plerom

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As the third part of the tryptic microbeatlogic Luciano Azzigotti [2020-21]

“…the primary subject of general organology, which is tertiary retention, and more precisely hypomnesic tertiary retention insofar as it is irreducibly pharmacological, confers a constitutive and therefore irreducible bearing of noetic locality on today's exosomatic situation”.

Bernard Stiegler Brief

 

Plerome responds to the new balance of musical instruments in the digital world. Technical objects cross borders between the micro and macro scale beyond the human. Distorted by spatial-sensors, exo-performers moulded in the fake of deep learning and virtual environments, plerome is a declaration of a epiphylogenetic music, where the instrument is the site of inheritance and transmission.

Plerome investigates the music performance as a virtual construction where the simulation of a nano space becomes the environment where the concert is held.

The topics

Two performers manipulate an strange cube-shaped-board from which electrical and mechanical behaviour is perceived. Somehow it seems as if Kircher’s Arca Musarithmica or Llull’s wheel merged into an emitter of sound, space and light.

The piece is veined in an ambiguous environment that oscillates between the abstraction of the electrical manifestation and that mutates into the absurd landscapes and situations of a parallel virtual world.

Full description

Plerome is the final stage of a 7 years research about the nature of musical instruments and its agency with the human body.

Ideas and intuitions that unfolded from the triptych microbeatlogic written specially for reConvert project since 2013.

The first movement, mbl1 (2013) concentrates on the problem of micro percussion. Starting from the change of scale of iterated percussion instruments such as maracas, springs and snares, the piece’s temporality is organised around events whose physics cannot be linearly controlled. Which defines the accident as a syntactic sign and its relation to the musical gesture. The interruption of the rotation of bearings, the fortuitous spinning of two neodymium magnetos that may or may not happen, and the analogue control of the periodic sounds produced by the revolutions of the balls can serve as examples. The addition of a surface modulation produced by the roughness of an aluminium foil opens up the possibilities -even in a minimal proportion- for material mutation as a possible attribute of a musical instrument.

In the second movement, mbl2 (2014), the nature of a very rare sound, the chirp, was extended to other physical principles as the Euler disc, and the intervention by irregular weights of spheres made of different materials. Crossing possibilities of micro-tensions and haptic disposition between springs, magnetos and torpedos also extend to the domain of micro gesture the problem of musical polyphony. How can a discantus be composed from an accidental cantus that cannot be foreseen? The chirp is described as a descendent micro-glissando that tends to an infinite accelerando. It is this ambiguity between time, timbre and rhythm, produced by the interaction of these instruments in the micro-scale that necessarily engendered the final objectives of the triptych.

The mbl3 or Plerome approach starts with the dimension following the two preceding pieces: electricity, or rather, the rotation and exchange of electrons in the valence orbital within the atom. Effects such as magnetic resonance, the induction of metals or the transmission of impulses to sonic objects become in turn a projection of the plerome, the unity of the micro and the macro. The next step is therefore the link between the nano-instrument, which in turn gives rise to the macro or exo-instrument. This is why Plerome is situated in the revelation of this link as the real-virtual. On the micro-scale the musical gesture must be so minimal that the distance between stillness and infinitesimal disturbance can be transformed into an explosion.

 

Technical Data

Length: 40′

Space: min 7x8x4 mts.

Roof with rigging availability

 

 

Luciano Azzigotti

Born in Buenos Aires in 1975. He studied composition in La Plata University and piano at the Buenos Aires Conservatory. His recent work interweaves microsound, feedback and edges towards computer based music like dynamic interactive scores and immersive environments. In his work there is a high degree of formal contrast in permanent relationship with the microscale, a relationship supported by a rhythmic plot between the measured time and adaptive synchronization. His music has been performed by various musicians and ensembles around the world. He received orders from the Teatro Argentino de La Plata, Teatro Cervantes, Cycle of Contemporary Music of the San Martin Theater, National Library, Ministry of Culture. 2017 Juan Carlos Paz Award in instrumental music, supports by Ernst Von Siemens, Art Mentor Lucerne, Colón Contemporaneo. Lecturer in Science and Music, Instruments and Composition Seminars at Untref University, and invited in foreign universities such as Goldsmith University, Conservatory of Gran Canaria, Badajoz, UCLA, Darmstadt International Summer School. As curator of the music scene he was the artistic director of the Experimental Center of the Argentine Theater of La Plata (2018), also founded the platforms conDiT (2011), container (2016), Performance laboratory (2016), and publications such as Espiral (2012) and Musiki (2016). Since 2007, he has extended the spectrum of his work to the multimodal and extended field of music: the sonification videos (2007), Osmos (2008) and Spam-Kimi (2009) are adaptive and multimodal works that involve multiple modes of mediation. Recent compositions such as Microbeatlogic (2013), Vilanos (2014), Espinor (2016) and Limo (2018-19) incorporate amplification as necessary material in instruments, dynamic notation and video and space processes.