Audio + Video
This is some information about the Audio + Video page.
Dungeon 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 INCROCIorchestra is ready in the hall of the San Leonardo theater, waiting for the director 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; it...
read moreangelica festival 2019
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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tower of silence
2 songs from Roberto Musci‘s Tower of Silence, where (in the early 90’s) I played “liquid” electric guitar improvisations …another time capsule Voices Of The Ancient [Download] Kioko’s Deck [Download] ...
read moremagik
Marina Hasselberg, cello Giorgio Magnanensi, piano/electronics Kenton Loewen, drums/percussion Silvia Mandolini, Violin ...
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EGKL + gik
for Kenton watch these 2 clips separately, but try also watching them together from the start made with CHDH EGREGORE SOURCE software Jacques Attali famously predicted this incipient era in music in 1977 in a classic text hybridising theory, culture, and government policy, Noise: A Political Economy of Music. After three phases of Ritual Sacrifice (Church music), Représentation (scores and stage performance), Répétition (recorded media), Attali forecasts a fourth phase called Composition, where music becomes process and recovers its ritual magic. chdh, with egregore, have composed a nonlinear, participative, networked instrument as a published release. By transmitting their source code, the music is distributed as a Baudrillardian model, ready to be rendered and re-composed by the beholder, finishing an unfinishable process, closing the loop between representation, repetition, composition, and ritual.! – Final paragraph of Open Models, by Atau Tanaka, September 2014 and here a nostal//gik clip made with a jitter patch I use with Kenton sometime : ) ...
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for SM
An active line on a walk, moving freely, without goal. A walk for a walk’s sake. The mobility agent, is a point, shifting its position forward […] accompanied by complementary forms. (Paul...
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pixelstorms
for David M YouTube compression reduced the quality of the original video but you can enjoy some pixel designs in the images below ...
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Star Systems • live @ China Cloud
Thank you Lee for the video! Star System playing the music of Sun Ra Recorded live at the China Cloud in Vancouver, Canada on March 14th, 2018. Featuring Colin Cowan (double bass, electronics, megaphone) | Daniel Gaucher (drums, electronics, arrangements) | Skye Brooks (percussion) | Tom Wherrett (electric guitar, electronics) Giorgio Magnanensi (piano, laptop) | Ted Crosby (saxophone, clarinet) | John Paton (saxophone) | Joshua Zubot (violin, electronics) | Lee Hutzulak (synthesizer) || Recorded, mixed, shot & edited by Lee Hutzulak....
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WCR Metro Vancouver video
A short video about WCR Installation and performances last March at UBC CIRS by Metro Vancouver ...
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TDU MH
TDU MH – il fuoco e l’artificio (2018) for cello, 16 cedar and maple flat panel resonators and live electronics WEST COAST RADIANS, March 10, 2018 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: La Selva Oscura • ansia/anxiety – Dark winds, vectors of speed La Selva Antica • rumore/noise – Swarming of voices, colors and games The Magical Forest • sogno/dream – Veils of expanding spaces and spectral resonance The Place of Correspondences • Harmonia – Doubling and pairing; mirrors and transparencies *) Roland Bechmann, Des arbres et des homes (258-63). Paris: Flammarion, 1984 ...
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eternal life
Homage to JB, for Kenton Eternal life is now on my trail Got my red glitter coffin, man, just need one last nail While all these ugly gentlemen play out their foolish games There’s a flaming red horizon that screams our names And as your fantasies are broken in two Did you really think this bloody road would pave the way for you? You better turn around and blow your kiss hello to life eternal, Angel Racist everyman, what have you done? Man, you’ve made a killer of your unborn son Oh crown my fear your king at the point of a gun All I want to do is love everyone And as your fantasies are broken in two Did you really think this bloody road would pave the way for you? You better turn around and blow your kiss hello to life eternal There’s no time for hatred, only questions What is love, where is happiness, what is life, where is peace? When will I find the strength to bring me release? Tell me where is the love in what your prophet has said? Man, it sounds to me just like a prison for the walking dead I’ve got a message for you and your twisted hell You better turn around and blow your kiss goodbye to life eternal Angel yeah Angel, unh, angel, unh...
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figments
TGK Tony Wilson • Electric Guitar Kenton Loewen • Drums Giorgio Magnanensi • Keys & Live Electronics TKG set 1 [Download] TKG set 2 [Download] Excerpt from the live performance...
read moreLOoW exhibition
Coming soon! sound crystals / -H A new installation/project part of Leaning Out of Windows January 25- February 8, 2018 at the ECUAD new building. Thank you to RANDY LEE CUTLER + INGRID KOENIG for inviting me to be part of this exciting research project, and to Art Olin for his elucidations and fascinating work at TRIUMF ...
read moreHappy New Year!
dream machine • sound capsule Supercabin • Roberts Creek, Januray 1, 2016 Andrew Bate, drums • Chris Rolfe, electronics • Giorgio Magnanensi, rhodes & lectronics ...
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TDU / MH
some preliminary drafts/studies for a new piece for cello, cedar and maple resonators, sound objects and oscillographic videos for Marina Hasselberg. …more to come studio #1 studio #2 studio #3 studio #4 studio #5...
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ISCM – VNM String Orchestra, VEE
ISCM 2017 • Vancouver Thank you to all the wonderful musicians and to all the composers. ISCM 2017 • Program Linda Catlin Smith, Orient Point Serena Teatini, Mi Fa Jay Schwartz, Music for Orchestra III Kotoka Suzuki, In Praise of Shadows ...
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elektrosluch
I assembled a new great little elektrosluch by makercube, …and having fun : ) ...
read moreLied • TDU FS
AVENTA Ensemble // Bill Linwood, Conductor Müge Büyükçelen, Violin • Mieka Michaux, Viola • Alasdair Money, cello • Darren Buhr, Double Bass • Mark Takeshi McGregor, Flute and Piccolo • AK Coope, Clarinet and Bass Clarinet • Darnell Linwood, French Horn • Corey Rae, Percussion • Roger Admiral, Piano ISCM 2017 • The Round House – Vancouver, November 8, 2017 ...
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ISCM RMX
Vancouver Electronic Ensemble ISCM RMX VEE – ISCM Remix (Performed by Vancouver Electronic Ensemble) [Download] ...
read moreShades of Scorpius v.2
Colin Cowan • Bass/FX Boxes Lee Hutzulak • Synthesizer/Sampler Kenton Loewen • Drums/Percussion Giorgio Magnanensi • Laptop/Piano Recorded live at THE LIDO • November 4, 2017 SOS | NGC:171104.2.2 by Shades of Scorpius ...
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oscillo-graphic score
deep purple an oscillo-graphic score and an excersise in media transference I will soon transcribe and orchestrate the 11 pages of this graphic score made of different frames extracted from the oscillographic video. Hopefully I will be able to perform both versions sometime soon : ) ...
read morespun spectra at GPAG
SPUN SPECTRA Nicolas’ Teichrob’s wonderful photos at the Gibson Public Art Gallery Spun Spectra is up and glowing at the Gibsons Public Art Gallery. if rolling through the coast in October, go check out some trippy light and colours and sounds (via @giominz) of spider webs! It will expand your mind in terms of what is there that we can tune into when observant, aware and expanding our spatial and temporal scales of engagement. —///—-Opening reception is this Saturday. 2-4pm. ???????????? #spunspectra #sunshinecoast #arts #bcarts #gibsons #gpag #cedarhits #missionnaish #giorgiomagnanensi #soundsalso #photography #exhibit #audiovisualmindfeast #nattylightforlife! #backlit #fujitrans #gallery #gibsonspublicartgallery #untilOct29 A post shared by Nicolas Teichrob (@nicolasteichrob) on Oct 5, 2017 at 1:17pm PDT more spun spectra HERE ...
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RM&B live
Accordion Noir Vancouver, September 8, 2017 • St. James Anglican Church Raw Meat & Butterflies Doug Schmidt, Bandoneon • Giorgio Magnanensi, Electronics 01 a breeze bowing scraps of dreams 00:27–10:45 02 mynah 10:59–19:02 03 techno chants 19:30–26:30 04 when I get the shakes 26:44–35:23 05 variations on 2 notes of Astor Piazzolla 35:35–39:37 06 spinny 39:50–43:05...
read moreWest Coast Radians
WEST COAST RADIANS @westcoastradians WESTCOASTRADIANS Info.pdf Wood Flat Audio Resonators Design a great logo by Max Magnanensi For a few years I have been experimenting with and building various sets of yellow cedar, red cedar, sitka spruce and maple flat audio-panels to create both instruments and audio diffusors that might engage in a more embodied form of listening and sound thinking. The LINKS below give an idea of the various explorations and implementation of these sound sculptures, and in general about the nature and spirit of these sound objects/instruments/resonators and my personal impetus behind them. You can find more informations in the West Coast Radians pagese HERE The flat audio-panels are built using large 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 an audio transducer 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 panels is dispersed evenly in all directions. The diffused radiation patterns of all frequencies created on the 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 yellow and red cedar or the brighter resonating quality of maple and sitka spruce, which adds to the uncanny character of their physical and sculptural presence. L I N K S In January 2018 I will present this project at ECUAD (details to come) In the Spring 2018 I will present an installation performance space at the Centre for Interactive Research on Sustainability (CIRS) at UBC with 16 panels driven by a 16-channel system. Both an installation and a performance instrument, WOOFAP / S will be also made available to a variety of local sonic explorers. I’m currently working with wonderful musicians and friends Marina Hasselberg (cello) and Kenton Loewen (drums) to share the MAGIK beauty of the woods through a diffused space for sound thinking and imagination. maple red cedar resonators at the SC ART Crawl maple detail resonators at the SC ART Crawl resonators at the SC ART Crawl resonators at the SC ART Crawl resonators at the SC ART Crawl resonators at the SC ART Crawl red cedar detail resonators at the SC ART Crawl resonators at the SC ART Crawl resonators at the SC ART Crawl 8 large red cedar resonators 8 large sitka spruce resonators 8 small sitka spruce resonators at Zero Waste Conference, Vancouver, Oct 29, 2019...
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asabikeshiinh
dreamcatchers […] fascism doesn’t take root on the margins of society, but always emerges from within the existing status quo. […] Alain Badiou, Metapolitics … and it seems getting worse on a speedy pace: a fast and aggressive emergence of fascistic behaviours, role-modeled by a naked leader and his entourage. But also long engrained in our broken societies, too many around the world to be suddenly surprised of such larger malaise. What to say? It also seems that communities should be reacting with convinced and massive response, as the threat is not a tiny one and not limited by geopolitical borders. It’s not unthinkable that US might quickly roll toward open and established authoritarianism. The exercise of democracy then becomes now an imperative to sustain in every single moment, as bending to fascism will only lead to catastrophe. ...
read moreBird Sounds
A very nice website The Cornell Lab of Ornithology Macaulay Library A.I. Experiments ...
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Little Wheel Spin and Spin
…a very beautiful song by Buffy Sainte-Marie The great Veda Hille with the Plastic Acid Orchestra from Buffy Remix ...
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3D variations on fluidity
This is for Scott Morgan (loscil) use 3D glasses (red & cyan) …working with an old Jitter patch I always...
read morebupp!! beats
playing with Bupp!! by p i x e l m e c h a n i c s Franziska Schroeder, sax • Jules Rawlinson, laptop • Dara Etefaghi, visual ...
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lovely sines
This is for Nikki This old Max Msp Jitter patch is still one of my favorite instruments. Both visuals and sound are massaging my soul and brain reminding me how beautiful is letting go of your ego while bathing in the beauty of pure sonic vibrations without needing to express anything at all. Radicalizing: listening is attention, not apprehension; to listen is evidence of what happens as sound, not knowledge of what happens with sound. So: sound is the presence of an absolute, his annunciation is its own revelation, listening then certainly is not the act by which you come to a discursive apprehension, but the moment at which perception mediates and joins the multiplicity in the unity of formal knowledge. Listening is immediate experience in which knowledge coincides with the action: listening is ascesis. (Franco Donatoni)...
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