The event begins with an electronic music performance by The Health and Beauty Consortium. Jean Michel Crettaz discusses the MediaScapes program and the relevance of sound to architecture. Crettaz introduces panelists David Rosenboom, Steve Roden, Carolina Trigo, Juan Azulay, Lance Putnam and Curtis Roads. Rosenboom discusses architect and musician Iannis Xenakis and the relationship between music and architecture. This part of the event concludes by a live video and audio performance by artist Steve Roden.
Video Archive | Sound (12)
Carolina Trigo characterizes her work as an exploration of how sound resonates with bodies and the built environment. She presents part of “Ora Lucia,” citing Georges Bataille and Spinoza. Juan Azulay presents “Aural Bestiality,” on the relation of architecture and sound. He plays sound samples of naturally-produced radio emissions from the planet Saturn. Azulay refers to John Cage and Walter March, the sound designer for George Lucas and Francis Ford Coppola. Lance Putnam describes his work as an exploration of the connection between sound and graphics, especially sonic spatial structures. He presents a piece from 2007 to shape waveforms using filters, and an audio-visual piece from 2010, “Wrapture.” Curtis Roads talks about his opportunity to study with Iannis Xenakis. Roads plays some samples and shows some images. He describes a building designed by Xenakis as a score mapped to three dimensions. Roads talks about the AlloSphere experimental multimedia environmental at UC Santa Barbara. After the presentations, Craig Hodgetts and the other participants discuss the place of emotion in the work.
Carolina Trigo characterizes her work as an exploration of how sound resonates with bodies and the built environment. She presents part of “Ora Lucia,” citing Georges Bataille and Spinoza. Juan Azulay presents “Aural Bestiality,” on the relation of architecture and sound. He plays sound samples of naturally-produced radio emissions from the planet Saturn. Azulay refers to John Cage and Walter March, the sound designer for George Lucas and Francis Ford Coppola.
Steve Roden describes himself as a “painter who also works with sound.” From his childhood drawings to his full-scale installations, Roden discusses the ideas behind his diverse body of art work. Roden describes how he conveys his sense of the feelings evoked by space through manipulated audio recordings. He also describes the coding behind his generative art, which translates an input, yet cannot be traced back to it.
Roden discusses the drawings from his youth that launched him on a trajectory towards generative art. He describes the coding behind several of his works, which include color-coded drawings correlating to the letters on a book page, models generated by the vowels in the names of lunar geological formations, paintings that were translations of the phrase “the silent world,” and audio work that was a translation of color names mentioned in a chapter of a book. The common thread in all of these works is that none of them can be traced back to the original input.
Roden talks about his audio-visual works with architectural implications. Here he describes the audio recordings that he made in and for the Schindler House, which, when played back in certain areas of the property gave the listener an abstract sense of the space. He also describes projects inspired by Wallace Neff’s airform dome work, the Serpentine Gallery by Alvaro Siza Vieira, and a church by Dimitri Pikionis. In one of the rare occasions that Roden worked with others, he describes a full-scale installation done with Caltech engineers.
Roden concludes his lecture by talking about a project he had been working on at the time of this lecture. Here Roden describes how he goes back to generative modeling, but has aspirations for the process to work at an architectural scale. This project was indirectly a continuation of his project with the Caltech engineers, about which he admits his dissatisfaction.
Abe discusses the body as an interface that directly engages the environment. He illustrates this with an installation he created with the office of Spanish architects Mansilla + Tu??n. An object was embedded with bone-conductor speakers that are audible when the head is placed in contact with the speaker. The object shape encouraged the user to hug the object in oder to hear the sounds, hence using the body as a direct interface to engage the environment.