ArchiMusic: from Polytopes to Allotopes
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Continu+%28philosophie%29">Continu (philosophie)</a>
Keynote lecture.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Novak%2C+Marcos.+Conf%C3%A9rencier">Novak, Marcos. Conférencier</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=University+of+Cyprus">University of Cyprus</a>
Un fichier numérique uniquement
Centre Iannis Xenakis
University of Cyprus
European University of Cyprus
Université de Rouen
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hadjichristos%2C+Christos.+Mod%C3%A9rateur">Hadjichristos, Christos. Modérateur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lieberman%2C+David.+Intervenant">Lieberman, David. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Economou%2C+Athanassios.+Intervenant">Economou, Athanassios. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vasquez+Hadjilyra%2C+Oswald+Emiddio.+Intervenant">Vasquez Hadjilyra, Oswald Emiddio. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ham%2C+Jeremy.+Intervenant">Ham, Jeremy. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kanach%2C+Sharon+%281957-....%29.+Intervenante">Kanach, Sharon (1957-....). Intervenante</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lanzilotti%2C+Anne.+Intervenante">Lanzilotti, Anne. Intervenante</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kavallaris%2C+Faidros.+Intervenant">Kavallaris, Faidros. Intervenant</a>
<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /></a><br />Ce(tte) œuvre est mise à disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=44&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=en">en</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=43&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=http%3A%2F%2Fwww.centre-iannis-xenakis.org%2Fitems%2Fshow%2F4102">http://www.centre-iannis-xenakis.org/items/show/4102</a>
Giacinto Scelsi's "Imprint" on the Continuum
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Continu+%28philosophie%29">Continu (philosophie)</a>
An overview of Giacinto Scelsi's creative process, music and writings, focussing on the importance he gives to sound and particularly unisson. Could this be the "imprint" he has left on our musical continuum? Specific examples are given where Scelsi's influence on Xenakis may be deciphered.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kanach%2C+Sharon+%281957-....%29.+Conf%C3%A9renci%C3%A8re">Kanach, Sharon (1957-....). Conférencière</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=University+of+Cyprus">University of Cyprus</a>
Un fichier numérique uniquement
Centre Iannis Xenakis
European University of Cyprus
University of Cyprus
Université de Rouen
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lieberman%2C+David.+Mod%C3%A9rateur">Lieberman, David. Modérateur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Economou%2C+Athanassios.+Intervenant">Economou, Athanassios. Intervenant</a>
<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /></a><br />Ce(tte) œuvre est mise à disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International</a>
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Are Noise and Silence Part of the Same Continuum?
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Continu+%28philosophie%29">Continu (philosophie)</a>
The underlying idea that noise and silence may constitute the two ends of the same continuum is the subject of our research. Noise and silence are examined as notions beyond their strict sense of the word; their expanded connotation reflects on creative thinking, aesthetic and cultural matters and scientific research. We focus on the relationship of noise and silence, with respect to sound and space, by interpreting them as spatial elements. The composition Continuum II for solo viola (2015) by N. Chatzopoulou, has been used as a platform in order to investigate how the elements of noise and silence, which are used structurally in order to attain cohesiveness and a continuous flow in time, can be interpreted in space. Experimenting with different surfaces, layers, textures and light, we aim to explore the fine constituents of silence and noise and consequently observe the points that they converge and diverge from each other. Without aiming to neglect the other senses, our cultural preference for the ocular proves useful in revealing hidden aspects of the relationship between silence and noise and the nature of this continuum. As a result, it has a significant impact on how we think, listen, design, create and live in our contemporary world.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chatzopoulou%2C+Nicoleta.+Conf%C3%A9renci%C3%A8re">Chatzopoulou, Nicoleta. Conférencière</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Parthenios%2C+Panagiotis.+Co-auteur">Parthenios, Panagiotis. Co-auteur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=University+of+Cyprus">University of Cyprus</a>
Un fichier numérique uniquement
Centre Iannis Xenakis
University of Cyprus
European University of Cyprus
Université de Rouen
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lieberman%2C+David.+Mod%C3%A9rateur">Lieberman, David. Modérateur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vasquez+Hadjilyra%2C+Oswald+Emiddio.+Intervenant">Vasquez Hadjilyra, Oswald Emiddio. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Parthenios%2C+Panagiotis.+Intervenant">Parthenios, Panagiotis. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Georgaki%2C+Anastasia.+Intervenant">Georgaki, Anastasia. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ham%2C+Jeremy.+Intervenant">Ham, Jeremy. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Economou%2C+Athanassios.+Intervenant">Economou, Athanassios. Intervenant</a>
<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /></a><br />Ce(tte) œuvre est mise à disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International</a>
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Reinventing the sense of continuity in urban structure through pauses
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Continu+%28philosophie%29">Continu (philosophie)</a>
At first glance, the modern city constitutes a continuing united system in space-time. Roads, buildings, open spaces comprise the idea of urban structure into an interwoven system. On second thought, contemporary cities are seen as townscapes composed by a random collection of fragments, rather than a meaningful landscape of interrelated spaces. These gaps disrupt the overall continuity of the urban form. Nevertheless, they can often be interrelated with everyday expressions of public space activism.
These space-time pauses/tensions on the urban structure constitute a variety of bottom-up initiatives that challenge the increasingly, regulated, privatized forms of the urban system and at the same time defy or escape existing regulations. Tactical maneuvers stand in contrast to the carefully planned city and break the rules for short periods with unexpected, risky activities that inject the urban voids with new functions and meanings. The permanent form of the city and the temporary interventions in it, are what de Certeau call strategies and tactics. During the last years, are observed many actions aiming at the reappropriation of urban voids throughout Europe.
The question which is emerging from such a study is: How these actions can enhance the overall system, although are breaking the rules of the state? How can monotony rhythm of space-time be interrupted and, at the same time in communication with new tones of public life? In exploring these questions, this paper presents two cases: a series of practices implemented by the Atenistas group in the city of Athens, Greece and the appropriation of a lake in an abandoned factory in Rome, Italy. Atenistas, is a group that searches and identifies vacant or misused spaces. They have managed to implement a series of strategies in organizing and activating, not only the spaces as such but in terms of emerging the social network that will sustain and maintain these spaces. The second example is about an abandoned factory which bought by Antonio Pulcini, who intended to transform it to build a shopping center. During the constructions, an unidentified water source from which the water had covered the whole area was revealed. This condition provided the neighboring residents with the advantage to occupy and appropriate the space. Their actions eventually determined the lake’s future use in an agreement with the state. Both cases reflect how the spaces that disrupt the urban structure can be seen as fertile grounds for social regeneration through tactics, rather than one fixed plan.
This thesis aims at bringing new insights about the potentials of residual sites and their role in the development of modern city. It attempts to demonstrate how informal activities in urban voids can interrupt the monotonous continuity of the city bringing new social patterns and promoting a more creative continuity of the urban system which can enhance the social bonding whilst fostering the creation of meaningful social relations. These cases can offer lessons for other cities that wish to improve the public life of their urbanites through pauses enhancing at the same time the sense of wholeness.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Anaxagorou%2C+Glykeria">Anaxagorou, Glykeria</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=University+of+Cyprus">University of Cyprus</a>
Un fichier numérique uniquement
Centre Iannis Xenakis
European University of Cyprus
University of Cyprus
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
Université de Rouen
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kanach%2C+Sharon+%281957-....%29.+Mod%C3%A9ratrice">Kanach, Sharon (1957-....). Modératrice</a>
<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /></a><br />Ce(tte) œuvre est mise à disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International</a>
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Xenakis's Transfer: The transdisciplinary compositional thinking as an inference-transfer process.
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Continu+%28philosophie%29+">Continu (philosophie) </a>
In his book «Revealing Architectural Design: Methods, Frameworks and Tools”, Philip Plowright explains that every knowledge coming from an external discipline needs to be translated in order to be used as a designs principle in other discipline. This translation of knowledge process is called domain-to-domain transfer or inference transfer. Them, as it is known, architectural and musical composition are based on an internal syntax that incorporates its own knowledge, but they also infer external knowledge. So, in order to use external knowledge in architectural or in music syntaxes, it is necessary to translate these informations through an operation of domain-to-domain transfer. This is true not only for architecture and music, but for all disciplines.
Technically, in the inference transfer process, some selected content is brought forward from a source domain, mediated through a transfer frame, and then implied in the target domain. The validity, quality, and significance of the content in the target are dependent on the relevance of the relationship between itself and the content from the source. This activity can be frequently called an analogy, a metaphor, a homology, or a simile.
The primarily tool for thinking around an object, situation or application by the point of view of its potentially transfer principles is called first principles reduction. It is at the core of how information is moved between domains. The act of reduction begins to abstract an object or situation away from a particular disciplinary application to a more general statement. Once a general understanding of principles has been achieved, it is relatively easy to move those general principles across disciplines. The generic, generalized factors that are the result of a first principles reduction are not coded in any disciplinary language. They can be associated with a new domain and then expanded back to a particular application by applying deep discipline syntax.
As attested by Plowright, structure-mapping is a more intricate form of transfer through first principles reduction. In structure-mapping, the interest is in identifying strong relations between objects in a specific source domain in order to enrich the content of a target domain (architecture, music). A selected aspect of the source domain – which is a context, an event, or a situation – is ‘exploded’ into its component parts. This will include objects of the source domain, the attributes of those objects, and the relations between those objects. As explained by the author, the source frame holds content in its particular syntax, the transfer frame moves that content into general principles, and the target frame translates the general principles back to particular syntax but in a different domain of knowledge.
This paper proposes an analysis of the Xenakis compositional process through the inference-transfer methodology. In this aim we propose to analyze some works in which the composer has explicitly applied the transdisciplinarity between the musical and architectural domains in order to clarifies his process of thinking.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Matos+Rocha%2C+Namur.+Conf%C3%A9rencier">Matos Rocha, Namur. Conférencier</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=University+of+Cyprus">University of Cyprus</a>
Un fichier numérique uniquement
Centre Iannis Xenakis
University of Cyprus
European University of Cyprus
Université de Rouen
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kanach%2C+Sharon+%281957-....%29.+Mod%C3%A9ratrice">Kanach, Sharon (1957-....). Modératrice</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Novak%2C+Marcos.+Intervenant">Novak, Marcos. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hadjichristos%2C+Christos.+Intervenant">Hadjichristos, Christos. Intervenant</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Freedman%2C+Lori+%281958-....%29.+Intervenante">Freedman, Lori (1958-....). Intervenante</a>
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Andrew Norman's The Companion Guide to Rome: Influence of Architecture and Visual Art on Composition
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
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In the same way that the Cosmatesque floors in San Benedetto in Piscinula affect
the way one interacts with the space consciously or subconsciously, Norman’s use of
palindromic musical gesture give a structure through which to process movement through
time. Both challenge the observer through zooming in on the specific design/pattern of
the materials to trust in the actual and symbolic experience of marching through time. It
is only through “outside time made possible by memory” that one perceives patterns, and
hopes to move forward. This is the spirituality reflection: forcing one to focus on time
itself, the symmetries of experience, and what is to come.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lanzilotti%2C+Anne.+Conf%C3%A9renci%C3%A8re">Lanzilotti, Anne. Conférencière</a>
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Un fichier numérique uniquement
Centre Iannis Xenakis
European University of Cyprus
University of Cyprus
Université de Rouen
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lieberman%2C+David.+Mod%C3%A9rateur">Lieberman, David. Modérateur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kanach%2C+Sharon+%281957-....%29.+Intervenante">Kanach, Sharon (1957-....). Intervenante</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Freedman%2C+Lori+%281958-....%29.+Intervenante">Freedman, Lori (1958-....). Intervenante</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Economou%2C+Athanassios.+Intervenant">Economou, Athanassios. Intervenant</a>
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<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /></a><br />Ce(tte) œuvre est mise à disposition selon les termes de la <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International</a>
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Diakopès: historicizing continuum in the work of Iannis Xenakis
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
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A later work (1966), the holiday house Xenakis designed for a musician, his friend F.B. Mâche, the only work realized in Greece (Xenakis and...Plato’s homeland), does not seem to exhibit the Pavilion's formal continuity: arranged in five independent volumes, each one of which is perforated by a series of enigmatic, pretty narrow, openings, it does not even allow any sort of visual continuity. It is a house in diakopés (the Greek word for vacations, literary meaning interruptions, disruptions in continuity). Yet in the midst of these discontinuities, another kind of continuity emerges (a rather 'virtual' continuity, as Colin Rowe once described a certain state of transparency; Rowe & Slutzky, 1992): as one is approaching the house, there are various points from which the volumes seem as a uniform mass; the openings are suggesting a continuous filming of the landscape; each volume is a continuous, topological, transformation of the others and, on the archetypical form of each volume, there is to be found a synécheia (the Greek word for continuity, also meaning the coherence). In these archetypes is expressed a pre-hellenism, an archaism (Grumbach, 2001: 195-199) which is yet poorly studied in terms of Xenakis' oeuvre and the continnum.
Based on a longstanding, original and still unpublished, archival research (2005 onwards), on witnesses from the persons involved and on thorough analyses on the mathematics of forms, this paper aims to investigate the continuities/discontinuities in the house of Amorgos, towards a historicization and reassessing of continuum.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kalfa%2C+Konstantina.+Conf%C3%A9renci%C3%A8re">Kalfa, Konstantina. Conférencière</a>
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Un fichier numérique uniquement
Centre Iannis Xenakis
University of Cyprus
European University of Cyprus
Université de Rouen
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kanach%2C+Sharon+%281957-....%29.+Mod%C3%A9ratrice">Kanach, Sharon (1957-....). Modératrice</a>
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The Polytope of Mycenae (1978) / I. Xenakis: structuring the space of the past through a futuristic architectonic approach
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
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In 1978 Xenakis created at the Acropolis of Mycenae a unique event -in multiple places (polytopon)- a participatory art spectacle for the masses with music and poetry, audiovisual effects, soundscapes with human and animal voices and bells with absolute respect to the historical and the natural soundscape of the archeological site.
In this presentation I will present the structure of the polytope in space and time through a microstructure and macrostructure analysis; I will focus especially on Mycenae Alpha the the electronic piece that has been composed for this event and is based in microstructural sound design in UPIC environment (Polyagogie) through cloud and aborescences. The sound of Mycenae Alpha is the futuristic tool « par excellence » that bridges different events that happen in the "heterotopian" soundscape of Mycenae and thus highlights the cultural heritage of thousands of years through the perspective of a futuristic driven architecture organization in the field of audio, music, speech and natural soundscape.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Georgaki%2C+Anastasia.+Conf%C3%A9renci%C3%A8re">Georgaki, Anastasia. Conférencière</a>
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Un fichier numérique uniquement
Centre Iannis Xenakis
University of Cyprus
European University of Cyprus
Université de Rouen
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kanach%2C+Sharon+%281957-....%29.+Mod%C3%A9ratrice">Kanach, Sharon (1957-....). Modératrice</a>
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Practice Walk
Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Architecture+--+20e+si%C3%A8cle">Congrès et conférences - Architecture -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Congr%C3%A8s+et+conf%C3%A9rences+-+Musicologie+--+20e+si%C3%A8cle">Congrès et conférences - Musicologie -- 20e siècle</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Continu+%28philosophie%29+">Continu (philosophie) </a>
A personal journey exploring the interdisciplinary nature of inspiration.
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Un fichier numérique uniquement
Centre Iannis Xenakis
École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)
Université de Rouen
European University of Cyprus
University of Cyprus
2016-06-13
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hadjichristos%2C+Christos.+Mod%C3%A9rateur">Hadjichristos, Christos. Modérateur</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Economou%2C+Athanassios.+Intervenant">Economou, Athanassios. Intervenant</a>
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