15-06-2026
Talk: EFM (Eco-Feedback Mixing): A Relational and “Low-Tech” Sound System
Curated by Andrea Spontoni.
15-06-2026
Talk: EFM (Eco-Feedback Mixing): A Relational and “Low-Tech” Sound System
Curated by Andrea Spontoni.
05-06-2026
A microphone, an analog mixer and a network of feedback loops generate an unstable sonic field of resonances, oscillations, accumulations and interruptions. Sounds captured from the surrounding space enter the system and influence its behavior in real time.
During the performance, de Girolamo responds to this instability through subtle adjustments of levels, equalization, and feedback intensity. Musical form emerges from the continuous interaction between performer, electronic system and acoustic environment.
EFM #1 explores a compositional process based on sensitivity and reciprocal influence, allowing the work to evolve through the system's changing conditions.
Curated by Nicola Monopoli.
Photo credit: Nicola Pappalettera.
15/16-05-2026
Sound · Crossing · Communities
Conservatorio di Musica “San Pietro a Majella”, Naples.
Paper presentation: Relational Sonic Systems: Environment, Contingency, and the Design of Listening
The paper explores relational sonic systems in which environmental sound shapes musical events, focusing on Real Time and EFM (Eco-Feedback Mixing) as two models of interaction between designed systems and environmental contingencies.
Curated by Paolo Montella.
Photo credit: Maria Valentina Tarantino.
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23-04-2026
During the performance, the street sounds were captured and processed live, becoming the raw material for constructing rhythmic patterns. Traffic, voices, passing vehicles, and the neighborhood's shifting acoustic activity entered the performance as an unpredictable sonic flow, continuously shaping its development.
The work explored the possibility of extracting rhythm from an existing environment. Through real-time processing, the heterogeneous soundscape of Via Padova was reorganized into pulses, repetitions, and rhythmic structures, establishing a direct connection between the street's temporal activity and the musical form emerging inside the performance space.
The performance developed as an open interaction with the surroundings. Its rhythmic structure depended on the sounds occurring outside at that specific moment, allowing the acoustic life of Via Padova to participate in the composition.
In this process, the city became both sonic material and temporal structure: an environment whose movements, densities, and interruptions could generate rhythm in real time.
Curated by Matteo Bertini.
Photo credit: Chiara Sacchini.
12-04-2026
The project approaches the lake not as a landscape to be represented, but as an active system that generates and transforms the work itself. Photographs taken from and around the water became the visual material for a computational process: custom software transformed the images into sequences of horizontal bands, establishing a correspondence with the broken and unbroken lines of the I Ching hexagrams. Environmental sound captured in real time intervened in this process, affecting the transformation of the images and creating a continuous relationship between what could be seen and what could be heard.
Through this process, the visible landscape was translated into another system of reading. Light, reflections, water, vegetation, and horizon entered into dialogue with the site's changing acoustic conditions. The resulting images were therefore not fixed representations, but temporary configurations emerging from the interaction between landscape, sound and code. The reference to the I Ching, the ancient Chinese Book of Changes, introduced transformation itself as a central principle of the work: the landscape became a field to be read through its continuous variations rather than contemplated as a stable image.
This process extended physically onto the lake through Threshold Opera. Visitors were taken out individually, one at a time, on a boat. During the journey, underwater microphones let them hear sounds from beneath the lake's surface —an acoustic dimension of the environment that normally remains inaccessible. The familiar visual experience of the landscape was thus displaced by an intimate act of listening, revealing another, hidden layer of the same place.
The boat's movement created a passage between land and water, surface and depth, observation and immersion. Rather than positioning the visitor in front of an artwork, Threshold Opera placed them inside a changing perceptual situation in which image, sound, movement, technology and environment continuously affected one another.
The “threshold” of the title therefore refers not to a single boundary, but to a condition of passage: between visible and invisible, above and below the surface, image and sound, landscape and data. Rather than placing an artwork within the landscape, Threshold Opera created a system through which the lake itself could help shape the work and the experience of those who entered it.
Curated by Francesca Ballini (Esperito).
Photo credits: Francesca Ballini, Alessio de Girolamo.
05-10-2025 / 31-12-2025
In this presentation, Real Time interacted with the space's background noise. The software analyzed the acoustic environment and used its frequencies to activate and progressively reconstruct the notes of the iconic opening of Richard Strauss’s Also sprach Zarathustra. The resulting sound emerged from the encounter between the musical score and the attic's specific acoustic conditions.
Ambient noise becomes an active element in the compositional process. The space's acoustic identity shapes the emergence of Strauss’s theme, creating a sonic trace of the interaction between composition and environment.
The installation is conceived as an intimate listening experience. Only one visitor at a time enters the attic and encounters a sound work generated through the acoustic presence of that same space. Sound becomes an architectural presence, connecting the composition to the place's physical and perceptual conditions.
Real Time explores the possibility of music emerging through a dialogue with the sounds already present in a place.
Curated by Luca Pancrazzi and Elena El Asmar.
Photo credit: Elena El Asmar.
exhibition link
06-09-2025 / 03-11-2025
Using his Real Time software, de Girolamo brought Claude Debussy’s Clair de lune into dialogue with the soundscape of the sea surrounding Capri. Sounds captured from the marine environment were analyzed in real time, allowing their acoustic frequencies to activate and shape the emergence of Debussy’s score. The resulting composition carries the landscape's sonic conditions within its musical structure.
The work connects the cultural memory associated with Clair de lune to Capri's physical and acoustic presence. Sea, wind, and environmental sound participate in the musical process, creating a shifting encounter between a familiar composition and the place in which it is reactivated.
The project extends into a visual dimension by translating the sonic process into a digital score. Sound, notation, and landscape become different traces of the same encounter, forming a space between memory, listening, and place.
Curated By Arianna Rosica and Gianluca Riccio.
exhibition link
28-09-2024
Curated by Manuela Lietti.
Photo credits: Jacopo Silvestri, Maria Valentina Tarantino.
live-set lin
21-09 / 15-12-2024
The core idea of this project was to make these two realms communicate, despite their long distance, their occasional conflict, and their rare ability to engage in a “friendly” dialogue on equal terms.
The software Real Time has precisely the task of creating such a dialogue. Developed with LIM, the Laboratory of Musical Informatics at the State University of Milan, it aims to act as a super-consciousness that relates the natural acoustic landscape to the human process of writing scores.
How does all of this happen? It begins with a microphone recording that is read by the software, which contains a pre-loaded track, a score, which then acts as if it were doing rhythm training exercises (e.g., solfeggio) in real time. When the software recognizes that there is a sound in the acoustic environment, a noise that has a frequency close to a known one, then it uses this proximal note.
Unlike what one might expect, no pre-sampling or machine-learning devices are used to investigate the soundscape. In this sense, it is a software that denies itself.
In the gallery’s garden shed, I installed a sound sculpture that I called Joog Box. The word “Joog” derives from the Creole, and it means “noisy” or “messy”. Thus, it matches the results returned by the real-time software, which also works within the sculpture, whose content relates to the composers of the Venetian school. The object itself is made of super-mirrored steel.
It, therefore, mirrors the outer environment. With this work, I wanted to further underline the visual relationship at the core of the work: the clash between anthropic culture and nature, embodied here by the dialogues of the trees, the garden, the lawn, the musical score, and the compositions contained within the various tracks.
(Alessio de Girolamo)
Curated by Manuela Lietti.
Photo credits: Andrea Rossetti, Riccardo Banfi.
08-03 / 28-05-2024
The first presentation takes place at the Linea Project gallery spaces in Lecce, Italy.
Curated by Alice Caracciolo and Marco Vitale.
Photo credit: Alice Caracciolo.
exhibition link