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Wunderkammer Festival 2022 Wunderkammer Festival 2022 Wunderkammer Festival 2022 Wunderkammer Festival 2022

Wunderkammer Festival 2022

Wunderkammer Festival 2022 Wunderkammer Festival 2022

Algoritmi Musicali (Musical Algorithms)
Wunderkammer Festival, Trieste, Italy 03 October / 11 November 2022

Algorithm: any scheme or systematic (calculation) procedure.
“The Festival is an algorithm. A graphic design project can be considered an algorithm, too.”
Algorithms control networks. They menage social media and the way we interact with them.
“We think we choose what to see or follow but it's not really up to us.”
Luckily, music (art) is different. There’s something that eludes the algorithm and can’t be controlled a priori.
Soul, talent, human touches… They cannot be forced into a calculation scheme.
“How can I work on an analogical project as if it’s a digital one? How can I transform a design project into a “performance”?”

Inspired by John Maeda’s considerations on simplicity/complexity, by Pinaffo-Pluvinage’s Château d’eau video,
by John Cage’s Concert for Piano and Orchestra music sheets and by Marco Fusinato’s works of art, I decided to focus on
the human perspective behind every systematic procedure. I decided to investigate imperfection rather then perfection.
To search for interaction. I transformed every layout into a slide of an (imperfect, imaginary?) Instagram story.
I designed geometric paths which recall to organ pipes, staffs or geometric figures. I add arrows, to highlight the route
to follow. I integrate white spheres that, falling from the outside, follow these geometric-inspired shapes from top
to bottom, in a potentially never-ending loop. Typography is black, bold, simple. Letters are musically split in blocks.
Every “a” has been redesigned as an alpha: music is based on Math, and Math can produce music.

An interactive project:

The layout looks rich yet essential, with many different graphic elements. Public can rate the layout from one
to five stars, push pause or play buttons, answers to questions or add reactions.
Well, they could. They can’t really interact with a graphic layout. Can they?
I wanted a project more interactive than ever. If I wanted to highlight the human imperfection behind any machine
perfection, I really have to focus on interactions. I really have to think on how to engage the public.
Once again, social media come to the aid. I designed a series of stickers (reactions?) inspired by those you commonly
add on stories, or posts. Real stickers, and digital stickers. Public can use them to customise the layout the way the prefer.
Each poster, each program is absolutely unique. The concert is a real experience from the moment people reach the venue.
We add them to our animations, to make them pop-up.
 Each stickers set includes reactions, stars, hearts, positions
(Trieste, what else?!) and keyword related both to Math and music, because music is based on Math,
and Math can produce music.

As usual, poster has its animated version(s), playing with round shapes, and stickers. For the third year the program
is incomplete, and (obviously) interactive. The public has to fill it by hand, becoming part of this musical Wunderkammer.
They can also add stickers, or draw doodles by hand. Each page of the program is actually a notebook, and every
single spread is designed taking into consideration the visual concept of the project and the theme of each concert.



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Professional Member of AIAP
Italian Association of Visual and Communication Design