1. Agostino Di Scipio: Modes of Interference / 3 (2007) 11:18
Nicolás Kliwadenko (guitarra eléctrica), Francisco Martínez (guitarra eléctrica), Diego Behncke (electrónica)

2. Francisco Martínez: Espirales Genéticos (2012) 10:03
Vicente Araya (guitarra), Danilo Torres Meschi (guitarra)

3. Nicolás Kliwadenko: Tercera Práctica (2013-2014) 15:02
Francisco Martínez (guitarra eléctrica), Diego Behncke (objetos amplificados), Nicolás Kliwadenko (electrónica)

4. Addendum (Every Decision You've Ever Made) 07:29
Nicolás Kliwadenko (guitarra eléctrica), Diego Behncke (electrónica), Francisco Martínez (radio)

Musicahora, La Serena, 4 de noviembre, 2014


1. Prototype for suspending mediums: formulation for a distance from the subjectivities which made an object become a cultural-historical act. Therefore, in this case, the mode of interference is a system in which the identity-agency is partially removed to give place to a relation from the medium itself: the objects, in this case, communicate between themselves through the interference, and this is part of a differend inaccessible to any historiographic interpretation.

2. Objects, thus, have their own interference. A tissue of interferences is what defines models of behavior which are articulated as disputes.

3. Terza Pratica: it is the relation of a mode of interference in itself; not communion but conjunction of strata in very unstable conditions. There is no resolution.

4. Internal resonance: transductions of information, a symbolic language made of communicational residue. Both microphone's capsule and amplification system ignore the performer without responding to an analysis of their outer workings: they present themselves purely as unstable, speculative technical existence.


This work is a composed dynamical system entirely based on an audio feedback loop.

The two ends of the loop are (a) the electric guitar’s pick‐ups, and (b) the combo amp. The level must be loud enough as to cause the feedback loop to start sounding (this is sometimes called the "Larsen effect"). That represents a technical problem in professional sound systems, but in here it is the only source of sound.

In between (a) and (b) are the guitar strings and the signal‐processing computer. The string vibrations determine principal and secondary resonances in the feedback loop (frequency of Larsen tones), depending on length, tension and mass. To some extent, they also depend on the mechanical features and the electronic circuitry of the amp and the pick‐ups. The computer manages the feedback gain, trying to keep the overall system in equilibrium and avoiding sustained saturation. The computer also transforms all sounds, and in their turn the transformed sounds, duly delayed, enter the feedback loop and interfere with the current Larsen tones. The whole process remains always subject to perturbations from the surrounding, mechanically mediated by the strings and the guitar’s wooden body.

All efforts should be aimed at establishing, only with the available means, an autonomous system dynamics, heard as a flux of sound shapes changing over time.

Memories of Sirius

1. SOLO (1965-1966) 15:55
Paola Muñoz (flautas dulces), Pablo Garretón (electrónica), Nicolás Kliwadenko (electrónica), Gabriele Manca (electrónica).

2. MIKROPHONIE I (1964) 26:10
Gabriele Manca (tamtam), Cristian Morales Ossio (tamtam),Matías Fernández (micrófono), Fernando Munizaga (micrófono), Pablo Garretón (electrónica), José Antonio Venegas (electrónica)

Campus Oriente UC, Santiago, 7 de Julio, 2011.


Composition practices are often developed in an isolated/endogamous musical intelligence frame: the composer, who shapes a score with his/her routines and deployed relationships among elements, that finally shall be decoded by instrumentalists, and later listened by the audience in a hall, under the form of 'organised sound', according to Monsieur Varèse. Such a (social?) system has led –at least in the European panorama– the New Music to a well-established market, with a whole set of organic elements, which in economic terms does not differ in the way Pop Music historically has worked. This has turned a sort of Tower of Babel, in which each composer presumes to possess a special language for conquering those lands where the music is still in 'caverns'.

In coherence with ideas involving collective conceptions on music structures, Taller Ciclo (2011) decided to perform (create) two master works by Stockhausen. It was not only about the fascination for the Stockhausen's proposed game, but also about the necessity to consolidate a community of individuals, or, in other words, the possibility of a collective intelligence for musical creation. An oppositional critical thought to the mainstream was generated then; the practice of the composition itself being modulated; the notion of form as experience made sense; the sonic matter being a logical and vital outcome of the experience on shaping something.

The 'concrete' thing, in this case the sound, is a mirror of formal/gestural expectancies that have been agreed in an abstract contract. The fact of living inside this materiality, and putting it in crisis, is the beginning for a notion of non-a-priori-determinate-forms, something that is constantly drifting off, which definition depends on any crisis (random) of the community, as well. Hierarchies among people have been substituted by ideas and contributions, as a strategy of discovering an identity, perhaps an ancient path of doing music.

-Cristian Morales Ossio

Je parle, donc je suis. Paraphrasing Descartes' famous aphorisms, one could continue with Valery: 'Me voyant me voir, or je m'écoute parler, donc je me comprends'.

Stockhausen stages the act of speaking, the intelligent act –I would say– of speaking. 'Mikrophonie I' is this act, which begins from a deconstruction in order to reach the 'voice' through a sort of playful ritual of reconstruction and re-assembly of the constituent elements.

As the demiurge, Stockhausen lays not just the game rules, but also the archetype structures in the game, the root of all languages, the pneuma of all possible expressions, their own vital principle, the conscious vital principle. Waft, breath, raw materials of voice and life, are impressed as a primordial push by Stockhausen in his long notes for the reconstruction and performance of the score, in which above all, he provides a chain of adjectives/archetypes from which the original generative sound comes to light.

As in Berio's 'Thema-Omaggio a Joyce', Stockhausen's 'MIKROPHONIE I' enters the world of language and communication theories that much attracted artists and scholars of those years, starting from the most basic roots of speech and, later, of language. But beyond Berio's attempt, Stockhausen presents us the eternal question about the meaning of music and if music is or not a language. The composer asks the performers to 'talk', to form the chains –phonetic and syntactic at first– then giving them the freedom to choose the language they please, but in a very well-defined environment. This Santiago version, fruit of an exciting work to which I happily attended after those of Cologne, Milan and Paris, is the result of a work –as Cristian Morales Ossio well remarks– of a collective intelligence, almost a 'social experiment' of language invention. Je m'écoute parler, donc je me comprends. We listen to hear.

-Gabriele Manca


En la música para solos hasta la fecha, siempre había sucedido una cosa: el lapso temporal fue concebido y oído como una línea. Lo que yo tenía en mente, sin embargo, eran espacios musicales en los que el orden de los acontecimientos no era fijo, sino más bien, que era posible moverse en todas las direcciones, similar a la forma en que se ve una escultura móvil.

La espontaneidad de la reproducción y la acústica de acumulación y verticalización de los momentos musicales, hacen posible esta experiencia de la conciencia espacial. En cualquier caso, SOLO es un primer intento en esta dirección. Ya en 1964, había hecho el primer boceto, y está estrechamente relacionada con las composiciones PLUS-MINUS, MOMENTE y MIKROPHONIE I. SOLO puede ser interpretada con cualquier instrumento melódico (también con varios instrumentos).

-Karlheinz Stockhausen


Nicolás Kliwadenko (percusión), Gabriele Manca (percusión), Fernando Munizaga (percusión), Caspar Johannes Walter (percusión), Francisco Martínez (electrónica), Cristian Morales Ossio (electrónica), José Antonio Venegas (electrónica).
Ciudad Abierta, Ritoque, 28 de julio, 2012

Diego Behncke (percusión), Francisco Martínez (percusión), Fernando Munizaga (percusión), Nicolás Kliwadenko (electrónica), Cristian Morales Ossio (electrónica).
Campus San Joaquín UC, Santiago, 5 de diciembre, 2012


Acoustic-electronic installation and intervention of the public space. It was conceived in 1996, and then revised in 2012.

On the one hand, both the traditional musical writing and the respective interpretation process frame this work within the canons of music of notational tradition. On the other hand, given the nature of its genesis, the work imposes the need to be performed on a large esplanade - ideally a public space -, where attendees can wander freely, experimenting with different listening angles, in short, experiencing the acoustic space and its sound sources in varying degrees of proximity and commitment. This wandering nullifies the deliberate construction of a beginning and an end and encourages a listening where organization and context are randomly entangled.

Its realization is a process forged on the boundaries of composition and interpretation: musicians are invited to make some decisions on the micro and macro-formal nature of the piece. Thus, by considering the founding principles of the idea, such decisions can affect its final appearance as well as its sound formalization.

Both in its more intimate constitution as in its context, its origin goes back to the idea of daily-visited-sounds transformation. This is explicitly (sonically and visually) represented by "fragments of the city", that is, building materials, domestic utensils, etc. Despite the rigidity of the rhythmic writing, these sounds are the support of the work, whose musical relations happen almost randomly, being moment-by-moment (re)created by each listener.

The ideas of Cage and Stockhausen regarding the phenomenon of time have not only stimulated new perspectives on the idea of montage (for example ‘William Mix’ by Cage, and ‘Mikrophonie I’, by Stockhausen) but also the creation of a piece of uncertain duration, since the random choices made by the musicians –prior to the beginning of the work– added to the arbitrariness in the duration of pauses or silences, make that each performance, besides being different sequentially, is also different in duration. Beyond this fact related to the duration of the piece, the temporal space where the acoustic experience of each individual is inserted is framed by the duration in itself, understood as a sounding organizational phenomenon. Materiales has been conceived from duration sequences generated by an algorithm programmed in Common Lisp. Intended as generating entities, these sequences have three basic sequences of 9 durations each. All of them have their own speeds and temporalities.

Each of the three musicians goes over a map of nine places, which correspond to 9 sound families. A random itinerary, generated before the performance, materializes the idea of traveling through these 9 points distributed over the three edges of a large triangle, a sort of urban stroll in whose roads reside these fragments of a city that we never imagined to 'listen'.

Richard Barrett: codex I

6-12 músicos improvisadores (2001)

30.06.16 - Needle HQ, Santiago
Rodrigo Aguirre (flauta), Klaus Brantmayer (saxofón), Francisco Martínez, Ramiro Molina (guitarra eléctrica); Julio Torres (bajo eléctrico), Pablo Garretón (electrónica), Nicolás Kliwadenko (dirección)

Richard Barrett: codex XVII

6 o más músicos improvisadores y electrónica (2015)

30.06.16 @ Needle HQ, Santiago
Rodrigo Aguirre, Klaus Brantmayer (saxofón); Francisco Martínez, Ramiro Molina (guitarra eléctrica); Rodrigo Araya, Pablo Garretón, Nicolás Kliwadenko (electrónica)

fotos: Francisca Cornejo

Rodrigo Aguirre: Diálogos inclusivos

Ensamble y directores del Centro Cultural Creando Integración de jóvenes con trastorno del espectro autista (2015)

Ensamble Creando Integración + Taller Ciclo
Dirección general: Rodrigo Aguirre

14.07.16 @ Centro Gabriela Mistral, Santiago

22.06.16 @ Centro Gabriela Mistral, Santiago

Nicolás Kliwadenko: İlk değil ve son değil

Conceptos para 4-6 músicos improvisadores (2015)

30.06.16 @ Needle HQ, Santiago
Francisco Martínez, Ramiro Molina (guitarra eléctrica); Pablo Garretón (procesamiento / samples), Nicolás Kliwadenko (samples)

fotos: Francisca Cornejo

25 May 2016 @ Sala Isidora Zegers, Santiago
Francisco Martínez, Ramiro Molina (guitarra eléctrica); Julio Torres (piano), Pablo Garretón (procesamiento / samples), Nicolás Kliwadenko (samples / feedback)

fotos: Valentina Miranda

28 Ene 2016 @ Needle HQ, Santiago
Rodrigo Aguirre (saxofón / flauta), Pablo Garretón (procesamiento / samples), Nicolás Kliwadenko (samples / feedback), Francisco Martínez (samples)

video: Martín Nuñez