Resting Brick Count
Oct /2009 / Caochangdi, China

In the case of traditional concert halls, assumptions of how attention should be spatially organized have often been relegated to a very strict (social) order. In an attempt to both integrate and collide these prescriptions, this work seeks to explore architectural performance through specific “musical” works that resist models of conventional artistic and social orders. Within a wildly diverse niche, my reductive observation of canonized experimental music is the tendency of the contemporary composer to act less as a virtuosic arranger of nameable scales and more as one who initiates attention to the surrounding world (its audible nuances, paradoxes, social structures, perceptions etc.) Rather than creating a monolithic and rigid spatialized dogma for experimental music, this figuration seeks to allow for simultaneous scenarios to exist within a single site, mutating a kit of parts through pressures curated from the selected “musical” works.


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