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Observations: Organization of modern artistic thought – Sound Object Concerning: Listening process, Acousmatic Music, Sound Perceptions, Interior Architecture, Design, the way music is listened nowadays. Why write experimental electronic music via new audio devices? Contemplations: The way music is listend nowadays. Design, Listening process, Acousmatic music. Interrogations: How the way we listend to music today cna influence the thought behind new compositions? Can we reformulate a musical thought which starts from an acousmatic practice that involves solid-based sound objects? How can we integrate new environments and sound diffusion methods?

OBSERVATIONS: In a world leaning more and more towards noise in communication, creating a map that allows us to navigate and evaluate things is essential. Standards in their broad meaning may help us to go through an ocean of information, let us feel constrained, and yet allow us to go beyond, setting up eventually new standards. CONTEMPLATIONS: From conclusion back to premises, it is fascinating to have a closer look at how we can eliminate irrelevancies & inconsistency and check at cross-references & potential controversial suppressed info. Formal logic, sixteenth-century counterpoint, and computer coding have been great comparative examples to understand the interrelation and commonalities upon which these three very different subjects create an incredible variety of creative outcomes and ramifications through the base of apparently rigid rules. Each practice revealed to me the delicate balance to what logically possible and empirically possible may embody. INTERROGATIONS: Is there a saturation point where the law of formal logic, based on a science that is old enough by now, can disclose a different and perhaps innovating approach in thinking? Which implication may this have on the process and outcome of artistic research? The 'process' to me remains yet the most crucial part of the journey. REFLECTION KEYWORDS: Ampliative, Code, Conflict, Critical Reasoning, Empirically Possible, Error (vs) Information, Logical possible, Principle of Charity, Structure.

A rich learning experience to further develop and apply valuable critical thinking skills, counterpoint knowledge and programming to artistic research! The BootCamp was a short but intense experience on the most innovative methodologies and ideas on artistic research. I have been immersed in high level, vigorous training on critical thinking, counterpoint and programming. Professors that tought the courses are notable artists and professors at Institution of higher education. At the end of the BootCamp I feel I have learned new tools and technique to be utilized in my research practice. I have also reinforced my knowledge on the application of critically thinking to my research and the artistic reality around me.

Formal logic, sixteenth-century counterpoint, computer coding: what do they have in common? During RappLab2 I learned that being able to recognize relations between premises and a conclusion, and knowing how to counterpoint four voices, might be activities made of the same material. I highly enjoyed every course, since each lecturer made me disclose a set of competencies that I am now able to use in my research activity. Still, the one I appreciated the most was "Programming in the Arts: Practice and reflection": I couldn't imagine the musical (ad artistic, more generally) possibilities hidden behind what at first glance may seem just a cold, strictly defined set of rules. To sum up, the BootCamp was an extraordinary opportunity to acquire skills in a unique context: the Orpheus reserved to us participants not only great lectures but also the most exquisite hospitality.