Francesca de Nicolò fradenic@libero.it

What kind of relationship is yours with the media, especially the relationship between your body and the media, also the interaction with the machines.

I use the tools of my age, my time, to create the work that I do and as such there is a close relationship between the media that is used in the production and the presentation of the completed work. It's very important for me to have a relationship with these tools too, in a physical and emotional manner.

My body is an extension of these production tools and so in performance I try my utmost to demonstrate this relationship. Digital technology has proven complex in performance as we have lost this visceral connection between the performer and the tools of performance. So in the past we clearly understood when the guitarist struck the strings of guitar and we heard this sound that the movements all connected, it was clear to recognize the relationship between performer and instrument. Today the sounds we can produce from computers, samplers, etc. are so distant from our general understanding of what is 'music' that it's complicated to clearly present this material to an audience. As such I try and use the human voice as far as possible within the work, a texture that everyone recognizes, even if not the language itself. I try and combine the two, the organic, the natural, and the artificial, the invented, the impossible and the possible, the ordinary and the extraordinary.

New technology has the ability to peel open a new layer of information and offer access sometimes to worlds we could never have imagined would have existed. It's language at times can be inaccessible but that is often the way with that which is so new to us.

Tell me about your latest project between body and new media, do you think that is possible to speak about the concept of immanent body in your case?

I continue to create works that use new media in a performative manner but can be clearly understood within the history of theatre, art, music, performance, etc. Recently I've been working on projects that move between these fields. In collaborating with Random Dance or The Royal Ballet I've been able to extend the relationship between body and media as the sound becomes part of a general ambience of light, movement, sound and texture. Working with the director of Random Dance, Wayne McGregor, for example, has appealed to me as he has historically been presenting a vibrant form of dance that embraced new technologies. We developed a work where we almost can play the role of intermediaries, translating and making perceptible both the eternal constituents of the physical environment (the stage, the auditorium) and its metamorphoses through sound and movement.

You feel your body like a border? Or are you definitively cyborg?

I hope that the works manage to bridge any possible borders - between the digital and the natural, the real and the unreal, performance and recording, private space and public space and so on. All the works I produce, both in sound and visual art, function as metaphors of the rapid process of mapping blurred boundaries between the intimate, individual sphere and the public, accessible sphere. Whether expressed in clubs, installations, soundtracks, my projects question not only the hidden daily interventions of the immaterial soundscape in our physical environment, but also our very awareness of this ever-present phenomenon, its laws and the possibilities of its manipulation.

I am human but behave like a machine at times, crossing spaces often unimaginable.

Do you think that the interaction with new media is still alive or we are in a era of downsizing ?

We are still very much in a very positive state of flux, of change, where new technologies constantly reap fresh rewards and surprises. In fact it is still very early days for many of these developments. We are still only at the beginning of this new digital language.

And for you now what are the specific lines of your research ?

There are many different directions I'm moving in. At times I want my work to explore the invisible qualities of our lives, sounds or images that surround us but we never see or experience. At other points I want to make works that move people passionately and intimately, as in the 52 Spaces project, when you feel strongly towards the work emotionally. I'm interested in accessibility. I want to create works that move people, that make them refocus, to want to listen to the sound of their city, to look at a familiar place or location in a fresh manner. I want to make something beautiful out of something often very banal.

Do you feel like a son of Duchamp? Or?

I'm the product of a history, without choice, without conscious decisions at times. I am the son of Duchamp, but also Cage, Varese, Beuys, Cornell, John Donne, ee cummings, James Joyce, Samuel Beckett, Stockhausen,etc. One day I will grow up!!

Tell me about your relation ship with sound and music, you're still contaminated by Cage, and Fluxus, or ?

I am constantly stimulated by what I hear in the present and the sounds of the past. I cannot escape the past and I cannot antipate the future. I am influenced by my past listening and what I hear presently. I still hold a strong relationship with music and sound. It might be the sound of the wind in a tunnel, the voices in the corridor of a train, a piece of music I hear on the radio, the colour or rocks in the sea. Endless.