Born in 1982, in San Donà di Piave, Italy. Lives and works in Trieste, Italy.
“Where does an artistic process start from? From a concept? Or from tools and technique? From the artist sensibility? Or from the cultural and environmental context where is he or she working?”
Marco doesn’t have a universal answer for these questions: things change from age to age, from situation to situation, from artist to artist. But in his case, the right answer can be only one: the artistic process starts from both side of the problem, in a simultaneous, rhizomatic and endless movement.
Marco developed his sound art and experimental music research in parallel with his philosophy studies, thinking about each one of these two ﬁelds like a different way to look at the same thing, using one in order to explain the other, and vice versa.
His artistic practice has been deeply inﬂuenced by the John Cage’s “aesthetics of listening”, based on the experience of silence, and by the David Tudor’s “aesthetics of tool kit”, developed through his training in indeterminacy and his pioneering practice in live electronics.
Their conception of music like a social and non-hierarchical activity, and their efforts to break down the traditional distinction between different disciplines, led Marco to consider multimedia installations like a more contemporary and complex way to compose using technology and engineering techniques like trans-disciplinary tools. He tends to consider this kind of tools as not-given instruments, trying to re-invent them in order to obtain unpredictable results, according with the aesthetics of indeterminacy that underlies all his works.
Coherently with this approach, his artistic research is presently aimed, on the one hand, at the auditory exploration of soundscapes and complex systems, and, on the other hand, at the construction of handmade electronic instruments and at the use of FLOSS (Free/Libre/Open Source Software) in A/V performances and multimedia installations.
In 2010 he begans developing generative software. This software was implemented in Pure Data – starting from a determined set of digital photos and audio tracks, and by processing them through a randomized algorithm he relised an undetermined and constantly changing set of imaginary landscape and soundscape. By means of Arduino (an open-source electronic prototyping platform) he made it interactive and it has become a multimedia installation; an open and costantly evolving archive of sounds and images; a hybrid, complex and useful toolkit for the exploration and regeneration of everyday life.