Showing posts with label Greg Taylor. Show all posts
Showing posts with label Greg Taylor. Show all posts
Friday, December 4, 2009
video montages
Untitled from Greg Taylor on Vimeo.
Untitled from Greg Taylor on Vimeo.
Untitled from Greg Taylor on Vimeo.
Untitled from Greg Taylor on Vimeo.
Untitled from Greg Taylor on Vimeo.
Friday, November 27, 2009
Friday, November 20, 2009
Thursday, November 19, 2009
Sunday, November 15, 2009
Music is encoded sound
Situated along one of the most rich sources of noise pollution, the premise of the building is to modulate the sounds of the site and design them into interesting configurations. The building provides the infrastructure to achieve a variety installation configurations and ideas. People are able to directly influence the modulation of the sound.
Friday, November 13, 2009
Wednesday, November 11, 2009
Materiality experiments
progression through soundscape
Timbre through materiality-The DNA of the building sound mechanism
example of material transitions and manipulation of timbre
A video explaining the concept I wrote about earlier. This explains the condensing of sound or rhythmic patterns, music, into a single tone. Beethoven's 9th in 1 second, sounds much uglier than anticipated.
Tuesday, November 10, 2009
Sunday, November 8, 2009
Rough Prototype _ Sound baffling manifold - live performance stage
This is a rough prototype for one of the performance spaces looking at how the sound capturing device could be deployed.
Friday, November 6, 2009
The conflict integrating soundmass
Untitled from Greg Taylor on Vimeo.
We are all modulated, fragments and shards of vibrations. The a periodic autonomic systems within ourselves create the scaffolding for the rhythmic cycles of our bodies. Our minds are tuned to hearing values and qualities that will inevitably change over time. Sounds that are conflicting for us to hear today may be pleasant years from now.
This building is a resonator, taking instantaneous samples of urban activities stochastically, in a linear sequence, through the field of waterfront circulation. Each point represents a sound capturing device which records a millisecond of sound. When this is repeated sequentially though the site, a connection is made providing empirical evidence of the rhythm of our behavior. What we perceive as sound through our audible range of frequency is reconfigured through the expansion and contraction of time. When a pitch is dilated and slowed down, the result is a rhythm. Conversely, when a rhythm originally designed to be a couple of minutes is condensed the result is a pith, and condensed version of rhythm. This gets fed back into the performance space, producing a change in the performance. The conflict so far is to determine how the performance will produce an affect in the urban environment, the performance. One possibility of the performance causing change in the activity along the path and activate its surroundings by sustaining itself by broadcasting the performance throughout the site.
Wednesday, November 4, 2009
Urban Soundmass
Music for Solo Performer
Champignon
A re-interpretation of Alvin Lucier's famous sound piece for human brainwaves "Music for Solo Performer". This interpretation was done directly from the poetic score, never having heard or seen the original music performance.
Brainwave performer: Andrew Brouse Audification by Automates Ki: Maxime Rioux Video Production: César Saez Inspiration: Alvin Lucier
All things are positioned within a point in time, in constant motion, dilated by relativity. In a system such as an online society or the development of a comprehensive search engine, action and reaction occur almost simultaneously. Modern technologically skilled society has the propensity for externalizing a vast amount of information, relations, concepts and interactions, delimiting their temporal quality. These constructs become formalized, a known thing with a value embedded within it, or a message with a specific subject. Temporalism has become fragmented within a framework driven by forces such as consumerism, economics, analysis, and prognostication. When temporality is reconfigured or absent, our perceptual faculties become less engaged with the object perceived. Although the interaction of an online society occurs instantaneously in a multiplicity of feedback, the ideas created within a temporal system present a mosaic of the assemblage. The concept that a form is a concrete, static object is not the full reality, though the objectification of the content through the formalization process. Whether fully aware of it or not, every idea expressed has a levels of formal translation. Language itself has a complex relationship of meaning, coding and interpretation.
When discussing the idea of dilation imposed upon groups of singular elements whether it is sound waves, or repetitive human activity, I am simply trying to relate these ideas to a time based framework whereby the stretching or condensing of time alters aspects of the form. The clap for example is an instantaneous event. If one takes the trace of the event, the sound wave in this case, and expand it out to 5 minutes you would witness the result time spreading out and the micro structure that comprises of the sound would have new characteristics. At the same time, condensing a piece of music originally composed for 10 minutes. When we hear sound, or the electromagnetic vibrations which, enter our ears and enter our bodies we are changed, emotionally and physically. The sound enters our body, whether it is audible or not.
Since the pioneering explorations of electronic music, sound has been thought of in a completely different way. We all produce and absorb vibrations. Sound especially designed sound is meant to reconfigure our bodies.
The process of using sound transmitted into space is an experiment attempting to inform the space and its inhabitants by taking the resonant frequencies from the material strata of the space and combinatorially reinserting it into a performance. Though this is a broad explanation of mechanics of this experiment, many of the intricacies in the translation of the sound from the participants would need to be reworked through some sort of digital software. Since any source of vibration can be formatted to bits of information and then using techniques to manipulate; fragment(disassembled) dissolve, extracted(filtered), recomposed(structure), Dilate(stretch or compress).
Within the structure of designed sound are three components. The attack, sustain and decay. The attack, the stinking of the string or the mallet it the initial input, the sustain is the deliberate exclusion of the sound.
Friday, October 30, 2009
Soundscape
In order to translate the most interesting aspects of the online social music site, the theater should address the sites ability to be an instrument for the production and discovery of new forms of sound design. The analysis of large amounts of information through signal deconstruction constitutes a new way to assemble a performance space. This technology has the ability to traverse a massive amount of data, make predictions based on manual and automated processes, and provide a framework for collaboration and production. This urban theater will be an instrument for learning how people listen to, create, and perform music.
The theater will deal with issues of acoustical ecology, mediating material transitions through the components of the performance spaces.
Friday, October 23, 2009
Dynamic information- static space.
- Architecture as performance art.
The idea of a participation in an online culture versus physical environments has changed the processes of interaction. While online interaction happens almost instantaneously, the is now the added layer in which the user can store, catalogue and revisit certain events that take place in virtual space. This brings into focus the question, what is a social thing?
Performance, Susan Kozel argues, can act as a catalyst for understanding wider social and cultural uses of digital technology. Taking this one step further, performative acts of sharing the body through our digital devices foster a collaborative construction of new physical states, levels of conscious awareness, and even ethics. We reencounter ourselves and others through our interactive computer systems. What we need now are conceptual and methodological frameworks to reflect this.
Mapping, making and manipulating spaces has become a new culture of space. The reinterpretation of the online social musical mash-up site was an attempt at awareness of the processes of collaborative music making which the eye cannot see. The aim to pull apart the events within that process, repeat them allows the viewer to witness the logic behind the process.
The formation of materiality and integration of technology in space can provide a new system of participatory spectacle, choreographing a crowd into motion. Through the preservation and dilation of materiality, architecture can become an instrument for participatory events.
The idea of a participation in an online culture versus physical environments has changed the processes of interaction. While online interaction happens almost instantaneously, the is now the added layer in which the user can store, catalogue and revisit certain events that take place in virtual space. This brings into focus the question, what is a social thing?
Performance, Susan Kozel argues, can act as a catalyst for understanding wider social and cultural uses of digital technology. Taking this one step further, performative acts of sharing the body through our digital devices foster a collaborative construction of new physical states, levels of conscious awareness, and even ethics. We reencounter ourselves and others through our interactive computer systems. What we need now are conceptual and methodological frameworks to reflect this.
Mapping, making and manipulating spaces has become a new culture of space. The reinterpretation of the online social musical mash-up site was an attempt at awareness of the processes of collaborative music making which the eye cannot see. The aim to pull apart the events within that process, repeat them allows the viewer to witness the logic behind the process.
The formation of materiality and integration of technology in space can provide a new system of participatory spectacle, choreographing a crowd into motion. Through the preservation and dilation of materiality, architecture can become an instrument for participatory events.
Friday, October 16, 2009
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