Audio + Video
This is some information about the Audio + Video page.
Plate 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 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. 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: 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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AUDIOSFERA AUDIOSPHERE Social Experimental Audio, Pre- and Post-InternetCollective Exhibition Sound piece selected : Very Glitchy PatchMuseo Nacional Centro de Arte Reina Sofía • Madrid, Spain30 September, 2020 – 11 January, 2021 /Sabatini Building, Floor 3 Curated by Francisco LópezAUDIOSPHERE Sound Experimentation 1980-2020 ⚠Warning: This video may potentially trigger seizures for people with photosensitive epilepsy ...
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the time of lightning
Silvia Mandolini, violin • Giorgio Magnanensi, live electronics/visuals ~ for George McCutcheon ~ ...
read moreVexing project
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 LIVE STREAM ...
read moreSRCC
for Chandra May 1, 2020 slate, radio board, cymbal resonator & cedar bark resonator (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 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 Cole James Kenton Cole James Gavin ITISYSM Gavin Kenton ITISYSM Giorgio Giorgio ITISYSM 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 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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