SYNESTHETIC WORK made by video and music. The short films are made by the USA film maker STAN BRAKHAGE,
MY MUSIC comments and amplifies their visual message.


In the first piece, Night Music, I wanted to catch the only emotion that colours were arousing, without the least intention to create connections between the music and the film structure. The music cams after the film creating a sort of sound commentary on what has just been seen.


The music related with this piece was inspired by the first coloured spots that appear and disappear creating pulsations of light inside the universe. In this part there are more relationship between music and video, because they have the same length and the same thematic origin.


Music and video are biunivocally correlated both from the thematic and structural point of view. Music amplifies the visual sensations and emphasizes the details. What was without sound now is explicitly explicit.


In the appendix to this work there is a painting “The dark tower”, entitled with the Brakhage's homonymous video. It represents a stop-motion of this short film frame.

TIMEWALL 17 - in memory of Syrian children

CG animation by Marzio De Biasi
Music composed and performed by Marco De Biasi

I know that artists haven't got any political power but their main goal is to UPSET THE CONSCIENCE! The world premiere of this piece was in Mexico the August 29th in 2013. Some days before, the August 21st, a lot of Syrian children died because of the use of chemical weapons. So I decided to dedicate this piece to this children hopeing that a new sun could rise to light up their hopes. But after five years nothing has changed. Today this music find her finaly destination trough this synestetic art-work, IN MEMORY OF SYRIAN CHILDREN.

This video was made possible trough the help of the porgrammer and artist Marzio De Biasi, who halp me to develop and realize the visual concept. The Timewall is constructed in such a way that none of the 31941 "imaginary" rectangles contained in the 27x14 wall have the colors of the 4 vertices arranged in the same way. The relationship between colors and notes is given by a selection of possibilities deduced from my theory on the relationship between sound and colour, respecting the rules of imaginary rectangles. As the piece plays, the cubes disappear in relation to each note that is played. Each note corresponds to a cube and each cube to a child. Each cube is a singularity which, once it reaches the bottom of the screen, is lost forever. This continuous and inexorable "removing" generates a feeling of helplessness determined by the fact that we already know how it will end but we have no means to change the course of events.


Concept: Marco De Biasi, Marzio De Biasi
Music composer: Marco De Biasi
Music performer: Marco De Biasi (chitarra e pianoforte con pedale di risonanza abbassato)
Visual part realization: Marco De Biasi
Visual part performer: Marco De Biasi
Processing Programming: Marzio De Biasi

Sections: Induction, Trance, Hypnosis, Awakening

Duration: Induction - 00:00 / Trance - 5:28 / Hypnosis - 08:53 / Awakening - 15:45

Structure of the work:

- A musical score

- A program source code containing all the instructions that the software will interpret during the musical execution in order to create a synaesthetic work in which sound, shapes and colors cooperate towards the realization of a single artistic event.

Indications: The attached video is nothing more than a live recording of what can happen during the musical / artistic performance: a rendering of the executed work. The aspect concerning the instrumental execution is omitted. In order to see the performance of the piece from a strictly instrumental point of view, please refer to the following link: IPNOSI.

Execution Mode: The piece of music is played. At the same time, through the use of Processing (a programming language that allows the development of interactive content and generative works of art), dynamic images are generated. These images (which could potentially be generated and developed indefinitely) are controlled interactively and synchronized using a pedal connected to the computer. The pedal allows to move from one image to another controlling the sequence and the transitions so that every action that we see is synchronized and necessarily linked to what we hear. In this way it is possible from time to time to adapt the images to the execution and create necessarily synaesthetic works in which shapes, colors and sounds are connected from the point of view of the formal structure and the two-way sound-color relationship.

Philosophical and methodological assumptions of the work: The proposed performance aims to represent a true work of synesthetic research in which colors, sounds and shapes correspond, according to strict phonochromatic relationships. A summary of the sound-color system used in this work is shown in Phonochromatic Manifest.



Composer: J.S. Bach, Sarabanda BWV995
Music performer: Marco De Biasi, chitarra
Concept: Marco De Biasi, Marzio De Biasi
Visual part realization: Marco De Biasi, Marzio De Biasi
Processing programming: Marzio De Biasi

This work represents at the same time a rational and artistic way obtained in part through algorithms in part following a sort of visual-musical counterpoint. The colors are chosen on the basis of a phonochromatic system. You can find some information about it at the following link:Phonochromatic Manifest.