Spatialization as an Ontological Act: The Spatial Luthierie of Eraldo Bocca and the Resistance of Matter

Within the post-digital horizon, this editorial traces the theoretical and material legacy of Eraldo Bocca: a spatial craftsmanship (liuteria spaziale) conceived as an ontological device this side of contemporary lissage, where the acousmonium becomes an architecture of the déjà-là and the loudspeaker acquires a radical theatrical grain.

PART 1 – The Phenomenology of the «Déjà-là» in Eraldo Bocca

"Sound does not merely occupy space; it enunciates it, reveals its fractures, and redefines its physical memory."

The passing of Eraldo Bocca marks a point of no return and an immeasurable loss for the international electroacoustic and acousmatic community. With his departure, we lose not only an extraordinary builder, but a true "luthier of three-dimensional space". His work represented the most radical, inflexible, and concrete response to the electroacoustic imperative: it allowed sound to emancipate itself not only from the two-dimensionality of the medium but also from the conceptual limitations in which acousmatic and electroacoustic music itself too often still persists. He enabled sound to become living architecture, body, and pure phenomenology, restoring to it its terrestrial share, its specific weight, and its inevitable phenomenological gravity.

Geographies of a Common Resonance: From Sator to Audior

The theoretical and practical relationship between the research of the writer and the technological mastery of Eraldo Bocca is rooted in a fifteen-year period of fruitful sonic militancy. It was 2012 when, in the pages of this very journal, we documented the inauguration of the historic SATOR Acousmonium at the San Fedele Auditorium in Milan—a pioneering infrastructure conceived by Bocca and directed by Dante Tanzi and Giovanni Cospito, which radically redefined the projection of sound understood as a plastic substance of physical space. Upon that very loudspeaker orchestra, the absolute premiere of La Natura Assente came to life, finding in that system not a neutral vehicle, but a dialectical partner of friction and phenomenological unveiling (ElectroAcoustics Magazine: Focus Acousmonium Sator).

The trajectory of this inquiry consolidated in the subsequent years through a constant dialogue between the performer-composer and the builder-philosopher of the instrument. We think of the absolute premiere of La Natura Assente (II) in June 2013, diffused over the 54 loudspeakers of the AUDIOR Acousmonium—rigorously driven by 44 high-profile amplifiers and interconnected via passive connections to minimize electrical distribution points—as part of the festival Chitarre ed altre corde (Guitars and Other Strings), and its subsequent discographic historicization in the 2014 collective release published by Ops/Akusma/AUDIOR.

Entirely designed and built by Eraldo Bocca in 2012, the AUDIOR acousmonium inherits and reworks the double-ring architecture of the celebrated French acousmonium 'MOTUS', originally conceived by Jonathan Prager. The expansion of AUDIOR's performance practice over the last decade—through systematic interventions in contexts such as the Prix Russolo in Milan and the 2024 Biennale Musica in Venice, which we have observed from our hub in Miami—offers the perfect experimental testing ground for the categories investigated here. This continuous evolution has led the AUDIOR acousmonium to constantly expand its roster of "voices," now counting an impressive orchestra of 80 loudspeakers, configuring itself as one of the largest and most complex mobile sound projection systems in Europe. In these settings, the persistence of Bocca's projection method emancipates itself from the contingency of the individual performance to become a permanent research protocol, legitimizing the extension of the theoretical analysis—and its corresponding iconographic apparatus—to its most recent structural configurations.

The Resistance of Matter on This Side of Digital Evaporations

While the contemporary industry tends to "vacuum up the air" in order to remove any material obstacle, Bocca’s “acoustic sculptures” exalt the very resistance of materials.

If in our recent essay in this journal we investigated The Resonance of the «Déjà-Là»: Correspondences, Inversions, and Material Frictions — analyzing the frictions of matter and the "place of enunciation" — it is impossible not to recognize how the physical work of Eraldo Bocca represents the perfect counterpoint to this theoretical tension. Bocca does not merely assemble transducers; he creates devices of phenomenological unveiling. Monumental instruments such as SATOR, AUDIOR, and ADAM are not simple diffusion systems, but acoustic prostheses designed to govern the dialectic between the objectivity of the physical wave and the construction of those enunciational geometries that constitute the core of the most originary listening.

As ElectroAcoustics Magazine continues its path of internationalization and theoretical relaunch from the shores of Miami, the lesson of rigor, humility, and extraordinary vision of Eraldo Bocca remains engraved upon the cornerstone of our research Hub. His physical absence leaves a profound void, yet his "technological creatures" will continue to resonate, projecting into time the memory of a man who taught silence how to become space.

To Eraldo, with immense gratitude and infinite esteem.

Fig. 1 – The inauguration of the SATOR Acousmonium (Auditorium San Fedele, Milan, 2012). The space manifests itself as a «déjà-là» (already-present): a three-dimensional acoustic architecture conceived by Eraldo Bocca that redefines ontological coordinates and deep listening even before the propagation of sound. Romina Daniele Historical Archive (available at rominadaniele.com). Official documentation of the inaugural concert of the SATOR Acousmonium, Auditorium San Fedele, Milan, January/February 2012.

PART 2 - Ontology of the Medium: Friction, Already-Present Space, and Suspended Time

Physical Friction on This Side of Lissage (The Resistance of Materials)

As we have amply demonstrated in our previous investigations, both modern cinema and electroacoustic music—even though the latter suffers from the lack of a solid musicological reference infrastructure—preserve physical disturbance, the "raw", and noise as an irreducible contribution of the real (apport de réel). Positioning themselves this side of the lissage of the contemporary digital realm, they remain untouched by that clinical smoothing which anesthetizes frequencies and flattens the thickness of experience.

Eraldo Bocca's acousmoniums (SATOR, AUDIOR, ADAM) constitute the technological and physical alternative to lissage, situating themselves in a dimension radically other than it. Building an orchestra of loudspeakers with wooden transducers, custom cones, and physical positioning in real space means safeguarding and asserting friction, gravity, and acoustic thickness this side of the digitized flow. Bocca's instrument does not passively "reproduce"; it physically impacts the air of the hall, without theorizing or abstracting, but acting, scientifically, on the very resistance of the material. Bocca overcomes the logic of standardized diffusion by employing custom-built dipole loudspeakers for mid-range frequencies, designed to emit sound both frontally and posteriorly, thereby exploiting the reflections of the hall's walls as integral elements of the composition. These are complemented by D'Appolito and Bessel array configurations; the latter, in particular, generate cylindrical waves that minimize parasitic reflections from the ceiling and floor, sculpting the acoustic space and heightening the tridimensionality of the sonic scene even before any interpretive action takes place.

The Déjà-là as Architecture: SATOR and the Pre-existence of Space

In light of the principle of the déjà-là (the already-present) through which we have analyzed the structural priority of objects and spaces with respect to action, we clearly see the importance of Bocca. The acousmonium is par excellence the electroacoustic déjà-là. It is an architecture of loudspeakers that stands-behind the interpretive and creative act. Even before the sound is projected, Bocca's instrument is already there, in the physical space of the hall, redefining ontological coordinates and deep listening before the acoustic wave propagates. Through the strategic positioning of diffusers characterized by deliberately diversified and asymmetrical spectral responses, Bocca has operated this side of the flatness of standardized reproduction. The sound projected onto his machines is never "smooth" (that is, subject to lissage): it bumps and rubs against the physical space, generating an authentic "feeling of the concrete" analogous to the anti-narrative force of the harsh industrial noise textures that preserve the gravity of the real. This conception does not emerge in isolation, but connects back to a precise historical genealogy of devices that sought to rescue sound from the flatness of the stereophonic plane or neutral reproduction. Space as a dramaturgical and acoustic pre-existence has its historical roots in the pioneering Pupitre de relief (1952) by Pierre Schaeffer and Jacques Poullin, moving through the titanic multi-track and multi-source visions of the Philips Pavilion at the Brussels World’s Fair (1958) conceived by Le Corbusier with music by Varèse and Xenakis, and the monumental acoustic Sphere (spherical Auditorium) designed by Stockhausen in Osaka in 1970.

Through the subsequent stage of Christian Clozier's Gmebaphone (1973), up to the definitive formulation of the GRM Acousmonium in Paris in 1974 by François Bayle, sound projection has positioned itself as a physical and epistemological alternative to sheer domestic listening or dull diffusion. Eraldo Bocca's systems inherit and actualize this tradition, not as a mere "amplification installation," but as monumental luthiery that interrogates the intrinsic resonances of each individual architecture.

Pan-Significance and Suspended Time (Temps Retenu)

Within the framework of the Chionian concept (June 2026) of cinema as a "concrete art" governed by pan-significance, we have seen how every micro-event recorded on the medium (a tressaillement [shudder], a micrometric edit) is charged with absolute meaning, perceptible only through "suspended time" (temps retenu). We have denounced the ideological drift of the contemporary industry, which generates artificial, flat sonic spaces afflicted by a radical lack of place. Even at the heights of certain avant-gardes, one senses a subjugation to the digital. This very homogenization, however, acts as a tracer, revealing where the original act of matter continues to resist. Acousmatic performance on Bocca's machines is a practice of pure, micro-phonic pan-significance.

The millimetric modulation of the potentiometers across the different registers of the acousmonium allows the performer to govern the micro-fluctuations of spectral densities, dilating time and unveiling the most intimate grain of acoustic matter. Bocca's work of acoustic luthiery is an act of resistance and of geographical and acoustic relocation, at the most concrete and originary levels. Through the physicality of his instruments, synthesized or recorded sound re-establishes a specific localization, an apprehension, and a spatial gravity that shatter any flatness. Since the audio bands (low, low-mid, mid, mid-high, high, and very high) are physically separated across distinct loudspeakers, the fader ceases to be a mere volume control, becoming a real-time timbral modulator. Operating the console requires, as Bocca and Tanzi point out, an authentic performance 'virtuosity': the simultaneous control of these variables transforms spatialization into a live rewriting—a 'second-order writing'—in which the fixed medium is constantly re-sculpted by the responsiveness of the human gesture.

If, as argued in our recent essay, cinema and electroacoustic music are concrete arts governed by pan-significance—where every microscopic shudder of the signal or micrometric edit becomes an absolute bearer of meaning—the acousmonium configures itself as the most compelling instrument for interacting with this micro-flow. Sound projection, as understood in the vision of Bocca and his closest interpreters, demands a temporal dilation: a "suspended time" in which silence, subtraction, and the manual modulation of spectral densities rescue listening from distraction, steering human consciousness back to its originary epistemological source.

The loss of Eraldo Bocca leaves an unfillable void, yet his legacy does not belong to museum preservation. Within the horizon of the electroacoustic imperative, the digital itself remains a device of friction to be sculpted. The speaker orchestras he created—SATOR, AUDIOR, ADAM—will continue to resonate as devices of phenomenological disclosure, exhibiting the flagrancy of matter and reminding us that spatialization, before being a technique, is an ontological act.

Diagram 2.1 – Taxonomic Scheme of the Electroacoustic Imperative

Diagram 2.2 – Polarity of Acousmatic Sound: Theoretical Dimension vs. Physical Substance

Readers are invited to retrace the foundations of this theoretical and aesthetic debate by reading the in-depth essay on these problematics available in our archive:

👉 Read "The Resonance of the «déjà-là»: Correspondences, Reverses, and Frictions of Matter" by Romina Daniele

PART 3 – The Electroacoustic Imperative and the Status of the "Para-Acousmatic"

The Epistemological Threshold of Post-Digitalism

Within the perspective of our most recent research, the electroacoustic imperative is not merely a category of musicological analysis applied to cinema, nor is it just a formula of technological resistance; it configures itself as a true epistemological and phenomenological threshold.

The loss of friction we lament here is not to be attributed to a chronological-technological transition from analog to digital. Contemporary smoothing is a linguistic choice, not a limitation of the medium: the digital itself, within the horizon of the electroacoustic imperative, is a device and a material of friction to be sculpted, an elevated and open medium of creation, rather than an instrument of perceptual anesthetization. The assumption that the latter operation seems to prevail does not concern the feasibility of the artwork, but once again the conventions of the industry, which we like to call by its true name: a mere ideological drift.

While the Deleuzian time-image historicizes the suspension of action, and Chion theorizes the "pan-significance" of the recorded micro-sign and of "wonderfully suspended time", we reclaim a necessity for the electroacoustic imperative to take a further step: to subordinate and redeem the chaos of the acoustic signal through the rigorous and conscious awareness of the text.

Within the post-digital horizon, the electroacoustic imperative redefines the boundaries of listening and viewing through a dialectical tension situated this side of any form of anesthetization or commercial compromise. This imperative imposes itself through a dynamic polarity, configuring a genuine resistance of the sonic material.

The Double Tension of the Electroacoustic Imperative

Contemporary listening is positioned prior to the hypnotic passivity of standardized digital streams through a dual, rigorous formal strategy:

• Melodic reduction and timbral stripping. The removal or suspension of traditional melody and the drastic stripping of instrumental textures eliminate any escape route or distraction for the listener. Deprived of the comfort of a reassuring melodic line, the ear is forced to remain confined within the perimeter of pure sound.

• The interlocking of noise into voids and the transdiegetic sonic body. Where the melody withdraws, the textual voids are occupied by concrete and industrial noises that are equally structural. These insertions do not act as mere background sound effects, but elevate analog friction (frottement) and the physical density of the medium to a true transdiegetic and para-acousmatic sonic body.

The "Para-Acousmatic" and the Overcoming of Visual Subordination

The concept of the para-acousmatic is an original theoretical invention of the author, introduced to define an essential condition of filmic or multimedia listening. It describes a situation in which the sound source is diegetically identified and confined within the visible space (such as the elevator cage in Louis Malle), but the status of the acoustic material—due to its density, violence, and syntactic dislocation—deviates toward the morphological properties of reduced listening typical of the Schaefferian acousmatic phenomenon. The sound thus emancipates itself from its referential pact and enters into a purely compositional dialogue with the soundtrack.

In light of these considerations, the physical presence of the acousmonium speakers becomes pure theatrical matter on the stage from the perspective of the para-acousmatic.

Fig. 2 – Projection and control device of the AUDIOR Acousmonium. The transition from the digital and analytical flow of the screen (the waveform) to the concrete enunciative act of the console. Sound projection (regia del suono) configures itself as a second-order writing: a manual and millimetric modulation of the potentiometers that transforms space into a transdiegetic and para-acousmatic sonic body. Archive of the AUDIOR Association (published on the official Facebook page facebook.com/AUDIOR, post of June 29, 2024). This transition from the analytical flow of the screen to the physicality of control materializes in a precise evolution of the performance interface. The AUDIOR setup reflects the historical trajectory of its creators: an initial five-year phase grounded in the exclusive use of analog consoles was followed by a systematic adoption of the digital environment (which, for over a decade, has relied on side-by-side digital desks, as illustrated in the figure). This transition does not represent a rupture, but rather a structural coupling: the tactile experience and articulative sensitivity forged in the analog era are transferred to and bent under the requirements of digital control, ensuring an immediate timbral and dynamic response in the management of space.

Diagram 3.1 – Genealogy of Sound Projection: From Clinical Transparency to Theatrical Grain.

From Clinical Objectification to the "Theatrical Grain" of the Loudspeaker

To understand the significance of this transition, it is necessary to trace a historical genealogy of the medium and its diffusion, reconstructing the evolutionary links of sound projection in space:

• The archaeological phase and the origins of spatialization (1950s–1960s): At the origins of musique concrète and Elektronische Musik, tape reproduction was conceived through rudimentary systems. In 1952, with Pierre Schaeffer and Jacques Poullin's Pupitre de relief, the first true manual spatial projection device made its appearance via magnetic coupling, followed by the multi-track experiments at the Philips Pavilion in Brussels (1958). The loudspeaker, however, was often understood as a neutral terminal—a clinical reproduction tool that was ideally meant to "disappear" to allow the phono-fixed sound to emerge.

• The dramaturgical transition and the formalization of performance practice (1970s–1990s): In 1970, Stockhausen's Spherical Concert Hall in Osaka distributed 50 sound sources over a three-dimensional spherical structure, enveloping the listener. In 1973, Christian Clozier's Gmebaphone introduced real-time corrective equalization to characterize diffusion bands, laying the foundation for a timbral staging (regia timbrica) of the diffused sound. Building on this path, Annette Vande Gorne would codify the subsequent methodological formalizations of performance practice and spatial interpretation within the Belgian acousmatic school.

• The 1974 breakthrough (François Bayle's Acousmonium): With the birth of the Acousmonium at INA-GRM, a Copernican revolution took place. Loudspeakers ceased to be simple diffusers and were arranged in space like actual characters on a stage. Each possessed its own acoustic physiognomy (tweeters, woofers, horns, reflection speakers), its own directionality, and a specific dynamic response. The loudspeaker thus acquired a theatrical grain: we no longer merely witness sound dislocated in space, but rather the physical action of "electroacoustic actors" performing the score within concrete space.

Audior, Sator, and Spatialization as "Concrete Enunciation"

The theoretical and practical contribution of collectives like Audior and Sator fits directly into this historical groove, having successfully evolved the historical lesson of the acousmonium:

• The Concrete Enunciational Space: Audior and Sator rescue the acousmonium from the risk of mere technological idolatry or pure engineering display. They elevate the diffusion system into a true apparatus of enunciation. Space is no longer a geometric container in which channels are "distributed," but becomes the text itself: a field of dramaturgical forces where the act of sound projection (projection du son) is equivalent to a directorial and interpretative gesture.

• The Cognitive Anchoring of the Ear: This theatricalization of space never slips into accidental contingency, formal whim, or special effects for their own sake. On the contrary, the work of Audior and Sator keeps pure sound rigorously anchored to the cognitive functions of the ear. By exploiting the timbral variety and physical dislocation of the loudspeakers, they stimulate the listener's spatial perception (localization, near/far effects, material density), transforming reduced listening into an immediate somatic and intellectual experience.

Synthesis: The Para-Acousmatic Paradox

It is precisely along this crucial axis that the nature of the para-acousmatic resides:

Just as in cinematic space we see the elevator shaft but hear its creaking estranged from its utilitarian meaning, so in the contemporary acousmatic concert we see the loudspeaker-actor on stage, yet we are sucked into a reduced listening that denies its pure function as an "acoustic box." The apparatus shows itself in order to be transcended: the physical presence of the source (visible and theatrical) becomes the springboard for the cognitive emancipation of pure sound.

The sound direction performed by systems like Audior is thus programmatically configured as a true second-order writing. Far from being a mere reproduction or a passive spatial mapping of the file, acousmatic projection acts as a live rewriting that rescues the fixed-medium score from the risk of a cold, museum-like hibernation. In this concrete act of enunciation, we do not face an immutable archive but rather a plastic medium: the loudspeakers, in their role as theatrical actors, stage a direct physical confrontation between the structural rigidity of the sound object and the acoustic unpredictability of space. It is in this extemporaneous rewriting that the para-acousmatic finds its most radical fulfillment: the visual display of the apparatus (the loudspeaker-character) does not serve to reassure the gaze, but to dismantle the clinical reproduction of the digital, restoring to listening the vertigo of a unique, carnal, and unrepeatable event.

PART 4 – The Status of the Medium: From Film Theories to Pure Acousmatic Sense

The pure acousmatic sense: music does not need images

The mediation of film theories within electroacoustic research does not at all imply that electroacoustic music needs images to legitimize itself or to function autonomously. On the contrary, the theoretical project consists in translating and shifting cinematic language toward pure sound for a very precise epistemological reason:

• 1a. What musicology lacks: Film theories possess an analytical maturity and an exceptional "toolbox" to deconstruct virtual space, the enunciative instance (who organizes the discourse, from where, and with what power), and the dialectic of presence/absence (the off-screen). Classical musicology, historically entrenched in formal or notational abstractions, often lacks these critical tools to analyze the phonofixed (fixed-sound) medium; indeed, electroacoustic analysis in recent decades has made minimal progress, pale in comparison to the advancements in film theories.

• 1b. What cinema lacks (The Pure Acousmatic Sense): While film studies offer the analytical rigor of the text, sound on its own intrinsically possesses a textual power that cinema constantly borrows—even down to its terminology: the capacity of sound to travel swiftly across cognitive and spatial planes, moving before and beyond visual representation and the retinal constraint, and thus determining, through its structural arrangements, the meaning and disposition of entire films throughout history.

By elevating the discourse from cinema to pure sound, the concept of the para-acousmatic unites filmic textual awareness with the sovereign autonomy of electroacoustic material.

The Deleuze-Berio Translation: The Material Status of the Tape

To rescue electroacoustics from the risk of becoming a mere engineering exercise or an archival catalog, we must reformulate its analysis starting from the very formal and enunciative status of film analysis. The dismantling and reassembling of magnetic tape (as in Berio’s Thema - Omaggio a Joyce) share the exact same material status as the cinematic apparatus: the manipulation of time and the exhibition of the medium's friction.

Diagram 4.1 – Ontological Correspondences between Electroacoustic Tape and the Filmic Device.

Table 4.1 – Comparative analysis of ontological and aesthetic correspondences between tape and film.

The Acoustic Time-Image and the Disintegration of Flow

In Thema (Omaggio a Joyce), Luciano Berio takes the recording of Cathy Berberian’s voice and subjects it to a physical decomposition on magnetic tape, segmenting it into micro-phonemes and reorganizing them into new structural constellations.

• The manipulation of time: Exactly as the film editor operates through cuts, physical splices, and transitions on the film stock, the electroacoustic composer objectifies time on tape, transforming a linear and ephemeral flow into a solid, spatialized matter.

• Deleuzian suspension applied to sound: This operation on the medium radicalizes Gilles Deleuze’s time-image (immagine-tempo). By breaking the logical-causal and narrative bond of language (the literal meaning of the text), Berio coaxes forth authentic sonignes (pure acoustic signs). The listener is directed to experience pure time and the visceral grain of the voice through the exhibition of the very friction of the medium.

Map of Aesthetic Oppositions: Contemporary Lissage vs. Electroacoustic Friction

Today, media historiography and contemporary analytical practice clash over two opposing visions of the medium and space:

Table 4.2. Map of aesthetic oppositions between technological lissage and electroacoustic friction.

Epistemological Conclusions

The post-digital horizon must not be understood as a technological limitation, but rather as a device and a material of friction to be sculpted. If contemporary digital technology is too often exploited by the industry to execute an anesthetizing smoothing (lissage), the electroacoustic imperative asserts the necessity of a permanent inquiry into the very matter of sound.

By borrowing the textual awareness and millimetric precision of film analysis (frame by frame, fraction of tape by fraction of tape), electroacoustics emancipates itself from a mere technical exercise and establishes itself as a rigorous system of thought—one capable of shaking perception and restoring to the artwork its original, incisive cognitive truth.

If the philosophical undifferentiation between diegetic noise and the jazz section in Ascenseur pour l'échafaud historically constitutes a para-acousmatic sonic body that resists classical transparency, post-digital multichannel spatialization responds today to the threat of technological standardization through a radical theatrical translation. To preserve the authentic "friction of the medium" and evade the sterile formal gesticulation of loops denounced by Chion, electroacoustics elects space as the site of concrete enunciation. Through sound staging (regia del suono) understood as a second-order writing, the loudspeaker orchestra—transfigured into a chorus of actors endowed with physiognomy and "theatrical grain"—reenacts the wound of the medium and the physicality of sound within the living flesh of performance. The event is thus fulfilled not as technical reproduction, but as a dramaturgy of space, where the para-acousmatic paradox finds its definitive sanction: exposing the visible presence of the device in order to dismantle its utility function, unleashing reduced listening into the unpredictability of an embodied and unrepeatable present.

Fig. 3 – Eraldo Bocca alongside his "acoustic sculptures." The primacy of matter: the use of wood and customized transducers as a physical bulwark against the lissage of contemporary digital technology. The loudspeaker is no longer a neutral reproduction terminal; instead, it acquires its own "theatrical grain" and dynamic physiognomy, becoming a physical actor on stage. Archive of the AUDIOR Association (published on the official Facebook page facebook.com/AUDIOR, tribute in memory of Eraldo Bocca).

Fig. 4 – Eraldo Bocca during the setup and monitoring of the acoustic field at Biennale Musica 2024. The scenic articulation highlights the interaction between the traditional acoustic source (the grand piano) and the complex of elliptical and vertical transducers of AUDIOR craftsmanship, configuring space as an integrated phenomenological apparatus. Photo published on the author's personal Facebook profile, October 13, 2024.

Bibliography

Primary Literature and Manifestos

• Daniele, Romina (2010), Il dialogo con la materia disintegrata e ricomposta: Un'analisi di Thema (Omaggio a Joyce) di Luciano Berio, Milan: RDM Records, Edizioni Letterarie.

• Daniele, Romina (2010/2011), Ascenseur pour l'échafaud: Il luogo della musica nell'audiovisione, Milan: RDM Records, Edizioni Letterarie.

• Daniele, Romina (2011), "Ejzenštejn's Montage and Electroacoustic Reality" ElectroAcoustics Magazine, Milan: RDM Records. URL: https://rdmrecords.com/il-montaggio-di-sergej-ejzenstejn

• ElectroAcoustics Magazine (2016–2026), Arts and Technologies: Manifesto of the Editorial and Epistemological Project, Milan: RDM Records. URL: https://rdmrecords.com/arts-and-technologies

Theoretical Sources, Cinema, and Philosophy

• Berio, Luciano (1976), "Poesia e musica - un'esperienza (1959)," in H. Pousseur (ed.), La musica elettronica, Milan: Feltrinelli.

• Chion, Michel (1982), La voix au cinéma, Paris: Éditions de l'Étoile (Italian trans.: La voce nel cinema, Turin: Pratiche, 1991; English trans.: The Voice in Cinema, New York: Columbia University Press, 1999).

• Chion, Michel (1990), L'Audio-vision. Son et image au cinéma, Paris: Nathan (Italian trans.: L'audiovisione, Turin: Lindau, 1997; English trans.: Audio-Vision: Sound on Screen, New York: Columbia University Press, 1994).

• Chion, Michel (1991), L'Art des sons fixés ou La Musique Concrètement, Fontaine: Éditions Métamkine.

• Chion, Michel (2003), Un art sonore, le cinéma, Paris: Cahiers du Cinéma (Italian trans.: Cinema, un'arte sonora, Venice: Marsilio, 2007; English trans.: Film, a Sound Art, New York: Columbia University Press, 2009).

• Chion, Michel (2026), Pour une histoire impossible du cinéma, Online essays available at michelchion.com.

• Deleuze, Gilles (1985), Cinéma 2. L'image-temps, Paris: Minuit (Italian trans.: Cinema 2. L'immagine-tempo, Turin: Einaudi, 1989; English trans.: Cinema 2: The Time-Image, Minneapolis: University of Minnesota Press, 1989).

• Derrida, Jacques (1967), L'écriture et la différence, Paris: Éditions du Seuil (contains the essay "Force et signification", 1963; Italian trans.: La scrittura e la differenza, Turin: Einaudi, 1971; English trans.: Writing and Difference, Chicago: University of Chicago Press, 1978).

• Metz, Christian (1968), Essais sur la signification au cinéma, Paris: Klincksieck (Italian trans.: La significazione nel cinema, Milan: Bompiani, 1972; English trans.: Film Language: A Semiotics of the Cinema, Oxford: Oxford University Press, 1974).

• Metz, Christian (1991), L’énonciation impersonnelle, ou le site du film, Paris: Klincksieck (Italian trans.: L'enunciazione impersonale, o il luogo del film, Naples: ESI, 1995).

Historical and Artistic Documentation of Works by Romina Daniele with Eraldo Bocca

• Daniele, Romina (2012), La Natura Assente, World premiere for the inauguration of the Acousmonium SATOR, Milan, San Fedele Auditorium, January–February 2012.

• Daniele, Romina (2013), La Natura Assente (II), World premiere for 54 loudspeakers on the AUDIOR Acousmonium, Festival Chitarre ed altre corde, June 2013.

• Various Authors (2014), Ops/Akusma/AUDIOR, Collective album release, Milan/Lodi: AUDIOR Association, 2014.

Studies, Documents, and Design on SATOR, AUDIOR, and Spatial Craftsmanship

• Bocca, Eraldo, and Dante Tanzi (2013), "Showing the Acousmatic Sounds through the Mobile Acousmonium AUDIOR," Paper presented at the Electroacoustic Music Studies Network (EMS13) Conference, Lisbon, June 2013.

• Bruce-Jones, Henry (2020), "Acousmonium AUDIOR is a bespoke spatial sound projection system," FACT Magazine, April 3, 2020.

• Daniele, Romina (2012), "Acousmonium Sator Opening”, ElectroAcoustics Magazine, Milan: RDM Records. URL: https://rdmrecords.com/acousmonium-sator-opening

• Tanzi, Dante (2004), "Information Technology and Communication of Musical Experience: Categories, Conflicts and Intersections," Organised Sound, Vol. 9, No. 1, Cambridge University Press, pp. 27–34.

• AUDIOR Association, Official Chronology of Concert Seasons and Acousmatic Projections, accessible at audior.eu/concerti.

History and Technology of the Acousmonium and Spatialization

• Bayle, François (1993), Musique acousmatique, propositions... positions, Paris: Buchet/Chastel.

• Gayou, Évelyne (2007), Le GRM (Groupe de Recherches Musicales): Cinquante ans d'histoire, Paris: Fayard.

• Poullin, Jacques (1957), L'apport des techniques d'enregistrement dans la musique contemporaine: le pupitre de projection sonore, Paris: Groupe de Recherches de Musique Concrète (GRMC) / RTF.

• Smalley, Denis (1997), "Spectromorphology: Explaining Sound-Shapes," Organised Sound, Vol. 2, No. 2, Cambridge University Press, pp. 107–126.

• Vande Gorne, Annette (ed.) (1991), Vous avez dit acousmatique?, Special Issue of LIEN, Ohain: Musiques & Recherches.

• Vande Gorne, Annette, "L'interprétation spatiale: Essai de formalisation méthodologique," LIEN, Ohain: Musiques & Recherches.

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