Federica Buongiorno received her PhD in Philosophy from the Sapienza University of Rome in 2013; her dissertation on Husserl’s early philosophy was published in 2014 (Logica delle forme sensibili. Sul precategoriale nel primo Husserl). Before joining the 2020-2022 ICI Berlin research project group, she held a post-doc fellowship in philosophy of technology at the TU Dresden (2017-2020). Her research interests include phenomenology, philosophy of technology, and applied ethics, with a special focus on the epistemological and ethical problems related to the ‘digital turn’.
She has been a post-doc fellow at the IISS of Naples (2012-2013), at the Freie Universität Berlin (2014-2017) and at the IISF of Naples (2017). She is member of the editorial boards of the philosophical journals Azimuth, Filosofia Italiana, Philosophy Study and manages the philosophical book series Umweg (Inschibboleth edizioni). Her publications include two monographs devoted to phenomenological philosophy and several articles on the digital self, the extended self, and the ‘quantified self’/lifelogging movement.
ICI Project 2020-22
Music has always been an essential cultural element in the history of mankind. Current developments and changes deriving from the ‘digital turn’ have left decisive marks on musical evolution as well as cultural experience at large. By referring to the phenomenological method and approach, this project critically addresses the issue of electronic music production and fruition by questioning the differences and analogies between digital and analog music composition.
Focusing on the reductive and minimalist approach typical of the modular synthesis as opposed to the linear (binary) digital synthesis, the project argues that the current revival of analog synthetic music production (be it combined or not with digital devices and techniques) conveys a distinct musical temporality and structure, which imply a different – that is, a non-binary, deconstructive, analytical, and environmental – creative process, thereby challenging the normative and constructive understanding of the artist as well as the traditional relationship to the audience. As a case study, Buongiorno will refer to the Italian musician and performer Caterina Barbieri, well known for her minimalist, modular-oriented approach to electronic music.