Audio + Video
This is some information about the Audio + Video page.
with Josh Martin (3 excerpts)
We finally started our research and experiments with the interactive floor. After testing and experimenting for sometime with a variety of smaller settings, this is finally a prototype for a possibly larger floor and walls system that I look forward to developing with Josh Martin, and sharing it with everyone in the near future. ...
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little sound box
Here’s some experiment with the little brother of all my touch boards: ...
read moreVexing project
VEXATIONS for Erik Satie’s Birthday on 17th May 2021 …another reading, celebrating Erik Satie’s 155th birthday VEXATIONS for Erik Satie’s Birthday on 17th May 2020 This version of Vexations was made reading a “translation” of my piano rendition as a midi file then read again into a MaxMSP pitch tracker patch that uses an emulation of the 1972 Eminent 310 string synthesizer Part of the VEXING PROJECT https://satievexations.art/live-stream/ ...
read morematerialismo @ F[r]esta
![materialismo @ F[r]esta](https://giorgiomagnanensi.com/wp-content/uploads/2021/05/materialismo-@-fresta-thumb-184x184.jpg)
F[r]esta • festival de improvisação • May 15-16, 2021 View this post on Instagram A post shared by Giorgio Magnanensi (@giominz) ...
read morefield trips
A distant collaboration with Vicky Mettler (aka Kee Avil) presented by Sawdust Collector and Barking Sphinx View this post on Instagram A post shared by Sawdust Collector (@heysawdustcollector) View this post on Instagram A post shared by Sawdust Collector (@heysawdustcollector) ºººº Sawdust Collector and Barking Sphinx Performance Present ºººº FieldTrips • May 2021 Weekly Releases, Tuesdays at 9:30 pm • May 4 – 25 Video collaborations. Watch Anytime, or Many Times. ºººº May 4 ºººº TILLICUM SHANTIE Russell Wallace and Tony Wilson André Lachance bass, Kai Basanta drums, Dave Say sax, Michelle Bardach vocals, and Sam Dabrusin vocals. Shot and Edited by Jo Hirabayashi ºººº May 11 ºººº VICKY METTLER & GIORGIO MAGNANENSI Remote Collaboration VICKY’S VIDEO: Acoustic guitar by Vicky Mettler Sitka Spruce resonators, plate reverb, touch boards (plywood,Douglas Fir bark),blippoobox, Max/MSP & capacitance sensors by Giorgio Magnanensi Recording and mixing- Zachary Scholes Video production- Live in Concrete GIORGIO’S VIDEO: Sitka Spruce resonators, plate reverb, touch boards (plywood,Douglas Fir bark), blippoobox, Max/MSP & capacitance sensor by Giorgio Magnanensi Acoustic guitar by Vicky Mettler Mixing by Zachary Scholes Video Production by Giorgio Magnanensi ºººº May 18 ºººº SPELLS FOR CHINATOWN Dumb Instrument Dance with artists Justin Calvaderos, Shion Skye Carter, Marisa Gold, Ziyian Kwan, Sarah Wong Shot, Edited and Music by Jo Hirabayashi ºººº May 25 ºººº DEVOURS Album Launch Animation by Gil Goletski Projection by Chris Strickler Performance Shot and Edited by Jo Hirabayashi ºººº ºººº ºººº ºººº ºººº ºººº ºººº ºººº ºººº ºººº ºººº ºººº ºººº ºººº Barking Sphinx Performance Society is grateful to work in community on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations. ...
read moreansia rumore sogno • for Chris
Noise is the alter ego, Ianus Bifrons. The philosopher’s stone: a golden stone is still a stone. This work is a short ode to things I hold dear in my life: our beautiful planet, friendship, love and imagination. Musical communication only exists on a purely emotional level. Emotionality is immanent; expression is definitely linked to the instant, instant is unpredictably transcendent. Dedicated to my dearest friend Chris Rolfe * * * * * For/with pebbles and driftwood, Sitka Spruce resonators, plate reverb, touch boards (plywood, Douglas Fir bark & Sitka Spruce), blippoo box, Max/MSP & capacitance sensors. Presented at Earth Day Art Model 2021...
read moretesting reactive floor
Testing a prototype floor/touch board, to use with dancers in a future project I’ll expand this to a 5’x8′ floor with at least 2 piezos to drive Max/MSP, and possibly run multichannel audio out in 8 wood resonators. It should be pretty fun and engaging both to use and watch/listen. …hopefully sometime in a not too distant future : ) …with the blippoo box connected to the system Testing a larger floor: View this post on Instagram A post shared by Giorgio Magnanensi (@giominz) View this post on Instagram A post shared by Giorgio Magnanensi (@giominz) View this post on Instagram A post shared by Giorgio Magnanensi (@giominz) ...
read moreLeah and Alma’s scores
Leah Abramson and her daughter Alma (age 2), sent me these two images after they attended a recent VNM/LABORATORIO Painting Music • One-Page Score workshop. I had fun working and sonifying these great graphic scores in these last few days. Thank you Leah and Alma! Leah Abramson, Matrescence Alma Abramson Huizing, Untitled ...
read morefbksines (SC MAX)
A SuperCollider patch feeding a Max Msp Jitter patch via feedback and ring modulation with touchpad, high frequency sinewaves swirling around my...
read moreping 303
Jamming on a great techno track by my dear friend Jamie Swann. Hope to jam live soon my friend! Thank you Meng Qi for the great “ping garden” SC patch! Listen to high volume, with good speakers and a sub, or good headphones!...
read moremusic box loops for Andrea
These loops are for Andrea Superstein loop #2 with Andrea [Download] …and this final Green Loop is also for dear friend Constantine Katsiris...
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spring board
Here’s a new spring instrument built with a small sitka spruce board equipped with a variety of springs and a piezo underneath. Very fun to play. Now I have two spring instruments!! And I am looking forward to playing a nice spring duet with my friend Kedrick who is building his own spring instrument right now! This is dedicated to my dearest friend Kedrick, with the hope to see him again sooner tha later!! ...
read morebells
exploring movement and sound with resonators …sonic alchemy transformimg wood into metal : ) ...
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Gulf Beach
Roberts Creek • January 3, 2021 video recording Finnegan Magnanensi ….I was just waiting for this beautiful day to go down Gulf Beach again and play with some stones....
read morethe philosophers’ stone is still a stone (for K & L)
Here’s where I’m at the beginning of this year, engaging with the materiality of sonic systems, extending mind and body while practicing movements with the purpose of making music, …or simply producing sonic matter. Focusing on this kind of instruments as source of and inspiration for an embodied sonic activity has kept me away and free from any need of (self-) expression; and being able to enjoy their peculiar agency, their ability to instigate sonic dialogues, feed imagination, discover unexpected challenges, surprises, while enjoying fascinating conversations. The philosophers’ stone is still a stone. This is also a little gift for dear friends at the beginning of a new year. With love and affection....
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parallel 03
Parallel 03: Endlings (Raven Chacon and John Dieterich) + collaborators https://www.parallel03.com/ Parallel 03 brings together a new collaboration between New Mexico-based musicians Raven Chacon and John Dieterich (known together as Endlings) and six Vancouver musicians and sound artists utilizing a variety of cross-platform and anonymous methods for composition and improvisation. Composed, recorded, and arranged over four months of isolation in 2020, the eight collaborators became generators, translators, mistranslators and filters for each others’ ideas in an incalculable feedback loop of expansive processes. Featuring… Raven Chacon John Dieterich Parmela Attariwala Adrian Avendaño John Brennan Elisa Ferrari Marina Hasselberg Alanna Ho Joel Schuman (website design) PARALLEL 03 In its labyrinthine nature this magic website well represents the creative work and interaction that have been developing and growing among all the artists involved in VNM’s Parallel 3 over a few months of collective work, dialogues, creations, discoveries and exchange. Before reflecting upon a few ideas emerging from the project and this space, I wish to give a special thank you to Raven Chacon and John Dieterich for their commitment, leadership and enthusiasm, to the six Vancouver musicians who wholeheartedly embraced this creative adventure during an intense time for everyone involved bringing their full creative power and passion, to Steve Chow for the beautiful poster design and to Joel Schuman who created this wonderful website resonating with all these visions and dreams. To thank these artists means mainly and foremost to acknowledge their wonderful creative spirit, a spirit that has been nurtured by many things: abstraction, analogy, beauty, brainstorming, intuition, tension, divergent thinking, questions, improvisation, noise, anxiety, diversity, magical thinking, playfulness, ambiguity, serendipity, story telling, experiment and the power of imagination… …dispersion, infiltration, osmosis, adoption, abstraction, contagion… music here finally aspires to the dimension of scent. Musical communication only exists on a purely emotional level. Emotionality is immanent, expression is definitely linked to the instant, instant is unpredictably transcendent. The labyrinthine and multidimensional nature of this project and this space has been inspired by imagination and perplexities, meandering, translations, sonic and silent utterances while discovering the ephemeral poetry hidden everywhere, …fragments used to define an ongoing and endless process in which we wander on the verge of discovering (…or revealing) ourselves. Fragments of form: perhaps the only possible form. Here we won’t find a single, indisputable centre, here a different kind of Harmonia, questions and awe, make everything equally important and equally unimportant. Here we blur invention and imagination, while they both give themselves to our perceptions in their multi-form and magical nature, while they act with full agency and are not acted upon. Invention and imagination here are not related to expression, as their very nature is purely symbolic: like cloudiness is not just about clouds. While looking at and immersing ourselves in these clouds we open to vast horizons while resonating with creative energy and poetics of engagement. Finally, a poetic vision emerges here within qualities and behaviours essential to any practice of freedom; to any healthy relationship among people and communities and within the biosphere we live in, the magic beauty of the fundamental interconnectedness of all things. ( g ) ...
read moreCrow Stone Tone Poem
Crow Stone Tone Poem (2016-2020) by Julie Andreyev and a crow Interpreted and performed by Giorgio Magnanensi And here’s a recent performance of the piece at Emily Carr University: A collaboration with a free-living crow who lives in the territory that includes my home. This project is based on interspecies play using stones, initiated by the adult crow who gifted me a pebble as acknowledgement for water I left for his family. The ten stone arrangements that we created are adapted into a score. – Julie Andreyev * * * In approaching Julie’s score I was thinking again and reconsidering the idea of matter as passive, raw or inert material. Stones, in spite of their apparent static and inanimate presence, have powerful sonic and affective qualities that resonate through their material agency in full and tactile viscerality. These are qualities I’m extremely attracted by, both as forms of activating creative energy and as poetics of engagement. The stones and the images to which Julie’s story associates them, become here actants within a score morphed into a polydimensional instrument. As such, the score displays itself sonically while inviting us to engage and play with an enhanced creative agency: an invitation to move, be moved and imagine, while discovering beauty beyond any aesthetic discourse. – Giorgio Magnanensi The sounds produced in this recording are both sounds of the stones moving, touching and resonating, and pre-recorded sounds of the same stones, triggered while touching/moving them on the plywood board used as a touch-sensor device. A piezo microphone attached underneath the board triggers various audio processing of the stones’ sounds, while toward the end, a highly filtered crow song appears as an eerie and shadowy presence that reveals only the higher frequencies of the bird’s voice. Julie Andreyev, Crow Stone Tone Poem ...
read more48:48
…a time capsule found in an old hard drive a few days ago. Kenton Loewen, drums Giorgio Magnanensi, electronics & video Recorded live in Vancouver • February 5, 2014 ...
read morespringbox klang
No speakers used in this set, just the springbox, sitka resonators, plate reverb, piezo, touch sensors and Max/MSP ...
read moreναυσίη
for Chris Rolfe ναυσίη (nausiē), noise, bruit, rumore, geräusch… il rumore è l’alter ego, Ianus Bifrons la pietra filosofale: a golden stone is still a stone. ansia rumore sogno ******* No speakers used in this set, only 2 sitka spruce resonators and a plate reverb with touch boards (plywood & douglas fir bark), blippoo box, Max/MSP and Bare Conductive sensors. Live recording – Roberts Creek, November 10, 2020 ANXIETY • NOISE • DREAM ...
read moreDouglas Fir Touch-Bark
Here a few clips of my new Douglas Fir Touch-Board, equipped with a piezo to drive Max MSP Jitter and a Bare Conductive Touch Board with added metal sensors (last clip at 4′:05”). I’m having a lot of fun playing wih this bark! ...
read moreAUDIOSFERA
AUDIOSFERA AUDIOSPHERE Social Experimental Audio, Pre- and Post-InternetCollective Exhibition Sound piece selected : Very Glitchy PatchMuseo Nacional Centro de Arte Reina Sofía • Madrid, Spain14 October, 2020 – 11 January, 2021 /Sabatini Building, Floor 3 Curated by Francisco LópezAUDIOSPHERE Sound Experimentation 1980-2020 AUTHORS: Francisco López, Thomas Bey William Bailey, Margie Borschke, Victor Nubla, Luis Alvarado, Guy Marc Hinant, Salomé Voegelin, Caleb Kelly, Paul Hegarty, Greg Hainge, Christoph Cox, John Oswald By way of a selection of hundreds of sound works, Audiosphere. Sound Experimentation 1980-2020 looks to cover an historical and cultural void in terms of the recognition, exhibition and analysis of a key part of the recent changes that have taken place in the artistic conception of sound creation. In the following catalogue, the curatorial discourse that articulates the exhibition is displayed along with some texts that affect the relevance of sound art in contemporary art and, with it, in the social field. Download AUDIOSFERA Catalogue HERE ⚠Warning: this video may potentially trigger seizures for people with photosensitive epilepsy AUDIOSPHERE exhibition press weblinks: https://www.artforum.com/preview/audiosphere-social-experimental-audio-pre-and-post-internet-disonata-art-in-sound-up-to-1980-invisible-auto-sacramental-a-sonic-representation-from-val-del-omar-83969 https://www.esmadrid.com/en/whats-on/audiosphere-reina-sofia-museum https://www.thewire.co.uk/events/audiosphere-2020-2012 https://springtribune.com/2020/10/14/new-exhibition-of-the-reina-sofia-museum/ https://en.wikipedia.org/wiki/Museo_Nacional_Centro_de_Arte_Reina_Sof%C3%ADa...
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LOGS
…this is for David Roberts Creek beach September 21, 2020 • a serendipitous collaboration Video: Finnegan Magnanensi Sound: David Murphy Editing, Mix and Animation: Giorgio Magnanensi ...
read moreMarina’s 2 improv sets
A couple of improv sets by Marina Hasselberg for which I did some video enhancement: ...
read moresitka clouds 1, 2 & 3 (…and plywood)
3 short improvisations using touch on a sitka spruce cloud with piezo to trigger various kinds of audioprocessing in a max msp patch. …and here below using a plywood board …”dream machine” driven by plywood View this post on Instagram A post shared by Giorgio Magnanensi (@giominz) View this post on Instagram A post shared by Giorgio Magnanensi...
read moremusique concrète
playing a sitka spruce cloud equipped with a piezo and triggering various audio processes in a max msp patch. ...
read moreWHERE DOES iT GOES
Elastic Stars released neu album ‘MUZiK’ on Tuesday, August 25, 2020. Recorded, Produced, & Mixed by-the-hand-of-the-band on Analog Tape at Elastic Stars Productions in Vancouver, CANADA, without the use or help of the almighty Computer, ‘MUZiK’ was sleekly designed to satellite the band’s favourite international playlists found exclusively on the World Wide Web. So sit back and enjoy the entirety of neu album ‘MUZiK’ as though you are grooving within the cerebral algorithms of the world’s only known band with the name Elastic Stars ! Video created by Elastic Stars Productions & Mixtape Rodeo Starring : Ese Atawo, Jenn Bojm & Colin Cowan Cinematography by Colin Cowan & Tyler Mcleod Digital Animations by Giorgio Magnanensi Directed & Edited by Colin Cowan elasticstars.com https://music.apple.com/album/1527385920?app=itunes&ls=1 https://music.apple.com/album/id/1527385920 https://open.spotify.com/album/51JIg4b4pw8HEkqmXbsZKD?si=rxH8tymfQx-dNcmX5DEh6Q ...
read moreof the now: Archipelago
Excerpts from the livestream double artist talk, presented by of-the-now: Archipelago, June 20, 2020. Conversation recorded June 19, 2020, by Jeff Morton. Erin Gee & Giorgio Magnanensi with Jeff Morton ...
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il suono arancione (80 bpm)
…a solitary nocturnal dance… listen with headphones remix ad libitum ...
read moreThe Magical Forest
for/with Marina Hasselberg, cello Thank you Marina! Thank you to John Korsrud and to The Hard Rubber Orchestra/An Earful of Vancouver for commissioning this video, and to Marina for her beautiful playing and the embracing of these resonances. This is Panel III from: TDU MH – il fuoco e l’artificio (2018) for cello, 16 Red Cedar and Pacific Maple resonators and live electronics https://giorgiomagnanensi.com/tdu-mh-2/ TDU MH has been written with the support of the Canada Council for the Arts and it is dedicated to Marina Hasselberg. This work is both a statement and a poetic exploration. The statement displays sound in its visceral immanence – il fuoco, the body, the voice. The poetic exploration wanders in multiple metaphors (l’artificio) and symbolic resonances of the Forest, La Selva. “From the family tree to the tree of knowledge, from the tree of life to the tree of memory, forests have provided an indispensible resource of symbolization in the cultural evolution of humankind, so much so that the rise of modern scientific thinking remains quite unthinkable apart from a prehistory in such metaphorical borrowings.” * Starting from here and inspired by the intense quality of resonating wood instruments, I wandered in four imaginary and symbolic landscapes to think, observe and design spatial and sonic analogies to remind myself, and hopefully others as well, about the beauty of the trees, their symbolic powers and the power of imagination and Harmonia: a utopia worth living for and within. The piece is articulated in 4 seamless panels: I. La Selva Oscura • ansia/anxiety Dark winds, vectors of speed II. La Selva Antica • rumore/noise Swarming of voices, colors and games III. The Magical Forest • sogno/dream Veils of expanding spaces and spectral resonance IV. The Place of Correspondences • Harmonia Doubling and pairing; mirrors and transparencies __________________________________________________________________ *) Roland Bechmann, ‘Des arbres et des homes’ (p. 258-63), Paris: Flammarion, 1984 ...
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graindust XX
Today’s project, July 12, 2020… a very very strange summer… and a bit of sparkly bits around a foggy mind… ...
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ondas de sombra
for Marina Hasselberg Maps and Shadows Is it possible to transform different representations of music to space, and vice versa? Is there a point where they collapse into each other? Sound like space is a place in which we are embedded, in which the sensory experience of reality and artistic form can finally converge. Space as a dimension of time implies movement, maps and presence. Sonorous spaces – like traversable spaces – map our perception of time; and to light sound should be compared when sound is not just what we hear but also the medium of our perception. If we understand the close relation here between listening and seeing, sound and light; then visualizing sound is like understanding that is not about what we “see” as what we see “in”. Beyond the maps, the shadows imply a presence in time and in space; and like walking in the city of Zora – one of Italo Calvino’s Le Cittá Invisibili (Invisible Cities) – we might recognize a place that no one, having seen it, can ever forget: “… the city which can not be expunged from the mind is like an armature, a honey-comb in whose cells each of us can place the things he wants to remember …” (GM) “Music cannot exist without sound, but sound can exist without music. Thus it seems that sound is more important.” Giacinto...
read morePlate Reverb
I finally got to use this Plate Reverb with some nice Blippoo’s sounds, live recorded in the room. Happy about the results and looking forward to playing live with it sometime, some day… ...
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descrittore
A max msp patch tracking pitch/noise. I used it in various ways to create midi files that then are being fed into other instruments and so on… a feedback loop of recursive processes to forget traces and to find new paths, looking for musicality hidden everywhere. ambient 1 https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-14.mp4 Glenn Gould’s voice https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-13.mp4 James Joyce’s voice https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-12.mp4 voice in mellotron https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-11.mp4 voice/trace: Solo – Trace – Together https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-10.mp4 synthetic soundscape… https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-8.mp4 …fed into a software synth https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-9.mp4 ambient 2 https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-7.mp4 Silvia Mandolini’s violin and strings traces https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-6.mp4 recursive max into max into max into max… https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-5.mp4 ambient 3 https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-4.mp4 seabus ambient noise https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-3.mp4 crickets (…traces of, played with midi piano) https://giorgiomagnanensi.com/wp-content/uploads/2020/06/descrittore-2.mp4 ...
read morerisonanze
• ELECTRONICS: Blippoo Box – Wavetek Pulse/Function Generator – Stylophone Gen X-1 – Oscilloscope • WOOD, METAL & STONE RESONATORS – Stereo Red Cedar Board – Stereo Sabian Cymbal – Stereo Steel Drum – Slate/Piezo ...
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miniatures on 5 drawings by Janice Wong
Five of Janice Wong‘s drawings inspired these resonant electronic miniatures. I worked on these images using various readings to generate counterpoints of sinewaves and resonant textures that follow and embody the transparent and spacious structures of Janice’s work. The sound was captured live in the room with 4 microphones. No speakers have been used as my setup includes only metal and wood resonators. – May 23, 2020 Instrumentation: Blippoo Box, Pulse Generator, Sinewave Generator, Cymbal, Steel Drum & Red Cedar stereo resonators 1. 2. 3. 4. 5. ...
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the time of lightning
Silvia Mandolini, violin • Giorgio Magnanensi, live electronics/visuals ~ for George McCutcheon ~ ...
read moreSRCC
for Chandra May 1, 2020 slate, radio board, cymbal resonator & cedar bark resonator (no speakers have been used in this set) (TDU XAM) Use headphones...
read more8 frammenti senza memoria
For Marc Kate, April 28, 2020 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-1.mp4 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-2.mp4 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-3.mp4 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-4.mp4 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-5.mp4 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-6.mp4 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-7.mp4 https://giorgiomagnanensi.com/wp-content/uploads/2020/05/framm-8.mp4 ...
read more1997 (time capsule)
A new video for an old audio track made while working with the PODX system at SFU in the Spring of 1997. ...
read morefor Ian Ross
This is for Ian Ross (aka C130) who is not only a great and wonderful guy and friend, but also a fantastic audiovisualist ...
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six miniatures for Kenton Loewen
six miniatures for Kenton Loewen A tiny gift for a great and dearest friend in the day of his Birthday. With lots of love my friend. I hug you as strong as I always do. I miss you. (April 7, 2020) ...
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moire experiments for Ari
Some video experiment with moire and fractals for Ari Lazer This excerpt below is from a longer clip as the full 10-min clip is too heavy to upload ...
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Buon Anno! • Happy New Year!
https://giorgiomagnanensi.com/wp-content/uploads/2019/12/HNY-sineworks.mp4 ...
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Upstate NY Panorama
Original clips by Kenton Loewen, traveling by traing to Upstate NY – December 27,2019 ...
read moreITISYSM
I Think I Saw You See Me Cole Schmidt guitar, Gavin Youngash guitar, James Meger bass, Kenton Loewen drums, Giorgio Magnanensi electronics, strings synth and wood resonator ITISYSM live at RED GATE Dec 14, 2019 (Thank you Lee!!) Vancouver’s post-rock noise machine I Think I Saw You See Me blends reckless, rhythmic cycles and sculpted, melodic noise. Cole Schmidt guitar, Gavin Youngash guitar, James Meger bass, Kenton Loewen drums, Giorgio Magnanensi electronics/wood resonator build severe abstract forms and multilayered sound distillations. Afterlife Studios, July 2029 Kenton James Gavin ITISYSM Cole James Gavin Cole Giorgio Kenton ITISYSM ITISYSM Giorgio A poster frenzy… ...
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ITISYSM Bonus Track
Made with snippets of various improv in-between takes from our recording sessions at Afterlife Studio, …plus some rugged noisy videos and glitches. Cole Schmidt guitar, Gavin Youngash guitar, James Meger bass, Kenton Loewen drums, Giorgio Magnanensi electronics and wood resonator ...
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After Life Studios short improv
A short improv in between sets of ITISYSM’s recording on July 24, 2019 (Roland RS-202 Strings, Blippoo Box, Max Msp, Sitka Spruce stereo resonator) G AFTERLIFE Short Improv(2) [Download] ...
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sorting TNG
pixel sorting a clip from the TNG site. The IllustrisTNG project is a suite of state-of-the-art cosmological galaxy formation simulations. Each simulation in IllustrisTNG evolves a large swath of a mock Universe from soon after the Big-Bang until the present day while taking into account a wide range of physical processes that drive galaxy formation. The simulations can be used to study a broad range of topics surrounding how the Universe — and the galaxies within it — evolved over time. ...
read more4 microludes for Bruno
These little snippets of harpsichord sounds were inspired by discussion with Bruno Cavalca while around a beautiful Craig Tomlinson’s Harpsichord in our class at VCC. ...
read moreDungeon Master
Dungeon Master, recorded live at 8EAST, November 1, 2019 Dungeon Master by Shades of Scorpius JP Carter, Trumpet + FX • Lee Hutzulak, Synthesizers & Sampler Kenton Loewen, Drums & Percussion • Giorgio Magnanensi, Laptop & Piano ...
read morequiet city set
Thank you Constantine!! And QUIET CITY And thank youy Jaewoo Lee for the great room recording Quiet City g [Download] four red cedar resonators, blippoo, dod delay and oscilloscope ...
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MAGIK
MAGIK is a new Vancouver-based project that brings together Giorgio Magnanensi’s resonant woods with two of Vancouver’s most respected musicians, Marina Hasselberg cello, Kenton Loewen drums and Ucluelet based video artists Nicolas Teichrob. MAGIK plays within a multi-layered, live electro acoustic surround sound-space among flat audio panels of hand cut West Coast Red Cedar, Sitka Spruce and Pacific Maple. The panels serve both as wooden resonators and diffusers, becoming the medium of our written and improvised soundscapes. Sound become here indivisible from space, and grows in that relationship as firmly rooted in the material word: the contingencies and the context of each performative space and the poietic analogies. Music and sound become resonance, not only metaphorically but as the very power, force, intensity and becoming of which it is composed. In this regard, the diffusion system is a wonderful instrument to create and support that kind of sonic energy and experience. This project shares ideas and reflections about current artistic practices, and a possible vision where contemporary art and creativity “must occupy the commensurate fields and forms of action, and seek production processes that do not isolate art from life but instead influence life”. (Rudolf Frieling) This seems essential both for the activation of a collective vision and for fostering higher level of impact and engagement within the community that we operate in and support. MAGIK-Info.pdf The audio resonators used in this project are built using large Western Red Cedar, Sitka Spruce and Pacific Coast Maple boards reclaimed from discarded piles of wood in mill operations and drifting ocean logs on the Sunshine Coast of British Columbia. After being sliced and smoothly shaped, they are planed and sanded to thin them down to thickness ranging between 2/16”and 1/4” and finally mounted on a stabilizer wood stand. An amplifier drives the sound into audio transducers applied to the rear of each panel, exciting the wood boards and transforming their surface into a distributed-mode loudspeaker (DML). In this way the audio is approaching an omnidirectional presence in the way the sound from the wood panels is dispersed evenly in all directions. The diffused radiation patterns of all frequencies created on the wood panels expands the audio source. Sound then propagates through the wood in the most liberated and natural way while becoming omnidirectional in the far field. The diffused sound is stunningly beautiful and softly filtered by the smooth quality of Red Cedar and Sitka Spruce or the brighter resonating quality of Maple, which adds to the uncanny character of their physical and sculptural presence. Marina Hasselberg, cello • http://marinahasselberg.com Giorgio Magnanensi, live electronics and resonant audio diffusion Kenton Loewen, drums and percussion • https://www.facebook.com/kenton.loewen Nicolas Teichrob, visuals • http://nicolasteichrob.com More on the wood resonators here: https://giorgiomagnanensi.com/wcr-installation/ https://giorgiomagnanensi.com/category/west-coast-radians/ MAGIK GALLERY @ VNM 2020 with SIlvia Mandolini, violin @ Powell River Public Art Gallery MAGIK notes Kenton, Marina & g @ Sawdust Collector resonators @ China Cloud red cedar detail @ Sawdust Collector setting up at Sawdust Collector (loscil, Kenton & Marina) @ 8EAST Marina Hasselberg @ 8EAST 8 Red Cedar resonators @ Sawdust Collector @ China Cloud @ China Cloud Nic's beautiful Spun Spectra CIRS Installation/Performance setup Red Cedar resonators The Art Centre, Powell River The Art Centre, Powell River The Art Centre, Powell River The Art Centre, Powell River MAGIK...
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very glitchy patch
⚠ Warning: This video may potentially trigger seizures for people with photosensitive epilepsy ...
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TDU / XLAB
MUSIC AS HONEY OF SOCIETY The INCROCI Orchestra is ready in the hall of the San Leonardo theater, waiting for the conductor to begin the performance with his gesture. The hand that will lead the orchestra for the AngelicA international music festival along a 55-minute journey is Giorgio Magnanensi’s. Erroneous would be to think that the listening experience, of which the audience and the musicians are going to benefit, is the product of the moment and ends in it: the composer’s Theatre for the Ear has much deeper roots both in time and space and a projection into the future far beyond the moment that sees it realized. Magnanensi left Italy after spending years as a teacher of composition at the Arrigo Boito Conservatory in Parma, moving to Canada, a land that, not being a slave to a dated and pigeonholed musical tradition, shows the desire to open up to the world of sound experimentation. Once crossed the ocean, the figures of Barry Truax and Chris Rolfe appear in the musical and artistic life of the Bolognese composer wearing the clothes of Virgilio, spurring him to take important steps for his musical research and for his professional career such as apply for the position of artistic director of the Vancouver New Music Society, a role that he still holds since then. In addition to North America, the experimenting wind of Magnanensi also touches Northern Europe and Japan. Knowing these different realities was an illuminating experience for the composer from many points of view. “I happened to talk about it with other composers and directors of the place: walking around I might be listening to the noise and sounds around in a very selective way: I heard a noise coming from one room, another coming from another direction. Instead, we must strive to listen to everything, to all sounds as a collectivity, like in an instant, without asking questions about music, noise, natural sound, artificial … This very different sensitivity is then also manifested in different ways of playing and writing“. What struck Magnanensi in interfacing with these new and distant realities was “freshness, tranquility: they were all very available, curious, all available to listen. This has contributed to make the word “dialogue” the paradigm of my activity. I would like to establish a dialogic relationship, in which personal development is born of exchange and the fertility of the encounter”. Dialogue is the summary word of many musical experiences and workshops at the center of the Bolognese composer’s work: it is certainly the fulcrum of his collaboration with the Vancouver-based Plastic Acid Orchestra. Dialogue is the foundation of the One-Page Score, a project that aims to connect non-musicians with music professionals, trying to develop in the former an artistic awareness that passes not through theoretical and academic learning but through experiential and hands-on learning. The non-experts, coordinated by Magnanensi, take on the role of the composer engaged in the elaboration of a graphic scores that will then arrive to the music stands of the orchestra that will perform them. It is a dialogue on several levels but the relationship that must be highlighted here is the one between the world of music and those who actively participate in it, and the world of those who are usually outside of it;...
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TDU/XLAB non è una composizione musicale, un’opera d’arte, o un oggetto. TDU/XLAB è uno spazio per un pensiero sonoro: dialoghi attraverso e all’interno del suono, dell’immaginazione e del gioco. L’ensemble strumentale è guidato in un processo di co-creazione sulla base di esplorazioni di oggetti sonori (acustici e elettronici), tessiture, rumori, timbri, spazi, silenzi e risonanze. TDU/XLAB scaturisce quindi da energie individuali e collettive e offre interazioni variabili a partire da (e viaggiando attraverso) frammenti sonori, memorie, codici, gesti e figure. Simultaneità, policentricità e punti di vista sovrapposti sono gli elementi caratteristici di questo approccio. Le trame sonore non emergono semplicemente dall’accumulazione o sottrazione di un numero di eventi discreti, ma rivelano una combinazione complessa di eventi che si articolano in una scenografia immaginaria: TDU – teatro dell’udito. Grazie a Walter Zanetti, Maurizio Pisati, il Conservatorio G.B. Martini e Angelica per l’invito a tornare a Bologna per condividere e lavorare con la bellissima energia di questo ensemble. TDU / XLAB ANGELICA FESTIVAL 2019...
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