Physical Music - Re-imagining Kandinsky pt 2 ( Composition 8 ). Taking elements from Composition 8 in physical form whilst animating to create new compositions in time and space.
Physical Music - theory into practice. T&C Pocket Bici c.1963 Italy. ( images from the Embacher collection )
My rather random investigation into the links between musical composition and design philosophy has taken me down some rather theoretical paths of late. Inspired by artists and musicians who have made their own links - the likes of Mondrian, Boccioni, Delauney, Klee, Kandinsky, Hepworth, Eno, Scriabin, Calder, Matisse and Malevich etc whose major works I have been fortunate to view first hand in the galleries of Paris and London recently. And yet the practical implementation of such findings remains somewhat elusive.
However, the T&C Pocket Bici somehow manages to portray some of those connections:
It begins with all the key components arranged in a seemingly random configuration, all recognisable and yet obviously static.
As it is unfolded a narrative begins, themes develop until something more understandable emerges. The form has now evolved into something less stable, urging further interaction and a willingness to develop the theme.
Once ridden the interaction takes over to the point where the once incomprehensible becomes part of the rider and the individual elements give way to the whole experience.
Of course the Pocket Bici also contributes it’s own acoustic accompaniment - the hum of the rubber tyres, the clank of the chain, the squeal of the brakes, the rattle of the mudguards and it’s form when folded is almost an instrument itself……. but that’s another story and we haven’t even touched colour theory, chord progressions, rhythm, emotion…..
Physical Music - Light and Movement pt 1
Imagining musical compositions based on subtle gradations of colour, progressing through a limited palette.
Physical Music - The Elements of Composition
A typical verse progression in F followed by a chorus in C and G. Using the idea of a mobile to indicate the links between the sections with each arm representing the chords whilst setting the timing. The chords are coloured using the colour palette suggested by Scriabin and indicate the importance and influence of each note by their shape and size.
The piece begins at the top and progresses through the verse then on to the chorus. The initial movement continues throughout to represent resonance and memory as the music implants itself in the brain.
Physical Music - The Orchestra of Things.
The things we surround ourselves with are like a soundtrack to the story of our lives. The products, clothes, miscellaneous items are the orchestra.
There are those items that carry the melody, some the drama and excitement, some add warmth and comfort, some signify conformity, some are discordant, some might not be tuneful by themselves but together add a richness. Some evoke a theme from the past, others push us on our own path.
Sometimes we travel with a quartet of items, sometimes we have to fit in with a soundtrack to other lives. Sometimes we crave a simple melody, other times the full symphony. Each have different items that make up the orchestra - but all have a soundtrack.
Physical Music - Henry Moore Draped reclining Mother and Baby 1983.
From Concept to final composition the sculptor creates a manikin and gradually scales up the form with new materials and corresponding processes. Each scaling adding a new layer of subtlety, colour, texture, richness and inspiration to the concept. - In much the same way a composer scales up the simple piano melody into a fully orchestrated piece.
Are we in danger of losing this subtlety when working straight from CAD to 3D print ?