02 Firenze Ongakuaw

The path pursued by Ongakuaw in the course of his artistic career is based on the construction of a tight link between scientific research and musical composition.  His dual scientific and musical training has led him to forge an inseparable bond between technology and musical composition.  Ongakuaw has taken an interest from the outset in basic composition strategies the need for which derives from biotic materials such as brainwaves and movement, allowing them to model the flow of sound at the most basic level possible.  In his musical scores, his performances and the soundscapes he has produced for dance and theatre performances, the composition of sound is divorced from the musician's direct action, originating instead in the interaction between musical software and the kinetic and cerebral energy of living materials. Thus the artist entrusts to a live, non-repetitive and purpose-driven system, the development of a sound fabric that changes in response to external stimuli filtred through the specificity of bodies.  This working method, which can be applied to any form of life from the animal and vegetable kingdoms, allows the artist to use thought and involuntary processes as a primary source capable of developing meaning and direction.  Thus in his work, the human body with all of its uncontrollable chemical reactions and emotions becomes a "biotic instrument". The next phase on which Ongakuaw is currently working involves an attempt to invert that polarity, using sound as the root for developing vital processes in order to achieve the modification of the structure and even of the very nature of a biological system through sound waves.  This lengthy exploration demands ongoing research and considers technology to be an essential transition phase in the evolution of mankind.

Ongakuaw, a.k.a. Andrea Ferrara, pursued a dual educational path involving science on the one hand, devoting his energies to the study of physics and of cosmology, and music on the other.  With a qualification in classical guitar from the conservatory in Udine, he began to explore electronic music in the early nineties.  His interest in electronic composition prompted him to enrol at the "Boito" conservatory in Parma, from which he graduated in 2005.  He has been working with Tempo Reale, a Florence-based centre for research, production and education in the field of new musical technologies, since 2006.  His exploration of the new compositional opportunities offered by technology and the interaction between the biological and the mechanical, has driven him in the direction of musical experimentation and the performing arts, where he has also worked with contemporary dance companies.  His numerous productions in the world of theatre and of the performing arts include: Spazio dell’Assenza [Space of Absence], music for a dynamic installation, performer Fiorella Nicosia, video by P.Patapi, Fabbrica Europa XI, Florence, 2004; Offerta Immaginaria [Imaginary Offer], live electronics for a video by A. Tarkovskij, Teatro Ponchielli, Cremona, 2004; Sonic Gestures, music for a dance performance (with S. Nelson)  2005; Cowitude, music for the installation La vache qui pleure [The Crying Cow] (with G. di Cocco), Fondazione Mudima, Milan, 2007; Anghelos [Angel], audio-visual performance for voice (Francesca Breschi) and live electronics, Teatro dell’Elfo, MilanoOltre Festival, Milan, 2008; Wave, music for Francesca Stampone's dance performance, ADA Studio, Berlin, 2009; Laptop Ensamble, live soundscape performance, Venice Architecture Biennale, 2010. In 2007 he took part in an opera entitled Nomadic Time, biotic sound in the Sistemi Emotivi exhibition at the Centro di Cultura Contemporanea Strozzina in Florence.




Address: Via delle Mulina di S. Andrea, 10

How to get there: From Florence's main SMN train station, take Ataf bus no. 14/A bound for Girone; alight at Aretina 10