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                <text>White box black box: at the edges of sound and light</text>
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                <text>Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture</text>
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                <text>Lieberman, David. Conférencier</text>
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                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
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                <text>Criton, Pascale (1954-....). Modératrice</text>
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                <text>Hollard, Arnaud. Intervenant</text>
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                <text>Congrès et conférences - Architecture -- 20e siècle</text>
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                <text>Keynote&#13;
&#13;
White Box&#13;
the space of exhibition&#13;
the space of installation&#13;
edited and reduced to accomodate fine art&#13;
&#13;
Black Box&#13;
the space to facilitate&#13;
the space to make possible&#13;
expanded and diffused with performance&#13;
&#13;
The proposition seeks through the choreography of movement, sound, and light to investigate the nature of space in its poetic and emotive qualities and to articulately craft the boundaries and limits through the use of specific materiality, fabrications, and assemblies, the architecture of contemporary cultural practice and political expression, an architecture determined by its occupancy and use.&#13;
&#13;
In a post cinematic world, creative production transcends the norms of traditional media and disciplines.  Not unlike the integrated practice of architecture, the practices of fine art and performing art are more often than not, combinatory in their execution and rooted in a multiplicity of references.&#13;
&#13;
Light and sound are the palpable materials of architectural containment and are simultaneously the prinicipal forms of its occupation.  Traditional spatial composition has relied upon the surfaces of resistance and reflection;  space can be understood in the dissolve and blur of the visual and the aural at the limits of perception and tactility.&#13;
&#13;
Current discussions in the academy and in experimental practice are focused on responsive architectures and interactive interface;  the work posits the concept of generative archtiectures in terms of materials, hybrid systems, and controls through both improvised and scripted tenancies as acts of invention and innovation.&#13;
&#13;
&#13;
In Paul Mazursky's film The Tempest, John Cassavettes plays Prospero as an architect rebuilding an a ancient amphitheatre on a Greek isle.  He lifts his glasses to the darkening skies ..... the lighting flashes, the thunder roars, and the waves crash on the shore "show me the magic"</text>
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                <text>Université de Rouen</text>
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                <text>European University of Cyprus</text>
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                <text>University of Cyprus</text>
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                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
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                <text>Centre Iannis Xenakis</text>
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