Editorial Board & Governance
ARTS & TECHNOLOGIES / ELECTROACOUSTICS MAGAZINE
Editorial Board & Governance
The editorial framework of ElectroAcoustics Magazine (continuous publishing digital edition) and the periodical Arts & Technologies (published in print volumes) ensures critical independence, analytical rigor, and methodological quality for all scientific and critical publications hosted on the platform.
Editorial Management
Editor-in-Chief / Managing Director: Romina Daniele (Founder and Editorial Director, RDM Records).
Research scope: Electroacoustic music, aesthetics of technological arts, philosophy of sound.
Co-Founder & Art Direction: Lorenzo Marranini (Co-Founder, RDM Records).
Research scope: Sound architecture, sound design, digital integration.
Honorary Scientific Committee & Advisory Board
The Honorary Scientific and Advisory Committee brings together composers, philosophers, professors, and researchers of international stature. It performs a magisterial function, providing a guarantee of scientific and methodological rigor, as well as critical guidance on research directions and the peer-review process of the publication.
Committee Members
Girolamo De Simone — Composition, piano, editorial management, and music epistemology
Pianist, composer, and musicologist; a benchmark figure in boundary music and open-form research. Founder of Konsequenz — a «supportive foothold» to overcome ideological barriers and grasp the «work’s capacity to refer to something other» — and historical contributor to Alias / il manifesto.
[Discover full profile and publications →]
Omar Dodaro — Electroacoustic composition, analysis, and psycho-anthropology of music
Composer and professor of electroacoustic music; researcher on complexity, audio-vision, and the transdisciplinary intersection between anthropology, psychology, and compositional practice.
[Discover full profile and publications →]
Vincenzo Notaro — Philosophy, aesthetics, and language theory
Essayist, creative director, and independent researcher; focused on the metaphysics of art, symbolic-ritual systems, media archaeology, and cultural dynamics in the post-digital era.
[Discover full profile and publications →]
Massimo Salari — Music essayism, sound historiography, and criticism of avant-garde music
Writer, essayist, and independent music critic; one of the most authoritative historiographers and documentarians of experimental music, non-conventional forms, and contemporary sound exploration.
[Discover full profile and publications →]
Call for Reviewers & Collaborations
We are continuously expanding our international scientific network. We invite professors, researchers, and independent scholars working in the fields of electroacoustic music, media studies, philosophy of art, and technology to join our Advisory Board as peer reviewers.
To submit your candidacy or request information, please send a brief academic profile or curriculum vitae to:
📩 office [at] rdmrecords.com
Join the Editorial Project / RDM RECORDS EDITORIAL PORTAL
Call for Submissions: Print Periodical Arts & Technologies / ElectroAcoustics Magazine (Online Edition)
We invite composers, theorists, and researchers to submit technical-analytical essays, critical and philosophical contributions, or interdisciplinary — or transdisciplinary — studies examining the intersection between art and modern technologies.
Submission Guidelines:
Research Fields: Electroacoustics, electronic music, digital photography/art, cinema, and contemporary literature.
Format: Technical-scientific analyses or essayistic-philosophical reflections.
Proposals Submission: Please send abstracts or full manuscripts to our editorial team via the Editorial Portal or the Contact page.
RDM Records is committed to fostering a rigorous space for independent philosophical research and the advancement of the technological arts.
Call for Contributions
Editorial & Typographical Note: Arts & Technologies / ElectroAcoustics Magazine adopts a hybrid citation system combining APA 7th Edition (for parenthetical references) with Chicago-style footnotes for critical and philological commentary. To preserve the conceptual weight, visual continuum, and European philosophical identity of the text in bilingual contexts: Primary Theoretical Concepts & Direct Quotations retain the use of guillemets («...») across both Italian and English editions, reserving double quotation marks ("...") exclusively for nested quotes inside guillemets, and single quotes ('...') for metaphors or scare quotes. Title Continuum: Titles of monographs, journal articles, essays, musical works, films, and audio tracks are rendered uniformly in italics to maintain a seamless typographic continuum. Bibliographical Conventions: Primary citations reference the original or consulted source edition (Italian/French/German) alongside its official English translation equivalent in square brackets [Eng. tr.], maintaining philological precision regarding page numbers while guiding international readers.
Girolamo De Simone
Composition, Piano, Editorial Management, and Music Epistemology
Pianist, electro-performer, and composer (Naples, 1964), he lives and works on the slopes of Mount Vesuvius. He is among the leading Italian figures of the avant-gardes associated with boundary music and research into plural projects. He has received numerous awards, including the Capri Musica International Award for Contemporary Music (2004) and the Masaniello Award (2013).
A student of Eugenio Fels, Riccardo Risaliti, Gordon Murray, and Eliano Mattiozzi-Petralia, his artistic and conceptual trajectory was shaped by crucial encounters, such as those with the self-taught composer Luciano Cilio (1982) and with John Cage (1985). He has performed for international institutions and contexts including UNESCO in Paris, the EEC in Brussels, Swiss Radio and Television, the Teatro San Carlo in Naples, the Auditorium Parco della Musica in Rome, and the Fondazione Morra. He has received prestigious commissions from the Teatro San Carlo (Monteverdi Pianocloud, 2018) and was the only Italian invited to compose for the 50th anniversary of the ECM label (ECM Festival – Angeli Musicanti, 2019). Since 1994, he has been the Editor-in-Chief of the contemporary music journal Konsequenz. In tracing the conceptual coordinates of L’incantesimo della soglia [The Spell of the Threshold], he defines the threshold — recalling the lesson of Walter Benjamin — as that which attracts and unites, «a zone of passage, a place of transformation, and an exceptional hinge between memories, visions, and the crossing of boundaries in musical research». He writes regularly for the daily newspaper il manifesto — editing the historic column border, within the Alias supplement, in the Ultrasuoni section. He has taught at the Università degli Studi Suor Orsola Benincasa in Naples.
Research Fields: Boundary music, avant-garde pianism, bimodal aesthetics, contamination across languages, and the rediscovery of unpublished repertoires.
Main Monographs and Essays: Graffi e Grafie. Pianisti e pianismi a Napoli (2025), Il suono è un altro sguardo(2022), La soglia incantata (2019), Musica sottile (2016), Pietro Grossi, il dito nella marmellata (2005), Musiche Replicanti (2005).
Selected Discography: Liturgie (2024), Isvann (2021), Monteverdi | Pianocloud (2019), I Nastri Ritrovati with Luciano Cilio (2018), QÂF (2015), Dell’Universo assente (Die Schachtel, 2004/2013).
Official Website: girolamodesimone.net | Konsequenz.it | Incantesimodellasoglia.com
Photo Credits: Top photo: Pietro Previti | Bottom photo: Filomena Piccolo.
Omar Dodaro
Electroacoustic Composition, Analysis, and Psycho-Anthropology of Music
Composer and researcher with a background in psycho-anthropology, he graduated with top honors in Composition and Music Pedagogy, and with highest honors (summa cum laude) in Electronic Music from the Conservatories of Como and Milan. He earned his degree in Psychology from the University of Padua with a thesis on musical creativity in Nazi concentration camps, under the supervision of Prof. Antonio Marazzi. Subsequently, he obtained his professional qualification at the University of Milano-Bicocca and a second-level Master’s degree in Composition from the Conservatorio della Svizzera Italiana.
His theoretical and compositional activity investigates themes of complexity, emergence, the sound environment, and audio-vision, analyzing the relationships between score, event, and technological processing through a transdisciplinary perspective extending from twentieth-century masters (Nono, Stockhausen, Cage, Ferneyhough) to audio-visual dialectics in experimental cinema.
His compositions and video installations have been performed at international festivals and competitions, including the New York City Electroacoustic Music Festival, Tokyo Film Festival, Bauhaus Reload (Berlin and Dresden), MusLab UAM (Mexico City), Synchresis (Valencia and Granada), Expo Milano 2015, and Centro San Fedele in Milan. His awards include First Prize at the Sergio Dragoni Competition and Third Prize at the Pierre Schaeffer Competition. He composed the original soundtrack for the film Il mercante di sogni [The Merchant of Dreams] and served as sound director for performances of works by John Cage and Karlheinz Stockhausen. He is a Tenured Professor at the Conservatory of Cosenza.
Research Fields: Acoustic, electroacoustic, and mixed musical composition, psycho-anthropology of music, analysis of complex languages and audio-vision, relational pedagogy.
Catalog and Selected Works: Dialogue in Nature (contralto saxophone and electronics), Memimi (soprano, baritone, or bass saxophone and electronics), Monos (string quartet – premiere performance: Quartetto di Cremona), Surfaces (piano – premiere performance: Universität für Musik und darstellende Kunst Wien), Nexus (ensemble and electronics – premiere performance: Sentieri Selvaggi), Verso (fixed media, spatialized), Water Words (audiovisual), Mare RTLD (multimodal – audiovisual), Die Welt des Waldes (trombone and cello – premiere performance: Stephen Menotti and Ellen Fallowfield), Moira (choir and trumpet in C).
Music Publishers: Universal Edition (Vienna), Da Vinci Edition (Osaka), BabelScores (Paris).
Official Website: dodaro.net
Photo Credits: Artist’s Archive.
Vincenzo Notaro
Aesthetics, Metaphysics of Art, and Sociology of Media
Essayist, composer, and aesthetic theorist (born 1983), he studied Philosophy at the Università degli Studi di Napoli Federico II. His research investigates the correspondences between art, metaphysics, and iconographic processes, centering on the spiritual dimension of culture and its reifications — spanning from original doctrines to mythopoietic re-emergences in the post-digital era.
Active for over twenty years in the art and social publishing sectors, he has translated his reflections into a concrete practice by founding Officina Mirabilis in 2017, a communication lab and ethical advertising agency where he serves as Creative Director, created to combine innovation in visual languages with cultural sustainability.
In parallel, he conducts artistic research through solo projects such as In vino vanitas — a visual experimentation aimed at freezing the capitalist imaginary by overturning its profanations — and Orchestra Esteh — a musical experimentation suspended between musique concrète and ritual noise, focused on the truth-bearing relationship between disharmony and access to the sacred.
Alongside field research, he maintains an intensive output of critical essays and studies for specialized journals.
Research Fields: Aesthetics and metaphysics of art, archaeology and sociology of media, hermeneutics of symbolic-ritual processes, syntax of visual and communicational forms.
Main Publications: SOTTOSOPRA. Il mondo dopo Stranger Things tra declino e destino [UPSIDE DOWN. The World After Stranger Things Between Decline and Destiny] (Passaggio al Bosco), Suono Sacro Sogno [Sacred Sound Dream] (L’arca e l’arco), MEDUSA. Dal presente all’eterno [MEDUSA. From the Present to the Eternal] (Extremalia); essays for Anasyrma and Il pensiero harduo.
Selected Discography: Dreamworking (Orchestra Esteh, 2012); Nihil Emvlsio Vngventvm Sabbati (NE/VS, 2014); Abacinabradhydrakonirvm (Orchestra Esteh, 2016); Migrations (Sanguis Solaris, 2022).
Official Website: linktr.ee/vincenzonotaro
Photo Credits: Top photo: Valeria Nazzaro | Bottom photo: Timo Ketola.
Massimo Salari
Music Essayism, Sound Historiography, and Criticism of Avant-Garde Music
Essayist, music critic, and historiographer of contemporary and non-conventional music, he was born in Fabriano in 1964. Among the most authoritative voices in the research and documentation of experimental ramifications, progressive rock, and independent sound cultures, he has collaborated with historic industry publications (Flash, Andromeda, Rock Hard) and is the founder of the editorial project Nonsolo Progrock. His activity combines critical historiography with multimedia outreach, through dedicated radio formats (Radio Prog Sky, Radio Gold) and lecture-concerts on the history of rock in Italian theaters in collaboration with the ensemble Skyline.
A benchmark author for Arcana Edizioni — Italy’s primary publishing house specializing in music publications —, his work of historiographical and critical reconstruction has earned him the Macchina Da Scrivere Award twice (2018 and 2019). His essayistic catalog analyzes the evolution of complex languages of the twentieth century and the new millennium with methodological rigor, ranging from progressive and post-rock forms to avant-garde experimentation, electroacoustics, and philosophical fiction.
Research Fields: Historiography of experimental and progressive music, evolution of independent languages, music essayism and criticism.
Main Publications: Rock Progressivo Italiano 1980–2013 [Italian Progressive Rock 1980–2013] (Arcana), Metal Progressivo Italiano [Italian Progressive Metal] (Arcana), Neo Prog (Arcana), Post Prog Moderno[Modern Post-Prog] (Arcana), I Protagonisti della Musica [The Protagonists of Music] (with F. Bianchi), Il meglio del blog Nonsolo Progrock 2015–2024 [The Best of the Nonsolo Progrock Blog 2015–2024], Storie (quasi) fantastiche [(Almost) Fantastic Stories], La Zona Della Giustizia [The Zone of Justice], Il Buio Oltre la Mente [The Darkness Beyond the Mind].
Projects and Platforms: Nonsolo Progrock, Fabriano Pro Musica, Radio Prog Sky.
Official Platform: Nonsolo Progrock
Photo Credits: Daniela Mezzanotte.
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