Bryan -
THanks for the reply. The aim is to use software to create a 3-Dimensional
structure (think of a large helix model, for example) and then apply the
mathematical principles and formulas of that design in the same manner to a
program in which an ambient/sound representation can be made. Basically the
process will mirror itself from interior architectural design to that of
sound design. Essentially the aim is to develop a methodology in which the
creative process is indisoluably linked between sound and space.
As far as the studio display is concerned, we have flirted with the idea of
a real-time demonstration in which we will apply these aesthetics musically
to an overhead projection in which the design matrix will be mapped out for
spectators to view the process, but essentially we will construct various
models and have the musical accompaniment mirroring those constructs in an
effort for the sounds to promote the structures and the structures to
promote the sounds. Think of an ambient track being looped and, for
eaxample, a synth stab represents a linear curve in the construct. Then,
perhaps, a bassbin thud represents a 90 degree angle. Again, it is tough to
explain without having first gone through some trial and error processes,
but hopefully you get the idea. Everything is in the beginning stages at
this point, but I have sort of a rough draft that my partner - the Interior
Architecture professor - drafted up hastily. It is attached for you to
read, but I warn you that this is very rough and in dire need of editing.
You asked if music has a distillable shape...that is the what we are
attempting to determine. This is being shaped as an "outside the box"
theory and studio experiment that Senior-level Interior Architecture
students will use as a foundation for their own final projects.
Hope this helps some, and thanks a ton for the help!!!
JS
quoted 156 lines From: Bryan Finoki <finoki@lucasarts.com>
>From: Bryan Finoki <finoki@lucasarts.com>
>To: 'Jason Stickel' <j_stickel_otfp@hotmail.com>, Bryan Finoki
><finoki@lucasarts.com>, idm@hyperreal.org
>Subject: RE: [idm] Random Inquiries - Sound vs. Space
>Date: Thu, 8 Aug 2002 11:06:00 -0700
>
>chek out these 2 sites for some ideas and inspiration.
>
>http://www.massensemble.com/
>http://www.earstudio.com/index.html
>
>to clarify:
>
>you will use software patterning a design after pre-existing interior
>spaces
>to render a model for an object you will make, that then will represent the
>music which you will play there as well? You will use architectural
>software to render a model of a musical track, then physically make the
>model and display in the place with the music? How will the music define
>your scuplture? Will the sculpture be a stagnant or live-morphological
>object responding to the music? When i walk into the space, am i looking
>at
>an object and listening to music, is that it, is there is anything
>happening? What is the relationship again between the object and the
>music?
>how will they represent each other, exactly. Does music, (a single
>track), have a distillable shape? THE PROCESS OF THOUGHT AS THE AESTHETIC
>OF
>DESIGN, it seems like your object would have to show some progression over
>time, rather than being a still unchanging form, because then that would be
>THE PHYSICAL END RESULT OF THE DESIGN. Will the installation be
>interactive? will the installation play the same track, represernt the
>same
>track?
>
>these are some initial questions, hope this helps.
>
>b.
>
>-----Original Message-----
>From: Jason Stickel [mailto:j_stickel_otfp@hotmail.com]
>Sent: Thursday, August 08, 2002 6:15 AM
>To: finoki@lucasarts.com; idm@hyperreal.org
>Subject: Re: [idm] Random Inquiries - Sound vs. Space
>
>
>Bryan,
>
>This is a question I have often asked of myself. It is all about pushing
>boundaries and finding new ways to explore. Below is an excerpt of an
>e-mail I sent out to the list a few weeks ago and it pertains to a project
>I
>
>am currently working on - any assistance or input on this subject would be
>greatly appreciated.
>
>I am in the beginning stages of a project in which I will be exploring the
>relationship between physical space and sound, and the impact on one's
>interpretations of interior architecture as it relates to sound. Part of
>what we will be doing is assigning physical relationships between interior
>design through the use of AutoCAD, AutoMax, Wavefront, etc. for design and
>applying the exact dynamics and methodologies to software such as Acid so
>that we may develop an ambient track, for example, and represent that track
>physically within the scope of a constructed object.
>
>This is fairly difficult to explain, but your feedback is important.
>Essentially, I am assisting a professor in Ohio State's School of
>Architecture with this for an exploratory design studio and we are working
>out the glitches in order to write a proposal for a grant. Part of the
>project will be a live demonstration in a gallery space and a lecture
>series
>
>for the students. We will, of course, construct molds and build the
>structures (think large spiral-like forms made from dhow rods and rice
>paper) from the 3D renderings and the musical/sound accompaniment will
>assist in trying to elicit a response. A text will be written and,
>hopefully, submitted to some major publications for review and possible
>publishing (think "Modernism" for example).
>
>My questions pertain to the following:
>
>1) Where would I find similar projects for reference purposes
>2) What software would one recommend as the best to be used
>3) Web sites, articles, books anyone can recommend
>
>Again, any information provided would be extremely helpful. We have a very
>vague scope in terms of this "experiment" and the point is to stimulate the
>students and encourage them to think more of THE PROCESS OF THOUGHT AS THE
>AESTHETIC INVOLVED IN THE DESIGN AS OPPOSED TO THE PHYSICALITY AND END
>RESULT OF THE DESIGN ITSELF. We have thought of taking live recordings of
>the project space during the gallery showing and even showing graphical
>displays of the same process on an overhead in real time as the event
>unfolds.
>
>Again, any help is much appreciated.
>
>Thanks,
>
>jstickel
>
>
>
> >From: Bryan Finoki <finoki@lucasarts.com>
> >To: idm@hyperreal.org
> >Subject: [idm] Random Inquiries
> >Date: Wed, 7 Aug 2002 14:11:13 -0700
> >
> >How much further can electronic music be explored? are we beginning to
> >feel
> >the claustrophobic nature of the technological limitations, or is there
> >infinite breath to express ourselves in them? in places other than
> >headphones and club spaces?
> >
> >Can this music take on higher application to other groups of people
>outside
> >of ourselves, like the blind for example, and serve as alterior sets of
> >eyes?
> >
> >Where do you view the current point of the music's evolution on the
> >timeline
> >within the genre?
> >
> >Does the music seem to be boiling down more and more to essentially the
> >same
> >format, same sounds, same spectrum of experience?
> >
> >Are we ready for new technology to enable further revolution here? ...
> >
> >What would be your dream piece of gear, your optimal interface for making
> >music? .... the wind, the seismicity of earthquakes?
> >
> >Where do we hear the limitations in this music, and where still do we see
> >room for further exploration?
> >
> >Are we hearing aggregations of sanitized sound, merely the extent to
>which
> >music can be represented and manipulated through code, have we begun to
> >exhaust the idea of sampling, how inevitable is the avant garde doomed
>for
> >the commercial here?
> >
> >
> >i dont know....just wanted to start babbling, i have amuzzle and will put
> >it
> >on now.
> >
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