"Einarsdóttir gave a breathtaking performance of Luciano Azzigotti's Kokon – I had heard this last year as part of the harp composition workshop, but it sounded completely different here, given a mad funhouse quality that left the audience mystified (there were many requests to see the score)"

The first piece, which not unintentionally opens the albun, is Vilanos, from Azzigotti, for amplified flutes. Throughout eleven minutes, the author works with a repertoire of tiny gestures, breaths, keystrokes, what are known as non-pulmonic sounds, and also converts each hole in the flut into a kind of closed tube with its own spectral components. The extendede tehcniques of the flute brings, from the electricity's hand, to areas that could be shared with acousmatic music. The piece surprises by the power which is derived from the minimum.

It is true: even in the field of extended techniques there better works than others, and its clear that Azzigotti’s duet, Vilanos, for two flutes, does not exclude certain beauty of an hypnotic illusion, that the piece shares without doubts with the virtous performance of MEI duet, comprising Patricia García and Juliana Moreno.

The set of work is very interesting, although Luciano Azzigotti’s work ( Qualia ) is more clearly cutted by the complexity of its surface or its musical actions, a non crowded complexity, but expressive and highly ambiguous, with veiled melodies and some bergian quality , whose dialogue with some tradition turns it at the same time highly original.

For this intervention, Teresa Pereda worked with mapping technology, which was essential for precisely adjusting the image of the spring to the 18th-century ceiling design. She was assisted in this by Juan Pablo Ferlat, who has been advising her on the details of the image for some time, and Luciano Azzigotti on the sound, both of whom made fundamental contributions to this type of project.

Many successfully emulated the concept of repeated, irregular sequences of movement and sound, while others worked with the fascinating idea of counterpoint that is both visual and auditory. Luciano Azzigotti’s work used light-hearted material to create overlapping character narratives like the lines in a Bach fugue.

"In this paper, we discuss the development of a framework thatenables real-time interaction using MUSIC V, the pioneering music synthesissoftware developed by Max Mathews and ported to modern Gfortran by BillSchottstaedt and Victor Lazzarini. We seek to generate a collaborative onlineenvironment, which allows us not only to disseminate the particularities of thisfoundational piece of electronic music history but also to extend its logic to thecurrent practices of live-coding and internet music."

In this paper we aim to analyse Vilanos for two amplified flutes in C, by Argentinian composer Luciano Azzigotti, through Walter Benjamin’s concepts of “innervation” and “second technology”. We attempt to rethink these categories, which have been extensively applied to cinema, and transpose them into the reflection on music, in order to approach, from an scarcely explored perspective, a central problem of New Music: the use of electronic media. We posit that in Azzigotti’s work the particular way the instruments are amplified -i.e.: through a condenser microphone inserted inside each flute- has a decisive role in the construction of the piece and in it’s reception. We can hear with utmost detail all key clicks, subtle changes in embochure and even feedback sounds produced due to the flute preparation. Thus the singularities of the piece direct our attention to a specific modus of interaction between the performer’s body and the musical instrument, demanding us to reconsider Marx’s ideas about the relationship between humans and technology. Hence what we intend is, not only to say something about Vilanos, but to contribute in providing tools to reflect on political and aesthetical implications of technology in New Music today.

The work will focus on two case studies. These are two works created by artists from the City of Buenos Aires in the first decade of the 2000s that are based on software programming that generates music: Oveja eléctrica(2003-2008), by Santiago Peresón, and Kimi (since 2009) by Luciano Azzigotti. Kimi is a program that creates generative scores to be read by a variety of instrumental ensembles. Oveja eléctrica applies artificial intelligence techniques to create a machine that learns to compose. Based on an analysis of the presentations of these works, it can be seen that the products derived from the programs developed by the artists are inserted into different spaces of circulation and modalities: concerts (virtual and in person), publications through record labels, interactive websites, and sound installations. It is observed that both works escape the fate of being presented in a traditional concert format and subvert the composer-score-performer triad.

This work contributes new theories of composition practice and practice-led methodological proposals aimed at rethinking the interplay of social formations and material conditions in written music, interrogating the disciplinary constitution of the field. _Decentering Vibration_ proposes a music that composes velocities rather than sound alone — a field in which the full vibratory spectrum, from the solar cycle and the heartbeat to cochlear perception, unfolds on a common, non-hierarchical ontological plane alongside the intervals of light and colour, of heat, gamma rays, and frequencies not yet amenable to quantification.

Kimi is a language, an interactive composition system that dynamically generates scores from initial conditions. As a way of visualizing musical information, it allows many musicians to play together by sight-reading. Kimi is used in performances in which instrumentalists interpret what the system proposes in real time, while also being able to perceive what is being played in its environment and incorporate it into the composition

This research argues that certain contemporary compositions—particularly instrumental solo and chamber works—cannot always be fully characterized or understood using inherited musical categories. This limitation arises from the use of heterogeneous acoustic materials, such as noise, which place many traditional concepts—melody, rhythm, form, harmony, among others—out of context. As a result, these categories are largely ineffective for explaining and characterizing many recent sound-based musical experiences.