Rudi Knoops

Category: MULTIPLE voice/vision

  • A Pre-Cinema connection

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    The pre-cinema history encompasses a myriad of toys and optical devices that all strive to create an illusion of ‘moving’ images by exploiting the persistence of vision effect. The Praxinoscope creates this illusion of movement by turning an outer cylinder, containing a series of images, round an inner cylinder with a series of rectangular mirrors.  …

  • A design sketch

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    In a previous post, I mentioned that DIORAMATIZED #01 is a miniature design exporation. Everything is relative I guess: DIORAMATIZED #01 may have a size of about 2.00 (diameter) x 3.00 (height) metres. But in comparison to what we aim at with the full-scale installation(s), I can still call it a miniature or a scale…

  • DIORAMATIZED #01

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    rudiknoops
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    DIORAMATIZED #01 is the first of a series of experimental design explorations that we are setting up in the framework of the practice-based research project MULTIPLE voice/vision. I coined the word DIORAMATIZED because on the one hand it refers to the 19th century phenomenon of dioramas, and on the other hand it carries (some of)…

  • Testrecordings MULTIPLE voice/vision

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    Last week testrecordings for MULTIPLE voice/vision were on the agenda. We had the concert hall of AMUZ – a deconsecrated church in Antwerp, with superb acoustics – for 3 days. Not so much when you consider that we would need 1 full day to set up, and 1 other day to get the concert hall…

  • Deconstructing polyphonic texture

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    Just revisited Janet Cardiff‘s website for  “THE FORTY PART MOTET | 2001”. Even though I have not seen/heard this installation yet, I’m sure it must be awe-inspiring: a deconstruction of the polyphonic texture of Thomas Tallis’s Renaissance masterpiece Spem in Alium into its 40 individual voices. I want to touch upon ‘The Forty Part Motet’…

  • single-point perspective exposed/imposed

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    Felice Varini is a Swiss painter obsessed with perspective. His canvas however is architectural space. He explains in an interview: I start my works from one vantage point, which is simply the height of my own eye level. This is only a starting point, a way to begin. I plan the work using sketches, pictures,…