Franz Rosati is a musician and digital artist. He uses digital technologies and custom-made toolset of software as the foundation for his artistic production, spanning from concerts, audio-visual live sets, installations, software art and printed artworks. His two-faced aesthetic takes the form of deeply emotional music, rich of tensive crescendos and anvil sounding heavy beats, across rhythmic noise and cinematic sound design present in works like Ruins or NULLTELÉKHEIA. On the other side Machine and Structure, Fields of Immanence or Symbolic are characterized by aseptic, sharp, flipped out digital sounds produced by unorthodox synthesis techniques alongside procedural/generative point-clouds or signal driven lasers. His visual output is designed with programming languages and environments as well as Videogame Engines, often arranged in a back and forth workflow. During the last ten years Franz Rosati has also composed music for theatrical pieces and visual arts, made interactive software art while teaching interactive systems, new media arts and sound design in universities.


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Sonic Field – Infinite Grain 11
Sonic Close-Up 11


“with nulltelékheia franz rosati has managed something quite unique – an album that fits nicely into a stylistic area, yet sounds entirely alien, overpowering.”


“opening up to the reality of creation itself, unpredictable and simple, placed between natural chance and the artist’s self-questioning attitude. it becomes possible within a refined and open control from the algorithm, speaking the language of the data towards sound, and so to the image and imagination, allowing rosati a unique poetic ability where what is directed gets mixed with incomplete deliberation, merging vastness and simplicity, leading the sound to find its place, not over a fixed line, but in an always open continuum, dancing over a projected network of resonant relations. a search which, as he says, lies between the spiritual and the scientific”
miguel isaza – sonic field / infinite grain


“neither a narcotic wash nor harsh noise, the italian artist pulls away layers of violent dins of sound to reveal its elemental components.”
decoder magazine


“easy listening, ruins isn’t; it’s a forceful ear cleaning.“


“in Rosati’s hands, noise gains the ability to not only represent ruins, but to do the work that modern ruins do in contemporary culture: to return repressed social trauma to the surface. in this sense, his ruins present what theorist walter benjamin once named “dialectics at a standstill” — in other words, they are photographic.”


“for those living in industrialized nations, this is a more apt soundtrack to the modern world than the “natural” sounds that surround us.”
a closer listen


“un album-passage, en quelque sorte, et dont le déroulement réclame de suivre l’ordre de la déconstruction narrative. car ce qui règne ici, c’est bel et bien une précision incisive dans le chaos.”