His work is characterised by the invention of systems in which he proposes a specific type of relationship between instruments, beings and the environment. He tries to reinterpret the basis of vibration as an immanent force and the musical fact as an enactive experience. He studied composition with Mariano Etkin at the University of La Plata, and with referents such as Gerardo Gandini, Rebecca Saunders and Pierluigi Billone. He received the Juan Carlos Paz National Composition Prize in the instrumental music category, Silver Condor 2021, and support from Ernst Von Siemens, Art Mentor Lucerne, Goethe Institute, Fundación Telefónica and Colón Contemporáneo. Since 2007, Luciano Azzigotti has extended the spectrum of his work to the multimodal and extended field of music: Osmos (2008) and Spam-Kimi (2009), Epinicios y Agonales (2011) or El Verticilo (2022) are adaptive and multimodal works involving multiple modes of mediation. Compositions such as Microbeatlogic (2013), Vilanos (2014), Espinor (2016) and Limo (2018-20) incorporate amplification as necessary material in instruments, dynamic notation, video and spatial processes. As a curator of the music scene he founded the platforms conDiT (2011), container (2016), was artistic director of the Centro Experimental del Teatro Argentino de La Plata where he created the glipTA and the Festival TACEC(2018), the Performance Lab at UNTREF (2016), and publications such as Espiral (2012) and Musiki (2016). As a teacher, he worked at the Universidad Nacional de La Plata, and currently at the Universidad de Tres de Febrero and the Haute école de Musique de Genève HEM.