Anna Troisi

As a composer, Anna’s work spans acousmatic, environmental, and data-driven sound art. Among her featured compositions, “Méiyǒu shālù (Without Killing)” (2023) is an acousmatic piece that invites audiences to reflect on themes of non-violence through an immersive soundscape for a dance performance. “Norm Contaminated” (2018) is an environmentally themed soundscape commissioned by the Office of Experiments, developed from field recordings at the Wytch Farm oil field in Dorset (UK) and was exhibited at Arts Catalyst in London. In “OB-Scene” (2016), Anna uses biological data in live performance to create intimate, responsive sound environments. Other notable works include “Hyperdrone” (2015), which translates seismic data into resonant acoustic layers, and “Keen-Skin” (2015), an installation that maps neurological data to sound. 

As a performer, Anna has an extensive background collaborating with international artists across Europe and the United States. She has shared the stage with notable figures such as Lydia Cavina, Carla Bozulich, Nels Cline, Leyna Papach, and Phil Minton. Anna’s collaborations include performances with Mathias Pontevia, Thomas Bonvalet (Cheval De Frise), Yann Saboia (Api Uiz), John Berndt, Dan Breen, Vincenzo Vasi, Yuval Avital, and Mike Cooper. She has appeared at major festivals like the Angelica Festival (Bologna), the Trialogo Festival (Fondazione Pistoletto, Biella), and the No Net Festival organized by Jack Wright in the U.S., performing alongside artists such as Ricardo Arias, Mazan Kerbaj, and Charles Cohen. 

In addition to her artistic career, Anna is a dedicated researcher and educator, advocating for open-source, human centered technology and equitable futures. Her interdisciplinary approach—blending performance, composition, and technological expertise, engages audiences in complex, multi-sensory experiences that invite reflection on sound’s transformative potential.