In parallel to this time, the 20th c. architecture seeks to effect ‘hitherto unknown interpenetration of inner and outer space’, allowing space entities to be in multiple locations together or alone. Buildings, apartments, houses are becoming completely moveable, portable, flexible, since the walls can be shaped as the client wish. Virtual reality connects us to this fact of malleability. We want to reach wider spaces and audiences by an click of a phone. By restricting our space into a unique shape, you transform it in a ‘Multifunctional’ structure, which is part of the concerns of a self-contained Design (speakers, microphone, microcontroller, interface, etc..). Multifunctionality might sound a business strategy but it's a simple reason to expand and improve the wealth its practitioner and, therefore, to a sound experience. In knurl I aim to achieve an hybrid space where digital and analogue systems could collaborate but also reflect into the future of the music space.
To reflect about digital spaces could bring us a first simple question: Why would we want to encapsulate things? In this case, capsulation seems to merely or even not all occupy an physical space, prefering to deal with a high digital performance in its systems and operations. And this is generally what it is happening with a brunch of areas of knowledge,actions and solutions. But why we, human of a technological area, don’t want to occupy merely the only physical space that concerns to us, going preferably, to digital and open our rights sources?
Being art a complete rehearsal of behavior, Nowadays, we’re completely influenced by this Open source revolution. The desire for an archive to mummify and eternalize our generation is constantly wobbling between hardwares, softwares and platforms: Our data has been currently commercially captured, not belonging to us anymore and our relatives. Our data has been currently commercially captured, without proper ethical rules protecting the client.
Its evidential to give awareness to your virtual actions and decisions. Hardwares and platforms are definetly ocupping spaces that most of all, affects your & world wealth directly.
Containing your systems
To have all the set up inside of your sound object/instrument could facilitate enormously the transportation and accessibility of a musical performance but it is also a big challenge for the composer. Indeed, “Space is […] instrumental and, indeed, it is the most general tool”. In a concert performance, space a big role into sound interaction. Being listener or performer, you're immerse into the response of an architecture. The amount of apparatus that electronic music requires can be highly the stress factor. And if you have an instrument bigger than you, it can gradually destroy your body and gives you a lot of stress. In a performance, If you're able to control the space that its concerns to you (stage,set up, instrument), you release a great factor stress and unfocus. Part of the reason of unifying your set up of the electronic music in the instrument comes from stress factors but also for a better integrative methodologies. Integration allows us to be independent and globally concerned to the diverse necessities of human culture and races to find better energy harvest and storage systems. Not only human has access to materials, energy and . And 'if these factors doesn't affect , it's my responsibility to work for it'. With the supportive of an integrative methodology, focus isn't mentally interrupted by the long size of our list of tasks thanks to the well-feeling of spatial control. We have to regard that our most important instrument at a performance is our mind. That it has to be calm and focused to a complete immersion on the dialogue of art structure. An automated electronic circuit has to be composed by:
Applying physical forces
In an integrative / multifunctional design, tension and release is a jargon from oriental pretty fundamental on modelling design. The natural forces of the tool (gravity, string tension, oscillation and bouncing) are used to improve the energy sound distribution to the resonance chamber (arm) based on the balance and iteration between it components. During each of those 9 prototypes experience in this project, I’ve been testing a model where it could allow better sound distribution through this concept of release and tension. In the most progressive prototype, a vertical camera became a sligh speaker ‘membrane’ and arm of the sound object, where its base is compressed by a huge force of 16 cello strings. This camera receives a sound inducted by the force and fragile connection of a strong reciprocal frame bridge. Besides the arm working as a resonator box, the tailpiece is covered by a solar panel case for input analogue and harvesting energy and the tuning head is turnable during its montage to offer the possibility to compress even more the metal bar for better sound distribution.