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) the meaning of the word ‘dramatized’. And this second meaning is also fundamental in DIORAMATIZED #01 as it transposes the 19th century concept of a diorama to a contemporary interactive media formula in a miniature dramatized setting. The technical as well as the aesthetic approach…
Tag: perspective
Testrecordings MULTIPLE voice/vision
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 back to its original state. So we had just one day for the actual test recordings, which consisted of two parts: – one movement from a string quintet of Boccherini – one duet violoncello – basso continuo We planned the testrecordings just before an actual…
Deconstructing polyphonic texture
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’ briefly , as its concept is related to the central concept of my current project ‘MULTIPLE voice/vision’ where I also envisage to deconstruct the polyphonic texture of music, but both aurally and visually. The first phase of ‘MULTIPLE voice/vision’ will centre around ‘Ein Musikalisches Opfer’…
single-point perspective exposed/imposed
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, camera, or just in my head. And I work with the space, considering the relationship of my view point with the space as well as the geometry of the space itself. Then I make the painting. […] If [the viewer] is aware of the work,…
Rudi Knoops 