Stefano Passerotti/Lorenzo Brusci-Timet
Electronic Music meets a botanic environment. Perspectives
on a sonic town.
Lorenzo Brusci and the Timet collective
have been composing electro-acoustic music for more than
11 years, designing sounds and music compositions for
theatre, dance and television; performing concerts and
setting up installations all around Europe.
Since the very beginning one of Timet main task has been to overcome
electro-acoustic lack of physicality and widen its emotional and
symbolic reference, participating in and producing many sound architecture
projects and immersive sound experiences.
In august 2003 Lorenzo Brusci invited Stefano Passerotti, gardener in Florence,
to consider the possibility of including sounds, music and sonic
objects in the design and realization of gardens and parks.
His main idea was that a naturalistic context and specifically a garden could
represent a strong embodiment of Timet research and provide a symbolic dimension
to sounds and music that were usually described as artificial and abstract.
Integrated within the life of the garden, they become relevant part of a
living metaphor, expressing and enhancing the multilayered complexity of
a naturalistic environment. The first result of this meeting was the foundation
of Giardino Sonoro La Limonaia dell'Imperialino, in Firenze,
a sonic garden lab where the team is able to test and verify the main
implications of its sonic garden installative solutions.
" ...you could interpret our gardens as hypothesis for a livable sound
city, oasis where our ears can learn how to put in tune and harmonize the
noise of the whole town. A precise stance and a practical contribution to the sonic
planning of a city, representing and exemplifying the qualitative alternative
to the acoustic chaos measured so far in db invasiveness..." Lorenzo
Brusci suggests, giving hints to guess strong implications of Timet-Passerotti
Timet and Stefano Passerotti build their own loudspeakers and find the
engineering solutions to obtain the highest integration between technology and
nature; since their very first commissions they have been paying attention to
plants chromatic cycles, gestures and postures suggested by sound diffusion through
out plant location, plant sizes and their orientation. Historical uses of plants
have often guided their sonic garden installative work.
" This is a real beginning. Personally I'm aware that music composition
will be strongly affected by the garden design and the botanic living
rules and symbolic history. But the circle of influences is never
strictly one way oriented... garden design is already encountering our acoustic
Un Orto Toscano risuona di vita.
A Sonic Kitchen Garden.
Giardino Sonoro La Limonaia
gardener in Firenze
sound and visual artists
Gardener Stefano Passerotti
Architect Giampaolo Di Cocco
Architect Paolo Fiumi
Composer and Sound Designer Lorenzo Brusci-Timet
sound design by Lorenzo Brusci-Timet
Paolo Fiumi illustration
Rete Regionale Toscana per L'Arte Contemporanea
Consorzio Ortovivaistico Pistoiese
Degl'Innocenti Macchine Agricole Firenze
Moresi Restauri & Costruzioni s.r.l. Firenze
A Tuscan traditional kitchen garden resonating of sounds
from the everyday family life: noises, human dialogues
and popular chants.
Sounds are diffused by sonic objects, designed coherently with shapes
and meaning of the garden itself. The sound will be acoustically and
electronically integrated in the botanic world. Integrated electronic
means are used to interleave the invisible and real spaces of the garden.
Electronic and botanic build a further neural system of the spot, creating
conditions for a multiple and hyper-historical perceptions of the garden
The created garden space is actually a tribute to the human
perception and deep understanding of our complex and multi-layered