This document introduces a formal Variational Geometric Network Framework, a unified field theory based on the dynamics of fundamental, closed, two-dimensional surfaces called Simples ($\Sigma_i$). This framework postulates that spacetime is not a passive background but a lattice of these interacting geometric agents whose collective behavior is governed purely by energetic minimization ($E_{\mathrm{tot}}$) and a strict Per-Simple Area Conservation constraint ($A_i=A_0$). The model serves to bridge the gap between quantum gravity and emergent macroscopic phenomena, showing how the discrete structures of Loop Quantum Gravity (LQG) and the vibrational modes of String Theory (D-branes) arise as necessary consequences of the Simples' contact geometry. Ultimately, the framework formally defines the Cognitive Quantum ($\Delta t_Q$) and the Directive Action ($\mathcal{I}_{\text{Directive}}$) of a conscious entity, explaining how awareness emerges from and actively perturbs the underlying geometry by forcing the system onto paths of maximum informational complexity ($d_{\max}$).
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My master's thesis explored the concept and realization of the "Feed-Guitar," an augmented instrument designed to leverage feedback in novel and expressive ways. The research delved into the theoretical underpinnings of audio feedback, its potential as a musical resource, and the practical implementation of a system allowing for controlled and nuanced manipulation of this phenomenon.
The culmination of this work was the composition and live performance of a piece titled [RETRO]AZIONE
This piece, specifically written for the Feed-Guitar, was performed live at the Auditorium in L'Aquila, showcasing the unique sonic possibilities and performative aspects of the augmented instrument. The score for "[RETRO]AZIONE" is included at the end of the thesis.
This bachelor thesis outlines a research project investigating the subjective perception of musicality. It details the design of a test for non-musicians to explore the various cultural, experiential, and individual factors influencing what sounds are considered "musical" and how people listen. The study emphasizes that musicality is not inherent but attributed by the listener, and the test aims to capture these personal judgments through the evaluation of diverse acoustic stimuli. The research acknowledges the context-dependent nature of musical taste and the importance of controlled listening conditions for accurate data collection. Ultimately, the thesis seeks to provide insights into the multifaceted nature of musical perception.
This essay delves into the groundbreaking and often provocative work of John Cage, a pivotal figure in 20th-century music. 1 Exploring his radical approaches to sound, chance, and silence, we will examine his lasting impact on musical thought and practice. Beyond a theoretical exploration, this paper also presents a unique engagement with Cage's open scores through the author's own interpretations and re-creations of Cartridge Music and Imaginary Landscape No. 5. By actively engaging with the inherent flexibility of these pieces, this essay aims to offer a practical and reflective perspective on Cage's enduring legacy and the ongoing possibilities within his conceptual frameworks.