Ring! is an artist album by Francesco Cavaliere and Dick El Demasiado created during A Week From Monday 2023, an artistic residency organized in Umbria by Viaindustriae Publishing and Holydays Festival. The residency involves a week-long research and production phase, in which the artists divide their time between Foligno's industrial zone and the mountain village of Scopoli with the intent of exploring possible points of contact between visual and sonic artistic languages. Ring! is the result of an immersive listening experience, involving the manipulation of field recordings taken during a historically inspired jousting tournament. The artists shared the experience of listening and recording, while further manipulation and production of the tracks was carried out individually.

Francesco Cavaliere opens Il fuso del cavallo infilato nell'anello (20' 5") with a vocal reinterpretation of the Bando di Giostra—a text traditionally read aloud to announce the horse race, typically recited into a microphone by a designated actor on the day of the event, in the complete silence of a crowded stadium. He then focuses on the stark solemnity of the race itself, during which a certain kind of restless silence takes center stage, as the ear tunes in to the essential sounds of the stadium: the horse's gallop, the lances striking or missing the rings. This creates a long sequence of speaking silenceswhere, from time to time, the chatter of the crowd suddenly breaks through.

In Never Be The Saddle (15' 50"), Dick El Demasiado works with editing, repetition, layering, and delay as subtle yet decisive gestures, creating a vaguely unsettling and out-of-the-ordinary sound experience. His interventions are so discreet that one may not immediately notice them—or possibly never notice them at all. Here, the main elements are saturated sounds, such as the amplified voice of the race announcer, the cheers, drums, and trumpets, which are occasionally interrupted by the same speaking silence that we hear in Cavaliere's piece, a defining sonic element of the experience.

For two hours, the public and passersby are invited to freely join the singing improvisations directed by three choir leaders: Liévine Hubert, Tom Mannaerts and Baptiste Vaes.
In this moment of collective singing, people who do not know each other will share the same tune, creating spontaneous complicity through rehearsals. 
Circles of Songs is a performance by Raffaella Crispino, commissioned by BOZAR Center for Fine Arts Brussels, performed on the 21st of December 2022, as part of Rebirth/Third Paradise by Michelangelo Pistoletto, curated by Alberta Sessa.

A Week from Monday is a publication with a CD that gathers together the sonic and visual results of the residency – with the same title – organized by Viaindustriae and Holydays in Scopoli (Italy, PG) in 2021. It is a diary of the seven days spent with visual artists Davide Barbini and musicians ksara, Vincenzo Marando, Steve Pepe between sound investigation, visual research, and exploration of the landscape. The seven days of the residency are mirrored in the seven tracks on the CD, as well as the seven ‘chapters’ of the diary. The theme of the project stems from its title, A Week from Monday, loosely quoting the title of John Cage’s A Year from Monday. Lectures & Writings, 1967, a theoretical work mixing reflections on working methods, compositional suggestions, social criticism, sound, music and philosophy. Central to the work that emerged was an investigation into song and voice. Davide Barbini’s work, is a video-diary accompanied by a series of drawings.

Ubi Consistam is a project by Laura Agnusdei composed of five acousmatic pieces resulting from the auditory exploration of five locations in Bologna. Each piece is devised to be listened to with headphones in the place where its sound material has been recorded. This idea was born in the winter of 2020, when due to the closure of music venues, as musicians we were forced to reimagine ourselves in new contexts, enacting new listening dynamics. I decided then to explore Bologna, my city, searching for special sound landscapes and / or particular architectures and to enact them using sometimes my saxophone and sometimes inviting other musicians to take part in my experiment: Stefano Pilia on the double bass, Enrico Malatesta on percussions, Flavio Zanuttini on the trumpet and Giacomo Bertocchi on the clarinet.

A Week from Monday is a publication with a CD that gathers together the sonic and visual results of the residency – with the same title – organized by Viaindustriae and Holydays in Scopoli (Italy, PG) in September 2020. It is a diary of the seven days spent with visual artists Giacomo Infantino and Francesca Ruberto and musicians Laura Agnusdei, Matteo Pennesi, Luca Sguera between sound investigation, visual research, and exploration of the landscape. The seven days of the residency are mirrored in the seven tracks on the CD, as well as the seven ‘chapters’ of the diary. But this cadence of seven should not be taken too literally; indeed the contents are composed of texts fragments which should serve to evoke rather than describe, combined with photos, scans from documentation produced during the residency (technical notes, shopping lists, menus) in a collage intended to suggest and create connections not evident at first glance.

Helicotrema is a non-profit festival curated by Blauer Hase and Giulia Morucchio. Started in 2012, it presents a program of recorded audio pieces, with the aim of investigating the possibilities of an environment and a form of collective listening, as happened in the first decades of radio broadcasting. The festival is structured in a series of listening sessions, in which the audience is invited to immerse themselves in listening to compositions by international authors. Over the years the festival has been hosted in very different places, always investigating how audio works, space and audience can merge together. The book is designed as a retrospective manual/manifesto, an extended reading of playing with sound, narratives, authors, spaces, public, and listening dramaturgy. Helicotrema commissioned Marcos Lutyens a new sound work to be featured in a Flexi disc as part of the publication.

Agenzia Dancing Days involves elderly people dancing to electronic music choreography. The dances are collective. The itinerant project took place in discos, dance floors, ballrooms, city squares and festivals. The record collects the sound recordings of rehearsals and performances.

NpBsL is the #000 issue of Orchestra Futuro. Building on a reading of ’60s and 70’s conceptual art as methodology, NpBsL is the 11th of a series of homages and reworks of LeWitt’s Sentences on Conceptual Art (1969), started by John Baldessarri’s 1972 clumsy musical rendition. Among others, Mario Gaecia Torres’ mute karaoke video and Toom Tragel’s transcription have contributed to the construction of NpBsL’s perspective. NpBsL is a musical arrangement commissioned to Marcello Enea Newman by Federico Antonini. It was performed for the first time on the Steinway grand piano at Casa Mahler, during the public programme of the Artist’s Books Residency organised by Mahler & Lewitt Studios and Viaindustriae in Spoleto (PG), September 2018.

Ultras Mash Up is a series of audio tracks in which recordings of football chants are mixed with the original songs they are based on. The work reflects on the musical aspects of football supporters’ culture and supporters’ practice of creation through appropriation. The work includes football supporters’ repurposed versions of Giuseppe Verdi’s opera theme Aida, Jewish traditional song from Psalm 23 Gam Gam, Marcella Bella’s 1972 Sanremo Festival success Montagne Verdi, Walt Disney’s whistling theme from Robin Hood, northern Italian folk song La Mula de Prensio, Coca-Cola jingle Buy the World a Coke, Dean Martin’s signature song That’s Amore, and Righeira’s 80’s summer hit L’Estate Sta Finendo. The football chants used in the tracks have been recorded at the stadium and on trips to away matches as part of my involvement with the ultras group Brescia 1911.

The Sound of Normalisation is a collection of audio recordings documenting the sound culture of the ultras group Brescia 1911 in relation to modern football and the wave of repressive measures targeted at organised supporters groups. The recordings were made over a period of fifteen years and cover: 1) the creation, uses and meanings of the chants 2) group principles and collective identity 3) audience participation and the process of social exclusion from the stadium 4) police repression and the political implications of the chants 5) the evolution of drumming in the stadium in relation to the drums ban-order of 2007. Each recording comes with a short introductory text and is presented here as a video with subtitles.

“La carta sonora degli Orti di San Pietro” was produced during UmbriaLibri 2015 and 2016, during the ninth and tenth edition of Manufatto in Situ, art and landscape workshop curated by Viaindustriae applied in the Medieval Garden and in the and Didactic-Social Garden of San Pietro, in collaboration with Fonoteca Regionale Trotta, the University Center for the Scientific Museums – University of Perugia and with the Department of Agricultural, Food and Environmental Sciences. The workshop hosted 18 young visual and sound artists and 5 visiting artists, from different backgrounds, who recorded and mapped, documented and reinvented the places of the three gardens and their social relations. The outcome was a site-specific live set, “Campestre, mimetica“. From this experience, viaindustriae published the first “Quaderno di Campo” together with an audio CD, as a prototype of an editorial series in collaboration with the Fonoteca Trotta. This mapping configures and proposes a more systematic regional intervention starting from the Carta Sonora model to outline geography of interesting “acoustic places” in terms of soundscape/soundscape/listening. On the cover of the editorial research, Eugenio Faina, founder of the Istituto Superiore Agrario di San Pietro, created from the beginning (1894) as a space for pedagogical “experimentation”.

Fortuna is a sound art project in 2 CD, 2 booklets on a cardboard box and dust jacket. The result is the recording of a process and path of soundworks, radio stations, poetic visions and actions between the public and the private. “Sequences in 6×6, the tragic childhood space” in itself is volume, threshold, transition from a private age to a public one related to the school period. “Sequences in 6×6” is the remembrance of the mechanism by which the girl and the woman meet each other in the text. Written in 2004 between Rimini and Bremen, “Sequences in 6×6” is a biographical poetic text in a game between mothers and daughters – they swapped positions in a genealogical complexity and ambiguity. “Sequences in 6×6” unfolds like cinema/photographic paintings, sinks in childhood/motherhood.

The members of UltraUltraRed, occupying simultaneous positions as sound artists, researchers, organizers and citizens, submit the following 10 hypotheses toward what we have studied and elaborated: the manifesto Militant Sound Investigation by Ultra-red.In the booklet, the english source-text is translated in italian language by 10 researchers, in the CD there are 10 sound hypotheses based on the 10 MSI theses by 10 sound artists. In order to practice a new approach to the social soundscape, UltraUltraRed hope to put into circulation a lexicon of analytical concepts that seek to rethink a new pedagogy of the ear and invoke the procerures of thematic sound investigation developed by Ultra-red for testing in the crucible of practice and reflection, for exploring acoustic space as enunciative of social relations.

The catalogue to an exhibition curated by Giorgio Maffei at the Biblioteca Universitaria, Bologna, during Artelibro 2013 explores diverse artistic experiences using sound and audio storage media since its beginnings around 1960. Central to the interdisciplinary context of dematerialisation of the work of art, visual, literary, performance and other artists have increasingly experimented with the record and sound as a vehicle for investigating the possibilities of verbal and non-verbal expression, considerations of the body and avant-garde tendencies. Hundreds of examples are presented in this impressively researched and carefully documented and illustrated book.

Divided into four sections, books, scores, records and documents, “Sound Pages. John Cage’s Publications“, (catalogue of the exhibition with the same title at the International Museum of Music, Bologna) systematizes an important part of John Cage’s work addressing the theme of the various productions which the American composer produced, often upsetting the traditional components and structures of composition. Cage has posed the problem of making the sound an object which is sensitive to the visible: texts, books, scores become visual entities in all respects in which the artist tries to juxtapose syntactic connections to a new dislocation of the characters on the surface sheet according to canons and criteria that are purely visual. Edited by Giorgio Maffei and Fabio Carboni, Sound Pages is an editorial project that shows how the complexity of John Cage’s thought, but also his disarming simplicity, have added “beauty” to the printed page so as not to allow the sound space to dissipate in the moment of the interruption of the sound and fix in time its translation in visual space.