soundtrack
Icara-Icara (2012)
audio-visual installation for 2-channel synchronised video and 4-channel sound (10' 14 loop)
Joanna Austin (video) & Roberto Filoseta (sound)
Conceived for projection in a specially designed chamber, the work exploits several perceptual strategies aimed at providing an immersive audience experience. The particular angle and distance of the projection walls envelops the viewer and gives rise to a stereo image – two separate streams of visual information that are channelled discretely (to a degree) through each eye and are then re-combined in the brain. The large mirror covering the entire back wall further augments audience participation by reflecting at once the viewers and the 2 screens, thus placing the viewers inside the screened images and making them, effectively, part of the artwork. Four channels of surround audio are delivered by speakers concealed in the chamber’s walls, conveying spatial cues that draw the audio-viewers in the midst of the action, transporting them from the claustrophobic setting of the protagonist’s suburban dwelling to the limitless space, as the action takes to the open sky.
Exhibited by UH Galleries at St Albans Museum, UK, Jan-Mar 2012
Icara-Icara in a split-screen / stereo-sound version, for illustration only.

Icara-Icara is a reworking of the Icarus myth from a female perspective. Icara wants to fly. She knows well what happened to Icarus, who dared to fly and fell, who tasted freedom and died. Still, she leaps into the void to find herself and freedom. And she is not content to keep to the safe path traced by Daedalus: for Icara, flying means much more than landing safely to a known destination, it means unbounded search and fearless discovery.

Credits: Kate Wiggs (actress), Suzanne Page (creative consultant), Lorna Reay (voice)
Icara (2011)
By Joanna Austin (video) & Roberto Filoseta (sound)
A re-mix version of Icara-Icara. Single-channel HD video with stereo sound. 7 minutes.
Dea et Luna (2010)
HD video with stereol sound, 7 minutes.
Joanna Austin (video) & Roberto Filoseta (sound)
Dea et Luna has been realised as a site-specific work for the Luton Hoo Arts project, and first shown as an audio-video installation at the Luton Hoo Walled Garden. Searching into the rich history of the site, video artist Joanna Austin discovers a newspaper article appeared on 23rd January 1772 reporting that at 1.30 am the moon descended on Luton Hoo Estate. Structured as a non-narrative journey through the Walled Garden, this nocturnal work suggests a wandering moon-goddess in search of herself.
Sonya Chenery (actress), Sonya Chenery & Suzanne Page (research and creative input), Lorna Reay (voice)
Exhibited at:
– Luton Hoo Arts Programme, 2010
– The Cutting Room, at Nottingham Playhouse, 2010
– UH Galleries Open Exhibition (winner of), 2010
– London Short Film Festival, 2011
– Wells Arts Contemporary, 2012
– CineSonika Festival, 2013
Adagio No. 8 (2012)
HD video with stereol sound, 9' 30 minutes.
Marty St James (video) & Roberto Filoseta (sound)
Adagio No. 8 continues Marty St James’s engagement with the video portrait. Conceived as a video projection for gallery space, this piece features images of dancer Iveta Petrakova manipulated into highly stylised geometrical patterns of a mandalic quality. The whole soundtrack is derived from a small selection of piano motifs structured to follow the vicissitudes of the dancer’s figure: stated in the first section, processed to abstraction in the subsequent sections, and partly reappearing in the last section.

The work has been exhibited in several galleries in the UK, China, Taiwan and Dubai.
Electronic Dance Music in Narrative Film (2020)
book chapter in
Foundations in Sound Design for Linear Media, M. Filimowicz(ed.), New York: Routledge
Abstract
As a growing number of filmmakers are moving away from the traditional model of orchestral underscoring in favor of a more contemporary approach to film sound, electronic dance music (EDM) is playing an increasingly important role in current soundtrack practice. With a focus on two specific examples, Tom Tykwer’s Run Lola Run (1998) and Darren Aronofsky’s Pi (1998), this essay discusses the possibilities that such a distinctive aesthetics brings to filmmaking, especially with regard to audiovisual rhythm and sonic integration.

Keywords
soundtrack; sound design; film music; film rhythm; audiovisual rhythm; electronic dance music; electronica; techno; glitch.