really enjoying the discussion.
Johannes wrote:
> I had a question for James:
> > Tell me more about your [Greville] dissertation on 'The architectural
> use of
> >technology in dance'. Do you mean the spatial rendering abilities of
> >digital media? VRML? Projected space? ... or the architectural
> >theory/criticism of form and movement? How do you anticipate exploring the
> >noise/collision between digital and analog media?
>
> What is meant here by "noise/collision between digital and analog media"?
Welcome to my Can of Worms. I fell in about 12 months ago and, though delighted to be
here, am still struggling to untangle the mess. As you described with reference to the
Wohnton album, digital media is different from analog in it's conception, production and
tembre.
Johannes:
> As I write this, I am fantasizing (listening to OVAL's CD "Wohnton", which
> amazes me because it's primarily digitally generated, the space of the
> sound shaped by the manipulation of the basic structural samples, and yet,
> interfering or layered over this is a kind of song/melody the Oval team
> performs, with analog voice amnd probaboy analog recording, the
> songs/lyrics are deliberately out of tune or semi-Sprechstime, and yet they
> create a fascinating disconjunction with the electronic sound sculptures. I
> mean by that: they make no sense. They make perfect sense.
As an architect I have been working in reference to space. That is, 'virtual' space and
'actual' space and the interaction/interference between. Virtual space is
characteristically striated with discontinuities, lack of gravity/scale/ground/time,
unpredictabilities and vertigo. In contrast 'real' space exhibits a smoother structure.
A tenuous and sweeping generalisation but nonetheless evident at face value.
When dealing with both 'realms' simultaneously one has the opportunity to explore this
juxtaposition (in fact, one inherently makes assumptions or decisions on the fabric of the
edge condition or interference). It was this interfacial interference (a groovey new
phrase for the dictionary) that I crudely described as 'noise' in my post about Greville's
work.
In my architecture the noise comes at the fuzzy edge where a technical and social reality
meet. The man-machine curiosity. I am extremely interested in how this presents itself
in dance and music. Is it a fuzzy edged interface as it seems when talking spatially or an
interference layer as descibed by Johannes in his description of the Oval piece? Does
anyone understand this thread?? It will shed some light on my can of worms. See also my
submission for DEAF98 (v2) at http://www.frankham.demon.co.uk/directions/DEAF98/ for my
personification of the edge condition in response to the theme 'The Unreliability of
Accidents'.
Welcome any response, conjecture or worms;
James
_______________
[Image]
James Frankham
mail: one@earthcorp.com
web: http://www.earthcorp.com/one
iphone: extemporo@pub1.ipn.vocaltec.com
Hi Johannes et al
really enjoying the discussion.
Johannes wrote:
I had a question for James:Welcome to my Can of Worms. I fell in about 12 months ago and, though delighted to be here, am still struggling to untangle the mess. As you described with reference to the Wohnton album, digital media is different from analog in it's conception, production and tembre.
> Tell me more about your [Greville] dissertation on 'The architectural
use of
>technology in dance'. Do you mean the spatial rendering abilities of
>digital media? VRML? Projected space? ... or the architectural
>theory/criticism of form and movement? How do you anticipate exploring the
>noise/collision between digital and analog media?What is meant here by "noise/collision between digital and analog media"?
Johannes:
As I write this, I am fantasizing (listening to OVAL's CD "Wohnton", which
amazes me because it's primarily digitally generated, the space of the
sound shaped by the manipulation of the basic structural samples, and yet,
interfering or layered over this is a kind of song/melody the Oval team
performs, with analog voice amnd probaboy analog recording, the
songs/lyrics are deliberately out of tune or semi-Sprechstime, and yet they
create a fascinating disconjunction with the electronic sound sculptures. I
mean by that: they make no sense. They make perfect sense.
As an architect I have been working in reference to space. That is, 'virtual' space and 'actual' space and the interaction/interference between. Virtual space is characteristically striated with discontinuities, lack of gravity/scale/ground/time, unpredictabilities and vertigo. In contrast 'real' space exhibits a smoother structure. A tenuous and sweeping generalisation but nonetheless evident at face value.
When dealing with both 'realms' simultaneously one has the opportunity to explore this juxtaposition (in fact, one inherently makes assumptions or decisions on the fabric of the edge condition or interference). It was this interfacial interference (a groovey new phrase for the dictionary) that I crudely described as 'noise' in my post about Greville's work.
In my architecture the noise comes at the fuzzy edge where a technical and social reality meet. The man-machine curiosity. I am extremely interested in how this presents itself in dance and music. Is it a fuzzy edged interface as it seems when talking spatially or an interference layer as descibed by Johannes in his description of the Oval piece? Does anyone understand this thread?? It will shed some light on my can of worms. See also my submission for DEAF98 (v2) at http://www.frankham.demon.co.uk/directions/DEAF98/ for my personification of the edge condition in response to the theme 'The Unreliability of Accidents'.
Welcome any response, conjecture or worms;
James
_______________
James Frankham
mail: one@earthcorp.com
web: http://www.earthcorp.com/one
iphone: extemporo@pub1.ipn.vocaltec.com
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