• 17/11 14/12 Artist in residency, Visby International Composers Residency. Sweden.
intermezzo-Esteban Manzano 3
Jacquard – Esteban Manzano – 2017 – TACEC – Teatro Argentino de La Plata – Argentina


[column width=”45% “padding=”10%”] In the micro percussive scale, information is processed as a magnetic field, the chirp in a tone burst and the decision of every attack as an accident occurring inside  the rattle.


MBL works on the same principle of operation of iterated resonant percussion instruments such as rattlers, maracas, bells, but on an enlarged scale. The materials emerge from the dialectic between human action and its unintended consequences ruled by physical properties of the objects inside containers as inertia, micro-resonance,  attractive  and repulsive magnetic forces.


Bearing Balls conical springs magnetos 2 amplified semihespheric containers


MBL 1 31/08/2013  Duration  7′ 22” Premiere  31 de agosto de 2013, reConvert Project, Victor Barceló & Roberto Maqueda conDiT.cheLA , Buenos Aires Argentina. 3th september  2013 / reConvert Project @Centro Cultural de España Santiago de Chile. 8th september  2013 / reConvert Project @Centro Cultural de España Córdoba, Experimentalia Fest.



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Musical Fonts

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Epinikia & Agonistics

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english version coming soon…


los epinicios son las odas a los atletas, los cantos que poetas como Píndaro componían generalmente por encargo para loar en el recuerdo las biografias de los vencedores.

las agonales remiten por un lado a la cualidad deportiva de la competencia en pos de un objetivo (el agón), o a la fuerza impulsora de la creación vital y la superación de si.  Por otra parte, en la lírica, a toda aquella situación que genera una lucha entre personajes estableciendo así la base de la acción.

en este juego, poeta y atleta son la misma persona, por lo cual los epinicios y agonales precisan de un jugador versatil y retroalimentado por cansancio y poesía. Se genera un sistema cerrado en donde los atleta-poetas turnan sus roles en pos de un objetivo común, el encuentro de la sincronía y la resonancia de un único objeto musical.

De haber manifiesto de los  epinicios y agonales sería algo como esto:

Todo sonido es engendrado por un movimiento.

Todo cambio está dado por el límite del cuerpo.

Todo material tiene un mapa espacial y una dirección.

Toda organización se desprende de partes pequeñas hacia un todo complejo.

La percepción musical es intervenida por la práctica agonística del deporte.

La información es consecuencia de las reglas,y no causa de una acción.

El juego antecede a toda forma de cultura.

Similar a la teoria del deporte propuesta por Mihály Csíkszentmihályi

la estructuración de los epinicios esta desarrollado sobre tres metacapas de organización principales: la agonística que organiza la competencia, la lúdica que equilibra y hace intrascendente la agonística transformándola en una práctica motriz o dadaista, pero que paradojicamente es necesaria para ganar el agón, y la hedonística

que remite a la búsqueda del cansancio como generador de una materialidad corporal.

En cada juego se proponen diversas acciones que van delimitando un campo o mapa que establece el orden de la acción futura.

A este  primer juego podríamos denominarlo “espacios fonéticos” ya que nuestro primer objetivo se basa en medir la respuesta del cuerpo en situaciones extremas dentro de un transcurso metafórico del aparato fonatorio y su recorrido desde la respiración simple hasta la produccion de fonemas y palabras con sentido.

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Echo is like the memory of space. I imagined anything that can sounds remains perpetually negligible even in even values of energy, preserving a remnant of identity. It is a music that moves on the remains of this memory by saturation and discharge processes. If anithing will return it should be the possibility of a reflection, a scale, and of Other which reconstruct the initial action listening.

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french horn


percussion (crotales)





Duration 4′ 49′

Premier 29 th october 2011,ensamble 34 conducted by Annunziata Tomaro, conDiT , Buenos Aires Argentina.




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Qualia was composed during  Melos Gandini’s grant with composer Gerardo Gandini.


Applied to music, qualia relate to subjective and qualitative operations mediating between musical score patterns and those constructed in listener’s consciousness during musical experience.

Far beyond of trying to shape this experience, like in barroque affect theory, romantic emotion representation or quantitative nominalism from some twentieth century scores, here this concepts serves as a metaphorical pretext to formal construction.

We imagine the more hierarchical and interrelated accumulation of organization layers is (which generates a complex state by simple interaction) the more unpredictable and enactive  qualia’s emergence will be.

Movements correspond to three different configurations of strata. They are dominated by the concepts of phase space (of gesture and register layers), bifurcation (of music style and lineal planes) and chaos (of texture and chronometric  density) respectively.

Each of them is delimited by the instant at which one of the layers reaches its saturation level. When this happens system is offset bv two operations, abrupt disintegrative cut or integrative transition. Transition works as a method of exchange between retentive time of qualia construction and protentive time governing distribution of events. Disintegration, however, as a cadential gesture whose major potency occurs in third movement. This is the moment when earlier restrictions are released.


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flute, muta  picc. and bass fl.;


percussion (vib, tt, bd, 2trg, 2tblocks)






Duration 8′ 20”

First performance december 16th 2010, compañia oblicua dir. Marcelo Delgado, Biblioteca Nacional, Buenos Aires Argentina.


Qualia, Melos Ediciones Musicales, Buenos Aires, diciembre 2010



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Iedro locates the pianist in a performance position between standing and sitting. Its title is polyhedron’s apheresis (from greek poly/many and edros/faces or bases) that reflects the piece’s multifaceted structure.

Each timbral face comes together to form a lyric continuum. This continuum is  located also in a interstitial space between the extent of sound without a teleological feature set and intersection points  where it can be settled expressive arches forever changing, depending on the specific resonance of each instrument and player’s body position. It was composed in late 2009 in Buenos Aires.


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Duration 3′ 10”



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Is the day after, or the day before. Again were are in a cavern hole. We feel pain, or lonelynes. All needs together in one. Nothing to say else than a hug. Before the beginning and after the end, we look for what we don’t know. Then, if in the deep of the night you feel alone, in the infinite meaningless you’re lost, if your breath doesn’t reach you: SING FOR ME. Sing for everyone’s soul, and you’ll find yours at the end of the coulourfull path.
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Place Of Memory

“In the grapevine yard, Azzigotti found a vessel was an inspiring element to carry out an audible and interactive installation. Since the beginning of the Paleolithic, during the time of the Greeks and until today, this container/head contains memories that will be broadened throughout the exhibition.” Graciela Taquini

.OSMOS is a site specific interactive sound installation. A place that can remember the voices sounded in the past. This memory is organized in two states. At reaching the installation place, public hear a continuous organized whispering spacialized in ten audio channels around the patio. In the center, an antique ceramic vessel has a sign remembering old greek epigrams like those founded in the entrance gates of temples and public institutions:

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When visitors get closed to the vessel and start to talk, the first state of the installation stops. The vessel begins to light in response to the amplitude of voice. When they shut up, after a while, the installation start to process this information and second state starts.

This recent voice that has come to the place, is converted to a subtle whispering, and played around the cubes. The time organization on this state, is an logarithmic timed proliferation of remembering going from the newest until the first remembering of the day, all process lasting about 5 minutes.

Then, the first state comes back. The sound is spacialized around ten cyphered cubes, giving the idea of trajectory, number, and border. The border is a concept that appears in many components of this work. First, because the work is inspired by the serendipitous encounter of a vessel, made of clay, material in between water, sand and earth. In the development of the work it was very important to find the most homogeneous way to fit everything in a place, trying to give more value to the experience of listening than seeing. The color and shape of cubes are complete visible when they sound, the same the vessel.

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Think Blue, Count 88

At the  main staircase’s rest await visitors headphones resting on a rack. In front of them disguised as a window hatch with a small peephole. Both are an invitation to immerse yourself in the space issue is doing at that moment the crew of Cordwainer Smith story “Blue thinking until two count.”

“Before the great ships whisper among the stars at the hands of the planoforma, people had to fly from star to star with immense sails: huge armed membranes in space on a long rope, rigid and cold test. A small boat space provided enough space to handle a sailor sails, check the path and watch the passengers who were tightly enclosed in their little abiabatic capsules , huge knots in thread carried by the ship. The passengers knew nothing: they slept on Earth andawoke in a strange new world 40, 50 or 200 years later. ” “Blue thinking until two count” Cordwainer Smith, 1962.

The goal: to remind us of the sense of hearing and potential construction of visual images: “The restriction on the perception of the work is intended to enhance the care and length of experience and the enforcement of the audio material over the visual. It also interacts with the story that was inspired APH88C, Blue Think up two counting Cordwainer Smith. “

Observers navigate a universe resulting from the confluence of Smith and Azzigotti proposals.The artist’s proposal takes the form of a video as a temporary score and visual, it generates a spatial and temporal organization timbre of sound materials in this case refers to implementing extended techniques on a grand piano. The video is itself an exploration of shapes, colors and shapes of the instrument inside.

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“Relating the inner vision can be an instrument with its sound, and putting it into play together in an audiovisual work. The sounds are sometimes associated with the action that produces them, but sometimes only symbolize the idea of trajectory and travel linking with the image itself always in a slow and ample movement. The materials are inspired very loosely on an old tale of Cordwainer Smith, and Paul Linebarger (1913-1966) called “Think Blue, Count Two” Objeto A.



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This video is made by extracting musical patterns from video data. The title refers to material condition ( raw: without any process, minimal processed data), and the approach to the residual material of radioelectric communications.


First experiment at cheLA, consisted in programming a human scale version of famous electrogame Simon says, for Martin Light Designer (MLD) positioning system,  Andres Colubri opened the raw-data sacred gate through OSC protocol.

Torrentes Extenderse

Torrentes extenderse es una obra realizada con un instrumento interactivo que consta de generadores de video y de un transductor de imágenes dinámicas a sonido cuadrafónico en tiempo real. el principio de funcionamiento es el mismo utilizado por fernando von reichenbach en su convertidor gráfico analógico catalina (1967).

este emulador de catalina, es capaz de producir información de video, analizar las imágenes en movimiento y tomar decisiones de mapeo en tiempo real dependiendo de estructuras de composición algorítmica. torrentes extenderse toma materiales de los bordes semanticos de las transmisiones televisivas como ser las señales de ajustes y el ruido blanco de fin de transmisición. estos remanentes de información son tomados aqui como materia principal y puestos en relación segun procedimientos de la música electroacústica.