Algorithmic Noise is a research-creation project that explores noise as an aesthetic, philosophical, and algorithmic phenomenon—working from within code itself. It is not merely about generating noise as a visual or sonic result, but about approaching it as a conceptual tool: a force that disrupts, complicates, and opens up new possibilities. Through programming as a living language, the project intervenes in the logic of software, pushing its functions beyond their limits and exploring the expressive potential of error, saturation, distortion, and excess. Code is not treated as a neutral technical instrument, but as a symbolic and structural space where the unexpected can emerge. Writing code becomes a performative act, where the programmer operates as an explorer of the system’s edges, bending structures until something unforeseen surfaces. Instead of pursuing efficiency or cleanliness, the project embraces complexity, margin, and noise as an alternative form of sensitivity—one that can activate new ways of perceiving and thinking.

This proposal unfolds at the intersection of generative art, creative programming, and critical reflection on the systems that shape our lives. In a world deeply mediated by algorithms that sort, filter, and normalize reality, introducing noise also means introducing dissent. It is a way to resist the homogenization of experience and to open cracks in the narratives of transparency, control, and optimization. Algorithmic Noise inhabits code through uncertainty, instability, and ambiguity, questioning both the technical conventions and the ideological frameworks that underpin them. It asks: What does noise reveal about the systems we inhabit? How can error become a creative force? What kind of sensitivity emerges when code allows itself to be contaminated by chaos? In this context, noise is not only an aesthetic—it's also a stance: a way of thinking with and against the languages that structure our digital experience.

My livecoding performances are grounded in a continuous, real-time dialogue with the machine, where algorithms are not only executed but also rewritten on the fly. This ongoing exchange transforms code into a live instrument, a language that is spoken and shaped in the moment. Each line typed becomes an action, each syntax variation a sonic possibility. Rather than following a predetermined path, the performance unfolds as an open system—sensitive to context, error, and spontaneity. The act of coding becomes visible and audible, turning the stage into a shared space where the logic of software is exposed and challenged. What emerges is a soundscape that is immersive, unpredictable, and in constant transformation, engaging the audience in a unique process of real-time algorithmic improvisation.

These performances, presented across various venues and festivals in Europe and beyond, propose a radical approach to electronic sound and digital aesthetics. By using code as a performative and expressive tool, I explore the boundaries between control and chaos, structure and deviation. The algorithms act not only as compositional frameworks but also as agents of disruption—capable of collapsing, mutating, or overflowing their own logic. Each session becomes a sonic laboratory, where the machine's behavior is not only orchestrated but provoked. This method opens a space for listening that is both critical and embodied, where technology is not hidden behind polished interfaces but exposed in its raw, generative state. Livecoding, in this sense, is not just a way of producing sound—it's a way of thinking, performing, and experiencing the algorithm as a living, unstable force.