HOW ABOUT SHIFTING THE SITE TO INDOOR; I MEAN THE VICTORIAN KITCHEN AS YOU SAID... DEALING WITH REPETITION OF EVERYDAYLIFE...
THINKING THAT LITERALLY KITCHEN IS THE BEATING HEART OF EVERY HOUSE AND SYMBOL OF REPETITION;EVERYDAY LIFE... AN OLD VICTORIAN KITCHEN IN A NOVEL... THE TIME SCALE FOR REPETITION FOR GARDEN ITSELF IS A YEAR; HOWEVER THE KITCHEN WORKS DAILY THE GARDEN FEED THE KITCHEN, IT'S A PART OF THE CYCLE...PREPARING FOOD THAT COMES FROM THE GARDEN...... AS THE COMBINATION OF THESE TWO CYCLE... DESIGNING SOUND SCULPTURE AND LIGHT TRACKING IN THE OLD KITCHEN THAT INTERACT WITH THE PERSON WHO ARE MAKING FOOD....
AND OH IT REMINDS ME OF THE FAMOUS MAGICAL REALIST NOVEL"LIKE WATER FOR CHOCOLATE" BY LAURA ESQUIVEL; IT'S ABOUT A GIRL WHO IS IN LOVE BUT ONLY ABLE TO EXPRESS HER PASSION AND FEELING THROUGH HER COOKING, -THE EVERYDAYNESS EFFECT- WHICH CAUSE THE PEOPLE WHO TASTE IT TO EXPERIENCE WHAT SHE FEELS; HER WORLD IS THEIR KITCHEN GARDEN- THE BOOK DIVIDED INTO TWELVE SECTIONS NAMED AFTER THE MONTHS AND EACH BEGINS WITH A RECIPE, EVERYDAY SHE GOES AND PICK THE GRADIENTS OF THE RECIPE FROM THE GARDEN AND PREPARING MEAL IN THE KITCHEN... HMMM? :)... http://en.wikipedia.org/wiki/Like_Water_for_Chocolate ...
THEN I CAN DESIGN A METHOD IN THE KITCHEN IN CONNECTION WITH GARDEN IN A CIRCULAR RHYTHM, DEVELOPING THE IDEA OF SURFACE AND GEOMETRY BETWEEN THINGS OF OBJECTS TRACKING THE LOST GAUSSIAN GEOMETRY OF EVERYDAY REPETITION WHICH MAKES THE RHYTHM MORE TANGIBLE; THERE ARE ONLY THINGS AND RHYTHMS; SOUND SCULPT UR RESONATING, AND LIGHT... AND GAUSSIAN SURFACE A CYMATIC PERFORMANCE OF MIXING LIGHT AND COLOR WITH SOUND....; THE KITCHEN UTENSILS HAS NO EXISTENCE MORE THAN PURE IDENTITY OF REPETITION WHICH SYMBOLIZED MATERIALLY MERGED WITH THE RHYTHMIC SCULPTURE WHICH TRACK THE TRACE OF GEOMETRICAL REPETITION AND THE ONES THAT EXTENDED TO THE GARDEN... RHYTHM APPEARS AS A REGULATED TIME, IMPOSING THEMSELVES ON THE MULTIPLE NATURAL RHYTHMS OF BODY... THE SERIES OF SOUND SCULPTURE IN THE BIG KITCHEN COMPOSING THE MUSIC OF EVERYDAY LIFE WHICH IS NEITHER NATURAL NOR ARTIFICIAL
FOR THE CONTEXT OF THE NOVEL IS IN MAGICAL REALISM... MY DESIGN ALSO CAN APPEAR IN THE REALM OF PATAPHYSIC... BUT A SCIENTIFIC MUNDANE MANNER!
Friday, 29 January 2010
Thursday, 28 January 2010
1-thinking of a site for my project... is it actual or imaginary?... it also could be a Victorian kitchen or place in a novel or movies dealing with everyday life...
Whereas there is interaction between a place, a time and an a time and an expenditure of energy, there is rhythm... no rhythm without repetition also we don't have absolute repetition;it's all about difference... everyday establish itself, thing matter little; it's only a metaphor... the thing has no more existence than pure identity which the thing symbolizes materially)...Heidegger... there are only things and rhythm... does an object has rhythm in itself? like hearth? or maybe it, sound? maybe light... maybe bonds in juxtaposition and aging, in it's movement and remain geometry trace... rhythm appears as a regulated time, governed by rational laws; the lived , the carnal, the body...Rational, numerical, quantitative and qualitative...impose themselves on the multiple natural rhythms of body... respiration, heart beating, hunger, thirst... the bundle of natural rhythms wraps itself in rhythms of environmental or mental functions... disorder, death.. the combination is nor natural nor artificial...
2-how can I illustrate or trace rhythm... light? design series of sound sculptures?
invisible traces?!(oops this one is paradoxical...)
First obviously I should pick a site;
A GARDEN AS AN IDEA FOR DEVELOPING SURFACE AND GEOMETRY AS CONDITIONS OF OBJECTS..NICODE RIEMMAN..THE CREATION OF SURFACE GEOMETRIES THAT BUBBLE? MAYBE THIS CAN BE PART OF A GAUZZIAN SYSTEM..
BASICALLY THIS IS ABOUT THE SURFACE BETWEEN THINGS IE A MAP OF WATER RUNNING OVER MARBLE..THERE IS A MATHEMATICAL SURFACE BETWEEN THEM..JUST A THOUGHT AND MAYBE MAYBE THIS COULD BE THE AGENT FOR WATERING..[METAPHORICALLY ]
THE GARDEN,,THERE MAY BE SCULPTURES IN THE GARDEN MADE FROM THESE IDEAS..AS FOR EXAMPLE HEAT COLLECTORS OR WATER TROUGHS ,,CLOCHES[ FOR GROWING CROPS BEHIND GLASS ]THESE AGAIN MAYBE A METHOD FOR DELIVERING TO THE SYSTEM A METHOD FOR PROPAGATING [taksir] FORM.THE LIGHT TEXTURE AIR COLOUR AS BASED ON A SERIES OF RHYTHMS..THE SPEED OF THE SYSTEM PERHAPS RELATED TO THE GARDNER[THE BODY IN THE GARDEN..AS A TACTIC FOR INHABITTING]..NOISE OF GARDNER BREATHING ENTERING LEAVING PLANTING PUTTING ON BOOTS WATERING HAND ON SPADE ETC
ITS A VIBRANT PROJECT
IS THERE ANY WAY YOU CAN GET THE CYMATIC MODELLING TO DEAL WITH GEOMETRY?IE HOW DOES THE GEOMETRY WORK....THE IDEA OF MAYBE DIFFERENT WORLDS OF GEOMETRIES IN FOLIAGE WHICH I NOW REALIZE MAYBE YOU WERE TESTING WITH THE DRAWINGS ON THE TABLE.AIR AND LINE? SOME SORT OF FINE MESH MAYBE?
STILL THINKING ABOUT THE IDEA OF PLACING SITING..I WOULD LIKE IT TO BE MORE INTERESTING THAN JUST ANY GARDEN.THERE IS A LOT TO DO BEFORE WE ACTUALLY LOCATE IT,
MAX ERNST DID A PAINTING CALLED CRASHED AIRPLANE..TECHNOLOGY CRASHED IN A GARDEN..MAYBE MAYBE YOURS COULD DEAL WITH THE EQUIPMENT OF TECHNOLOGY ABANDONED IN GARDENS ..THE HISTORY OF THEIR FUNCTIONS AND DECAY ,,BECOMING LOST IN THE GARDEN ..
PLEASE KEEP EXPERIMENTING ..MAYBE DO A FEW FUN PRACTICE PIECES ..THEY COULD BE ANYTHING.
MAYBE...I AM NOT PROPOSING THIS AS A SITE AS IT ALREADY IS A GARDEN...PARADOX TOO. BUT THERE ARE SOME INTERESTING IDEAS ABOUT WHAT THE THINGS ARE IN THE GARDEN,,,BEE BOLES WISHING WELLS ..AND THE FAMOUS HA HA..THE DIP IN THE GROUND WHERE THEY DUMP GRASS CUTTINGS COMPOST ETC..The Lost Gardens of Heligan, Mevagissey, Cornwall, UK.htm
SOME INTERESTING IDEAS..BLAKES LOST GEOMETRIES.THE SACRED AND RECONCILLED..
JOHN MICHELL ARTICLE ..REFERENCES TO MAGICAL IN THE ORDINARY..WORDS AND PICTURES COME FROM THE SAME PLACE,,GREAT QUOTE!
REF TO BLAKE HENDRIX AND SEX PISTOLS..AMAZING ALL IN THE SAME PLACE..A PARTY IN THE GARDEN!!!!!!!!JUST IDEAS..GREAT INSPIRING ARTICLES HERE,,John Michell p61
Author of twelve books, specialist in sacred geometry and the geometry of
reconciliation.
John Michell, born 1933, was educated at Eton and Cambridge and published his first book in 1967.
With ‘The View over Atlantis’ (1969) and ‘City of Revelation’ (1972) Michell helped to change the world-views of a whole generation by illuminating the science, culture and wisdom of past civilizations.
SECTION 4 IN PARTICULAR DISCUSSES THE IDEA OF WHAT INSPIRES FROM EVERYDAY LIFE..AND MAYBE A LOCATION? http://magmapoetry.com/archive/magma-21/articles/seeing-the-city-daniel-libeskind-and-william-blake/
Whereas there is interaction between a place, a time and an a time and an expenditure of energy, there is rhythm... no rhythm without repetition also we don't have absolute repetition;it's all about difference... everyday establish itself, thing matter little; it's only a metaphor... the thing has no more existence than pure identity which the thing symbolizes materially)...Heidegger... there are only things and rhythm... does an object has rhythm in itself? like hearth? or maybe it, sound? maybe light... maybe bonds in juxtaposition and aging, in it's movement and remain geometry trace... rhythm appears as a regulated time, governed by rational laws; the lived , the carnal, the body...Rational, numerical, quantitative and qualitative...impose themselves on the multiple natural rhythms of body... respiration, heart beating, hunger, thirst... the bundle of natural rhythms wraps itself in rhythms of environmental or mental functions... disorder, death.. the combination is nor natural nor artificial...
2-how can I illustrate or trace rhythm... light? design series of sound sculptures?
invisible traces?!(oops this one is paradoxical...)
First obviously I should pick a site;
A GARDEN AS AN IDEA FOR DEVELOPING SURFACE AND GEOMETRY AS CONDITIONS OF OBJECTS..NICODE RIEMMAN..THE CREATION OF SURFACE GEOMETRIES THAT BUBBLE? MAYBE THIS CAN BE PART OF A GAUZZIAN SYSTEM..
BASICALLY THIS IS ABOUT THE SURFACE BETWEEN THINGS IE A MAP OF WATER RUNNING OVER MARBLE..THERE IS A MATHEMATICAL SURFACE BETWEEN THEM..JUST A THOUGHT AND MAYBE MAYBE THIS COULD BE THE AGENT FOR WATERING..[METAPHORICALLY ]
THE GARDEN,,THERE MAY BE SCULPTURES IN THE GARDEN MADE FROM THESE IDEAS..AS FOR EXAMPLE HEAT COLLECTORS OR WATER TROUGHS ,,CLOCHES[ FOR GROWING CROPS BEHIND GLASS ]THESE AGAIN MAYBE A METHOD FOR DELIVERING TO THE SYSTEM A METHOD FOR PROPAGATING [taksir] FORM.THE LIGHT TEXTURE AIR COLOUR AS BASED ON A SERIES OF RHYTHMS..THE SPEED OF THE SYSTEM PERHAPS RELATED TO THE GARDNER[THE BODY IN THE GARDEN..AS A TACTIC FOR INHABITTING]..NOISE OF GARDNER BREATHING ENTERING LEAVING PLANTING PUTTING ON BOOTS WATERING HAND ON SPADE ETC
ITS A VIBRANT PROJECT
IS THERE ANY WAY YOU CAN GET THE CYMATIC MODELLING TO DEAL WITH GEOMETRY?IE HOW DOES THE GEOMETRY WORK....THE IDEA OF MAYBE DIFFERENT WORLDS OF GEOMETRIES IN FOLIAGE WHICH I NOW REALIZE MAYBE YOU WERE TESTING WITH THE DRAWINGS ON THE TABLE.AIR AND LINE? SOME SORT OF FINE MESH MAYBE?
STILL THINKING ABOUT THE IDEA OF PLACING SITING..I WOULD LIKE IT TO BE MORE INTERESTING THAN JUST ANY GARDEN.THERE IS A LOT TO DO BEFORE WE ACTUALLY LOCATE IT,
MAX ERNST DID A PAINTING CALLED CRASHED AIRPLANE..TECHNOLOGY CRASHED IN A GARDEN..MAYBE MAYBE YOURS COULD DEAL WITH THE EQUIPMENT OF TECHNOLOGY ABANDONED IN GARDENS ..THE HISTORY OF THEIR FUNCTIONS AND DECAY ,,BECOMING LOST IN THE GARDEN ..
PLEASE KEEP EXPERIMENTING ..MAYBE DO A FEW FUN PRACTICE PIECES ..THEY COULD BE ANYTHING.
MAYBE...I AM NOT PROPOSING THIS AS A SITE AS IT ALREADY IS A GARDEN...PARADOX TOO. BUT THERE ARE SOME INTERESTING IDEAS ABOUT WHAT THE THINGS ARE IN THE GARDEN,,,BEE BOLES WISHING WELLS ..AND THE FAMOUS HA HA..THE DIP IN THE GROUND WHERE THEY DUMP GRASS CUTTINGS COMPOST ETC..The Lost Gardens of Heligan, Mevagissey, Cornwall, UK.htm
SOME INTERESTING IDEAS..BLAKES LOST GEOMETRIES.THE SACRED AND RECONCILLED..
JOHN MICHELL ARTICLE ..REFERENCES TO MAGICAL IN THE ORDINARY..WORDS AND PICTURES COME FROM THE SAME PLACE,,GREAT QUOTE!
REF TO BLAKE HENDRIX AND SEX PISTOLS..AMAZING ALL IN THE SAME PLACE..A PARTY IN THE GARDEN!!!!!!!!JUST IDEAS..GREAT INSPIRING ARTICLES HERE,,John Michell p61
Author of twelve books, specialist in sacred geometry and the geometry of
reconciliation.
John Michell, born 1933, was educated at Eton and Cambridge and published his first book in 1967.
With ‘The View over Atlantis’ (1969) and ‘City of Revelation’ (1972) Michell helped to change the world-views of a whole generation by illuminating the science, culture and wisdom of past civilizations.
SECTION 4 IN PARTICULAR DISCUSSES THE IDEA OF WHAT INSPIRES FROM EVERYDAY LIFE..AND MAYBE A LOCATION? http://magmapoetry.com/archive/magma-21/articles/seeing-the-city-daniel-libeskind-and-william-blake/
TAHW
WHAT: This project is to study diverse spaces as geometry and diverse temporalities as rhythms in the concrete; The body. It is meant explore the alignment of rhythms in repetitive time periods. Over time the sensitive body of landscape goes into a modification process with rhythmic change; so do architectures. The alliance of function and space changes at different speeds and as a result, landscape and architecture fuses and a polyrhythmic or arrhythmic arrangement occurs. The question is how the rhythm of the self and the rhythm of others are oriented and distributed? In other words, how the beating hearts of the body and the connections between these hearts are revealed to disclose the trace of beating over time. This project looks at the architectural translation of the object often contained between the dynamic body and its trace in the world. Imagine a garden with plants made from Alfred Jerry’s anti-matter which is sensitive to very small changes, “change amplifier bodies,” that leave a trace on the timeline, itself and its environment.
WHY: Architecture is not a static object. In other words, an architecture over its life occupies more than a topography, it occupies a timeography, a period over time in which it is affected by forces which alter the body and become in tune with these changes. Architecture does not sublimate only the functional or aesthetic rule it also has ethical function. In its relation to body, to the time, to the work, it literally illustrates life of body.
HOW: A Cymatic Garden works as a model resembling the idea in a system. This garden is a series of pieces that discuss the idea of time, space and geometry as cymatic, mixing an architecture with color light and texture as a time-based garden. Presenting a system of combination of diverse rhythmic objects that are moving constantly under circular and linear external forces in vibration. Each performs in its individual field however synced and in contrast with each other. As a whole, the consequence is that the texture remains constant. Exploring the forces that are in contradiction and resistance with each other distinguishes between the experience of time as a process, as “in-formation,” and as an instrumental notion of time that is “metronomic” or “progressive,” circular or linear. There are four kinds of alignments between rhythms: Arrhythmia, Polyrhythmia, Eurhythmia and Isorhythmia. The Garden resembles these qualitative relations between the components. The external forces are moving ground that devours light, air and water. Using geometric principles, which distinguishes between bordered and infinite space, and diverges significantly from Euclidean principles of transformation, which produced geometric figures that are individually and globally differentiated.
WHY: Architecture is not a static object. In other words, an architecture over its life occupies more than a topography, it occupies a timeography, a period over time in which it is affected by forces which alter the body and become in tune with these changes. Architecture does not sublimate only the functional or aesthetic rule it also has ethical function. In its relation to body, to the time, to the work, it literally illustrates life of body.
HOW: A Cymatic Garden works as a model resembling the idea in a system. This garden is a series of pieces that discuss the idea of time, space and geometry as cymatic, mixing an architecture with color light and texture as a time-based garden. Presenting a system of combination of diverse rhythmic objects that are moving constantly under circular and linear external forces in vibration. Each performs in its individual field however synced and in contrast with each other. As a whole, the consequence is that the texture remains constant. Exploring the forces that are in contradiction and resistance with each other distinguishes between the experience of time as a process, as “in-formation,” and as an instrumental notion of time that is “metronomic” or “progressive,” circular or linear. There are four kinds of alignments between rhythms: Arrhythmia, Polyrhythmia, Eurhythmia and Isorhythmia. The Garden resembles these qualitative relations between the components. The external forces are moving ground that devours light, air and water. Using geometric principles, which distinguishes between bordered and infinite space, and diverges significantly from Euclidean principles of transformation, which produced geometric figures that are individually and globally differentiated.
Friday, 22 January 2010
Movement of the geomatery in the system---transfer of the vibration to the object--- this transfer is he geometery -- Idea of transfer--- this material represent the ground--- This is oscilating and moving comes up the form --- the idea of the system the geometery ....
It's a gardening project is all about everyday organisation responds to weather and heat and light ... As garden is the collection of things and we have elements thet moves the ground taking air and light through it ... everyday orgenisation of weather and light and water and heat and wind ,.... strange devisecs... cymatic section ...
It's a gardening project is all about everyday organisation responds to weather and heat and light ... As garden is the collection of things and we have elements thet moves the ground taking air and light through it ... everyday orgenisation of weather and light and water and heat and wind ,.... strange devisecs... cymatic section ...
Tuesday, 15 December 2009
Monday, 14 December 2009
P2
The next the was to demonstrate the idea of liberty and freedom in the context of politic and society. As the framework I picked the novel "Animal Farm" By George Orwell. The farm which is the context of the story as the variable of external forces vibrates and the cymatic pattern simulate the environment which circulate the relationship between animals. The idea was to present the dominant regime force as vibration which fluctuate the society by the different frequency.
P1
Project 1 : use cymatic as a method to demonstrate the idea of liberty and freedom.
For me we can approach to the idea of freedom and liberty from two very different point of view. Freedom oh human as himself in the world and why should he suffer in this world for a life time. Kafka's novel trial was the framework of my experience.
I had to design a labyrinth to show the world and man is suspending in this world. Here is another incredible short story of Kafka as I've used it's sound as the impute of y work. The sound is from the movie "trial" by Orson Wells.
A man from the country seeks the law and wishes to gain entry to the law through a doorway. The doorkeeper tells the man that he cannot go through at the present time. The man asks if he can ever go through, and the doorkeeper says that is possible. The man waits by the door for years, bribing the doorkeeper with everything he has. The doorkeeper accepts the bribes, but tells the man that he accepts them "so you won't think you've neglected something." The man waits at the door until he is about to die. Right before his death, he asks the doorkeeper why even though everyone seeks the law, no one else has come in all the years. The doorkeeper answers "No one else could gain admittance here, because this entrance was meant solely for you. I am now going to shut it."
Heidegger on Question Concerning Technology
The essence of technology never could be revealed to human as essence of everything else and technology is bringing forth and revealing and unconcealed where Alethea, truth happens...the revealing that rules technology is challenging. Modern technology essence is enframing; gathering together of the setting-upon that sets upon man. techne which is defined "the name not only for the activities and skills of the craftsman but also for the arts of the mind and the fine arts", i the means for sourcing true forms and ideas that exist before the figure we perceive.Plus he mentioned how technology has changed man's relationship not only in earth, but also to being itself. and there is nothing too technological about the true essence of technology.
And to human, his enframing is putting in position of man to reveal the actual as original; so the essence of modern technology is putting in position of man to reveal the actual as original and still present, if concealed... the truth exists outside of human work. man is inconsiderate as we do not know the origins; to find them we must listen but not simply obey. The great danger for martin is technology becomes determined of it's truth, rather than humen becoming knowing of concealed truth. The "saving power" of modern technology is thinking and seeing unfolding it's essence rather than become transfixed in the will to master in technology as an instrument. the truth is constellation, the stellar course of the mystery distant from human perception. And thus the essential unfolding of modern technology may not lead us to the ultimate truth... in fact modern technology likes to be dominant to the things, therefore not only it will not reveal the truth, but also some how cover it under it's flourish demonstration.
But I consider technology as what it means not a thing; th object has no essence and intrinsic truth or status it is merely a reconciliation of technique, machines are primitive assimilated products and for faciliatating and nothing more. They share a form to deceit as we forger how and our texture.
Introducing Cymatic
Cymatics (from Greek: κῦμα "wave"), also known as modal phenomena, is the study of visible sound and vibration, typically on the surface of a plate, diaphragm, or membrane. Directly visualizing vibrations involves using sound to excite media often in the form of particles, pastes, and liquids. The word Cymatics derives from the Greek 'kuma' meaning 'billow' or 'wave,' to describe the periodic effects that sound and vibration has on matter.
Influences in art
Hans Jenny's book influenced Alvin Lucier and, along with Chladni, helped lead to Lucier's composition Queen of the South. Jenny's work was also followed up by Center for Advanced Visual Studies (CAVS) founder Gyorgy Kepes at MIT. [7] His work in this area included an acoustically vibrated piece of sheet metal in which small holes had been drilled in a grid. Small flames of gas burned through these holes and thermodynamic patterns were made visible by this setup.
Based on work done in this field, photographer Alexander Lauterwasser captures imagery of water surfaces set into motion by sound sources ranging from pure sine waves, to music by Ludwig van Beethoven, Karlheinz Stockhausen, electroacoustic group Kymatik(who often record in surround sound ambisonics), and overtone singing.
Friday, 23 October 2009
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