- I am interested in general semiotics, i.e. in foundational aspects, with particular references to Eco’s theory of “modes of semiotic production”

- Also, I am concerned with the relation between perception and semiosis. My Ph.D. thesis focuses on a semiotics of the audible domain, i.e. it tries to define a theoretical framework for studying the contribution of the auditory perception to the construction of meanings. In particular, I have rediscussed Pierre Schaeffer’s theory as a possible candidate to define a bridge between phenomenology and semiotics

- As a consequence, I am interested in the analysis of audiovisual texts (films above all, but also installations and other multimedia objects), as they typically define complex strategies of integration/opposition between audio and video in order to establish a particular sense

- I am interested in the formalization of semiotics concepts and in their integration into a computational perspective

- As a composer, I am developing systems for algorithmic composition, both for real-time electronic music and for non real-time instrumental music, with a strong emphasis on automatic notation generation.

- This closes the circle, as I have been studying the semiotic properties of (musical) notation since my degree thesis.

I am one of the founder of CIRMA, which aims at defining an integrate perspective for the study of multimedia, merging human and computational sciences.

I am a member of the Virtual Electronic Poem (VEP), a VR reconstruction of the Poème électronique (1958) by Le Corbusier, Edgar Varèse, Iannis Xenakis.
Here‘s a video with a presentation of the project