According to mahayana Buddhism, the knowledge of reality is not immediate: absolute reality (paramartika) is in fact hidden behind conventional reality (maya, the apparent phenomenal world). According to Marx the knowledge of reality is not immediate: the essence of reality (the capitalistic mode of production) is hidden by an apparent phenomenal world (the bourgeois democracy) that constitutes its misleading superstructure. In both cases the immediate and perceivable access to reality can be thought of as an act of unveiling or, more precisely, of tearing the veil that hides reality since it is necessarily a violent act.

    Purpose of art is indeed to make the invisible, that is, reality hidden by appearance, visible through the opening of a tear on the surface of appearance. Such tear reveals what was previously hidden. Reality is then divided into two: appearance, on the one side, acknowledged as mask and now unmasked and, on the other side, behind appearance, naked reality which has now become cognisable. 

    In first world countries, people live totally immersed in sonic ecosystems that are created, fed and globally diffused by the capitalistic economic system and by power structures. These ecosystems are threadlike, widespread, virtual, invasive and ubiquitous. Moreover, they heavily condition our perceptions and our behaviours. Their purpose is to manipulate and, sometimes, to terrorize the individual. The aim of my artistic work during the last period has been to create alternative sonic ecosystems: alternative because they can’t be assimilated to the “laws governing commercial circulation and democratic communication” (1) and able, from a sonic point of view, to break the surface of the veil.

(1) Alain Badiou, Fifteen Theses on Contemporary Art, in lacanian ink 23, Spring, pp 10-19