Research Catalogue

In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.

Great Sweetness is a written companion of the artistic research project Night of Dark Angels, which investigates how erotic mysticism, queer vampire narratives, and somatic performance can function as modes of embodied knowledge. The text explores “great sweetness” as a recurring motif in hagiographic writings of mystics and in queer vampire literature, where ecstatic pleasure, abjection, and desire exceed normative frameworks of sexuality, subjectivity, and transcendence. Drawing on Lacanian jouissance and Julia Kristeva’s concept of abjection, the research approaches great sweetness as an excessive affective state—simultaneously pleasurable and disturbing—that destabilizes boundaries between self and other, sacred and profane, human and non-human. Methodologically, the text operates through a situated, phenomenological, and autoethnographic approach, treating writing not as representation but as a performative practice that accompanies and informs artistic experimentation. Great Sweetness functions as a conceptual and affective archive that feeds directly into the development of experimental somatic LARP (Live Action Role Play) scores within Night of Dark Angels. This LARP experiment translates textual research into collective, embodied situations, where figures of mystics and queer vampires are enacted as tools for exploring vulnerability, monstrosity, care, and resistance. Rather than aiming at theoretical closure, the text proposes great sweetness as a mode of embodied thinking—one that foregrounds process, relationality, and affect, and that opens artistic research toward antifascist, feminist, and queer forms of collective imagination and practice.

Sintesi delle mie opere

Home page of the Journal of Sonic Studies

A Museum of Breath: Designing Spaces for Attention, Not Spectacle proposes an alternative architectural and curatorial ethic for contemporary museums in an era increasingly governed by speed, spectacle, and attention economies. Departing from the dominant model of the museum as a site of circulation, visual consumption, and algorithmic visibility, the essay advances the concept of the Museum of Breath—an institution designed not to display objects efficiently, but to protect and cultivate human attention as an ethical resource. Drawing on architectural phenomenology, aesthetic philosophy, and sacred spatial traditions, the essay argues that attention is not merely perceptual but moral: to attend fully is to suspend ego, resist extraction, and honor presence. Museums, once spaces of reverence and contemplation, have gradually adopted architectures optimized for movement, accumulation, and self-documentation. This shift, the essay contends, is not accidental but infrastructural, embedded in circulation patterns, lighting regimes, material choices, and curatorial metrics that privilege velocity over duration. The Museum of Breath is proposed as a counter-model. Its design principles emphasize subtraction, stillness, and respiratory rhythm. Architecture is treated as a living system—one that expands and contracts, modulates light and air, and guides the visitor’s pace through compression and release. Influenced by the work of architects such as Tadao Ando, Peter Zumthor, and Louis Kahn, as well as artists including Agnes Martin, Marina Abramović, and Eija-Liisa Ahtila, the essay situates breathing as both a physiological and aesthetic organizing principle. Curation within this framework becomes an ethics of restraint. The curator is reimagined as a custodian of attention rather than a manager of content, responsible for creating conditions of duration, silence, and perceptual humility. The essay further critiques the market logic that renders spectacle measurable and stillness invisible, proposing alternative evaluative values grounded in slowness, absence, and unrecordable experience. Rather than offering a finalized architectural blueprint, A Museum of Breath presents a speculative yet rigorous proposal for rethinking museum design, curatorial practice, and institutional purpose. It invites architects, curators, and theorists to reconsider the museum not as a theatre of objects, but as a sanctuary for presence—one that restores the human pulse in spaces increasingly designed to exhaust it. This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and _Art as Truth: A Treatise_ (Q136329071), _Aesthetic Recursion Theory_ (Q136339843), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881),Interpretive Load Index (ILI) (Q137709526), Viewer Displacement Ratio (VDR) (Q137709583) , Ethical Proximity Score (EPS) (Q137709600) , Institutional Alignment Indicator (IAI) (Q137709608), Post-Hermeneutic Phenomenology (Q137711946) Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen.

Title: Solidifying the Ephemeral: The Alchemy of the Liquid Canvas Artist-Researcher: Giuseppe Rametta Giusirames 1. Professional Biography Giuseppe Rametta Giusirames is an Italian artist and material researcher whose practice lies at the intersection of contemporary art and chemical experimentation. Rejecting standardized industrial media, he develops proprietary material mixes, treating the creation of the "base" as an integral part of the creative act. His most significant breakthrough is a specialized technique designed to "solidify the sea," transforming the fluid and ephemeral nature of marine environments into a permanent, solid canvas. Through his work, he explores themes of environmental memory, the alchemy of matter, and the tension between natural flux and artistic preservation. His studio is a continuous laboratory where traditional aesthetic values meet innovative material engineering. 2. Research Statement This research focuses on the chemical and poetic transformation of natural and volatile elements. The core of the project is the stabilization of fluid environments through a unique technical process. Material Hybridization: Sea, Smoke, and Antisepsis My investigation extends beyond seawater to the stabilization of other volatile and antiseptic substances: * Seawater: Capturing the essence of the ocean to create a structural canvas. * Amuchina (Chlorine-based solutions): Integrating antiseptic elements to explore the tension between hygiene, sterilization, and nature. * Smoke: Attempting to fix the weightlessness of air and fire into a solid surface. By inventing these material compounds, I investigate how artistic practice can "fix" a moment of environmental flux without losing its vital energy. 3. The Poetics of Painting on the Sea For me, painting is not a gesture performed on a surface, but a dialogue with an element. To "paint on the sea" means to accept the fluid’s rebellion before fixing it into eternity. It is a poetic act of translation: capturing the rhythm of waves, the transparency of the water, and the ghost-like presence of smoke within the physical constraints of a canvas. This practice transforms the artwork into a relic of a moment that was, by nature, impossible to grasp. 4. Visual Documentation Per le tre foto che mi hai inviato, usa queste descrizioni: * Figure 1 - Organic Textures: A demonstration of how the proprietary mix creates an organic "skin," allowing pigments to settle in a cellular structure. * Figure 2 - Marine Diffusion: The interaction between color and the solidified sea base, mimicking the natural movement of underwater currents. * Figure 3 - The Molecular Membrane: A macro view of the stabilized material. This transparent, alveolate structure proves the successful transition from liquid/volatile states to a solid artistic medium.