Shaping Knowledge & Learning Through Sound & Image
Through workshops, seminars, and cross-disciplinary labs, we provide spaces where researchers, professionals, and young learners can experiment, share knowledge, and co-create. The aim is not only to transfer skills, but to foster new perspectives, inclusion, and innovation, shaping a community capable of addressing the cultural challenges of our time.
Shaping Knowledge & Learning Through Sound & Image
Through workshops, seminars, and cross-disciplinary labs, we provide spaces where researchers, professionals, and young learners can experiment, share knowledge, and co-create. The aim is not only to transfer skills, but to foster new perspectives, inclusion, and innovation, shaping a community capable of addressing the cultural challenges of our time.
With Franz Rosati
The “T. Schipa” Conservatory of Lecce is at the heart of an important educational and artistic initiative involving Franz Rosati, who leads a training program focused on innovation in image generation and processing. The initiative aims to enhance Italy’s cultural heritage through new forms of audiovisual art and the use of advanced technologies.
The training is based on visual generation techniques derived from three-dimensional point clouds, obtained through digital spatial scanning, and on the use of custom-designed artificial intelligence algorithms. This approach aligns closely with the work of LEM (Lecce Electronic Music), which coordinates the IRIS technology HUB (Intermedia Research and Innovation in Sound), active in research on electroacoustic music, audiovisual languages, and AI-driven creative processes.
The project offers a strategic educational opportunity for LEM students, providing them with advanced skills for the creation of immersive audiovisual installations and intermedia performances, with a strong emphasis on formal and technological experimentation.
At the core of this vision is the rediscovery of the landscapes and architectural heritage of Southern Italy, seen through a dreamlike, deconstructed and technological lens. The goal is to create multisensory experiences in which sound and image are intertwined, allowing audiences to “see sound and hear images,” thereby pushing the boundaries of traditional artistic disciplines.
The workshop, led by Studio Rosati, will unfold in three main phases:
• An initial online training component (mid-July to mid-August), introducing students to 3D scanning techniques and AI-based visual processes;
• In September, a practical fieldwork session will take place, during which drones and specialized cameras equipped with LiDAR technology will be used to digitally capture selected landscapes and architectures.
LiDAR (Light Detection and Ranging) is a remote sensing technology that uses laser pulses to measure distances and reconstruct high-precision three-dimensional models of physical environments. When mounted on drones or mobile rigs, it enables the scanning of large areas and the collection of spatial data with great detail, even in complex conditions;
• Finally, in October, an intensive masterclass will focus on the design and construction of generative and performative environments using TouchDesigner. Students will learn how to transform the collected data into interactive and dynamic audiovisual spaces, integrating sound and image in real time through reactive systems, generative modules, and performative compositions.
The resulting works will be developed under the artistic guidance of the Conservatory’s electronic music faculty, Giulio Colangelo and Gianluca Catuogno, who will accompany students throughout the creative process.
The first public presentation of the final productions is scheduled for October 2025 at the MIXTUR Festival in Barcelona, highlighting the international scope of the project and its commitment to promoting emerging artistic and cultural practices.
With Franz Rosati
The “T. Schipa” Conservatory of Lecce is at the heart of an important educational and artistic initiative involving Franz Rosati, who leads a training program focused on innovation in image generation and processing. The initiative aims to enhance Italy’s cultural heritage through new forms of audiovisual art and the use of advanced technologies.
The training is based on visual generation techniques derived from three-dimensional point clouds, obtained through digital spatial scanning, and on the use of custom-designed artificial intelligence algorithms. This approach aligns closely with the work of LEM (Lecce Electronic Music), which coordinates the IRIS technology HUB (Intermedia Research and Innovation in Sound), active in research on electroacoustic music, audiovisual languages, and AI-driven creative processes.
The project offers a strategic educational opportunity for LEM students, providing them with advanced skills for the creation of immersive audiovisual installations and intermedia performances, with a strong emphasis on formal and technological experimentation.
At the core of this vision is the rediscovery of the landscapes and architectural heritage of Southern Italy, seen through a dreamlike, deconstructed and technological lens. The goal is to create multisensory experiences in which sound and image are intertwined, allowing audiences to “see sound and hear images,” thereby pushing the boundaries of traditional artistic disciplines.
The workshop, led by Studio Rosati, will unfold in three main phases:
• An initial online training component (mid-July to mid-August), introducing students to 3D scanning techniques and AI-based visual processes;
• In September, a practical fieldwork session will take place, during which drones and specialized cameras equipped with LiDAR technology will be used to digitally capture selected landscapes and architectures.
LiDAR (Light Detection and Ranging) is a remote sensing technology that uses laser pulses to measure distances and reconstruct high-precision three-dimensional models of physical environments. When mounted on drones or mobile rigs, it enables the scanning of large areas and the collection of spatial data with great detail, even in complex conditions;
• Finally, in October, an intensive masterclass will focus on the design and construction of generative and performative environments using TouchDesigner. Students will learn how to transform the collected data into interactive and dynamic audiovisual spaces, integrating sound and image in real time through reactive systems, generative modules, and performative compositions.
The resulting works will be developed under the artistic guidance of the Conservatory’s electronic music faculty, Giulio Colangelo and Gianluca Catuogno, who will accompany students throughout the creative process.
The first public presentation of the final productions is scheduled for October 2025 at the MIXTUR Festival in Barcelona, highlighting the international scope of the project and its commitment to promoting emerging artistic and cultural practices.
With Enrico Cosimi
As part of the advanced training activities of the SISS – Sounding Images / Screening Sounds project, this masterclass focuses on exploring the expressive potential of modular synthesis, a field that has become a fertile ground for experimental music practice, sound art, and contemporary audiovisual production.
Particular attention will be given to the creative use of both software environments (such as VCV-Rack 2 and Cherry Audio Voltage Modular Nucleus Edition) and hardware systems, aiming to deepen technical and performative skills through direct interaction with modular devices. Participants will learn to design and build custom patches, developing the technical and artistic abilities necessary to create complex and original sound textures, with a strong focus on intermedia and performative production.
The masterclass is specifically designed for contemporary composers and experimental artists, with the goal of enhancing their performative communication tools and expanding their sonic language through techniques and technologies capable of generating innovative imaginaries and radical expressive vocabularies. Modular synthesis, in particular, offers powerful means to build immersive sound environments, interactive audiovisual structures, and advanced live electronics—all fully aligned with the most current aesthetics of sound art and audiovisual performance.
In short, the masterclass provides advanced technological and artistic training in the field of sound synthesis, encouraging both individual and collaborative experimentation, and contributing to the development of a new generation of artists equipped to engage with the international landscape of contemporary sound and multimedia arts.
Enrico Cosimi is a leading figure in Italy in the field of sound synthesis, both analog and digital music technologies, and modular timbral modeling, with over forty years of professional and teaching experience in the sector.
He is the author of numerous articles published in major specialized magazines (Fare Musica, Strumenti Musicali, Piano Time, Computer Music, Studio Report, Tutto Strumenti Musicali) and has founded and curated several online editorial platforms, including Audio Central Magazine, as well as managing two successful YouTube channels dedicated to synthesis and electronic music.
He has carried out research, beta testing, and technical writing for leading companies in the field such as E-Mu Systems, Kurzweil, P.P.G., Ensoniq, WaveFrame, taking care of original manuals and Italian translations. He collaborated in the development of electronic instruments with Mario Maggi (Synthex MkII) and Paolo Groppioni / GRP Synthesizer (A8, A4, A2, R-24, V-22 models).
He has composed soundtracks for Italian directors such as Luciano Salce, Citto Maselli, Bruno and Folco Quilici, Carlo Lizzani, Carlo Vanzina. In the recording field, he has released electronic and electroacoustic music under his own name or pseudonyms (Theatrum Chemicum, Tau Ceti), for Italian and international labels such as Musica Maxima Magnetica, Hypnos, Umbra, Arya, Cherry Red.
He is the author of an extensive body of specialized manuals on analog and digital synthesis, timbre design, and the use of hardware and software synthesis systems (for publishers such as Anthropos, Tecniche Nuove, Le Monnier, Curci, Efesto).
Since 1985, he has conducted professional training courses on music technologies promoted by public and private institutions (Regione Lazio, Veneto, CENSIS, VenetoJazz). Since 2005, he has been adjunct professor at the University of Rome “Tor Vergata” and at the Conservatory of Music “Santa Cecilia” (master’s and advanced programs in applied music). Since 2021, he has held the chair of Musical Informatics (COME/05) at the Conservatory “G.B. Martini” in Bologna.
With Enrico Cosimi
As part of the advanced training activities of the SISS – Sounding Images / Screening Sounds project, this masterclass focuses on exploring the expressive potential of modular synthesis, a field that has become a fertile ground for experimental music practice, sound art, and contemporary audiovisual production.
Particular attention will be given to the creative use of both software environments (such as VCV-Rack 2 and Cherry Audio Voltage Modular Nucleus Edition) and hardware systems, aiming to deepen technical and performative skills through direct interaction with modular devices. Participants will learn to design and build custom patches, developing the technical and artistic abilities necessary to create complex and original sound textures, with a strong focus on intermedia and performative production.
The masterclass is specifically designed for contemporary composers and experimental artists, with the goal of enhancing their performative communication tools and expanding their sonic language through techniques and technologies capable of generating innovative imaginaries and radical expressive vocabularies. Modular synthesis, in particular, offers powerful means to build immersive sound environments, interactive audiovisual structures, and advanced live electronics—all fully aligned with the most current aesthetics of sound art and audiovisual performance.
In short, the masterclass provides advanced technological and artistic training in the field of sound synthesis, encouraging both individual and collaborative experimentation, and contributing to the development of a new generation of artists equipped to engage with the international landscape of contemporary sound and multimedia arts.
Enrico Cosimi is a leading figure in Italy in the field of sound synthesis, both analog and digital music technologies, and modular timbral modeling, with over forty years of professional and teaching experience in the sector.
He is the author of numerous articles published in major specialized magazines (Fare Musica, Strumenti Musicali, Piano Time, Computer Music, Studio Report, Tutto Strumenti Musicali) and has founded and curated several online editorial platforms, including Audio Central Magazine, as well as managing two successful YouTube channels dedicated to synthesis and electronic music.
He has carried out research, beta testing, and technical writing for leading companies in the field such as E-Mu Systems, Kurzweil, P.P.G., Ensoniq, WaveFrame, taking care of original manuals and Italian translations. He collaborated in the development of electronic instruments with Mario Maggi (Synthex MkII) and Paolo Groppioni / GRP Synthesizer (A8, A4, A2, R-24, V-22 models).
He has composed soundtracks for Italian directors such as Luciano Salce, Citto Maselli, Bruno and Folco Quilici, Carlo Lizzani, Carlo Vanzina. In the recording field, he has released electronic and electroacoustic music under his own name or pseudonyms (Theatrum Chemicum, Tau Ceti), for Italian and international labels such as Musica Maxima Magnetica, Hypnos, Umbra, Arya, Cherry Red.
He is the author of an extensive body of specialized manuals on analog and digital synthesis, timbre design, and the use of hardware and software synthesis systems (for publishers such as Anthropos, Tecniche Nuove, Le Monnier, Curci, Efesto).
Since 1985, he has conducted professional training courses on music technologies promoted by public and private institutions (Regione Lazio, Veneto, CENSIS, VenetoJazz). Since 2005, he has been adjunct professor at the University of Rome “Tor Vergata” and at the Conservatory of Music “Santa Cecilia” (master’s and advanced programs in applied music). Since 2021, he has held the chair of Musical Informatics (COME/05) at the Conservatory “G.B. Martini” in Bologna.
With Pierre Jodlowski
Le corps sans organe // Body without Organs is a term borrowed from the poetry of Antonin Artaud, who writes in Les Tarahumaras that “consciousness knows what is good for it and what is of no value to it; it therefore knows the thoughts and feelings it can welcome without danger and with benefit, and those that are harmful to the exercise of its freedom. Above all, it knows how far its being extends, and how far it has not yet gone or has no right to go without falling into unreality, the illusory, the unmade, the unprepared…”
Drawing on this statement and the concept it expresses, this lecture approaches interdisciplinarity from a poetic perspective. Pierre Jodlowski will present a body of works in which the “body without organs” is used as a guiding principle for articulating different media. Following a general introduction, he will examine in greater detail the conceptual and technical processes he employs in the production of his projects.
Pierre JODLOWSKI is a composer, performer and multimedia artist. His music, often marked by a high density, is at the crossroads of acoustic and electric sound and is characterized by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music aswell as others artistic fields, dance, theater, visual arts, electronic music. His work unfolds today in many areas : films, interactive installations, staging. He is defining his music as an “active process” on the physicall level [musical gestures, energy and space] and on the psychological level [relation to memory and visual dimension of sound]. In parallel to his compositions, he also performs on various scenes (experimental, jazz, electronic), solo or with other artists.
Since 1998 he is co-artistic director of éOle (research and production studio based in Toulouse) and since 2019, he has become Artistic Director of Musica Electronica Nova Festival, produced by the National Forum of Music in Wroclaw, Poland. He is currently the associated composer for the Composition Cursus at IRCAM.
He has been collaborating with various ensembles such as : Intercontemporain (Paris), Ictus (Belgium), KNM (Berlin), Nadar (Belgium), PHACE (Austria), the Ensemble Orchestral Contemporain (France), MusikFabrik (Germany), the new Ensemble Moderne (Montreal), Ars Nova (Sweden), Proxima Centauri (France), Court-circuit (France), Ensemble Les Éléments (France), the Berg Orchestra (Prague), Soundinitiative (France), LUX:NM (Germany) and various soloist from the international contemporary music scene. His work and stage productions led him to develop collaborations with visual artists, scenographers, dramaturge and authors.
He has received commissions from IRCAM, Ensemble Intercontemporain, the French Ministry of Culture, Akademie der Künste (Berlin), CIRM, GRM, the Donaueschingen Festival, Radio France, the Piano Competition in Orleans, GMEM, GRAME , Siemens Foundation, the Opera of Toulouse, the European project INTEGRA, the studio EMS – Stockholm, the Royaumont Foundation, Cabaret contemporain, Venice Biennale music festival, Polish Ministry of Culture…
Winner of several international competitions, he won the Prix Claude Arrieu SACEM in 2002, the Prix Hervé Dugardin SACEM in 2012, and was in residence at the Academy of the Arts of Berlin in 2003 and 2004. In 2013 he won a Prize awarded by “Academie Charles Cros” for one of his CD. In 2015 he is the winner of The Great Lyceum Prize in France for his piece “Time & Money”. From 2017 à 2019 he is resident artist in Lux – National Theater in Valence (France).
His works are performed in key places devoted to contemporary sound arts in France, Europe, Canada, China, Corea, Japan and Taiwan and the United States.
His works are partly published by Editions Jobert and are the subject of several CD and video recordings on the labels éOle Records, Radio France, Kaïros, Percussions de Strasbourg. He is living in France and Poland.
With Pierre Jodlowski
Le corps sans organe // Body without Organs is a term borrowed from the poetry of Antonin Artaud, who writes in Les Tarahumaras that “consciousness knows what is good for it and what is of no value to it; it therefore knows the thoughts and feelings it can welcome without danger and with benefit, and those that are harmful to the exercise of its freedom. Above all, it knows how far its being extends, and how far it has not yet gone or has no right to go without falling into unreality, the illusory, the unmade, the unprepared…”
Drawing on this statement and the concept it expresses, this lecture approaches interdisciplinarity from a poetic perspective. Pierre Jodlowski will present a body of works in which the “body without organs” is used as a guiding principle for articulating different media. Following a general introduction, he will examine in greater detail the conceptual and technical processes he employs in the production of his projects.
Pierre JODLOWSKI is a composer, performer and multimedia artist. His music, often marked by a high density, is at the crossroads of acoustic and electric sound and is characterized by dramatic and political anchor. His work as a composer led him to perform in France and abroad in most places dedicated to contemporary music aswell as others artistic fields, dance, theater, visual arts, electronic music. His work unfolds today in many areas : films, interactive installations, staging. He is defining his music as an “active process” on the physicall level [musical gestures, energy and space] and on the psychological level [relation to memory and visual dimension of sound]. In parallel to his compositions, he also performs on various scenes (experimental, jazz, electronic), solo or with other artists.
Since 1998 he is co-artistic director of éOle (research and production studio based in Toulouse) and since 2019, he has become Artistic Director of Musica Electronica Nova Festival, produced by the National Forum of Music in Wroclaw, Poland. He is currently the associated composer for the Composition Cursus at IRCAM.
He has been collaborating with various ensembles such as : Intercontemporain (Paris), Ictus (Belgium), KNM (Berlin), Nadar (Belgium), PHACE (Austria), the Ensemble Orchestral Contemporain (France), MusikFabrik (Germany), the new Ensemble Moderne (Montreal), Ars Nova (Sweden), Proxima Centauri (France), Court-circuit (France), Ensemble Les Éléments (France), the Berg Orchestra (Prague), Soundinitiative (France), LUX:NM (Germany) and various soloist from the international contemporary music scene. His work and stage productions led him to develop collaborations with visual artists, scenographers, dramaturge and authors.
He has received commissions from IRCAM, Ensemble Intercontemporain, the French Ministry of Culture, Akademie der Künste (Berlin), CIRM, GRM, the Donaueschingen Festival, Radio France, the Piano Competition in Orleans, GMEM, GRAME , Siemens Foundation, the Opera of Toulouse, the European project INTEGRA, the studio EMS – Stockholm, the Royaumont Foundation, Cabaret contemporain, Venice Biennale music festival, Polish Ministry of Culture…
Winner of several international competitions, he won the Prix Claude Arrieu SACEM in 2002, the Prix Hervé Dugardin SACEM in 2012, and was in residence at the Academy of the Arts of Berlin in 2003 and 2004. In 2013 he won a Prize awarded by “Academie Charles Cros” for one of his CD. In 2015 he is the winner of The Great Lyceum Prize in France for his piece “Time & Money”. From 2017 à 2019 he is resident artist in Lux – National Theater in Valence (France).
His works are performed in key places devoted to contemporary sound arts in France, Europe, Canada, China, Corea, Japan and Taiwan and the United States.
His works are partly published by Editions Jobert and are the subject of several CD and video recordings on the labels éOle Records, Radio France, Kaïros, Percussions de Strasbourg. He is living in France and Poland.
With Mariam Gviniashvili
This three-day workshop explores spatial audio through both theory and practice. It introduces participants to spatial listening and sound perception, as well as the creative use of Ambisonics – one of the most widely used formats in the field.
Participants will gain practical experience with software and techniques for multichannel composition and develop their own sketches.
No prior experience in the medium is required, though a basic knowledge of Digital Audio
Workstations (DAWs) is recommended.
Day 1 – 25 March
– Presentation of Mariam’s work in spatial audio
– Introduction to Ambisonics theory
Day 2 – 26 March
– Practical work with tools and software
– Focused listening session
Day 3 – 27 March
– Independent project work with guidance
– Presentation of the resulting works
What to Bring:
Day 1: Notebook or laptop for note-taking
Days 2-3: Laptop, a pair of headphones, and a MIDI controller
Mariam Gviniashvili is a composer and sound artist working at the intersection of electroacoustic music, 3D sound, and multimedia performance. Her work explores the physical and emotional dimensions of sound and space, often integrating visuals and live performance.
Originally from Georgia, Mariam’s musical journey began in early childhood with singing and piano, eventually leading her to composition studies at the Tbilisi State Conservatoire, the Liszt Academy of Music, and the Norwegian Academy of Music. This diverse background informs her artistic themes, from the distractions of online meetings in DAYDREAMING (2022) to the “strange cosmic ballet” (5 against 4) of the audiovisual piece REVELATION (2021), and DECONSTRUCTION (2020), a reflection on the spread patterns of viruses.
Her work has been presented at festivals, venues, and radio broadcasts worldwide, including INA GRM, ZKM | Center for Art and Media, Ars Electronica, EMPAC, New York Electroacoustic Music Festival, BEAST FEaST, Virginia Tech, Transitions at CCRMA, MA/IN, ICMC, Mixtur Festival, Klingt Gut, In Situ Festival, Heroines of Sound, Ultima Festival, and BBC Radio.
Mariam is the recipient of two Honorary Mentions from Prix Ars Electronica (2021, 2023), the PRIX CIME, and the Work of the Year Award (NKF)
With Mariam Gviniashvili
This three-day workshop explores spatial audio through both theory and practice. It introduces participants to spatial listening and sound perception, as well as the creative use of Ambisonics – one of the most widely used formats in the field.
Participants will gain practical experience with software and techniques for multichannel composition and develop their own sketches.
No prior experience in the medium is required, though a basic knowledge of Digital Audio
Workstations (DAWs) is recommended.
Day 1 – 25 March
– Presentation of Mariam’s work in spatial audio
– Introduction to Ambisonics theory
Day 2 – 26 March
– Practical work with tools and software
– Focused listening session
Day 3 – 27 March
– Independent project work with guidance
– Presentation of the resulting works
What to Bring:
Day 1: Notebook or laptop for note-taking
Days 2-3: Laptop, a pair of headphones, and a MIDI controller
Mariam Gviniashvili is a composer and sound artist working at the intersection of electroacoustic music, 3D sound, and multimedia performance. Her work explores the physical and emotional dimensions of sound and space, often integrating visuals and live performance.
Originally from Georgia, Mariam’s musical journey began in early childhood with singing and piano, eventually leading her to composition studies at the Tbilisi State Conservatoire, the Liszt Academy of Music, and the Norwegian Academy of Music. This diverse background informs her artistic themes, from the distractions of online meetings in DAYDREAMING (2022) to the “strange cosmic ballet” (5 against 4) of the audiovisual piece REVELATION (2021), and DECONSTRUCTION (2020), a reflection on the spread patterns of viruses.
Her work has been presented at festivals, venues, and radio broadcasts worldwide, including INA GRM, ZKM | Center for Art and Media, Ars Electronica, EMPAC, New York Electroacoustic Music Festival, BEAST FEaST, Virginia Tech, Transitions at CCRMA, MA/IN, ICMC, Mixtur Festival, Klingt Gut, In Situ Festival, Heroines of Sound, Ultima Festival, and BBC Radio.
Mariam is the recipient of two Honorary Mentions from Prix Ars Electronica (2021, 2023), the PRIX CIME, and the Work of the Year Award (NKF)