Through this series of parametric workflows, I reveal a capacity to generate complex and intricate spatial representations of improvised drumming as polyrhythmic space. The ‘affordances’ (Norman, 2002) of the 3D-SDN enhance understandings of polyrhythmic drumming, thus mediating a theoretical musico-perspectival hinge between the music and the understanding of music through notation.įrom this foundation, I conduct design research investigations into the XDR of curated drum improvisations as spatial prototypes. Curation of these hundreds of musical artefacts reveals the complex polyrhythmic ‘referent’ (Pressing, 1987) patterns and phrases that define my ‘polyrhythmic idiolect’ (Garner, 2017).Īlongside improvisation as methodology, I explored XDR through the development of a flexible parametric framework for a three-dimensional spatial drum notation (3D-SDN) that represents the dynamic note events-in-time of polyrhythmic drumming through a notational representation based on the spatiality of the drum kit and informed by the principles of architectural representation. I have based initial research investigations on the development of a methodology of performance of large numbers of drum-based improvisations across representative musical contexts. The research follows two main trajectories: an exploration of the ‘infinite art’ (Berliner, 2009) of improvisation and, working synergistically with this, an exploration of cross-domain representation (XDR). Through a sustained critical enquiry, I explore a continuum of practice that reveals rich territories for investigation within and across the musical domain, the spatial domain and a nascent ‘musico-spatial’ domain. My practice as both musician (drums and percussion) and spatial designer (architect) provides a unique perspective from which to explore cross-domain design research.
Architecture is now characterized by the fusion of information, art, and technology Indeed, his architectures require a new concept of space to come forward, where the manifestation of the mind in the realm of the body calls for what is to be perceived as real.
While Novak's work does embrace both philosophies, it also transcends them by crossbreeding the reality of the individual with the virtuality of the structure. With respect to Novak's structures, the approaches to virtual spaces posited by scholars of new media culture over the past few decades, either through phenomenological aspects of the bodily existence and modes of experience or through the poststructural metaphoric manifestation of codes and symbols, do not suffice. His creations are meant for a virtual domain, and information is what structures this new territory for architectural practice. Marcos Novak emerges in this context of multimedia as an innovative creator whose "liquid architectures" represent a break with the traditional discourse of physicality. The architectural discourse, once largely a discourse of form and style, has overcome these limitations and encountered, in territories of information, the product of a new way of thinking.
New electronic technologies and advanced digital media have separated realities from the realm of the body and transformed experiences into ubiquitous events. The contemporary idea for interaction has embraced new understandings of the content of experience and the structure of space.
0 kommentar(er)
