Franz Rosati is a musician, digital artist and lecturer.
He uses digital technologies and custom software as the basis for his artistic production which is designed to embody different emanation from audiovisual concerts, screen based installations, software art and printed artworks.
For several years Franz Rosati has been exploring a broad-spectrum of aesthetic outputs ranging from procedural and generative wireframe minimalism and real time 3D renderings, from the creation of autonomous virtual creatures such as Machine and Structure or Pathline, to the exploration of dystopian immanent landscapes.

His production includes Digital Artworks such as Latentscape, Hyletics, Map of Null, Machine & Structure, exhibited in international events, festivals, in form of contemplative digital art which can be adapted to large screens as well as custom format video projections or ledwalls, and listed for galleries and platforms such as NIIO, Framed*, ARTPOINT, Dong Gallery, NEAL Digital Gallery, The OUTPUT, Sedition Art, Mana.

Audiovisual concerts, presented in musical and digital arts festivals such as Romaeuropa, Les Bains Numerique, 90dB, ADAF, Sònar CCCB or in notorious clubs oriented towards experimental music, electronics, techno such as OHM in Berlin, where the cinematic and narrative aspect blends with the extemporary one, bringing in each replication new and unpredictable elements, thanks to the use of procedural and interactive generation techniques for sounds and images.
Sound and music are central elements in his work. Quiet, dense and smooth when the artworks are exhibited as screen based installations, impetuous, loud, symphonic and rich of pulsating infrasonic bass and layers of granular textures during a concert setup. In all their manifestations, these sounds are always the result of a deep transfiguration process of acoustic sources coming from the realm of strings and plucked instruments with a special focus on baroque, classical and folk music.

Expert in the use of programming languages and environments such as C’74 Max and Derivative TouchDesigner, he develops his music and his artworks mainly with software developed personally, where technological experimentation, becomes a tool to enhance the artworks’ perceptual emanations adding organic layers.

He combines his artistic activity with the composition of music and sound design for theater and visual artworks, and teaching profession in interactive systems and sound design classes at IED European Institute of Design, Music Conservatories and Universities in Italy and abroad while lecturing workshops about art and technology, festivals and institutions.


DIGITAL            NIIO
MUSIC              discogs
SOCIAL            vimeo
NFTs                 hicetnunc

Represented in China by OUTPUT


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LATENTSCAPE on Creative Applications
HYLETICS Live @RomaEuropa 2019 x Artshake


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.”