In the early 60's the musician Piero Grossi conducted research of electronic music programmed using a common methodology with visual, kinetic and optical art. Art and music show - as he wrote in Marcatre in 1965 - the affinity in the "... reduction of means, in the concentration of the search for values with the least possible number of means. I see that the paintings use few colors; we use few sounds and try to get from them all the values they can give."

Around 1965 Grossi recorded a repertoire of sound events at the Studio di Fonologia in Florence, including "Battimenti". Beats are a phenomenon of acoustic physics caused by the overlapping of one or more sound waves. The goal was to create a sort of "sound material" to be used for other compositions."Battimenti" can also be felt as a finished work, so much so that someone, like Albert Mayr, one of Grossi's major collaborators at the time of the studio "S 2F M" in Florence, pronounced defining "Battimenti" as one of the "most fascinating works of the last century"for maximum expressiveness even in the essentiality of sound.

In the same 1960s, the painter Romano Rizzato created works that recall kinetic and optical art. In these works, the centrality is the movement and the use of a few colors, often only in black and white.

Today, in this project <BATTIMENTI 2.5> Rizzato realizes a graphic work, inspired by his optical-kinetic period of the 60s-70s, but conceived with the sole purpose of being able (thanks to the collaboration of the musician Sergio Maltagliati) to be read as a musical score.

Maltagliati uses 11 sound frequencies, from 395 to 405 (the same ones used by Grossi), combined as suggested by the calligraphy of the "score" of Rizzato".

The resulting sound material is then modified by the software "autom@tedMusiC" Generative Music (version 2.5) which generates a fully automatic music that is always different.

Our work was conducted with deep independence, but once the work is finished, we can glimpse a deep common relationship, as the kinetic art of Rizzato's pictorial work (by its nature) is projected from the "space" of the sheet to the movement in "time." (area generally reserved for music).

Time became the container (for later use) of sounds or images or both together. It is an experience that we test every day when we see moving images in our reality and listen to sounds, without an apparent relationship.