https://giuliadeval.com giuliadeval Fri, 16 May 2025 19:39:12 +0000 https://giuliadeval.com en https://giuliadeval.com/Home-Image-Scroll Wed, 30 Nov 2022 07:33:48 +0000 giuliadeval https://giuliadeval.com/Home-Image-Scroll <img width="7328" height="4885" width_o="7328" height_o="4885" data-src="https://freight.cargo.site/t/original/i/e8b3b220746f2e92f31614fdd39657031a671002becd51440c1823a9e69ef746/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-07.jpg" data-mid="233309488" border="0" src="https://freight.cargo.site/w/1000/i/e8b3b220746f2e92f31614fdd39657031a671002becd51440c1823a9e69ef746/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-07.jpg" /><img width="2035" height="1357" width_o="2035" height_o="1357" data-src="https://freight.cargo.site/t/original/i/74e3207be63298b960e5e0f3bd6485d4c472eaa925dd0137dd37bb3c2ab5e84a/reasons-2.jpg" data-mid="233309584" border="0" src="https://freight.cargo.site/w/1000/i/74e3207be63298b960e5e0f3bd6485d4c472eaa925dd0137dd37bb3c2ab5e84a/reasons-2.jpg" /><img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/f81ccdf395687f679836e9867890d19d5253a909c7d3dbded3d8dc81b767a694/BTC_-1.jpg" data-mid="160583770" border="0" src="https://freight.cargo.site/w/1000/i/f81ccdf395687f679836e9867890d19d5253a909c7d3dbded3d8dc81b767a694/BTC_-1.jpg" /> https://giuliadeval.com/Info Wed, 30 Nov 2022 07:33:49 +0000 giuliadeval https://giuliadeval.com/Info My research focuses on the political and phenomenological dimension of voice, exploring trans-specific and transcultural dynamics of vocal sound, and the auditory bias that affect how we assign credibility and authority. I experimented with different formats such as performance-lectures, video essays, concerts of imaginary characters, audiovisual installations and workshop based activities for voices and magnetic tapes.&nbsp; I presented my work at Cafe OTO (London), Hangar.org (Barcelona), BOZAR (Bruxelles), Jazzorca (Mexico City), Punctum (Prague), OGR (Turin), Centro Pecci (Prato) and Lademoen Kunstnerverksteder (Trondheim) a.o.&nbsp; Born in Turin,1993 EducationCurrently: PhD student in New Media and Critical-Curatorial Practices of Contemporary Creation at Accademia Albertina of Turin / Politecnico delle Arti of Bergamo;&nbsp; Master Degree in Music and Theater Studies, Alma Mater Università di BolognaFirst Level Degree in Visual Arts, Accademia di Belle Arti di BreraVocal training _ Lichtenberger® Functional Voice Method Workshop &amp; Seminars with Brandon LaBelle, Limpe Fuchs, Alessandro Bosetti, Chiara Guidi, Romeo Castellucci Prizes LYDIA PRIZE – 7th edition, by Fondazione Il Lazzaretto in partnership with PAC Milan, curated by Claudia D’Alonzo Research grant for VERSOo#3 project, curated and produced by the Fondazione Sandretto Re Rebaudengo with the Department of Youth Policies of the Piedmont Region within the framework of "Training for the future" by Jonas Staal and Florian Malzacher, July-Sept 2022; MOVIN’ UP - International Artistic Mobility Program of GAI (Giovani Artisti Italiani) of Italian Ministry of Culture in the years 2021 and 2024; The project Before the Catastrophe passed the pre-selections of Pierre Schaeffer Award announced by INA GRM, GMVL, Phonurgia Nova and Euphonia being among the best 11 projects in 2019 and won MIBACT’s MOVIN’UP / SPETTACOLO PERFORMING ARTS in 2020. European Projects ITERATIONS – Dyne.org (Giampilieri ME / Amsterdam), Hangar.org (Barcelona), Esc Medien Kunst Labor (Graz), Constant (Brussels), 2018-2019 HALF A HOUSE / Festival Fabbrica Europa 2017 Residencies 2024, E-SIDE, Insights on electronic music – Casa degli Artisti (Milan, IT) 2023, PER / FORMA – Invisible Cities Festival (Gorizia, IT) 2022, NUB Project Space (Pistoia, IT) 2021, Wp Zimmer (Antwerp, BE) 2019, Hangar.org (Barcelona, CAT) 2019, Lademoen Kunstnerverksteder (Trondheim, NO) 2019, Medien Werk Statt / Esc Medien Kunst Labor (Wien/Graz, AU) 2018, ITERATIONS, Hangar.org (Barcelona, CAT) 2018, Trasformatorio, site specific performance research lab (Giampilieri, IT) 2017, Half a House – Festival Fabbrica Europa (Florence, IT) Exhibitions 2024-ongoing: “Reasons why I hate my voice” - workshop held at Centro Pecci (Prato), Fondazione Il Lazzaretto (Milan), Accademia di Architettura di Mendrisio, in collaboration with Kevin B.Lee and Silvia Cipelletti, Fabbrica del Vapore (Milan) in the framework of BASECAMP / Locarno Film Festival, EXIT Festival (Bologna); 2023: Mezz’aria. La strana apertura della ricerca sonora, Museo del Novecento e del Contempornaeo - Palazzo Fabroni (Pistoia) collective exhibition curated by NUB Projects Space and Gabriele Tosi;&nbsp; 2023: Pitch. A performance lecture on vocal intonation, presented at PERIFERICO Festival, Modena;&nbsp; 2019-ongoing: international tours with the project Nino Gvilia at Cafe Oto (London), Frequence 18 (Paris), Oostum Church (Groningen), De Gelderlandfabriek (Culemborg), Tiny Terrace (Amsterdam), DS17 (Dordrecht), De Boog (Rotterdam), SHORT THEATRE (Roma), PERIFERICO Festival (Modena), OGNI ALTRO SUONO (Castrignano de’ Greci), THE LISTENERS (Torino), MERCURIO FESTIVAL (Palermo), Epiphonie (Napoli); 2022&nbsp; &nbsp; Ladispoli (Rome), Festival di Arte Contemporanea Ladispolaneamente, Archeologia del Futuro 2022&nbsp; &nbsp; XIPE / Nepantlers’ tour / zOaR Records (NY)&nbsp;DATA, Marseille (FR) / Torino Jazz Festival, Torino (IT) / Jazzorca, Mexico City (MEX) / Necia, Oaxaca (MEX) / El anhelo, Oaxaca (MEX) / Cosmos Campolide, Lisbon (PT) / Guilherme Cossoul, Lisbon (PT) / La tortuga lavapiés, Madrid (ES) / Café Wolf, Graz (AT) / VEKKS, Vienna (AT) / Madame Claude, Berlin (DE) / Kühlspot social club, Berlin (DE) / Punctum, Prague (CZ) 2021&nbsp; &nbsp; Majhi Art 2021, Eindhoven 2020&nbsp; &nbsp; May 18th&gt;20th Next-Iterations / Final phase of the European Project Iterations, online 2020&nbsp; &nbsp; Exhibition organized by Hangar.org (Barcelona), Esc Medien Kunst Labor (Graz), Constant&nbsp;(Brussels). 2020&nbsp; &nbsp; FOUND / performance at LIVING ROOM, UC Franco Antonicelli, Turin (IT) 2019 &nbsp;&nbsp; Antes de la Catastrofe. Workshop based performance during Paratext, Hangar.org, Barcelona (ES) 2019&nbsp; &nbsp; &nbsp;Phonotrasparence / performance, BOZAR, Brussels (BE) 2019 &nbsp; &nbsp; Endless House VIII _ Three ways collective exhibition in collaboration with Endless House Collective 2019&nbsp; &nbsp; Giulia Deval, Claire Ducène, Emilio Bernè.&nbsp;Babel Art Space, outcome of the residency at Lademon Kunstnerverksteder, Trondheim&nbsp;(NO) 2019&nbsp; &nbsp; Imaginary world wibe web exhibition: Green Larynx Uterus, a concert for the&nbsp;Earth by Nino Gvilia with Andrea Marazzi, Pietro Caramelli, Zevi Bordovach, Turin (IT). Performance at UC Franco Antonicelli&nbsp;in collaboration Endless House Collective&nbsp;live streaming at Hectolitre, Brussels (BE) 2019&nbsp; &nbsp; Solitunes Festival _ sonification of La Festa dei Fiori, silent movie by Luis&nbsp;Bogino, from the archive of Museo Nazionale del Cinema di Torino, Piccolo Cinema, Turin&nbsp;(IT) 2019 &nbsp; Moondog Project, Torino Jazz Festival Original Production dedicated to Moondog in collaboration with Lapsus Lumine Ensemble, Jim Black (drums), Ernst Reijseger (cello), OGR, Turin (IT) 2018&nbsp; &nbsp; Noise to the Future _ live at Amok, Aarhus, / Svendborg (DK) 2018&nbsp; &nbsp; Queer Infection Lab / Genderotica Festival – performance with Azahara&nbsp;Ubera Biedma (Rome) 2018&nbsp; &nbsp; Sound installation Attempt to Rise with Andrea Marazzi (electronics)&nbsp;for Ce soir, seul avec moi-même, je descends aux caveaux de mon coeur / Claire Ducène. Exhibition at Maison Losseau, Mons (BE) 2018&nbsp; &nbsp; Performance with Emilio Bernè (drums) at ModuLab, Eindhoven (NL) 2018&nbsp; &nbsp; Dat Walk Festival / Noiseberg, live set with Emilio Bernè and Mia Dyberg, Berlin&nbsp;(DE) Publications Sound Chapters. Voices of Sound Experimentation in Italy VIAINDUSTRIAE, 2025ISBN: 9791281790261;Some Margin Notes on “PITCH”, in High Pitch Magazine, Issue 01, 2024; ITERATIONSConstant, 2020ISBN: 9789081145985 https://giuliadeval.com/PITCH-Notes-on-vocal-intonation Fri, 16 May 2025 18:29:18 +0000 giuliadeval https://giuliadeval.com/PITCH-Notes-on-vocal-intonation PITCH Notes on vocal intonation Winner of the 7th Edition of Lydia Prize by Fondazione Il Lazzaretto in partnership with PAC Milan, curated by Claudia D’AlonzoProject born as performance-lecture during an artistic residency at NUB Project Space (Pistoia) and presented at Periferico Festival, Modena, 2023 ---&gt; Converted into a video essay thanks to the grant of Lydia Prize PREMIERE : Oct 2025, PAC - Milan <img width="7328" height="4885" width_o="7328" height_o="4885" data-src="https://freight.cargo.site/t/original/i/c68904f43dc163d141aac4ac07f226a93d206d7b6e65f3f206d96ce68997a6f5/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-07.jpg" data-mid="233304078" border="0" src="https://freight.cargo.site/w/1000/i/c68904f43dc163d141aac4ac07f226a93d206d7b6e65f3f206d96ce68997a6f5/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-07.jpg" /> Pitch. Notes on Vocal Intonation is a video essay that investigates how vocal pitch functions as a carrier of meaning, power, and bias across species and cultures. Drawing from a range of interdisciplinary references, the work traces how intonation - particularly high-pitched vocalizations - is culturally coded and politically charged. The essay engages with ethologist Eugene S. Morton’s research on animal communication, which shows how certain bird and mammal species use pitch to project body size in moments of conflict: lower frequencies signal threat or dominance, while higher ones are associated with submission or reduced physical threat. This bioacoustic pattern, observed in non-human animals, resonates with John Ohala’s Frequency Code theory, which suggests that humans similarly interpret low-pitched voices as more authoritative or credible, and higher-pitched voices as deferential or emotionally marked. Bringing this into the cultural and historical domain, the essay also draws on Anne Carson’s The Gender of Sound, which examines how dominant traditions have historically censored, ridiculed, or domesticated certain types of voices—especially those perceived as too shrill, emotional, or uncontrolled—framing them as socially disruptive. Carson’s text reveals how pitch becomes a marker of normativity: whose voices are heard, trusted, or silenced is deeply tied to their tonal qualities. Originating from the performance-lecture PITCH—commissioned by Periferico Festival (Modena, IT) and premiered at Ovest Lab in October 2023 after an artistic residency at NUB Project Space (Pistoia, IT)—the video essay was further developed with the support of the Lydia Prize. Through its interplay of theory, archival material, and speculative narration, the work explores the cultural politics of pitch as both a sonic and symbolic force. Developed in parallel to PITCH, REASONS WHY I HATE MY VOICE is a workshop that explores the themes of the research through collective listening, discussion, and vocal experimentation. PREMIERE on Oct 4th at PAC - Milan&nbsp; Pics from the perform ance lecture at PERIFERICO Festival, 2023 by Dante Farricella <img width="9504" height="6336" width_o="9504" height_o="6336" data-src="https://freight.cargo.site/t/original/i/fdf5a951a69df4f0d8c2289b9ce842ab9b42627e47d2e255d9c4ab6e905a19f5/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-01.jpg" data-mid="233302952" border="0" src="https://freight.cargo.site/w/1000/i/fdf5a951a69df4f0d8c2289b9ce842ab9b42627e47d2e255d9c4ab6e905a19f5/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-01.jpg" /> <img width="8828" height="5886" width_o="8828" height_o="5886" data-src="https://freight.cargo.site/t/original/i/6d825d4883febb5c75dbe86be82cee998bd2132ec858ea20c2086a4c0c2e2ccf/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-03.jpg" data-mid="233302950" border="0" src="https://freight.cargo.site/w/1000/i/6d825d4883febb5c75dbe86be82cee998bd2132ec858ea20c2086a4c0c2e2ccf/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-03.jpg" /> <img width="8361" height="5574" width_o="8361" height_o="5574" data-src="https://freight.cargo.site/t/original/i/7ce3e4c5352b1657b85b90e7c7268b8e4c80479d22b0eab3e18e35724cf0d492/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-02.jpg" data-mid="233302951" border="0" src="https://freight.cargo.site/w/1000/i/7ce3e4c5352b1657b85b90e7c7268b8e4c80479d22b0eab3e18e35724cf0d492/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-02.jpg" /> <img width="6074" height="4051" width_o="6074" height_o="4051" data-src="https://freight.cargo.site/t/original/i/791a8e7b2baa0453c45a0115d8857cdbb2eba3cee675016f8830ad0cc7196a6c/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-06.jpg" data-mid="233302953" border="0" src="https://freight.cargo.site/w/1000/i/791a8e7b2baa0453c45a0115d8857cdbb2eba3cee675016f8830ad0cc7196a6c/Giulia-Deval_Pitch---ph-Davide-Piferi-de-Simoni-06.jpg" /> https://giuliadeval.com/REASONS-WHY-I-HATE-MY-VOICE Fri, 16 May 2025 19:39:12 +0000 giuliadeval https://giuliadeval.com/REASONS-WHY-I-HATE-MY-VOICE REASONS WHY I HATE MY VOICE&nbsp; A workshop on human phonation developed alongside PITCH. Notes on vocal intonation,&nbsp;a performance-lecture and video essay - winner of the 7th edition of Lydia Prize by Fondazione Il Lazzatto and PAC Milan, curated by Claudia D’Alonzo <img width="2035" height="1357" width_o="2035" height_o="1357" data-src="https://freight.cargo.site/t/original/i/0760baed76850e57597485e3048f0c53110a856d13094aeefd780b4b57da3241/reasons-2.jpg" data-mid="233309592" border="0" src="https://freight.cargo.site/w/1000/i/0760baed76850e57597485e3048f0c53110a856d13094aeefd780b4b57da3241/reasons-2.jpg" /> &nbsp;Why do we hate the sound of our own voice when we hear it played back? Through a series of exercises blending voice-over, dubbing, and voice notes, the workshop explores the hidden habits embedded in phonation processes across different languages and species, our preferences around vocal qualities, and the cultural implications these preferences reveal. The workshop lasts 2 hours and is open to a maximum of 20 participants. Proposed at Centro Pecci (Prato), Fondazione Il Lazzaretto (Milan), Accademia di Architettura di Mendrisio (in collaboration with Kevin B. Lee and Silvia Cipelletti), BASECAMP - artistic residency of Locarno Film Festival at Fabbrica del Vapore (Milan), Cascina Cappuccina (Milan), EXIT Festival (Prati di Caprara, Bologna).&nbsp; <img width="2033" height="1509" width_o="2033" height_o="1509" data-src="https://freight.cargo.site/t/original/i/bfc6546c77d127eb94cef3bc179cbd8f1a235204840ea03ec72d74d00b7aa148/reasons-1.jpg" data-mid="233309593" border="0" src="https://freight.cargo.site/w/1000/i/bfc6546c77d127eb94cef3bc179cbd8f1a235204840ea03ec72d74d00b7aa148/reasons-1.jpg" /> Some pics by Silvia Gottardi at Fondazione Il Lazzaretto, Milan <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e444f456896b69120d065585173f5e297b1081e029a445dc9d3fb9d092754c46/EXIT23_phOrnellaDeCarlo_134.JPG" data-mid="233304578" border="0" src="https://freight.cargo.site/w/1000/i/e444f456896b69120d065585173f5e297b1081e029a445dc9d3fb9d092754c46/EXIT23_phOrnellaDeCarlo_134.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e481da0ec1bb082c7a28cd57a354c0399a6c9a2a9057c0e749a4de6b09ae7a4b/EXIT23_phOrnellaDeCarlo_148.JPG" data-mid="233304654" border="0" src="https://freight.cargo.site/w/1000/i/e481da0ec1bb082c7a28cd57a354c0399a6c9a2a9057c0e749a4de6b09ae7a4b/EXIT23_phOrnellaDeCarlo_148.JPG" /><img width="5701" height="3801" width_o="5701" height_o="3801" data-src="https://freight.cargo.site/t/original/i/96c41bc4e5b1987bacfa5ae923c8f55fab687975e6f6d1300066cd1f916149f3/EXIT23_phOrnellaDeCarlo_143.JPG" data-mid="233304657" border="0" src="https://freight.cargo.site/w/1000/i/96c41bc4e5b1987bacfa5ae923c8f55fab687975e6f6d1300066cd1f916149f3/EXIT23_phOrnellaDeCarlo_143.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/70626d7dd4f5a7a4f0c249366573996b80dbc000910e3095a1374051f1808ad2/EXIT23_phOrnellaDeCarlo_121.JPG" data-mid="233304653" border="0" src="https://freight.cargo.site/w/1000/i/70626d7dd4f5a7a4f0c249366573996b80dbc000910e3095a1374051f1808ad2/EXIT23_phOrnellaDeCarlo_121.JPG" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/1d55c5a5ac8eb2a5e7b004fae6bc7df4187ffa343ad881395e4603216374673b/EXIT23_phOrnellaDeCarlo_149.JPG" data-mid="233304658" border="0" src="https://freight.cargo.site/w/1000/i/1d55c5a5ac8eb2a5e7b004fae6bc7df4187ffa343ad881395e4603216374673b/EXIT23_phOrnellaDeCarlo_149.JPG" /> Some pics by Ornella De Carlo at Prati di Caprara during EXIT Festival, Bologna&nbsp; https://giuliadeval.com/Before-The-Catastrophe Wed, 30 Nov 2022 07:33:51 +0000 giuliadeval https://giuliadeval.com/Before-The-Catastrophe BEFORE THE CATASTROPHE&nbsp; An imaginary congress of ethnography&nbsp; from the year 3302&nbsp; <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/f81ccdf395687f679836e9867890d19d5253a909c7d3dbded3d8dc81b767a694/BTC_-1.jpg" data-mid="160583697" border="0" src="https://freight.cargo.site/w/1000/i/f81ccdf395687f679836e9867890d19d5253a909c7d3dbded3d8dc81b767a694/BTC_-1.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; What would happen if a group of researchers from the next millennium (for example from the year 3302) wouldbase their speculations about the past (our contemporaneity) on strange audio relics like tape cassettes ofparapsychology? This is the question that leads the group of participants to stage an imaginary congress ofethnography from the future. Before the Catastrophe is an exercise in estrangement that attempts to rethinkthe narrative about our present and our society through the filter of a sectorial language such as ethnography,used here not to talk about otherness, but to talk about ourselves as if we were the other. &nbsp; &nbsp; &nbsp; &nbsp; Before the Catastrophe is a methodology that investigates co-creation processes through role-playing, the useof magnetic tapes and the collective improvisation of speeches from a future perspective. The activity wasborn after the accidental discovery of a bag with over fifty audio tapes containing parapsychology lectures,close to a rubbish bin in Barcelona, while Giulia Deval was participating to ITERATIONS, a European projectcommitted to the future of artistic collaboration in digital networked contexts held between Hangar (Barcelona), Trasformatorio (Giampilieri, Sicily), esc medien kunst labor (Graz) and Constant (Bruxelles). <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/5e3ed289b162d413e6c2fd56be2ceccaba60531e69b32ec7099a40439519f7a1/BTC_2.jpg" data-mid="160582391" border="0" src="https://freight.cargo.site/w/1000/i/5e3ed289b162d413e6c2fd56be2ceccaba60531e69b32ec7099a40439519f7a1/BTC_2.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/f52043611e052c7d7dcd0063964033f0c078b49af7609e5acf565496aa757ade/BTC_3.JPG" data-mid="160582404" border="0" src="https://freight.cargo.site/w/1000/i/f52043611e052c7d7dcd0063964033f0c078b49af7609e5acf565496aa757ade/BTC_3.JPG" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The sound game was first proposed to the resident artists of ITERATIONS and subsequently to various groupsof adults and young people in contexts such as Hangar, the Fondazione Sandretto Re Rebaudengo in Turin, aspart of the VERSO #3 project alongside Jonas Staal's We demand a million more years; the NUB project spacegallery in Pistoia, where several episodes were broadcast in podcast format on Fango Radio, the Akrida Festivalin Milan and non-institutional contexts. &nbsp; &nbsp; &nbsp; &nbsp; The project passed the pre-selections of Pierre Schaeffer Award announced by INA GRM, GMVL, PhonurgiaNova and Euphonia being among the best 11 projects in 2019 and won MIBACT’s MOVIN’UP / SPETTACOLOPERFORMING ARTS in 2020. &nbsp;&nbsp; <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9a9a7f542f8019ed66c0f147594c85e2e67515e4c6c62aa8b02ded12e190764c/BTC-_4.jpg" data-mid="160582380" border="0" src="https://freight.cargo.site/w/1000/i/9a9a7f542f8019ed66c0f147594c85e2e67515e4c6c62aa8b02ded12e190764c/BTC-_4.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/b177d2bd62599d45c7fc1e16827637fdc09f1c25cc30b334a8cb29841a693fbe/BTC-_5.JPG" data-mid="160583680" border="0" src="https://freight.cargo.site/w/1000/i/b177d2bd62599d45c7fc1e16827637fdc09f1c25cc30b334a8cb29841a693fbe/BTC-_5.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/c10fe06f132a9e78f5a26f17000d44995f0542958b40f27d688370db50f880c0/BTC_7.JPG" data-mid="160582402" border="0" src="https://freight.cargo.site/w/1000/i/c10fe06f132a9e78f5a26f17000d44995f0542958b40f27d688370db50f880c0/BTC_7.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/2f349971fe45a70998f2998f13d4d02450f7154f1b7f4626679ba82606d5b36e/BTC_6.JPG" data-mid="160582400" border="0" src="https://freight.cargo.site/w/1000/i/2f349971fe45a70998f2998f13d4d02450f7154f1b7f4626679ba82606d5b36e/BTC_6.JPG" /> Antes de la catàstrofe ES / ENG, Hangar.org / live performancePrima della Catastrofe ITA / Fango Radio / Nub Project Space /podcastPrima della Catastrofe ITA / VERSO#3 / Fondazione Sandretto Re Rebaudengo/podcast https://giuliadeval.com/Phonotransparence Wed, 30 Nov 2022 07:33:51 +0000 giuliadeval https://giuliadeval.com/Phonotransparence PHONOTRANSPARENCE&nbsp;an attempt to vanish _ sound dress _ &nbsp; <img width="688" height="883" width_o="688" height_o="883" data-src="https://freight.cargo.site/t/original/i/76b9a1606452e5de438d4c059d09ae4f4ff22250897c674f848be4e451647599/ph_1.jpg" data-mid="161047601" border="0" src="https://freight.cargo.site/w/688/i/76b9a1606452e5de438d4c059d09ae4f4ff22250897c674f848be4e451647599/ph_1.jpg" /> &nbsp; &nbsp; Phonotrasparence is a performance / sound dress that reflects on the body as a deposit and transmitter of sounds, involuntary reservoir and intersection of trajectories determined by a rest or a walk. The work was born during the first phase of the European project ITERATIONS held in (Giampilieri) Sicily with the collaboration of Caterina Ines D’Arrigo,&nbsp;tailor of the village. &nbsp; &nbsp; The dress evolved over time starting from the concept of “phonotransparency”, the ability of the acoustic fabric to absorb and be crossed by sound. &nbsp; &nbsp; It has been presented at BOZAR (Bruxelles) and Steentjeskerk Church (Eindhoven). https://giuliadeval.com/Reverse-Anthropology Wed, 30 Nov 2022 07:33:50 +0000 giuliadeval https://giuliadeval.com/Reverse-Anthropology REVERSE ANTHROPOLOGY an expanding archive of transhuman dubbing giulia deval &amp; andrea marazzi Process: generative feedback algorithms and sequencers whose behaviour is influenced by the analysis of the character’s voice from the video interview &nbsp; &nbsp; &nbsp; &nbsp; We are facing the re-foundation of anthropology by some contemporary authors.&nbsp;This re-foundation is actually a revolution that starts from an anti-narcissistic impulse able to undermine the authority of the analyzing subject - the philosopher, the anthropologist - on the analyzed object. &nbsp; &nbsp; &nbsp; &nbsp; “Reverse anthropology” is the name given by Roy Wagner (1938-2018) to this reversal in which the object of the investigation, often identified as “the other”, turns out to be a valuable source of conceptualizations essential to its understanding. &nbsp; &nbsp; &nbsp; &nbsp; Our project starts from this questions:How do you create a natural cultural language closer to husmusities than to humanities?How do you use dubbing as a practice of fictiocriticism?How do you go back from the creators of knowledge to the non-human elements that made up their thought and speech? &nbsp; &nbsp; &nbsp; &nbsp; Through dubbing we take an inverse trajectory: from the creators of knowledge (anthropologists, writers, musicians and other human knowledge creators) to the non-human elements at the center of their investigations. Dubbings:OLIVIER MESSIAENURSULA K. LE GUIN _ voice of Jane PaikANNA LOWNHAUP TSINGLEGACY RUSSELL &nbsp; &nbsp; &nbsp; &nbsp; The project started during a digital residency at WpZimmer (Antwerp) and was presented, in the form of an audiovisual installation, at the Ladispolaneamente festival (Rome) and the Italo Tajo exhibition hall in Pinerolo, as part of The Listeners, supported by City of Turin, Ministry of Culture, Fondazione CRT and Konstnärsnämnden / The Swedish Arts Grants Committee. <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/186a54a11688b73a75b75f61bb62a01e728180e101392d0091dd12e01718ddad/1.JPG" data-mid="161056358" border="0" src="https://freight.cargo.site/w/1000/i/186a54a11688b73a75b75f61bb62a01e728180e101392d0091dd12e01718ddad/1.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/70a63470a2a79fcf128772f1cd4ece9fb36ba79158927345cc00210fdd12435a/3.JPG" data-mid="161056470" border="0" src="https://freight.cargo.site/w/1000/i/70a63470a2a79fcf128772f1cd4ece9fb36ba79158927345cc00210fdd12435a/3.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/564ab76a590536050d83a7dac7a37697cc99933d025b3d95a8b08797c7f88356/2.JPG" data-mid="161056469" border="0" src="https://freight.cargo.site/w/1000/i/564ab76a590536050d83a7dac7a37697cc99933d025b3d95a8b08797c7f88356/2.JPG" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/dfce9dc737e249d72ebd6b009a1bbd6703648bcae12cce6121dff17be257304d/4.JPG" data-mid="161056576" border="0" src="https://freight.cargo.site/w/1000/i/dfce9dc737e249d72ebd6b009a1bbd6703648bcae12cce6121dff17be257304d/4.JPG" /> https://giuliadeval.com/The-Wanderers Wed, 30 Nov 2022 07:33:50 +0000 giuliadeval https://giuliadeval.com/The-Wanderers THE WANDERERS sea water, living plankton, human voices <img width="3372" height="5112" width_o="3372" height_o="5112" data-src="https://freight.cargo.site/t/original/i/565569da35e366925310cd441c74d6ac3e464b8f4f319f9d78482fc787b8e81f/1.jpg" data-mid="161051002" border="0" src="https://freight.cargo.site/w/1000/i/565569da35e366925310cd441c74d6ac3e464b8f4f319f9d78482fc787b8e81f/1.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Plankton is the ecological category that includes the complex of floating aquatic organisms - both animal and plant - transported by currents and wave motion across the oceaN.&nbsp;The individual organisms constituting “plankton” (“the wanderer”) are called “plankters” (“the wanderers”).&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Giulia Deval writes a narrative from the perspective of the plankton, in a transhumanist vision. The whole group of resident artists becomes the collective voice of plankton,&nbsp;through a choral reading recorded under the dome of Steentjeskerk (Eindhoven, NL). Inextricably entangled with geopolitical and environmental phenomena, aquatic life,&nbsp;and in particular the wandering life of the collective entity of plankton, becomes the pretext for a reflection on the present and for a poetic sound wandering. giulia deval · The Wanderers _ installation _ collective reading <img width="4528" height="3192" width_o="4528" height_o="3192" data-src="https://freight.cargo.site/t/original/i/4503cce6e65da9abcfca9f7e41ed5fc555cfa637d85e3fd3914aae3413b77cc9/2.jpg" data-mid="161051003" border="0" data-scale="95" src="https://freight.cargo.site/w/1000/i/4503cce6e65da9abcfca9f7e41ed5fc555cfa637d85e3fd3914aae3413b77cc9/2.jpg" /> <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/35413961cd763baff59eb043a905e9c4e856ab29ebbd9fb0fac1bc94eefb2ddf/3.jpg" data-mid="161051005" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/35413961cd763baff59eb043a905e9c4e856ab29ebbd9fb0fac1bc94eefb2ddf/3.jpg" /> 3rd edition of Majhi Art Internation Residency by Durjoy Bangladesh Foundation, curated&nbsp;by Kehkasha Sabah _ Steentjeskerk, Eindhoven (NL) Participating artists for the 2021Majhi Eindhoven edition are Giulia Deval (Italy), Joydeb Roaja (Bangladesh), Non-Native&nbsp;Native (Netherlands), Moch Hasrul (Indonesia), Pier Alfeo (Italy), Satch Hoyt&nbsp;(Jamaica/UK), Shorab Jahan (Bangladesh), Sounak Das (Netherlands/Bangladesh), Yu&nbsp;Zhang (Netherlands/China), Zihan Karim (Bangladesh), Jog Arts Space (Bangladesh).&nbsp;Event Director: Eeshita Azad. More about the project on e-flux / video interviews https://giuliadeval.com/Nino-Gvilia Mon, 05 Dec 2022 16:35:45 +0000 giuliadeval https://giuliadeval.com/Nino-Gvilia Nino Gvilia A fictional characterAn imaginary singer-songwriter composing, playing live, answering interviews and living in mockumentary clips <img width="3089" height="2048" width_o="3089" height_o="2048" data-src="https://freight.cargo.site/t/original/i/ff394bf9fe59627d057937ef5ec5d64e4e7ce9ee5a9ee8fd6cbc7cd3de4f8bda/Nino-Gvilia---01.jpg" data-mid="233304839" border="0" src="https://freight.cargo.site/w/1000/i/ff394bf9fe59627d057937ef5ec5d64e4e7ce9ee5a9ee8fd6cbc7cd3de4f8bda/Nino-Gvilia---01.jpg" /> Nino Gvilia is a fictional character, like that of a book, no more and no less.According to biographical notes found online, she was born in Poti, near Lake Paliastomi, in the Republic of Georgia, but has always led a wandering life, recounted in the pseudo-film “Songwriting in Times of a Global Crisis”. Nino Gvilia sings about forests, bodies loving each other in unusual ways and hallucinations; and anachronistically questions whether folk songs can still convey sentimental and political content by acting on our desire.Being a fictional character, Nino Gvilia is an explicit disidentification that the body impersonating her performs towards a coherent scenic and digital “self” imposed by the cultural market. Nino Gvilia is an invention, a way to replace the literary mechanisms behind self-branding with a totally fake literary construction.&nbsp; The project involves the composition of songs, live fake interviews and mockumentary clips.&nbsp; Nino Gvilia has released the album NICOLE / OVERWHEMED BY THE UNEPLAINED via Hive Mind Records (UK) in 2024 and has presented her music at Cafe Oto (London), Frequence 18 (Paris), Jazz is Dead Festival (Turin), SHORT TEATRE (Roma), THE LISTENERS (Turin), Ogni Altro Suono (Castrignano de’ Greci), Mercurio Festival (Palermo), Oostum Church (Groningen), The Gelderlandfabriek (Culemborg), Tiny Terrace (Amsterdam) a.o.&nbsp;The project won the support of MOVIN’UP of GAI for the international mobility in 2024.&nbsp; <img width="738" height="532" width_o="738" height_o="532" data-src="https://freight.cargo.site/t/original/i/ac89140134d747cefaabc87216478dc5cfb367d760afb7bea110bd811d4fc5a2/405112337_3558232344425026_8818929812554743252_n.jpg" data-mid="233308148" border="0" src="https://freight.cargo.site/w/738/i/ac89140134d747cefaabc87216478dc5cfb367d760afb7bea110bd811d4fc5a2/405112337_3558232344425026_8818929812554743252_n.jpg" /> Nino Gvilia (giulia deval) plays with :&nbsp; zevi bordovach / synth, hammond, harmonium pietro caramelli / electric guitar, electronics, vocals giulia pecora / violin clarissa marino / cello erika sofia sollo, giulia beccaria, amos cappuccio, matteo martino, zevi bordovach, pietro caramelli / choir Instagram: nino_gvilia Contact: ninogvilia.press@gmail.com Pics by Nico Letta Cover by Luce Berta NICOLE / OVERWHELMED BY THE UNEXPLAINED is on Bancamp, Spotify and YouTube ---------------------- Nino Gvilia’s first show GREEN LARYNX UTERUS (Interview + concert) was born in the framework of Imaginary World Wide Web Exhibition project conceived by the Collective Endless House between Turin (Unione Culturale Franco Antonicelli), Brussels (Hectolitre) and Barcelona (Convent) which reflected in a physical and metaphorical sense on the change of spaces through the simultaneity of performative actions connected through live streaming <img width="800" height="533" width_o="800" height_o="533" data-src="https://freight.cargo.site/t/original/i/a8f1828f4bdd0d2ccb586b3829f2e6bb03e27ba0f611a2614bdb454964f2b323/Nino-Gvilia_1.jpg" data-mid="161052523" border="0" src="https://freight.cargo.site/w/800/i/a8f1828f4bdd0d2ccb586b3829f2e6bb03e27ba0f611a2614bdb454964f2b323/Nino-Gvilia_1.jpg" /><img width="5168" height="3264" width_o="5168" height_o="3264" data-src="https://freight.cargo.site/t/original/i/98e2dd08f944962d8333b6270b2165a39b810174f306d4148049d536e3025245/Nino-Gvilia_4.jpg" data-mid="161052526" border="0" src="https://freight.cargo.site/w/1000/i/98e2dd08f944962d8333b6270b2165a39b810174f306d4148049d536e3025245/Nino-Gvilia_4.jpg" /> https://giuliadeval.com/The-Frequency-Code Wed, 04 Jan 2023 16:18:26 +0000 giuliadeval https://giuliadeval.com/The-Frequency-Code The Frequency Code &nbsp; &nbsp; &nbsp;&nbsp; &amp;amp;amp;lt;a href="https://biodiversitarecords.bandcamp.com/album/symbiotic-chants"&amp;amp;amp;gt;Symbiotic Chants by Francesco Toninelli &amp;amp;amp;amp;amp; Giulia Deval&amp;amp;amp;lt;/a&amp;amp;amp;gt; Since I was a child, I unconsciously decided that I should not talk like that Talking like this seemed more intelligent, self-confident Talking like that seemed frivolous, stupid “Your voice is that of a hen, a goose” What do animals have to do with any of this? I wondered … And this led me on a journey into the specificity of my jaw, of my vocal cords, of my ears, of my tongue. Since animals have been speaking long before us, it is well known that the main categories of phonemes used in languages are the result of the evolutionary adaptation of the human articulatory system to the auditory capabilities already developed in each vertebrate to distinguish events from their sound. I am filling my mouth with scientific information and, without thinking about it, I have used…bass frequencies. Since animal hearing was already specialized in the ability to deduce types of events from noises when language emerged (between two million and 50000 years ago), it could only adapt to the hierarchy of relevance of the already existing acoustic distinctions, organizing the system of articulatory differentiations accordingly. Something makes me think that what I just described lacks the same credibility as before and that your ears would be better off in the company of a voice other than mine. Did you think so too? In any case, what is it, if not articulate language, that has made us believe for centuries that we are the most intelligent of beasts on this planet? We make a glaring mistake: we equate representation with language and are firmly convinced that we are the only ones in possession of one, but this is not the case, even non-human life forms have a representation of the world. There is one thing upon which this representation is shaped… and this is pitch. We know that the correlations acute: grave = small: large and acute: grave = light: dark ultimately depend on physical properties of sound and in particular on the fact that the wavelength of high notes is shorter than that of low notes, so that on average smaller bodies are needed to produce them - canaries, cats, whistles - than for low notes - owls, lions, trombones. Eugène S. Morton showed that the correlation acute: grave = small: large is used in animal communication. Studying intraspecific encounters in 56 species of birds and mammals, he saw that individuals tend to emphasize their own size or smallness, by means of grave or high-pitched sounds, to communicate their dominant or subordinate role. Sound, and in particular vocal intonation, plays an important role in conflict resolution by manipulating size perception. According to Morton, in a potentially hostile situation, dominant animals resort to harsh, relatively low frequency sounds, while less dominant animals use higher frequency sounds designed to indicate acquiescence and cordiality. In theory, an animal that hears a low-frequency voice, song or noise interprets it as coming from a larger animal and submits accordingly. Phonetician John Ohala was intrigued by Morton's study of the relationship between vocal tone, size projection and conflict resolution and tried to find out if the same dynamic could be observed in humans. In 1984, he published an article in which he outlined what he described as the 'frequency code', an innately programmed system in humans that associates low-frequency, low-pitched voices with larger size and dominance, and high-frequency, high-pitched voices with smaller size and less dominance. In other words, humans are evolutionarily inclined to associate a lower pitch with aggression and confidence in their dominant role, and a higher pitch with weakness. Thinking back to the question I asked earlier...this is about the phonosymbolism of size ... and nothing more.