Scienza in Gioco

Pavia, Febbraio-Marzo 2025

Festa del PiGreco – Escape rooms multimediali – Palazzo medievale del Broletto, 11-14 Marzo 2025

Sono stati oltre 400 gli studenti delle scuole primarie e secondarie della città che hanno partecipato con entusiasmo all’Escape Room del Conservatorio Vittadini, realizzata in collaborazione con il Liceo Taramelli e il Liceo Artistico Volta.
Musica, Arte e Matematica si sono combinate in un’esperienza coinvolgente, divertente e divulgativa.
“Escaperoom PiGreco” ha rappresentato il compimento finale dei corsi di orientamento attivo per la transizione scuola-università che il Conservatorio ha attuato in collaborazione con le scuole secondarie Taramelli e Volta e finanziato da Next Generation UE.

[See image gallery at enzogentile.it]
Foto: Vito Daniele Fontana

[See image gallery at enzogentile.it]
Foto: EG

English version below

Video: regia e creazione: Enzo Gentile / Fotografie di Martino Allegretti / Musica dei Nine Inch Nailns

‘Fluid Metamorphosis‘ è un’opera in videoarte e rappresenta una fusione sperimentale tra fotografia tradizionale e tecniche di manipolazione digitale avanzate.
Il video integra le fotografie realizzate dallo studente Martino Allegretti, trasformandole attraverso una serie di effetti visivi sofisticati. Ho utilizzato tecniche come effetti di fumo, glitch e distorsioni, sincronizzandole con una colonna sonora dei Nine Inch Nails, caratterizzata da toni cupi e elementi noise e industrial.
Lo stile generale dell’opera è volutamente dark, misterioso e lievemente scioccante, con alcuni, rari, momenti di ‘respiro’.
Questa opera dimostra come le tecnologie digitali possano amplificare e trasformare il lavoro fotografico tradizionale, aprendo nuove possibilità espressive e narrative. Per gli studenti, rappresenta un esempio concreto di come diverse forme d’arte possano fondersi grazie all’uso creativo della tecnologia, stimolando la loro immaginazione e incoraggiandoli a esplorare nuovi territori artistici.

English version

Direction and creation of a video artwork by Enzo Gentile / Photos by Martino Allegretti / Music by Nine Inch Nailns

‘Fluid Metamorphosis’ is a video art piece that represents an experimental fusion between traditional photography and advanced digital manipulation techniques. The video integrates photographs taken by student Martino Allegretti, transforming them through a series of sophisticated visual effects. Techniques such as smoke effects, glitches, and distortions are used, synchronized with a soundtrack by Nine Inch Nails, characterized by dark tones and noise and industrial elements.
The overall style of the work is deliberately dark, mysterious, and slightly shocking, with some rare moments of ‘breath.’ This piece demonstrates how digital technologies can amplify and transform traditional photographic work, opening up new expressive and narrative possibilities. For students, it serves as a concrete example of how different art forms can merge through the creative use of technology, stimulating their imagination and encouraging them to explore new artistic territories.

Installazione interattiva Kaleidòscopia Brera – Milano

English version below

Kaleidostòpia (acronimo di Kaleidoscope e dystopia) un’installazione interattiva multimediale sperimentale che fonde tecnologia avanzata e creatività, offrendo ai visitatori un’esperienza artistica unica e personalizzabile.
Il cuore di ‘Kaleidostòpia’ è un sistema interattivo composto da una webcam, che cattura l’immagine del visitatore, e un mixer MIDI con 64 tasti colorati, slider e controlli aggiuntivi. Questo setup permette ai partecipanti di diventare sia soggetti che creatori dell’opera d’arte.
L’installazione offre tre serie di immagini di sfondo: distopiche, naturali cupe e oniriche, ciascuna composta da 16 varianti, più una serie di 16 sfondi animati. I visitatori possono scegliere se utilizzare la propria immagine come maschera, attraverso cui si intravede il contenuto delle immagini di sfondo, o mescolarla direttamente con gli sfondi scelti.
Le possibilità di manipolazione in tempo reale sono praticamente illimitate. Gli utenti possono giocare con una vasta gamma di effetti, gestire colori, trasparenze e combinazioni, creando opere uniche che riflettono la loro visione artistica personale. Per chi si sentisse sopraffatto dalle opzioni, un tasto ‘random‘ genera composizioni casuali, offrendo un punto di partenza per l’esplorazione.
L’esperienza culmina con la possibilità di catturare l’opera creata e scaricarla tramite un QR code, permettendo ai visitatori di portare con sé un pezzo unico d’arte digitale.
Per rispettare la legge sulla privacy le immagini non vengono conservate ma solo memorizzate temporaneamente per permettere all’utente, se lo desidera, di scaricare il suo “selfie artistico” e condividerlo.
Dal punto di vista tecnico, ‘Kaleidostopia’ utilizza vari strumenti hardware e software il tutto orchestrato attraverso una sofisticata regia con alto livello di automazione.
Questa installazione non solo dimostra le potenzialità dell’arte interattiva e partecipativa, ma offre anche agli studenti un esempio concreto di come tecnologia, programmazione e creatività possano fondersi per creare esperienze artistiche innovative e coinvolgenti.

[See image gallery at enzogentile.it] Articolo (Accademia di Belle Arti di Brera) 

Se desideri che una tua foto venga rimossa dalla nostra galleria, ti preghiamo di contattarci all’indirizzo: studios@anughea.com. Rispettiamo la tua privacy e procederemo alla rimozione immediata.
If you wish for your photo to be removed from our gallery, please contact us at: studios@anughea.com. We respect your privacy and will proceed with immediate removal.

English version

Kaleidostòpia (an acronym for Kaleidoscope and dystopia) is an experimental multimedia interactive installation that blends advanced technology and creativity, offering visitors a unique and customizable artistic experience.
At the heart of ‘Kaleidostòpia’ is an interactive system composed of a webcam that captures the visitor’s image, and a MIDI mixer with 64 colored keys, sliders, and additional controls. This setup allows participants to become both subjects and creators of the artwork.
The installation offers three series of background images: dystopian, dark natural, and dreamlike, each consisting of 16 variants, plus a series of 16 animated backgrounds. Visitors can choose to use their image as a mask, through which the content of the background images is glimpsed, or blend it directly with the chosen backgrounds.
The possibilities for real-time manipulation are virtually limitless. Users can play with a wide range of effects, manage colors, transparencies, and combinations, creating unique works that reflect their personal artistic vision. For those who feel overwhelmed by the options, a ‘random’ button generates random compositions, providing a starting point for exploration.
The experience culminates with the ability to capture the created artwork and download it via a QR code, allowing visitors to take home a unique piece of digital art.

[See image gallery at enzogentile.it] Photos by Chiara Giorgetti

Video art ‘Fluid Metamorphosis’ Brera (Milano)

Accademia di Belle Arti di Brera (Milano), 18 gennaio 2024
Cortile dei Gesuiti – Pinacoteca di Brera.

“Tribal, Symbolic, and Ritual Reflections on the Wall of Time”
Educational Project (Videomapping Short Demo)

A Journey through Time,
a contemporary reimagining of an artwork
an immersive and multimedia experience,
a video projection integrated with artificial intelligence
with the support of generative art (coding).

Everything blends harmoniously and cohesively with the sculpture,
creating an aesthetic dialogue between the past and the present.

Possible development scenarios:

From the Paleolithic era to tribal arts
Mayan civilizations and the Inca Empire
Ancient Egypt
Ancient Eastern arts

Multimedia Course for Cultural Heritage
Brera Academy of Fine Arts – Professor Enzo Gentile

Artwork: “Muraglia Cangrande” by Pietro Consagra.
Cortile dei Gesuiti – Pinacoteca di Brera.

Concept, design, mapping & video: Enzo Gentile
Music: Prehistoric Shaman-Tribal Ambient Music-432 Hz

Il teatro Fraschini

Lo storico di Pavia ha ospitato “La storia del piccolo sarto” in forma di Concerto e Illustrazioni con i musicisti dell’ensemble Entr’Acte e gli studenti del Liceo Artistico ” A. Volta”.

Organizzazione

Un evento che si inserisce nel progetto “Escursioni Metroselvatiche – Bambini alla scoperta creativa della città”. La referente del progetto è  Rosa Franciamore, coordinatrice dei corsi non accademici del Conservatorio.
L’obiettivo è quello di favorire le potenzialità e le opportunità di crescita dei più piccoli nel territorio pavese attraverso attività artistiche come il teatro, la musica e il canto.
L’organizzazione è a cura dal Conservatorio di Musica “Franco Vittadini” e dal Liceo Artistico A. Volta, con la collaborazione l’Accademia di Belle Arti di Brera ed il sostegno della Fondazione Cariplo, dell’ Unione Europea (Next Generation EU)  e il Comune di Pavia.

L’evento e la sperimentazione

Il concerto “La storia del piccolo sarto”  è stato il  primo esperimento di “Concerto figurato” con gruppi di studenti che si sono alternati nelle varie scene della fiaba e che hanno raffigurato, in tempo reale, le varie scene del racconto.
Per tale obiettivo si sono utilizzate 6 tavolette grafiche collegate in rete e un computer principale che riuniva il “disegno collaborativo” inviandolo direttamente al proiettore.
Ogni tavoletta grafica era collegata via wifi al server dedicato tramite un software di “collaborative drawing” e gli spettatori potevano vedere il contributo di ogni studente formarsi sulla tela in perfetta sincronia con la musica.

Le sfide artistiche e tecnologiche

La sfida principale è stata quella di superare le difficoltà tecniche insite nella trasmissioni dei dati in tempo reale (stabilità della connessione e del server remoto)  ma anche dalla necessità del sincronismo e il rispetto rigoroso dei tempi di ogni scena.

Gli studenti del Volta hanno risposto egregiamente a tali sfide, oltre ogni auspicio,  creando immagini ad alto contenuto emozionale e artistico nonostante i tempi ridotti di ogni singola scena.

I protagonisti “fuori scena”

Dal punto di vista tecnico la sorte ci ha aiutato e non si sono avuti problemi di connessione durante lo spettacolo, gli studenti erano magistralmente diretti da Rosa Franciamore che, seguendo la partitura, dettava tempi e cambi tra le varie squadre di studenti, in assoluto silenzio così come sono stati istruiti dai docenti del laboratorio di illustrazione. Una sorta di bit stop silenziato, rapidissimo e calcolato.

La preparazione degli studenti all’evento “La storia del piccolo sarto” è stata curata durante il workshop di “disegno collaborativo” da Gloria Capoani (scenografa e illustratrice e ex studentessa dell’Accademia di Belle Arti di Brera e da Enzo Gentile docente di Multimedialità per i beni culturali nella stessa accademia.

I  musicisti

Entr’Acte nasce nel 1984 come gruppo da camera di musicisti del Teatro alla Scala di Milano su iniziativa di Paola Fre (Flauto e ottavino) e Denis Zanchetta (direttore).  Parte della loro attività si rivolge al giovane pubblico come nel caso dell’evento in oggetto dove gli strumenti hanno raffigurato i personaggi della favola liberamente ispirata a  una fiaba dei fratelli Grimm.

I personaggi della fiaba

L’orchestrazione del compositore permette di individuare onomatopee o distinti richiami tra i suoni della partitura e gli elementi della fiaba. E’ stato quindi possibile per gli ascoltatori ancorare alcuni strumenti ad altrettanti personaggi, per esempio:

Il piccolo sarto: clarinetto
Le mosche ronzanti : violino e violoncello con sordina
Il cinghiale: fagotto
I cacciatori e i cavalieri: tromba e tamburo
I giganti : timpani.

Il concerto

Il teatro era pieno in ogni ordine di posti con circa 700 spettatori, bravissimi i musicisti e altrettanto bravi gli studenti del liceo che hanno dimostrato non solo capacità artistica ma anche disciplina e organizzazione combattendo con tempi  e con una certa dose di emozione. Meritano tutti un ottimo voto!

Un ringraziamento a tutti i protagonisti di questo primo esperimento artistico-tecnologico e anche a coloro che hanno contribuito alla riuscita dell’evento, che, come spiega l’organizzatrice Rosa Franciamore, è riuscito in molteplici obiettivi: proporre musica classica di qualità al pubblico pavese, dialogare in maniera costruttiva con le nuove tecnologie, introdurre i liceali nel mondo della formazione AFAM attraverso pratiche di orientamento attivo, le uniche in grado di far comprendere e sperimentare quanto sia richiedente, impegnativo, ma anche coinvolgente e appagante il lavoro nell’ambito della produzione dal vivo.

Download pdf Atti-del-Festival-2019

Video projection interactive installation between the works of the outsider artists and the passage of visitors. The paintings, projected in sequence (on the wall), are graphically “contaminated” (in real time) by algorithms generated by the physical presence of people.

Fashion show – Capsule collection Dainese
Paolo Servi: agreements and organization
Enzo Gentile: Live interactive visual
Music by Tool
Special thanks to the openprocessing.org community

The video (thank to Niccolò Scavo for shooting)
0.00 intro  – 0.48 Capsule collection Dainese  – 3.20 children collection

Tests before the fashion show:

[See image gallery at enzogentile.it]  
Software: Resolume Arena 6, Processing
Hardware: MSI Pc, kinectV2, Panasonic laser DLP PT-RZ21K 21.000 lumes

Concept & visual: Enzo Gentile. Performer: Cecilia Peirè. Music by ‘Tool’ and ‘A Perfect Circle’.

The video (thank to Stefano Zampini for shooting)

PDF edition 2018 Art Farm Pilastro.

Cecilia Peirè: performer / Enzo Gentile: visual, interactive, creative coding, audio-video editing

[See image gallery at enzogentile.it]
See or Download video (FullHD) here

Il corpo, nella danza, oscilla fra il soggetto e l’oggetto ed è portatore dell’invisibile che lo trasforma e lo trasfigura. La coreografia, tramite l’utilizzo di tecnologie innovative, offre al corpo l’opportunità di esistere qui e altrove, di essere dualità nell’istante reale di movimento, di de-costruire il tempo e lo spazio. Il corpo tecnologico è un corpo esteso, connettivo, interattivo, dotato di nuova e potenziata sensibilità. Attraverso il contatto creativo dello sdoppiamento, della moltiplicazione di esso sullo schermo, si creano i presupposti per una nuova visione dello strumento in cui si vive la vita: il corpo. (Cecilia)

The body, in the dance, oscillates between the subject and the object and is the bearer of the invisible that transforms it and transfigures it. The choreography, through the use of innovative technologies, offers the body the opportunity to exist here and elsewhere, to be duality in the real moment of movement, to de-construct time and space. The technological body is an extended, connective, interactive body, endowed with new and enhanced sensitivity. Through the creative contact of the splitting, of the multiplication of it on the screen, the conditions are created for a new vision of the instrument in which life is lived: the body. (Cecilia)

MAKING OF

Thanks to:
Marco Ambrosi and Elena Astolfi for photo and video shooting
Openprocessing.org international community
Verona Academy of fine arts
Forte Briccio students group
Multimedia set design and graphic students
All those who supported us

Hardware: Kinect V2, ViewSonicPJD7720HD 3000 lumen, table cloth (!)…
data exchange: Midi, OSC, DMX
Software: Processing; Media Server: Resolume Arena
Songs: Stinfix, A/Descending, Vicarius (Tool)

Biography
Cecilia Peirè (Genoa, 1989), graduated in set design at the Academy of Fine Arts in Verona, she study in Atelier Direction, Cultural Mediation of Art. He has been studying classical and contemporary dance since 2000 at the ArtStudio school in Verona. Winner of the 2005 Vignale Danza competition in collaboration with Joseph Fontano.

Before and after the performance the people of “Verona Risuona” enjoyed with the “interactive avatar dance”!

See photo gallery here.

[See image gallery at enzogentile.it] Video

The Verona Opera Academy students are “connected”!

Verona Risuona Festival (Forte Briccio May 26, 2018) – Interactive Avatar Dance

Interactive catalog demo for showroom, life-size furniture, Cinema4D, kinectV2 + processing 3.

3D modeling & rendering: Enzo Gentile

Interactive code by anughea studios: Enzo Gentile & Paolo Servi 

Furniture from Antonio Lupi  calalog 

[See image gallery at enzogentile.it]

[See image gallery at enzogentile.it]

DESCRIPTION
ViSet was born for creating and promoting virtual sets for the performing arts.

PARTNERS
The project takes place in 4 countries: Italy, Serbia, Spain and UK. In these countries, the following organisations cooperate to achieve the objectives of the I AM project:

• Lead Partner is LABA (“Libera Accademia di Belle Arti“) in Brescia (Italy) coordinates workshops, monitoring & evaluation;
• Kulturanova in Novi Sad (Serbia) is the action coordinator for festivals;
• FAM in Novi Sad (Serbia) coordinates the networking;
• KonicLab in Barcelona (Spain) is responsible for coordinating co-production activities;
• Pacific Stream in Liverpool (UK) is the action coordinator for National performances, communication and dissemination:

All partners will provide expertise in creative and/or technical side.

1. Objectives
The general objective of the ViSet project is to promote the use of advanced digital technologies in various art forms and various cultural circumstances, to demonstrate the many social, economic, commercial and cultural advantages of these technologies for the arts. ViSet will do so by promoting the use of virtual stage sets, including the use of interactive technologies, Virtual and Augmented Reality and remote-controlled applications, in performing arts. ViSet will do so by creating a network of cultural operators capable of using new technologies for the performing arts (“providers”) linked in an online community with interested stakeholders such as festival organisers and theatres (“users”).

2. Target groups
The target groups are divided into two main groups: providers and users of new technologies for the performing arts.

• Providers: cultural operators that work, or want to work, in the experimental field of art & tech (addressed in co-producing, training, networking and capacity building).
• Users: the general audience as well as the cultural operators that organise and/or finance art events (addressed in performances and festivals, audience and market development).

The main target group for audience development are young people (approx. 16-25 year olds). High schools, technical schools, universities and art academies will form an important target, allowing to reach these young people, both as audiences at performances and as potential new providers of the new technologies receiving training at the workshops
The target for market development actions are traditional theatres and performing arts companies, cultural centres and arts platforms (to be reached directly and through existing festivals).

3. Methodology and strategy of actions
The methodology uses demonstration as its main instrument to convince stakeholders by bringing the performances to potential new audiences and new markets (“seeing is believing”). It is further based on direct and practical involvement of experts of the technologies in workshops and co-production (“learning by doing”).
The methodology further works on a simple supply and demand basis, by integrating into all the actions the market and audience perspective and by bearing in mind that each action should have an impact on both the main target groups.
Communication, dissemination and networking is given much attention in order to multiply the potential market for new technologies in the performing arts during but also after project implementation.

ACTIONS
Timing and contents

We aim to develop a linear, clearly structured project over 2 years: year 1 sees preparation, training for technical and creative capacity building and co-production of a performance in each of the 4 countries, year 2 then moves to demonstration, audience and market development.

The first year starts with a short research phase in which partners examine locations and performances to be used. Research will provide details on technical abilities (which partners have in-house or can attract locally) as well as technical wishes for their performances (for which they will require co-production assistance from one or more project partners): explore creative possibilities and match them with technical feasibility.

Performances: preferably performances which are already known to artists, have already been rehearsed and/or performed by artists so as to invest less in the creation of new materials and more on the creative and technical integration of new media technologies in the stage sets. Preferably performances which require only one or two artists (actors, dancers, singers) so as to demonstrate the power of these technologies in as broad a geographic area as possible without burdening the budget with significant travel costs.

Locations for performances: must have high potential for audience development, i.e. for attracting “new audience” in particular young people. The audience must be facilitated (i.e. the performance comes to them rather than vice versa): for example outdoors in public squares, in high schools, universities, art academies, lobbies of public buildings, … .

This one-month phase will precede the first project meeting in order to arrive at project kickoff with sufficient materials for peer review, in order to decide on four demonstration performances which showcase a range of different technical possibilities. This also allows for a better focus of the contents of the first project workshop, which is held immediately subsequent and in the same location as kickoff.

Workshops are then held throughout year 1 at approximate 3-month intervals. A workshop will be hosted in each of the four countries of the project partners. They will combine a technical segment and a creative segment. The Partnership’s technical and creative experts will attend as teachers and/or trainees (3 persons per partner country). Specialised local teachers will also be attracted from affiliated institutes and associated partners. Each 4-day workshop will start with an overview of the numerous technological possibilities, so as to give all local participants an opportunity to build capacity and interest for the further use of these technologies in their region (students of universities and art academies in the region, SMEs and freelance professionals). In line with the different technologies used for the performance of the hosting country, more in depth training will then be given on a chosen technology and type of application. Care will be taken so that the performances cover a range of technologies so that operators in the partnership receive a comprehensive training.

The case-study of the specific performance being developed in each country will serve as a basis for practical exercises and will furthermore help partners to advance with each workshop in the co-production of each country’s performance, assisting in the solving of technical problems and providing peer review on the creative and technical choices made.

Workshops will address for example:

• Video mapping / architectural mapping (2D and 3D projections onto 3D objects and buildings, “mapped” by specific software and combined with sound and light effects)
• Virtual reconstructions (Augmented reality approaches and instruments);
• Installations using interactive technologies and motion-tracking. The set can for example “interact” in real-time with the actions of actors and dancers and/or (depending on the needs of the specific performance) with the actions of the public. Digital responses triggered by voices, sounds, colours movements and postures. Experiments with audience digital feedback influencing performance (narrative) outcome.
• Remote-controlling of interaction dynamics, interaction through tablet and smartphones. Such control allows for the participation of people in different locations, not necessarily in the vicinity of the main stage, through internet connections and use of suitable data transfer protocols such as MIDI, OSC, DMX, HTTP, FTP etc, integrating individual skills (acting, dance, music, marketing, directing, lighting) over large geographic networks.

In between workshops, partners work in a system of co-production with each country progressing on the development of its performance and virtual stage set with the assistance of technical experts from the partner countries. Performances and their virtual sets are to be completed by the end of the first project year.

Year two starts of with the implementation of performances in the countries and regions of each project partner. We aim to have five shows of the developed performance per country, potentially in five different locations in the city, region, country of the respective project partner.

Performances will take place in strategic locations for audience development, to bring the modernised performing arts to the attention of young people. Audience development will be aided by specific communication messages and channels (highlighting the high-tech, young, spontaneous and modern side of the art performances and extensively using social media, facebook, twitter and youtube).

Subsequently, market development actions are based firstly on the implementation of four small festivals, i.e. a tour of the four prepared performances and their virtual sets to each of the four countries directly participating in the project: Italy, UK, Spain, Serbia. Besides being an obvious tool for audience development, similar to the national performances preceding the festivals, the potential for market development will be enhanced in the side-events of the festival programmes. There will be result dissemination events such as for example press conference, round table discussions on art&tech, meet & greet events between technical, creative and managerial minds, between audience and organisers, between the “providers” and the “users” of the new technologies for the production of art performances.

A second component of market development regards the promotion of these new technologies – through the example of our four performances – to interested “users” outside of our immediate geographic area. For this purpose the channel of choice is that of existing third-party festivals, which regroup a large number of relevant stakeholders in one place. Two types of festivals will be approached: the traditional theatre and performing arts festivals and those festivals which focus specifically on art and technology. Communication and dissemination actions aimed at the participants and organisers will ensure the cultural operators present at these festivals have a chance to see the potential of the different technologies in our four performances.

RELATED POSTS:

BRESCIA: Workshop and VISET Meeting

Liverpool (UK): European Project “Creative Europe” ViSet meeting

Barcelona: Digital Stage Workshop Project “Creative Europe”

Sremski Karlovci (SERBIA): Virtual Set Design Project Meeting and Workshop

Brescia: first test for final show (ViSet Project)

https://enzogentile.it/2016/03/16/second-test-for-final-show-viset-project-laba-brescia/

Liverpool: ViSet at the Threshold Festival

• Dimostrazioni di ARTE GENERATIVA E INTERATTIVA (aula di Fondamenti di Disegno Informatico)
  Software: processing, vvvv – Hardware: kinect
• Augmented reality (Software : processing, flartoolkit)
• Video Mapping , esperimenti live  – Software: resolume arena + irmapio
• Video interattivi (Bar Nazionale – Via dell’Accademia Albertina TO)
  Software:  vvvv – Hardware: kinect, TV 60 pollici

Ringraziamo il prof. Costagliola che ha organizzato l’evento,  i tecnici della Gcs S.r.l. per la loro preziosa assistenza e tutti gli studenti di Nuove Tecnologie per l’Arte dell’Accademia che hanno partecipato e che hanno dimostrato molta curiosità e interesse.

Materiale a cura dell’organizzazione di Between 2012:  Calendario (pdf)  – Locandina(pdf)

[See image gallery at enzogentile.it]

30 aprile 2011 – Andora (SV) – Palazzo Tagliaferri – Performance Zen Sheet Music (Cyber Performance) di Vito Mazzocchi.

Sound design & Visual Programming by Enzo Gentile (guitar to midi and visual real time conversion).

Hardware: Sonuus MusicPort, Midi port – Software created with Processing

L’articolo su Passione Teatro.
L’intervista a Vito Mazzocchi ed Enzo Gentile.

Il video:

[See image gallery at enzogentile.it]

Real time video projection on the building facade of the late ‘800 with Vj techniques  without any pre-built loop.

[See image gallery at enzogentile.it] [See image gallery at enzogentile.it]