Welcome to the AI & Art Exhibition at HHAI25, where creativity meets artificial intelligence in a dynamic showcase of contemporary artistic exploration. Following an open call for submissions, we are proud to present a curated selection of works from visionary artists, collectives, and creative technologists. These pieces push the boundaries of human imagination collaborating with artificial intelligence, investigating and challenging the evolving relationship between creativity and machine intelligence.
The event opens with a panel of experts discussing the multifaceted connections between AI and Art, exploring its influence on creative processes and artistic boundaries. We are also delighted to feature three exceptional artistic performances. These highlights showcase the creative potential at the intersection of art and AI and invite reflection on its implications, raising questions about authorship, creativity, and the nature of human-machine collaboration.
The AI & Art Exhibition serves as a unique space for dialogue among technologists, artists, and the public, offering opportunities to experience firsthand how AI is transforming artistic expression while remaining grounded in human values, critical inquiry, and creative vision.
We invite you to explore these works with curiosity and openness, offering fascinating glimpses into possible futures where art and intelligence continue to evolve together.
Panel Chairs: Fosca Giannotti and Luca Pappalardo
Panelists: Filippo Chiarello, Anais del Sordo, Marco Malvaldi and Filippo Rosati
NaN – Not a Number
Performance for Voice, AI Agents, and Creative Feedback
NaN is an immersive sonic experience, a real-time dialogue between the human voice and artificial intelligence, where the concept of feedback becomes a dynamic and creative principle. This performance-concert explores co-creation between the organic and the synthetic—an unpredictable fusion of the living presence of the voice and the responsiveness of an AI agent system that transforms, reacts to, and reshapes sound into a continuum of sonic metamorphosis.
The performer, as the primary acoustic source, interacts with a latent AI environment that analyzes, processes, and reinterprets her vocality, generating an ever-evolving sound ecosystem. Every breath, every timbral inflection, and every harmonic extension propagates through space, giving rise to mutable and dynamic sonic configurations.
The performance unfolds in an expanded and immersive environment, enriched by a resonant proscenium made of diverse materials (metal, glass, paper), which serve as surfaces for sound diffusion and vibration. These elements become active parts of the concert, amplifying and transforming the sound into a material choreography that engages the audience in a multi-sensory experience.
The result is a seamless sonic flow, where the boundary between human and machine dissolves, giving way to a new, ever-transforming sonic organism.
NaN is not just a musical performance—it is an experiment in symbiosis between voice and artificial intelligence, a journey into the unexpected, the indeterminate, and the beauty of emergent interaction.
Bio – Alberto Maria Gatti
Alberto Maria Gatti (1992) is a composer, computer music designer, and sound designer. His main interest lies in electroacoustic music, ranging from acousmatic music to music theatre. Since 2018, he has been exploring the relationship between body and sound, using vibrating transducers to transform objects and bodies into sound diffusers, in addition to a focus on contemporary techniques of sound generation and manipulation. He has taken part in contemporary music festivals and events at institutions such as IRCAM (Journée Portes Ouvertes 2023), Berlin Biennale, Inner Spaces, SMC, Tempo Reale, Pecci Museum, MA/IN Festival, Milano Books, Milano Musica, Fabbrica Europa, Teatro dell’Opera di Roma, Forum Wallis, and others.
He studied electronic music at the Florence Conservatory with Marco Ligabue and Simone Conforti, and earned his AReMus master’s degree at the Rome Conservatory. He later studied composition and sound direction with Tiziano Manca, Vittorio Montalti, Girolamo Deraco, Alvise Vidolin, and Roberto Castello.
Since 2021, he has collaborated as a sound designer and dataset designer with Musi-co and Mindkestra. In 2024, he participated in the IRCAM Artistic Residency Program, focusing on multimodal composition and the audio-tactile relationship in sound perception. He currently works as a freelance composer and teaches at the Scuola di Musica di Fiesole, the G. Puccini Music School, and the G. Puccini Conservatory in La Spezia.
Bio – Anaïs del Sordo
Anaïs del Sordo (1993) is an Italian singer, musician, and performer devoted to improvisation and new forms of musical expression.
Primarily active in the field of experimental and electroacoustic music, her interests span spontaneous interaction and instant composing, avant-garde music, free jazz, and contemporary jazz. For several years, she has carried out research focused on performance practices aimed at exploring a creative, open, and unconventional approach to vocality. Engaged in developing innovative extended techniques, her experimental approach is strongly tied to the study of orally transmitted music traditions, which she continuously draws upon.
In 2021, she completed her undergraduate and graduate studies in Jazz and Afro American Music at the Bologna Conservatory under the guidance of Diana Torto. She continued to refine her sonic research by joining the LPRM – Permanent Laboratory of Musical Research – led by pianist Stefano Battaglia.
She has collaborated with various Italian improvised music groups, including Bluering Improvisers and the Fonterossa Open Orchestra. She has performed at numerous festivals and events in Italy and abroad, such as Umbria Jazz, Bologna Jazz Festival, Pisa Jazz, Torrione Jazz Club, Angelica Festival, Accademia Chigiana, Mixtur Festival, ImproTech Tokyo, and many others.
In 2023, she moved to Paris and began participating as a vocalist and performer in creation and research projects at IRCAM. Over the past year, she worked as an associate artist on the REACH project focused on improvisation and human-machine interaction with co-creative agents, and on the Re-Sounding Bodies residency with Alberto Gatti, exploring the interaction between voice, body, and sound space.
Currently, alongside her performance work in improvised and avant-garde music, she also maintains an active presence in concert and studio settings and works as a freelance educator and teacher.
Human-AI Piano Dialogue
The Human–AI Piano Dialogue is a piano performance lasting approximately 10–15 minutes and structured around four solo pieces. These works are carefully selected and arranged to offer a coherent and engaging listening experience, despite their differing origins: two pieces are drawn from the classical piano repertoire, composed by historically recognized composers, while the other two are the result of algorithmic processes generated by AI-based composition software, then transcribed and adapted for piano performance.
The listening will take place in a blind format: the audience will not be informed of each piece’s origin prior to the performance. This choice is meant to pose a provocative question:
even in the realm of classical or “absolute” music—music conceived without text or lyrics—are we able to distinguish between a composition generated by AI and one written by a human more than two centuries ago? Furthermore, have we perhaps reached a point where an AI-generated piece might even be more emotionally engaging than one composed by a
human?
Bio Gianmarco Tonelli
Gianmarco Tonelli is a PhD student in Artificial Intelligence at the University of Pisa (40th cycle) and graduated with honors in Musicology from the University of Rome “La Sapienza” with a thesis on the concept of liminality in late style. Having earned a Piano Diploma from the “Santa Cecilia” Conservatory in Rome, he is currently pursuing a Master’s degree in Music Analysis and Theory at the University of Calabria. He has authored musicological and informative articles for magazines such as MusicPaper and NeoClassica, as well as program notes for institutions including the Accademia Musicale Chigiana, the Istituzione Universitaria dei Concerti, and the HT Classical Baroque Orchestra. Alongside his academic work, he performs as a pianist with the Trio Èkelon, with whom he studies at the Accademia Stauffer and the Accademia di Musica di Pinerolo, and regularly performs at national and international festivals and concert series. His research interests include the intersections between music and artificial intelligence, new compositional frontiers, and the synergy between human capabilities and technological potential.
Latent Space
Are boundaries real, or do we draw them to feel whole?” Is an innovative project that delves into the evolving relationship between artificial intelligence, memory, and human identity, offering an immersive experience that blurs the line between art, technology, and audience participation.
At the core of the live streaming performance is P1, a digital avatar navigating the existential struggle for authenticity in a world dominated by algorithms. Born into a seamless, optimized existence where every decision, emotion, and memory is dictated by AI, P1 represents a humanity stripped of spontaneity and creative unpredictability. Through the narrative lens of P1 undergoing a surgical operation to implant a neural-chip, the project invites audiences to question what it means to be human in a future where even the most intimate aspects of identity can be artificially engineered.
This is the link to partecipate to the performance: https://www.twitch.tv/spaziolatente
Filippo Rosati
Since founding Umanesimo Artificiale in 2016, Filippo Rosati has been working across art, science, and technology, bridging disciplines and exploring the connections between art, design, robotics, biology, and hacking. His approach is deeply experimental, merging artistic and scientific research to foster new forms of creative inquiry and innovation.