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Stefano Pilia presents solo the compositions of his latest works "Spiralis Aurea" and "Lacinia," the two double albums released by Die Schachtel and SZSugar in 2022 and 2025, in an original adaptation for electric guitar and electronics. The performance, through execution, improvisation and practices inherent to his instrumental and electroacoustic research developed over the years, recontextualizes the poetics of these two works in a broader and more visionary formal polarity: an acousmatic dramaturgy between logos and chaos: a new sonic meditation experience which intertwines "traces of sacred geometry, collective experience and elusive connections between nature and humankind". Pilia continues the exploration of the metaphysical, spiritual, and divine dimensions through number, geometry, and the creation of tonal forms and architectures with properties similar and isomorphic to those archetypal, immutable forms that represent the intersection between the abstract realm of mathematics and the real structures of the physical world: a series of "troubled" sonic meditations that encourage active listening and evoke echoes of ancient liturgical and devotional music through a refined intersection of acoustic and electroacoustic processes, drone, and chamber music.


Stefano Pilia is a guitar player, producer and composer born in Genoa and based in Bologna. His work has become progressively concerned with researching the sculptural properties of sound as well as sound’s relationship with space, memory and the suspension of time. Pilia explores these points of focus through instrumental practice and investigations into the recording and production process. He is one of the founding members (alongside Valerio Tricoli and Claudio Rocchetti) of the seminal group 3/4HadBeenEliminated, a project that synthesises improvisational, electro-acoustical and avant-rock sensibilities. Pilia predominantly plays as a soloist though collaborates extensively. though his multifaceted practice has also led to an active involvement in a host of other wide-ranging projects. Since 2010 Pilia has been a member of psychedelic quartet In Zaire, a focal contributor to the BGP trio, alongside David Grubbs and Andrea Belfi. Additionally, since 2009, Pilia has been a founder member of il Sogno del Marinaio, a trio made up of legendary Minutemen bassist Mike Watt (Minutemen). He currently plays in Spiralis Aurea ensembles with guitarist Alessanda Novaga, Adrian Utley (Portishead) and the cellists Giuseppe Franchellucci and Mattia Cipolli, in Sulla Lingua a trio with Anthony Pateras and Riccardo La Foresta and with the violinist Silvia Tarozzi quintet, in duo with the sound engineer and producer Marta Salogni.

As well as these myriad projects, Pilia has been lead guitarist for celebrated Malian singer Rokia Traorè (since 2012), of the cult seminal band Massimo Volume (2008-2016) and for the longstanding cult Italian band Afterhours (since 2015). in an impressive range of work and different contexts Pilia has collaborated with several artists and musicians such as Katia and Marielle Labeque, David Tibet, Ka Baird, John Duncan, Zu, Oren Ambarchi, John Parish, Fire Orchestra!, Angela Bullock, Oliver Mann, Gianluigi Toccafondo, Laura Agnusdei, WuMing, Phill Niblock, Z’ev, Starfuckers, Manuel Mota, David Maranha and many others. Since several years he has been involved in silent movies live soundtracking frequently comissioned by Home Movies, Museo Nazionale del Cinema di Torino and Cinema Ritrovato festival of Bologna. His discography, which currently stands at over forty recordings, has been released on a number of well established record labels (Die-Schachtel, Maple Death, Improved, Blue Chopsticks, Black Truffle). He has played extensivly all over Europe, North America, Africa And Australia.
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Program:

Laetitia Sonami, What Happened III-Now, 2025 (app 20-25 min)
Voice, live electronics, Codecell sensor, Max-MSP, the lady’s ball

Based on a text by Melody Sumner Carnahan, this piece was first created in 1980 for radio broadcast, it was later performed live with an analog synth I had built and later performed with the lady’s glove in the nineties. This newest version is transformed again by the most recent media which acts as a mirror reflecting times’ attitudes and expectations. While this new version follows the same arc as previous versions, from a simple life story disintegrating into abstraction, the spaces performed vary and incorporate models of my voice (Rave), a new body sensor controlling machine learning algorithms (RapidMax) and the lady’s ball.

The lady’s ball. The most recent and simplest instrument I could think of. It guides and affects the resolution of my gestures.

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Laetitia Sonami, the lady’s glove – archival footage, film, 2025 (10 min) – compiled by Renetta Sitoy
Excerpts from the nineties and early twenties of performances with the lady’s glove, including an interview demonstrating its workings.

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Laetitia Sonami, a Song for two Mothers, 2023 (app 22-30 min)
Live electronics, Max-MSP and the Spring Spyre *

While the original intention for a Song for two Mothers started as a sounding of silenced spaces, it became a crossing (“une traversée”) of concentric layers towards an anchored space. These concentric layers are devoid of spatial or temporal directions, each is governed by a particular sonic behavior dictated by the training systems and models I have prepared for each layer (Fiebrink’s Machine Learning software Wekinator, Rapidmax and IRCAM’s Darbouka Rave model). For instance, the first layers use variations of a “catch-and-release” method I designed specifically for this instrument. The method allows for some unpredictability and chaotic, organic behaviors. These behaviors become more restrictive as I move towards a grounded, melancholic space.

* The Spring Spyre. Once I decided to “retire” the lady’s glove in 2011, I started conceiving of the Spring Spyre to incorporate machine learning algorithms in a somewhat unstable system. Three thin springs are attached to audio pickups mounted on the metal ring. The audio features extracted when rubbing, touching, striking the springs are used to train the machine learning models which in turn control the synthesis in real time. We never actually hear the springs.


About Laetitia Sonami:

Laetitia Sonami’s visionary contributions have expanded the boundaries of sound and technology over the course of several decades. Since the late 1980s, Sonami has demonstrated a deep engagement with gesture-based performance, real-time sound synthesis, interactive systems, and embodied interfaces, establishing herself as a central figure in the development of sensor-driven musical performance and experimental electronic composition.
Sonami created several unique instruments for live performance. In 1991 she devised her first lady’s glove. It became her primary instrument for the next 25 years at which point she devised the Spring Spyre which applies Machine Learning to real time control of audio synthesis. The most recent lady’s ball(s) is the most minimal instrument she can imagine.

Sonami’s work bridges the technological, the mechanical and the uncanny, exploring the fragile terrain where body, memory, language, and machine intersect. Her practice articulates a critical approach to technology — eschewing dominant paradigms of control and mastery in favor of embodied knowledge, contingency and unpredictability.
Sonami has collaborated with video artists and musicians, such as Paul DeMarinis, SUE-C, James Fei, Zeena Parkins and David Wessel. She has exhibited and performed at major international festivals and venues and has mentored and inspired many young artists with her approach to sound and technology as spaces of curious inquiry.

In 2025 Sonami received the Giga-Herz Lifetime Achievement award.
Black Truffle recently released an LP of two recent works and Lovely Music just released a double CD of earlier works.
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Works in spatial audio are exploring mathematical objects from geometry and algebra for spatialization and generative synthesis. Some keywords are: lattices, mathematical quasicrystals, projective and hyperbolic spaces, time varying systems and time varying resonance. A recurring topic is the deformation or transformation of higher dimensional symmetries by projection onto 3D. Space and synthesis interchange. The very last year there has also been some ‘hacks’ of traditional audio filter topologies, by in different ways creating higher dimensional signals and rotation the feedback vectors with various hypercomplex algebras. For these works I am often using recorded sound.



About Vilbjørg Broch:
Born in Denmark in 1967. Studies include dance and improvisation at the SNDO Amsterdam, classical and contemporary music with the Dutch soprano Marianne Blok, experimental voice studies with members of the Roy Hart Theatre. The work with computer music spans a bit more than 20 years and has been parallel with a self-study of pure mathematics for algorithmic composition and experimental DSP. Spatial audio residencies and working periods have greatly supported the development of new works. Special thanks to CCRMA Stanford, IEM Graz, NOTAM Oslo, EMS Stockholm, ICST Zurich.
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Oscillation, Vibration, Pulsation, Circulation: Known Conditions, Unknown Behaviors

When sound circulates, it becomes feedback.
When air circulates, it becomes ventilation.
When blood circulates, it becomes nourishment.
When molten metal circulates, it becomes a magnetic field.

When a sine wave oscillates, it carries frequency.
When neurons oscillate, thought emerges.
When an electrical circuit oscillates, it becomes a signal.

When air vibrates, it becomes sound.
When skin vibrates, it becomes touch.
When the Earth vibrates, it becomes a tremor.

When sound pulsates, it becomes rhythm.
When the Earth pulsates, it becomes day and night.
When the heart pulsates, it becomes life.

In this performance, handmade sound instruments, oscillators, effects, and objects form a dynamic system in which air, sound, and material are constantly in conversation with one another. I establish conditions through voltage, material, microphones, feedback, and space, without determining the outcome. Their interactions produce behaviors that are tonal, organic, and chaotic, moving between beating, interference, modulation, feedback, and instability. The conditions are known; the behavior is not.



About Ava Koohbor:

Ava Koohbor works between sculpture and instrument, poetry and circuitry, memory and electronics. Her practice explores sound as a field of relations, where listening, making, and material continually reorganize one another. Her work takes shape through instruments, performances, installations, exhibitions, and books. Her latest book, Of Flesh and Frequency: A Poetics of Sound Making, was published by Lithic Press in 2026.
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