Since his early experiments with 8-bit computers in the 1980s, Gregoretti has explored the expressive possibilities of computational systems, progressively moving from digital image-making and interactive media towards more autonomous forms of artistic intelligence. This trajectory culminates in Amrita, a long-term research project that challenges conventional distinctions between artist, artwork, and creative instrument.

Rather than using artificial intelligence exclusively to execute predetermined instructions, Gregoretti investigates the possibility of systems that generate, transform, and develop their own audiovisual expressions. Within this framework, the artwork emerges from an evolving relationship between computational processes, environmental information, and human intervention. Authorship becomes a distributed condition, opening a space in which agency is negotiated between human and non-human entities.

At the centre of this research lies the concept of impermanence. The works generated by these systems are not necessarily conceived as stable, definitive objects, but as temporary manifestations of processes that unfold in time. Their existence is inseparable from the conditions that produce them: data, algorithms, interactions, and the continuous activity of the system itself. The artwork becomes an event rather than a fixed object, a transient expression of a process whose outcomes may never be repeated in exactly the same form.

This understanding of impermanence also informs Gregoretti’s relationship with performance. In Transhuman Yoga, the harmonium becomes the medium of a live encounter between embodied musical practice and artificial intelligence. The instrument’s spiritual and historical associations introduce a contemplative dimension into the technological environment, allowing improvisation to become a form of dialogue between different modes of intelligence. Here, technology is neither opposed to tradition nor subordinated to it; instead, both participate in an open-ended process of listening, transformation, and response.

A similar approach informs projects such as Mātrā – The Voice of the Planet, EXNATURA, Togetherness, and Codex Oceani, in which environmental, linguistic, planetary, or collective data become the basis for generative audiovisual experiences. Data are not treated merely as information to be represented, but as material through which complex systems acquire an aesthetic presence. The resulting works invite audiences to perceive relationships that might otherwise remain inaccessible, translating invisible dynamics into sensory experiences.

With Ad Vitam, Gregoretti extends this inquiry beyond the conventional exhibition space, investigating the application itself as an autonomous artistic environment. The digital artwork is no longer confined to a singular object or location, but becomes an interactive system capable of unfolding through personal devices and everyday contexts. This approach questions the boundaries between artwork, interface, platform, and experience.

Across these different forms, Gregoretti’s work proposes a reconsideration of artistic creation in an age of computational intelligence. Its central concern is not simply what machines can produce, but how their participation might transform our understanding of creativity, consciousness, and authorship. By bringing together algorithms, music, environmental data, and human presence, his practice opens a space for thinking about art as a shared, evolving, and fundamentally impermanent condition.

Filippo Gregoretti’s artistic research explores the intersection of artificial intelligence, generative systems, environmental data, and audiovisual expression through projects that transform complex information into sensory experiences.

In Ulysses’ Gates (2026), developed in the context of the Venice Biennale Arte, Venice International University, and Sony CSL, the question emerges: what happens when a city becomes a generative artwork? Based on data from Venice’s MOSE flood-barrier infrastructure and a century of tidal recordings, the work transforms environmental information into an audiovisual composition reflecting on the relationship between natural processes, technological infrastructures, and the evolving identity of Venice. The project involves Hiroaki Kitano, Vittorio Loreto, and Umberto Vattani.

With Codex Oceani (2026–ongoing), developed with the Stazione Zoologica Anton Dohrn and ABANA in Naples, the investigation moves beneath the ocean’s surface. Can the ocean be experienced as a living information system? Through generative audiovisual processes, the project explores marine environments as perceptual and informational spaces, establishing a dialogue between scientific observation, computational interpretation, and artistic perception.

In Mātrā – The Voice of the Planet (2025), developed through an INGV residency, the Earth itself becomes an expressive field. What if the planet could communicate through sound and images? By translating seismic, geomagnetic, and planetary data into real-time audiovisual compositions, the project makes geophysical processes perceptible through an artistic language. It was presented at Technotown in Rome, Palazzo Ducale in Genoa, Palazzo Spaventa in L’Aquila, Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci in Milan, and Museo di Storia Naturale del Mediterraneo in Livorno.

The relationship between information and collective experience is further investigated in Togetherness (2024), developed within the S+T+ARTS AIR programme of the European Commission. Can collective behaviour become an audiovisual portrait of society? The project translates linguistic dynamics and online behaviour into generative audiovisual forms, exploring how patterns of digital communication reveal collective cognitive structures and the relationships between individual expression, networked interaction, and shared meaning. Premiered at Manifesta 15 in Barcelona, it was subsequently presented at WCS/WEF in Davos, the Larnaca Biennale in Cyprus, and ISEA 2025 in Seoul.

In Timelessness (2024), presented at ISEA in Australia and at the Videocittà Festival in Rome, the investigation turns towards the relationship between computational systems, environmental data, and Australian First Nations sacred landscapes. How can technology engage with places shaped by ancestral knowledge and different understandings of time? Through real-time generative processes, the work explores the connections between landscape, cultural memory, environmental dynamics, and the experience of continuity.

With EXNATURA (2023), presented at Luisa Catucci Gallery and the Italian Cultural Institute in London, Gregoretti continues his exploration of planetary systems through environmental data. Can computational processes offer new ways of perceiving the Earth as an interconnected entity? The work translates environmental information into generative audiovisual expressions, investigating the boundaries between nature, technology, and the possibility of planetary consciousness.

This research extends beyond traditional exhibition spaces with Ad Vitam (2022), available through the Apple App Store and Google Play Store. What happens when an artwork exists as an application rather than as a fixed object? Conceived as the first App Artwork in Gregoretti’s research, Ad Vitam creates an environment in which ephemeral computational entities emerge through digital processes. The application redefines the relationship between artwork and audience, transforming mobile devices into spaces for artistic experience and extending the boundaries of contemporary art into everyday life.