▓▓ Music (∧) AI
BRUTTO CANE – OBERLUNAR FEAT. JOHNNY DAL BASSO – 2026
[ITA] Il paradigma supervisionato e quello non supervisionato. L’empirismo artificiale e il razionalismo artificiale. Fra questi poli, la semisupervisione assume, nella mia ricerca, il significato di una via intermedia: una filosofia della terza dimensione cognitiva, da esplorare attraverso la musica sperimentale. A volte persino io dimentico la nobiltà gnoseologica che anima queste mie idee: la possibilità che una riflessione sul modo di conoscere diventi un nuovo modo di creare, contribuendo a dare forma all’arte e alla musica del futuro. Negli ultimi anni ho visto moltiplicarsi le imitazioni di Oberlunar, su canali diversi e a diversi livelli. Ho ritrovato parole dei miei post e intuizioni della mia ricerca riproposte sotto altri nomi, accompagnate da musica generata con strumenti di plagio massivo come SUNO e rivendicate come proprie. Considero questa appropriazione una mortificazione del pensiero e del lavoro da cui quelle idee hanno avuto origine. Oberlunar nasce da tecnologie che ho sviluppato personalmente per la mia ricerca, con modelli addestrati sulla mia musica: un percorso nel quale elaborazione teorica, costruzione degli strumenti e intenzione artistica sono intimamente connesse. È amaro constatare con quanta disinvoltura una ricerca possa essere impoverita fino a diventare un espediente di autopromozione: una formula da esibire, una parvenza di originalità con cui accreditarsi agli occhi degli altri. Il desiderio di suscitare questa approvazione mi ha sempre interessato poco. Ritengo tuttavia necessario parlare di ciò che accade alle mie idee mentre dedico il mio tempo e le mie energie a progetti sempre più ambiziosi. Anche il rispetto per il proprio lavoro richiede, talvolta, di prendere parola.
Quanto ai progetti a cui sto lavorando, ho imparato a custodirli nel riserbo finché non ne avrò pienamente definito la forma e raggiunto la compiutezza. Desidero che possano maturare secondo la propria natura, preservandone il senso dalla superficialità di chi vorrebbe appropriarsene senza comprenderli.
[ENG] The supervised and unsupervised paradigms. Artificial empiricism and artificial rationalism. Between these poles, semi-supervised learning takes on, within my research, the significance of a middle path: a philosophy of a third cognitive dimension, to be explored through experimental music. Sometimes even I lose sight of the epistemological nobility that animates these ideas of mine: the possibility that a reflection on how we come to know might become a new way of creating, helping to shape the art and music of the future. In recent years, I have seen imitations of Oberlunar proliferate across different channels and at different levels. I have seen others take words from my posts and insights from my research, repackage them under different names, accompany them with music generated using tools for mass plagiarism such as SUNO, and claim them as their own. I regard this appropriation as a debasement of the thought and work from which those ideas emerged. Oberlunar grew out of technologies I personally developed for my research, with models trained on my own music: a process in which theoretical inquiry, the development of tools, and artistic intention are intimately connected. It is disheartening to see how casually a body of research can be stripped of its substance and reduced to a means of self-promotion: a formula to put on display, a semblance of originality through which to gain standing in the eyes of others. The pursuit of such approval has always held little interest for me. Nevertheless, I believe it is necessary to speak about what happens to my ideas while I devote my time and energy to increasingly ambitious projects. Respect for one’s own work sometimes calls for speaking out. As for the projects I am currently working on, I have learned to keep them private until I have fully defined their form and brought them to completion. I want them to mature according to their own nature, their meaning protected from the superficiality of those who would appropriate them without understanding them.
Fragile – Oberlunar (AI music video) – 2024
Elegans – Oberlunar (2024)
AI MUSIC ALBUM
How the connectome of a small living being can generate music.
International Press:
Elegans-AI scientific paper published on the international journal Neurocomputing.
Elegans-AI source code [GitHub].
Echoes – Oberlunar (AI music video) – 2024
Italian Press
FareMusic.it OBERLUNAR: RITORNO AL FUTURO
Spettakolo.it OBERLUNAR: QUANDO L’AI AIUTA LA MUSICA
EP: What if we were obernauts before we were code? Oberlunar – 2020-2025
This short collection of electronic tracks from the project OBERNAUTS is an attempt at the re-humanization of artificial music — a fragile and necessary gesture following a long process of stylistic technosymbiosis, in which the artist’s sonic identity became entangled with structures generated by neural networks he personally designed and trained. The machine learned the style.The artist learned the machine.
In between: silence, error, imperfect variation.
That’s where “What if we were obernauts before we were code?” of Oberlunar emerge.
Italian Press
FROM CONTRAPUNCTUS XIII OF J.S.BACH – Oberlunar – 2022
Destructured Bach – Oberlunar (2021)
AI MUSIC ALBUM
How can an artificial neural network learn J.S. Bach using an unsupervised paradigm?
Italian Press
Nerospinto.it
Intervista a Oberlunar, il compositore che ha destrutturato Bach attraverso una IA
MusicCulturaOnline.it
Oberlunar presenta il video di “From Contrapunctus XIII of J.S.Bach”, brano estratto dall’opera “Destructured Bach”
Filodiritto.com
Se l’intelligenza è artificiale, la musica è vera?
THey never come back – Oberlunar (2019)
aDHAL – OBERLUNAR (2018)
ai MUSIC ALBUM
Italian Press
SoodNews (waybackmachine)
Intervista a Oberlunar, il musicista dall’animo AI.
Blogdellamusica
Oberlunar: un progetto tra sperimentazione ed Intelligenza Artificiale
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Featurings and Unedited Experimental Projects
mACHINE sYMPHONY (NIGHT IN GAZA –
mANFREUD FEAT. OBERLUNAR (2024))
The album Machine Symphony, co-produced by Manfreud (Roberto Manfredi) together with Paolo Baltaro
(of Pillheads), features contributions from Patrizio Fariselli (of Area), Andy (saxophonist and multi-instrumentalist from Bluvertigo), Oberlunar, Diego Marzi, and Daniele Mignone — all deeply rooted in the artistic and sonic world that defines this project.
Machine Symphony is not only a reflection on technological reality but also offers a strong political and social perspective. The track Night in Gaza of Manfreud featuring Oberlunar is clearly inspired by — and dedicated to — the ongoing tragedy unfolding in that small strip of land in the Middle East.
Italian Press
Rockol.it (Album Review)
Video Interview – Soudcity Scapes – Lo scenario artificiale.
My heading is awesome
Sax Droids: Machina
Antonio Gallucci feat. Oberlunar (2022)
Saxophone: Antonio Gallucci
Orchestrations: Artificial Intelligences by Oberlunar
The title track numbers reflect the different training epochs of the AI. This sonic experiment narrates the transformation of Antonio Gallucci’s saxophone as the artificial intelligence evolves, gradually becoming more aware of music. Throughout the process, the human seeks to merge musically with the AI’s compositional writing, creating an ever-shifting dialogue between expression and algorithm.
Italian Press
ITALIA – LIVE TURING – L’intelligenza artificiale nella musica – UNIMI
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Fan/Tribute Video
Dancing shadows ( video by anna okomura) – oberlunar – 2020
blue rain ( video by denise mao) – oberlunar – 2025
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