
The “Body series” (2010-2014) are works focused on physical and psychological strain. Using the XTH Sense, the sounds of muscle, bones and blood from the bodies of moving performers and passive spectators are amplified and composed in real time, creating syncretic experiences of sound and movement. Each piece in the series lingers on the symbolic meanings of tension, carnality and vexation. In Music for Flesh II (2011) and Ominous (2014), Donnarumma plays haunting music by amplifying sounds from forceful vibrations of his muscles. In Hypo Chrysos (2013) audiences are immersed in multichannel sound and video produced by the flow of his blood while pulling 50kg stones. Nigredo (2013) feeds sounds from the bodies of visitors back to their skulls and bones, inducing them in altered states of self-perception.
The “7 Configurations” (2014-2019) are dance theater productions and media installations. The cycle gathers artists, scientists and designers to test the physical, psychological and cultural conflicts surrounding the human body in the era of artificial intelligence (AI). In Corpus Nil (2014-2016), a tense choreography slowly morphs Donnarumma’s body into fleshly figures while an AI software responds to his muscle activity by generating sound and light. Amygdala (2017-2018) is an uncanny AI prosthesis endlessly learning how to cut its own skin. In Eingeweide (2018), with Margherita Pevere, the performers’ bodies are fused and disjointed while struggling with a facial AI prosthesis and organic tissues created by bacteria. In Alia: Zǔ tài (2018), with Nunu Kong, three performers engage in a cruel play to possess two AI robotic spines. Calyx exhibits bodies that have become relics, ruins of those configurations, remains of what once was or could have been.


He spent over twenty years in Milan, where he was active in the anarchist/autonomist networks and co-founded the street-poetry collective Eveline. In 2007 he moved to London, where he lives. In 2009 he started a long-term collaboration with the Italian Autonomia philosopher Franco Berardi 'Bifo'. In that same year, he co-founded the (now defunct) multilingual platform for critical theory Through Europe.
Federico’s latest books are Prophetic Culture: recreation for adolescents (Bloomsbury: 2021), Technic and Magic: the reconstruction of reality (Bloomsbury, 2018), and The Last Night (Zero Books, 2013).
Federico has a PhD from the Royal College of Art, London, with a thesis on Metaphysics and Metaethics in the Design of Strategy Video Games (available here); he has an MSc and a BSc in Economics and Management of the Arts from Bocconi University, Milan, and an MA in Cultural Studies from Goldsmiths University, London. He works as lecturer and tutor in the MA NonLinear Narrative at KABK (Koninklijke Academie van Beeldende Kunsten), Den Haag, the Netherlands, and as the director of the rights department at Verso Books.



His next step was to join the team at Ars Electronica. After five years as Head of Business Development at the Futurelab, he founded a software company called Memetics GmbH in Berlin. He was the Managing Director there for two years and then decided to return to Ars Electronica, where he has been heading up the Ars Electronica Solutions division as Senior Director ever since.
Outside of work, he dedicates his time to social projects. For example, he works with his private organization “Pagura Idea” in Nepal to rebuild villages that were destroyed by the earthquake back in 2015.

Applica le sue ricerche musicali in diversi media, spaziando dal teatro di ricerca, alla danza contemporanea, al video e all'installazione. Collabora attivamente con diversi artisti.
Sviluppa nel corso degli anni un interesse verso le metodologie compositive in tempo reale, generative e legate all’ IA ricercando le diverse possibilità performative applicate alla danza e al video.
Negli ultimi anni partecipa a diversi tour con la formazione XOVER e con Dalila Kayros.
Organizza la rassegna di musiche sperimentali wE aRE iN dANGER!.


La sua estetica duale assume la forma di una musica emotiva ricca di crescendo tensivi, percussioni incisive, rotture improvvise e sound design cinematografico in conrasto con suoni digitali prodotti da tecniche di sintesi non ortodosse, affiancati da visuals 3D realizzati attraverso linguaggi e ambienti di programmazione e videogame engines.
Negli ultimi dieci anni Franz Rosati ha affiancato all'attività concertistica ed artistica, la composizione di musica per opere teatrali ed opere d'arte visiva ed ha insegnato sistemi interattivi, new media arts e sound design in workshop e corsi universitari.


Concentro il mio lavoro nella progettazione di sistemi visivi e di sistemi interattivi, passando attraverso il design, le nuove tecnologie e i linguaggi di programmazione. Sviluppo concept e branding, progetto siti web, motion graphic e installazioni reattive o interattive.
Lavoro in progetti artistici o come consulente per aziende o studi creativi, sono docente di Linguaggi Multimediali all’Istituto Europeo di Design a Cagliari.
Passioni:
Natura, Tecnologia, Musica e Sperimentazione Sonora, Interazione Audio/Video, Arte e trovare tutti i modi possibili per connettere queste cose.



anni ’90. La sua ricerca artistica si è focalizza sullo sfumare il confine tra reale e virtuale, dalle prime
esperienza come fotoreporter dai mondi virtuali (autore di “Io reporter in Second Life” Shake Edizioni
2007) alla rappresentazione del mondo di dati in Google Earth. Negli ultimi lavori esplora come e cosa
sta imparando l’Intelligenza Artificiale, lavorando con i materiali trovati nei database di
addestramento. Ha esposto in mostre personali e collettive a livello nazionale e internazionale.
Insegna NetArt all’Accademia di Belle Arti Santagiulia di Brescia, Digital Culture all’Accademia di
Comunicazione di Milano ed è docente a contratto nella Scuola di Nuove Tecnologie dell’Arte di Brera,