Ok, now I'm ready to tell you what a quack is for me TЯA website, or TЯA project, same thing. Same thing?

Before we begin, if you haven't visited it yet, here is the link to the site: progettotra.carrd.coOne more thing: the website you are on right now—this all-dark botanic green one—is my personal site, directly linked to the TЯA project. I mention this just in case you arrived here from somewhere else, rather than through TЯA constellation... quack quack quack...

1. NOT DUALITY, BUT TRIALITYTЯA IS NOT A DUAL SYSTEM; IT IS AN ENGINE OF TRIALITY.When we built the TЯA website during the intensive May/June 2026 residency in Melpignano, the intention was never to force a compromise between the visiting artists and the local community. Instead, we created a three-column architecture that isolates two distinct narratives—leaving TЯA in the center as an active threshold.The third narrative doesn't exist on the server: it emerges spontaneously in the mind and in the actions of whoever navigates between the two sides, connecting the dots.

2. WHAT YOU WILL FIND IN THIS LIVING ARCHIVE OF FRICTIONON THE LEFT SIDE / Artists:
The institutional and methodological apparatus. Here lies the structural foundation: the residency goals, the academic background, the core practices, and the constellation of artists mapping the entire network.ON THE RIGHT SIDE / Community:
The living material generated on the ground. Testimonies, local voices, human encounters, oral histories, and emotional footprints left by both inhabitants and performers.

3. LET'S BE HONEST: I HAVE MY FAVORITES...INCLUSIONE / The 5 Women of Melpignano:
Five trajectories, five gazes over the town: those born there, those who arrived as adults, those who left, those who live there and dream of escaping, and those who only commute there for work. Collected during the May/June 2026 residency. All materials were chosen, shared, and created directly with the people involved. LinkCURRENT PROJECT / The final slideshow:
The final photo sequence of the last residency. I could stare at it for hours... and I hope to keep updating it as new photos arrive from the constellation. Link (Special mention for the link right above it: "Sitting on a threshold between work and vacation", woooooooow).COSA RESTA / Giacomo Treglia's Letter:
The first time I read it, I cried like I hadn't in a long time. It hit core memories I hadn't touched in years—that simple, overwhelming feeling of "Ohhh, I'm not alone...". It moved me the second time too. Let me try reading it again right now. Link

3. TOWARDS AN ECOLOGY OF RESIDENCIESBeyond building the digital archive, a crucial part of this process emerged through ongoing discussions with Giacomo Veronesi (click here if you want to visit his amazing site for TЯA). Together, we reflected on how to activate, care for, and move the raw material collected during TЯA.The goal is to move past the simple "documentation of an event" and begin framing a broader ecology of artistic residencies—questioning how raw human data is stored, returned, and allowed to decay ethically over time.

The images above make up the Nomonk's Protocols website: https://nomonksprotocols.carrd.co/I filled it out while I was getting ready to go to "Resistenze e Metabolizzazioni" in Melpignano.
For many, this is a bit of a boring part... Simply put, it's about attitude. Perhaps my attitude. Or rather, the one I'd like to duck.

1. THE 5 CORE PROTOCOLS000-DATA / Standard & Taxonomy:
Defining a clear, professional method for naming and storing every completed work (YYYY-MM-DD_NAME_TITLE_V01). In contemporary art, creativity requires technical rigor: a messy archive is a dead archive.001-LP / Legacy Protocol & Ethics:
Rejecting cultural extractivism (inspired by CARFAC protocols). Local culture, rituals, and voices are not "free inspiration," but living heritage. This protocol ensures digital repatriation, community handover, and manages the Right to Fade.002-INT / Internal Protocol & Awareness:
Regulating the artist's biological rhythm as a "primary human sensor." Establishing blackout windows to protect mental health and prevent performance overload.003-FRAME / Calibration:
Synchronizing the sensor, space, trigger, and duration to avoid accidental documentation and filter out background noise.004-TRN / Training & Contact:
Preparing the physical body through proprioceptive tuning and tactile awareness before engaging with any recording device.

2. LESSONS FOR FUTURE RESIDENCIESOne of the key reflections emerging from Melpignano is the need to manage spontaneous, unscripted events that arise naturally during a residency. For future editions, we identified two essential strategies:THE ANALOG BLACKBOARD / Framing Board:
A physical board placed in the central hub where anyone can post a Framing Invitation specifying: EVENT_TITLE, RULES_OF_ENGAGEMENT, WHAT_TO_BRING, and TIME_WINDOW.THE DIGITAL BOARD / The One-Way Community Channel:
A digital broadcast space (e.g., a WhatsApp Community Channel rather than a noisy group chat) used strictly as a public bulletin board for instant, real-time invitations.

The photos above are part of the self-portrait TASK proposed by video artist Anita Kremm (click here if you want to take a peek at her personal website).Just like with Protocols & Ethics, before heading down to Melpignano I created a website using Carrd to showcase the tool. To do this, I decided to gather a few of my recent works—chosen a bit at random, a bit not. For now, as an introduction, I think it works just fine. Here is the link: fabioghidoni.carrd.co

A CARE FOR THE STREAM/ Le Prince de L'eau:
Speaking of which, here is a photo from the performance Le Prince de l'eau at the RediBiss Festival in Civiasco (August 7–9, 2026). This work was born as a direct response to Aqua Saltatio, a piece conceived during the very first days of work in Melpignano with Juuli Hyttinen—you can find its video recording on the left side of this site. Or here.Ciao.

1. CAN FRIENDSHIP BE ART?Simple, growing list of artists and practitioners who shared materials, space, and time during TЯA.
Here are the first nodes—waiting to add all the others as new traces arrive:

1. GOETHE'S FRAGMENTS(Die Wahlverwandtschaften, 1809)

EDITING AS METABOLIZATIONThis is a collection of video traces created in connection with the TЯA residency (Resistenze e Metabolizzazioni).All raw footage was recorded during the residency period in Melpignano, while all editing was strictly executed one month later as a self-assigned cooling-off rule to let the material settle.Each video contains all technical and relational info, except for the specific Frame in which the performers operated and to which the video responds. All uploaded videos are intentionally stored and presented in low resolution; if you need or wish to view them in high resolution, feel free to contact me directly. Or if you simply want to know more about a specific video... well, why don't we just grab a drink and talk about it? Or make another one?All individuals appearing in these works have reviewed the final edits and provided explicit consent for their publication. In line with the FADE protocol, anyone can request the removal of their image or content from this page at any time.^{P.S. If the video does not display or play properly inside the site frame, try clicking the "Open in a new window" button at the top right.}

1. MAKING THE FANZINEThe Fanzine wasn't conceived behind a desk; it was cut, pasted, and compiled in the middle of residency life in Melpignano. It is a paper trigger—a physical object designed to mix official methodology with raw, unfiltered local chatter.
Read the Digital Fanzine.
How TЯA uses it as a core method.

2. TWO EXTREMES OF THE TERRITORYAmong the materials collected, two interviews frame the exact spectrum of how a project touches a town. Both are part of the interviews collected in the second part of the COSA RESTA page:THE INSIDER / Active Trace:
The conversation with the girl who co-created the Fanzine, digesting, questioning, and re-assembling the residency’s narrative from within.THE UNAWARE / External Trace:
The conversation with the restaurant owner's daughter—someone who knew absolutely nothing about the artistic residency, offering a pure, unmediated, and unfiltered outside gaze on what was happening around her.

1. A SHARED FREQUENCY: SILVIA’S MANIFESTOBefore entering the sound, there is a movement of thought, body, and boredom. During our time in Melpignano, Silvia Marazzi wrote a manifesto for her research page on TЯA—a somatic invitation into resistance, metabolization, and stasis. For me META_NOIA document is a foundational layer to this noise space.Read / Download / Study / Memorize Silvia’s full Manifesto (Canva)

2. LE NOUÈR: FIRST ALBUM COMING SOONThe sound research of Le Nouèr is taking physical shape. The debut album will be released soon, led by the main track titled "Non fingere". Below is a preview and the lyric of the track:

[Chorus]
Ma tu non fingere
Di non conoscermi
Ma tu non fingere
Di stare ancora insieme a me.[Verse 1]
Giriamo intorno alle parole
Come se fosse un passo a due
Per questa strana sensazione
Che brucia questo nostro sole.[Chorus]
Ma tu non fingere
Di non conoscermi
Ma tu non fingere
Di stare ancora insieme a me.
[Verse]
[pizzica rhythm, syncopated clapping]
Sfioro la tua notte, sola.
E appare come rarità
un segno lento che consola
la dolce nostra verità.[Bridge]
Si consuma il sipario, la gente se ne va.
La fine della realtà abbandona l'ovvietà
[Pre-Chorus]
Gira gira gira gira
Noi non saremo mai più la stessa storia
Gira gira gira gira
Noi che non saremo frammenti di memoria.
[Chorus]
Ma tu non fingere
Di non conoscermi
Ma tu non fingere
Di stare ancora insieme a me.[Bridge]
Si consuma il sipario, la gente se ne va.
La fine della realtà abbandona l'ovvietà[Pre-Chorus]
Gira gira gira gira
Noi non saremo mai più la stessa storia
Gira gira gira gira
Noi che non saremo frammenti di memoria.
[Fade out][Outro]
Ma tu non fingere
Di non conoscerti
Ma tu non fingere
Di stare ancora insieme a me

(Visual Collage: METANOIA_1 — Voluptas Sine Qua Non — Le Nouèr)

1. THE PEOPLE OF THE CONSTELLATIONResidencies are not built on geography alone, but on the unpredictable human encounters that happen within it.This space belongs to everyone who crossed paths with the project—those who brought a story, those who lent a voice, those who shared a silence, and those who simply walked past the frame. Friends, strangers, commuters, and unexpected allies. People.

♥THIS IS NOT ART

This act gathers a few residues of “RESISTENZE E METABOLIZZAZIONI”, a residency held between May and June 2026 in Melpignano (Italy), designed and carried out alongside the students of the Master in Contemporary Physical Performance Making (Tallinn) and hosted by Cracalia ETS (Italy), parallel to my personal artistic research on community.An experience immersed in the territory, built not on the topic of "producing" a final or finished work, but on "contemplating" the act of encounter. An ecosystem in which the artist's work does not use the community as a backdrop, but lives in direct friction with its spaces, its institutions, and its inhabitants.This act is neither a gallery of memories nor an institutional moment. It is a reflective device, a structured mirror in constant movement. An attempt to linger on what surrounds the performative act with the same care given to the act itself; documentation thus transforms into a potential engine for old ideas, new postures, and new interferences.

This act is articulated through 8 conceptual vectors:FRAME — The framing, the device that defines and shapes.FADE — The ethical fade, disappearance, and the right to be forgotten.CARE — The maintenance of the human sensor, the care for presence.PULSE — The beat of the network, the living frequency of the constellation.GAZE — The gaze, the visual posture of observing and being observed.ECHO — The resonance of the word, the narrative returning from the territory.NOISE — The decision to stay with the debris, the friction of cultural interference.YOU — The receiver, the other, the essential counterpart of any trace.

FЯAME

The framing, the device that defines and shapes. Every archive is a boundary condition. It does not capture reality; it builds a perimeter around it. To frame work within a residency is not to censor or enclose it, but to establish a shared rule of engagement. It is the conscious decision to give a temporary container to volatile human encounters, preventing the signal from dissolving into background noise.The website architecture of TЯA is a frame: a three-part threshold where structure and chaos collide to allow a third narrative to emerge.

FADE

The ethical fade, disappearance, and the right to be forgotten. Every digital trace is an interference. To archive ethically is to acknowledge that not everything belongs to the public eye, and not every memory is meant to be permanent. The Right to Fade is an absolute boundary: the guarantee that any voice, image, or body captured in the field can withdraw its consent and dissolve from the system at any moment.We do not build monuments; we manage temporary presences in transit. True ethical archiving lies in knowing when to hold a trace and when to let it fade.

CARE

The maintenance of the human sensor, the care for presence. To engage in a field, the artist must first calibrate their own body. You cannot observe, listen, or record if the primary human sensor is overloaded or uncalibrated. Care is not passive preservation; it is active maintenance. It is the discipline of establishing blackout windows, respecting biological rhythms, and protecting presence over performance.Taking care of oneself is the fundamental prerequisite for taking care of the encounter, the data, and the community.

PULSE

The beat of the network, the living frequency of the constellation. A pulse is a signal sent across a distance: a photo, an audio trace, an unexpected letter, a shared document. It is the rhythm that keeps a collective practice alive when everyone is back home.No research happens in isolation; we are shaped by the signals we continue to exchange.

GAZE

The gaze, the visual posture of observing and being observed. To look is never a neutral act. Behind every lens lies a posture, a choice of proximity, and a specific way of holding space with another human body. The gaze in these videos does not seek to capture or possess the moment. By imposing a delay between recording and editing, the gaze relaxes: it shifts from immediate consumption to slow metabolization.Observing becomes a shared, ethical space where those who are filmed retain agency over how they are seen.

ECHO

The resonance of the word, the narrative returning from the territory. A rumor is an echo without a clear origin. It travels through alleys, kitchens, and squares, mutating at every step. To document a community is not to record facts, but to listen to how stories resonate through the bodies that inhabit a place. The Fanzine does not freeze truth; it captures the friction between what was said, what was heard, and what was invented.The echo is the territory talking back to the residency—a reminder that the narrative never belongs solely to the artist.

NOISE

The decision to stay with the debris, the friction of cultural interference. Noise is not just acoustic static or sound pollution. Noise is whatever we perceive, label, and reject as a disturbance. To work with noise means challenging the cultural stereotype that demands clean data, polished narratives, and smooth surfaces. Setting boundaries is not about erasing interference, but recognizing it: it is the conscious choice to gather the daily debris of information, set aside what has comfortably settled, and stay with what is usually thrown away.Noise is the residue of reality—the essential friction that forces us to re-calibrate our posture.

you

The receiver, the other, the essential counterpart of any trace. No archive is complete without the person standing on the other side of it. You are not a passive spectator. By navigating these fragments, listening to these voices, and reading these protocols, you become part of the constellation's loop.The trace exists only because there is someone here to activate it.