My project is the result of a vocal research that takes place through the unbridled improvisation; it follows the composition that, on the contrary, take place through an accurate assembling: I consider it like a work and I do it by myself. "Diffrazioni Sonore" was born as a reflection about the "transverse by nature concept": the research, first was about the composition structure, than has begun to be able to propose unconnected sonorous/vocal experiences with the prevailing idea on singing in the global musical culture, and it embraces a philosophy that concerns: the conscience of

existence (as creator), to be contaminated (’cause my creation is in-social and incultural contest where rules that I discredit are in    force), and contaminating (as supporter of this contamination which I think myself as an episode and not as the symbol).

Regarding the sound:
Referring to accredited precedents in the history and to definite quotations where I can, my chief passion is the limit. The language of music and sound limit. Limit: where there aren’t incorrect or correct formulations, but just to venture into the unknown through unusual things.
Regarding the (formal) structure:
I always was been interested in the so-called  "entre-deux-coup-de-dés" by Deleuze: the between of the composition, the most ambiguous  part of it. So the objective is to exalt the terms of the construction-sensation relationship, not as conflict but as several extensions.
There isn’t just the doubtful nature of the exploration in this. The doubtful nature to intend like "out-of-the-rules" at all costs. The foundation is a constant and indifferent to meaning interaction: I don’t want to indicate any one to be vocalist, musician or to live, but to go through: my work is like an action being carried out, a process where it’s necessary to breathe Conscience air. It is "multi-functional": offensive to the pragmatic cultural dominion status-quo that principally dodges the plural and multi-directional creation: what I call indispensable base to start, the point of view that cannot be omitted. These intentions substantiate at least three clear aspects or tracks in my project: an interferential temporality, or being carried out and not aprioristically definited; the serial form, where the listening and the variation produce the spectacular destiny and the composition; the freeing of the style, or the "empty/free will" by Hegel: a technique and analytic mind will not be able to evade it.

[Romina Daniele, June 2005]

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