Soledad Munoz, studio class

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Experimentation

Experimentation to me, is the base of creation, it is the distance between points A and B, broader than knowledge or understanding. Means by means, without a known end, so no right or wrong. The mutable essence of Idea.

Defining my practice as ¨experimental¨, is consequence of living in a society, which is in constant search for answers and names. I try to make works outside of rationality, representation and language, so they become about movement and dynamic ¨everchangingness¨.

Experimental work is an alternative to our being-in-language life. It is the instance where we can overcome the limitations of representation. Where we get in contact with the primal self, before Plato materialized ideas and Descartes rationalized them. Everything in our time seems to be directed to an end. This is why we must use experimentation not as a re-affirmation of what is known, but as a state of otherness that moves through time without name, therefore can not exist in history books, but more importantly lives inside ourselves.

The experimental becomes a canon, once it reaches its mythical rigidity. When something can be explained and transcribed into language it can later be reproduced, then through repetition it becomes a standard, and finally a canon.

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In Between Representation

1= number A= letter C= note

What happens when or if?

           C= 1 A= note number= letter
           A= number letter= C note= 1
           letter= 1 note= A C= number
           number= note 1= letter A= C
           note= A number= C 1= letter

Iannis Xenakis

Romanian-born Greek ethnic, naturalized French composer, music theorist, and architect-engineer. He is commonly recognized as one of the most important post-war avant-garde composers. Pioneered the use of mathematical models in music and was also an important influence on the development of electronic music.

Metastasis.jpg [3]

As an architect, Xenakis is primarily known for his early work under Le Corbusier the two architects collaborated, and the Philips Pavilion at Expo 58. The Poème électronique was initiated by Le Corbusier, who also selected the images for the audiovisual show. There was the organized sound, composed by Edgar Varèse. The stunning surfaces of the building were designed by Iannis Xenakis.

[4] [5]

(comment FIona Bowie) Soledad, your choice of artist is interesting from many points, how one individual creates analogies of concept or form across seemingly disparate mediums and disciplines. Have you heard this piece? [6]
I liked your articulation that : Experimental work is an alternative to our being-in-language life. indeed.

(comment Lesley Perrie) Hey Soledad, I remember something you mentioned in the last class meeting that brought this article to my thoughts [[7]] it's called "Speaking in Tones" by Diana Deutsch. Thought you might find it interesting :) (end comment)

Chilean Weavers

My hands weave, I don't.


The colors I use depend on the sounds in my head.

I have continued with the exploration of sound structures. The photo underneath is Iannis Xenakis sketch for the Phillips Pavilion of 1958. Fig5-1.gif

When continuing with this study I came across the symbol of propto, which means proportional. And realized what Xenakis was doing to translate sound or compositions into structures. He translated notes into frequency which is the mass of sound and then building based on proportions. Propto.jpg Sol8.jpg

So then we took these principals and applied them to a score that I composed and made an structure

final.jpg

Everything until this point was means to an end. It was a study that wanted to test the relation between sound and mass. But my friend sent me a link to this TED talk[8] Where Luca Turin explains that smell is also now measured in vibrations, therefore frequency and hertz. Just like sound and light. So everything can be translated into form. Everything is connected. Everything is one.

How to communicate this through my practice?