• 2110

    2110 predicción de segunda estructura para dos músicos-jugadores y entorno inmersivo. Valentín Garvié, trompeta Bruno Lo Bianco, percusión Diego Alberti - Luciano Azzigotti, composición de interacción 2110 fué el año en el que se prohibió la mercadotecnia. Camuflados dentro del arte y los papeles científicos los publicistas slashdoteaban y streisaneaban mensajes ilusorios hasta volver la comunicación inaccesible. Ante el peligro de la extinción del lenguaje , un tipo de cazadores de contaminación informativa diseñó un test de atención capaz de preveer grupos semánticos inestables: el predictor de segunda estructura. Esta es su historia y su diccionario.
  • kokon

    kokon is the second piece for harp I made studying differents growth phases as performing states. The harp’s resonance is like water, a fluid medium that propagates ad infinitum. Each state of the piece works as an incremental modulator of this resonance in a system where sound can be re-absorbed and feedback on its activators. It was done in close collaboration with Simon Foersters.    
  • bulle

    I dreamed the other day that my memory was a perfect sphere. In a place where the time curve the space drawing floating colors that cannot be touch. The tragedy of form is that language curve meanings morphing memory into gesture. Like my lips which while they want to say color, just can whisper shadows. J'ai rêvé l'autre jour que ma mémoire était une sphère parfaite. Un endroit où le temps courbe l'espace en dessinant des couleurs vaporeuses qui ne peuvent être touchées.
  • mycelium

    Micelio (2016-2017) El micelio es una fase vegetativa del crecimiento de algunos hongos. Los micelios no tienen flores ni semillas, sino que está compuesto de hebras auto-replicantes. Con estas metáforas organicé un sistema de crecimiento gestual en los ejes vertical y horizontal, que va tomando diferentes regiones del arpa replicando y proliferando diferentes accidentes sonoros. Fue escrita en principio para el taller de Gunnhildur Einarsdóttir, y luego trabajada en una cercana colaboración con Gabriela.
  • jacquard

    Descripción

    Escrita para Esteban Manzano. Encargada por el TACEC, Teatro Argentino de La Plata. Texto de Marina De Caro

    Audio

  • espinor

    Program Note

    The pieces works as a complex plot of three modes of imbricated rotation: sonorous, gestural and temporal modes. By recording of immediate actions and their contrapuntal execution it generates palindromes and scalar constructions in a very precise time scale. The organizational unit is not the 'note concept' but a sond-gestural complex based on the domain of sound expanded into a documental registry. Handling of numerical memories working as a notation parameter equates the its own condition to the same level of the live event, except that they appear mirrored symmetrically, such as the spinorial model, a vector model of elementary particle rotation. The guitar is not only a sound generator but also a geographival and spatial, quasi scenographic, where the guitarist appears inside it at the same time as outside.

    Versions

    Details

    Duration : 8'
  • Collision

    Collision is a distributed and spatializated ensemble piece comissioned by GSU [Game Research Unit] Philadelphia. It was premiered on 13th June, 2019 at House Gallery. Made by kimi, the proto-system for dynamic music scores I developed in 2009, it was designed to be projected on top of the concert place stablishing a 4x3 grid where each square belongs to each performer. The piece deals with non-lineal representation logic both in the temporal domain, interwined by the different speed of layered boid particles , and timbre-domain, moduled . by common note-head coding (square equals noisy actions and circle equals total pitched actions) and color. The conductor has some control of the piece on the fact that unlike other projects, the macroform is not resolved but defined on real time.
  • aquenios

    for saxophone quartet
    Seeds dispersion depends on fruit structure. In Aquenios [Achenium] - that empty fruit where seed shortly flows - , the quartet takes differents strategies of sound generation from physical parametrical instructions. The reed's own materialy is in the same hierarchy of actions of air column and fingering. From a chaotic emergence, as a result of multiple gestural and chambered interactions no too accurate, it lets sprout a subtle web but dense at the same time, as a floating moss. Where listening has to be sink but not exhausted. As when we look at the achenes flying transported by dandelions. Or hiding in the folded microtextures of strawberries.

    Versions

    Details

    Duration 6' 47''

    Score

    Interactive
    Static
  • vilanos

    [ph by Alejandro Held] When a flower dies, and it’s petals wither, a perfect sphere formes inside. Like the subway , the veins , the umbrellas, like the earthworm’s path... arboreal systems grow regardless of the materials that comprise them , displaying the same geometry . They really come to fill the grooves that already exist in the space. The flute sound is transformed into a swirling turbulence, air that is fragmented and divided into a spiral. Hence the re- feeding of a listening technique transforms holes into resonators, the duo as symmetrical exchange point.

    Instrumentation

    amplified soprano flute duet.

    Details

    Vilanos, 2014, 11'. Premiere: Escrituras Argentinas @conDiT 2014 9, Duo MEI, Música para flautas. Patricia García y Juliana Moreno. [ph by Alejandro Held]
  • la zairja

    ¿Que pasaría si la música fuera el lenguaje?,¿O si nos comunicáramos no solo con sonidos sino en un emtramado de acciones, movimientos y gestos colectivos? ¿Que función corporal sería para la vista lo que la voz humana es para el oido? ¿Podríamos pronunciar colores o formas en el espacio? La zairja es, historicamente, la primer máquina de contar, un ordenador mandálico de decisiones. En este juego, paradójicamente, un sistema permite a los músicos interactuar en un ritmo no medido que hace infinitos los puntos de tiempo. El juego se desprende de una obra anterior llamada Acelerador de Realidad para músicos distribuidos en el espacio. Establece repertorio de acciones conjuntamente con condiciones de conexión entre los intérpretes generando texturas emergentes y complejas. En este caso, el parámetro espacial del juego se ha adaptado especialmente para la instalación de Sebastián Roque en Movil.cheLA El ensamble está conformado por estudiantes de la Licenciatura en Música de la UNTREF y músicos invitados: Con la Participación de : Emanuel Juliá Luciana Lutteral Francisco Mastucci Diego Terra Mario del Risco| Vera Blaustein Alejandro Vinué Juan Manuel Miguez Fabrizio Rampulla iago Edelstein Sebastián Navarro Lucía Drocchi Guido Saá Nicolas Galvan Gilberto Ramírez Connie Arévalo Fausto Rivadulla Duración aproximada: 40 minutos.
  • event horizon

    Program Note

    EH ocurre at the instant between stimuli and its echo. All audible frequencies and all visible spectrum in equal intensity. The state is switched between sound and light by a Curie motor, which generates a rhythm from the point where materials stops to attract each other. The installation works as a place where the perception is the materiality, made of perceptive alterations as paraedolia and psychofony.

    develope

    la instalación esta conformada por la alternancia de ruido blanco a través del subwoofer y luz blanca en la intensidad mas fuerte posible, producida por un flash strobo controlado. Esta modulación entre sonido y luz está controlada por el ritmo de un motor de Curie. Dicho motor consta de 1 iman que atrae a un alambre de niquel. Al ser calentado por una vela el niquel pierde su propiedad de atracción y vuelve a su estado de reposo. Pero mientras se enfria, recupera su capacidad ferromagnética y es atraido nuevamente por el imán. Esto produce un motor natural cuyo ritmo está determinado por el calor el imán y la cantidad de material. Esta señal es procesada y traducida a dos estados: sonido total y luz total, que nunca coincidirán, generando una trama perceptiva de correlaciones subjetivas en cada espectador. La instalación está pensada para ser visitada de a un espectador por vez. La idea es generar un espacio que invite a la meditación del fenómeno interior de la percepción en una condición que combina la lógica de una operación física clara y la sensualidad de los extremos que se difuminan por su potencia.

    Materiales

    1 subwoofer 18' 1 octogonal soft box 48' 1 flash strobo dmx 2700w

    Data

    2014 Premiere in Panal 361, Buenos Aires , Argentina.
  • microbeatlogic

    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.

    Description

    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.

    Instrumentation

    Bearing Balls conical springs magnetos 2 amplified semihespheric containers

    Details

    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.

    Score

    Videos

  • Reality Dispersor Accelerator

    acelerador dispersor de realidad [Wirklichkeit beschleuniger dispergierers] for n musicians, performers and public in an augmented space luciano azzigotti [2012] instructions ADR is an action musical score defining a space. Its proposes different actions and interactions between agents modulated by surrounding, found objets, and constructed memories. ! The score is made of colored lines and zones. When an agent is intersected by a line or trapped inside a zone, the action must be triggered. ! Each color represent a unique kind of action: walk following the line direction or walk randomly inside the zone. link walk in the line until find a mate lists pronounce the already constructed memories previous the performance. LISTS: colors | moral values | sensation | dispersor | names of agents | counting-singing | biodramma hug & hum play an object the space is filled of sound and estrange objects
  • epinikia & agonistics

    instructions The Epinikia are the odes to the athletes, songs that poets like Pindar composed generally by comission in order to praise the memory of the winner's biographies. Moreover, in the lyric, to all situation that generates a struggle between two characters thus establishing the basis for action. Agonistics refers in one hand, to the sportive quality of competition in pursuit of a goal (agon), or to the driving force of creation and self-improvement. In this game, the poet and athlete are the same person, so agonistics and epinikia requires of a versatile player fed by fatigue and poetry. 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. Information premiered on December 17th 2011 by Nonsense Ensamble Vocal de Solistas, at conDiT.cheLA 2011 3
  • retorno

    h4>Program Note 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 anything will return it should be the possibility of a reflection, a scale, and of Other which reconstruct the initial action listening.

    Instruments

    basson french horn trombon percussion (crotales) bandoneón piano violoncello

    Details

    Duration 4' 49' Premier 29 th october 2011,ensamble 34 conducted by Annunziata Tomaro, conDiT , Buenos Aires Argentina.

  • qualia

    Qualia fué realizada en el marco de la beca Melos Gandini junto al compositor Gerardo Gandini. Fué estrenada en los conciertos de la beca en la Biblioteca Nacional el 16 de diciembre de 2010.

    Nota de programa

    Aplicados a la música, los qualia refieren a operaciones subjetivas y cualitativas que median entre los patrones existentes en la partitura y aquellos construidos en la conciencia durante la experiencia musical.

    Lejos de intentar modelar dicha experiencia, presente de alguna manera en el afecto barroco, en la representación de la emoción romántica o en el nominalismo cuantitativo de algunas partituras del siglo XX, aquí sirven como un pretexto metafórico de construcción formal.

    Imaginamos que cuanto mas jerarquizada e interrelacional es la acumulación de estratos de organización (que en su interacción simple generan un estado complejo),  mas imprevisible y enactiva será la emergencia de qualia.

    Los movimientos corresponden a tres diferentes configuraciones de los  estratos . Están dominados por los conceptos de espacio de fase (de los estratos gesto y  registro) ,bifurcación (de estilo y planos lineales)  y caos (densidad cronométrica) respectivamente.

    Cada uno de ellos es delimitado por el instante en el cual  alguno de los estratos alcanza su nivel de saturación. Cuando esto ocurre el sistema se compensa a través de dos operaciones, corte abrupto desintegrativo o transición integrativa. La transición funciona como método de intercambio entre el tiempo retentivo de construcción de qualia y el protentivo o anticipatorio que rige la distribución de los eventos. La desintegración, como un gesto cadencial cuya potencia mayor ocurre en el tercer número. Este es el momento en que se liberan las restricciones aplicadas anteriormente.

    Instrumentación

    flauta, muta a picc. y fl. baja;

    clarinete

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

    piano

    violin

    contrabajo

    Detalles

    Duración 8' 20''

    Estreno 16 de diciembre de 2010, compañia oblicua dir. Marcelo Delgado, Biblioteca Nacional, Buenos Aires Argentina.

    Publicación

    Qualia, Melos Ediciones Musicales, Buenos Aires, diciembre 2010

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

    Description

    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.

    Instrumentation

    flute, muta  picc. and bass fl.;

    clarinet

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

    bandoneón

    piano

    violin

    doublebass

    Details

    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

  • iedro

    Program Note

    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.

    Versions

    Versiones

    Score

    Iedro

    [/column]

    Nota de programa

    Iedro sitúa al pianista en una posición de ejecución entre el estar parado y sentado. Su título es la aféresis de la palabra poliédro (de poli muchas y edro caras o bases) . Estas "caras"  tímbricas conforman un continuo lírico común. Ellos se ubican también en un espacio intersticial entre la extensión propia de cada timbre sin un rasgo teleológico definido, y puntos de intersección, donde pueden establecerse arcos  expresivos siempre cambiantes dependiendo de la resonancia particular de cada instrumento y la posición del cuerpo del pianista. Fué compuesta a fines de 2009 en Buenos Aires.

    Versiones

     

    Detalles

    Duración  4' 10''

    Partitura

    Iedro

    Program note

    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.

    Versions

    Details

    Duration 4' 10''

    Score

    Iedro

    [/column]

  • spam

    From a call for scores of thingNY ensemble in 2009, I designed a protocode that transforms the email spam box into a logarithmic distribution of music information. It was the first musical game made with kimi.
  • osmos

    "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 _Brief Description

    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. 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. This second state, the state of memories, can have an extremely long duration due to technical characteristics of this work. Also the way of selection of remembering can be done through a custom tool called PORE giving the idea that with this tool the process of the OSMOSIS of the place will be manage. There are different kind of PORES. The most simple one is the software that control the playing-recording of voices based on the noise threshold of the place. Most sophisticated pores include Memory Manager controlled remotely on internet, AI voice recognition software to sculpt a memory in a specific group of words, or Algorithmic Composition Software. Technical Requeriments .A outside open space of at least 10m2 specially a garden, roof, terrace or patio wheres the place give an intention of obscurity and instrospection. .Electricity Connection. .Internet connection. Provided by the artist. .4u rack (16x16x12 inch) with computer, amplifiers. .Vessel with mic, light, microcontroller. .10 cyphered ceramic cube speakers
  • torrentes extenderse

    Sorry, this entry is only available in European Spanish.