonic opportunities from objects of everyday life. Also from a music-therapy point of view is very important to consider a common object like a potential music instrument, new possibilities are, in this way, available and in some cases the results are very important, from an aesthetic point of view or for a relational side in the music-therapy field. I’ve already spoken about “arte povera”, which uses poor materials to create beautiful and surprising creations. Thinking about expressive, static ritual droning vibes on Erimos and Preghiera per una stella, do you (in particular case) associate musical experience religious or spiritual favour. In other terms, do you consider music as a sacred activity? Ordinary ambient objects become sublime objects. Do you think that the real perception of the objects is moral and religious? Music could be an important expressive and relational channel. It could become a sacred activity in some places and circumstances but I don’t conceive my music in this way. Ordinary objects can become potentially sonic objects, potentially sublime, but I don’t conceive this perception as moral or even religious.