The collective focuses on the re-interpretation of space through the use of new technologies, video and audio performance.
interest in the perception of space and its intrinsic relationship between the audience and the performers: the exploration of acoustic and visual phenomena in front of them.Operating systems based on the transcription of organic models are part of the research and staging of XYZ.

Mataron a Juliana

Percussion and electronics

In the middle of a world at war, where the government manipulates, where the social gaps are gigantic and people struggle to survive, where every day war, armed groups and the government kill innocent people in front of our eyes, we get used to the pain and brutality.  In the middle of war a person’s life is worthless. 

//

En medio de un mundo en guerra, donde el gobierno manipula, donde las brechas sociales son gigantescas y la gente lucha por sobrevivir, donde cada día la guerra, los grupos armados y el gobierno matan a gente inocente delante de nuestros ojos, nos acostumbramos al dolor y a la brutalidad.
En medio de la guerra la vida de una persona no vale nada. 

 

Histéresis

 

 

From Greek: Shortcoming (hysteresis), hysterein to be late or fall short. A property of a system such that an output value is not a strict function of the corresponding input, but also incorporates some lag delay. How does an object changes or reacts when its context changes. Histéresis refers to the way in which a system depends both on its current environment and its past.

 


Work in progres

Repertoire

for Marimba and Tape

For 2 performers and keyboard

For Maracas and live electronics

Te Masca est une partition musicale et chorégraphique – qui se déroule au centre d’un dispositif microphonique circulaire – pour un percussionniste et une paire de maracas (colombiennes ou vénézuéliennes). Ce dispositif est miroité par un système de diffusion sonore qui encercle le public, reproduisant les gestes musicaux dans l’espace de la salle. Une analyse des signaux des microphones est faite en temps réel, et s’utilise pour contrôler la synthèse sonore produite par l’ordinateur à partir de la granulation des sons des maracas. Tous les comportements musicaux et spatiales sont donc liés aux gestes instrumentaux. Te Masca (T’es mâché) est aussi un hommage à Temazcal (pour maracas amplifiées et bande magnétique), pièce écrite par le compositeur mexicain Javier Alvarez en 1984

https://danielzea.org/works/te-masca/

For a voice performer and Tape

(XYZ version for 4 performers, video and Tape)

https://www.youtube.com/watch?v=5P_oWSLaB9M&ab_channel=JulianaSantacruz

For 3 performers, video and live electronics

For clarinet, horn, video and live electronics.

For 4 performers, everyday objects.

En un intento por entender el lugar que habito, el porque de aquello que me rodea (social, política, económicamente), vi la necesidad de indagar sobre la relación entre objeto, símbolo y conciencia. ¿Como correlacionar la percepción del mundo físico y la conciencia? Probablemente una experiencia desde la manipulación del objeto y su implicación sonora permita cuestionar: la relación entre la creación y los fenómenos de la actualidad, como la virtualidad y el inherente establecimiento en el cual fuimos colocados y dispuestos para la interacción.

Los objetos y su manipulación ofrecen/permiten innumerables gestos, reacciones y tipos de interacción. Día a día socializamos con estos, factor que es de mi interés en la creación sonora, pues la instrumentalización y puesta en escena de los objetos da acceso a la interacción, sin la necesidad de un uso exacerbado de la técnica instrumental musical. Esta selección de experiencias visuales y acústicas busca desde la simplicidad ver el cotidiano desde cierta “virtualidad”.

//

In order to try to understand the place I live in and why I live in what surrounds me (socially, politically, economically), I felt the need to investigate the relationship between object, symbol and consciousness. How do we correlate the perception of the physical world with consciousness? An experience of the manipulation of the object and its involvement in sound probably allows us to ask: what is the relationship between creation and today’s phenomena, such as virtuality and the inherent establishment in which we have been placed and arranged for interaction?

Objects and their manipulation offer/allow countless gestures, reactions and types of interactions. We rub shoulders with them day after day, a factor that interests me greatly in sound creation, since the instrumentalization and staging of objects give access to interaction, without the need for an exacerbated musical instrumental technique.

This selection of visual and acoustic experiences seeks, starting from simplicity, to see everyday life from a certain “virtuality”.

 

Performace, installation, For 9 performers, electronics and video (2018)

A performance-installation that seeks to explore space, its acoustic and interaction possibilities (public performer). This show consists of 7 modules that interact with each other, as in a living network. The audience will be surrounded by each of the performances as they travel through the labyrinth, supported not only by the artists, but also by the multimedia.

« Le territoire ne précède plus la carte ni ne lui survit. C’est désormais la carte qui précède le territoire – précession des simulacres –, c’est elle qui engendre le territoire et, s’il fallait reprendre la fable, c’est aujourd’hui le territoire dont les lambeaux pourrissent lentement sur l’étendue de la carte. C’est le réel, et non la carte, dont des vestiges subsistent çà et là, dans les déserts qui ne sont plus ceux de l’Empire, mais le nôtre. Le désert du réel lui-même. » J. Baudrillard

 

 

For 3 performers For 3 performers.

Gestures that are unified, gestures that are integrated into our daily routine. Banality? pragmatism? efficiency? simply smile…Three performers emulate and interpret the «interface», a video score based on the most common ideograms of the electronic correspondence, the emojis.

 For live electronics, video and two performers. 

From Greek: Shortcoming (hysteresis), hysterein to be late or fall short. A property of a system such that an output value is not a strict function of the corresponding input, but also incorporates some lag delay. How does an object changes or reacts when its context changes. Histéresis refers to the way in which a system depends both on its current environment and its past.

For percussion and electronics