Enrico Dorigatti is a sound artist and creative technologist working across a range of formats. He is especially interested in the interaction between audio and visuals, generative systems, and shared agency between humans and machines in the artistic creation process. Currently, he is a researcher and PhD candidate in interactive sound art and creative technologies at the University of Portsmouth (UK), School of Creative Technologies, supported by a bursary awarded by the Faculty of Creative and Cultural Industries. He also serves as an IT practical teacher at the technical high school “M. Buonarroti” in Trento, Italy, where he teaches programming.
Formerly a conservatory graduate (BA and MA in electronic music), his artistic and scientific output spans different topics and forms and is regularly selected in prominent scholarly, artistic, and mixed venues such as Sound and Music Computing Conference, New York City Electroacoustic Music Festival and New Interfaces for Musical Expression, among many others.
[in.tangibile]
[in.tangibile] is an interactive sound art installation that confronts visitors with two main concepts. On the one hand, it imposes a reflection on the materiality of sound, which, although often referred to as an ‘object’ in the musical art world, remains nevertheless impalpable, formless, and elusive. Yet, it is a physical phenomenon that impacts—albeit usually imperceptibly—the surrounding environment. Its supposed intangibility, thus, is not intrinsic to the sound event but is instead a product of our perceptual limitations.
Secondly [in.tangibile] centralises the visitor’s role in the artistic creation process. According to Umberto Eco’s theorisation, an artwork is not an accomplished and unchangeable fact but rather an artefact that only finds its completeness in the combination of the construct created by the artist, the interaction with the audience, and the assimilation process that this latter enacts.
Through employing experimental interaction systems and generative processes, [in.tangibile] thus aims to emphasise the concepts expressed by giving, on the one hand, a haptic dimension to the sound phenomenon and, on the other, by making visitors a central part of the creative process leading to the total realisation of an installation’s artistic potential.
