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La Solitudine Delle Moltitudini
(The Solitude of the Multitudes)
electroacoustic cantata for 16 female voices on fixed media
(multichannel audio)
by Marco Buongiorno Nardelli
for the exhibition “The Art of Connection” at the
MEET Digital Culture Center in
Milan, Italy
February - April 2023.
Soprano and lyrics: Júlia Coelho

Video art by BarabasiLab:
Alice Grishchenko
Gabor Kitzinger
Albert-Laszlo Barabasi

You can listen to a concert stereo version on my SoundCloud

Read an interview on my work on the MEET website here

Join us for the newly redesigned immersive 3D video and music installation at the Currents 2024 New Media Arts festival
in Santa Fe, NM
June 14-23, 2024!

This electroacoustic musical composition follows a strict electronic score, produced by generative composition software that mixes the sound material into an infinite combination of possibilities. The score is composed of graphs formed by a set of nodes connected by directional paths. Each node contains specific information about the type of gesture the system will perform and is made in response to the images in the immersive video. Once a single graph is executed, a new one is generated, making the performance virtually infinite without presenting the same material more than once. Graphs are constructed using various mathematical models along a path that culminates in the model for generating scale-free networks discovered by Barabasi in 1999: the model incorporates two important general concepts, growth and preferential attachment: growth means that the number of nodes in the network increases over time; preferential attachment means that the more connected a node is (the higher its “degree” is), the more likely it is to receive new connections. Nodes with a higher degree have a greater ability to increase the number of their connections with new nodes added to the network. The resulting topology is fundamental in the analysis of many real-world networks, including networks that represent the evolution of musical compositions, a concept that underlies Marco Buongiorno Nardelli’s compositional practice.

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