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Labor
Kunst + Media Halle, 13.12.2002 - 15.12.2002
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 university
of VR-Design
lab[au] Manuel Abendroth,
sPACE, navigable
music spa[z]e music
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with a 1.5h lecture
about MetaDeSign and
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Technology based on the transmission and computation of information influences organization models (modes of production, work and knowledge) and affects the communication process (code, symbol) and the social relations as well as their spatialisation. The investigation in information design is thus based on the question of the recent technological progress and how it influences the definition of design methods and purposes. Triggered by the technological progress, new codes (semantics) and methods (practice) appears often revealed by the term that is used to qualify them, as for example the word design came up in the beginning of the last century according to the shift of the pre-industrial to industrial society …> 1. The emergence of the concept of "design" around the Bauhaus and particularly El Lissitzky had the intended purpose of qualifying artistic concerns in relation to the technological and social changes in order to reintroduce them in the concept of art itself. "…the meaning of all media is the experience of using these extensions of yourself. Meaning is not 'content' but an active relationship" (1971 Marshall McLuhan) De(to do)sign(from Latin signare) …>2 means making something and distinguishing it by a sign, giving it significance. But 'meaning' indicates not only the significance of something to us, but also our intention toward it bridging the gap between the technical realm and the setting of engagements, disciplines. In the case of the Bauhaus this enlarges the understanding of the aims followed in the definition of new concepts and methods in relation to the ongoing social and cultural processes. But the term of design itself has evolved, as technology did, to industrial design, system design... The aim of the workshop is to identify the specificities of IC technologies and information design and to confront the participants the new codes and semantics which leeds to the founding of new disciplines - MetaDeSign.
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The spa[z]e 360° is based on a sonic quadraphonic specialization system and 3-8 projection screens d proposing a panoramic (360°) perception rendered in real time, immerging the public in the 3D visual and sonic environment of spa[z]e music. In the center of the disposal the musician's place, edit and mix live images and sound in e.space and through its navigation. The public follows the navigation of the musicians and share the rendered music as the sensation of movement and speed in the non gravity e.space of the sPACE,navigable music project. In this manner spa[z]e
360° propose a spatial immersion in the e.space than in the one
of projection and sounds. |
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| PROJECT TEAM: lab[au]:_ M.Abendroth, J.Decock, C.De Smet, P.Heremans, A.Plennevaux + [ERZATZ]:_ sinusjog The [SPAZE], music is based on collaboration between lab[au] and different electronic musicians, influenced by electro / d n' b / IDM and brain music, who composes specific sonic- spaces, navigable music. Based on the space, navigable music project ...> the collaborations focus on the exploration of musical patterns in and through e.space and relates them to image sequencing in order to create an immersive sonic and visual environment. The composing of music through navigation in e.space and the spatialization of music through the quadraphonic sound system thus constitutes a performative sonic space, which the musicians creates each time live through their navigation. It thus relates, synchronies, space to music and cinematic techniques dealing not only with new ways how to compose, share, perform and diffuse music through electronic space but also questions the construct of music and space itself .....> ..'space_music' The exploration
of 'space-music' has its origins in the experimental work of electronic
music since the fifties, where musicians like Varèse, Stockhausen,
Xenakis… not only has
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In sPACE, navigable
music, the space is generated in real time according to the position
and movements of the user in this e.space ( > mix color, > mix
image, > mix sound). Operating on the spatial (x,y,z), temporal (t-movements)
and sonic (frequency, pitch) parameters, each interaction by the user,
navigation, transforms the visual and sonic space. In addition, the
recording of movements allows each user to produce a traveling according
to cinematic techniques, camera movements and image sequencing - montage.
The established relation between the spatial, visual and sonic formalization
processes and the editable interactivity of users lead to an experience
combining architecture, music and cinematic techniques through movement
patterns. The ‘Navigable Music’ thus constitutes a space,
in which the user experiments cyber space by dropping sounds into space,
mixing music throughout space and navigation, record its movements to
produce an animation, a kinetic music clip, a sharable sonic space. |
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© LAB[au] 2002 |
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