Jeff A Sable
Zach Layton
Sonic Topology
a taxonomy of deformational structure and the surface topology of sound.
http://www.zachlaytonindustries.com/blog/?page_id=38
Sound manifests the sensorial field in a manner that the scopic field struggles to achieve
in certain ways. Due the omnidirectional nature of sound, (particularly in the lower fre-
quencies) an immersive experience can be created in the sensorium of the subject. In a
sense, sound can be used as an indexical device which imprints itself upon the listener. This
phenomenon is the thrust of much of my recent work. I have been concerned with the to-
pology created in the air by the accumulation of dense layers of slightly out of phase, low
frequency sine waves. I see a relationship between the deliberate use of simple materials in
my sonic work and the use of primary colors in monochrome painting styles. What differs
from the simplicity of the material, however, is the complexity of the composites created by
the accumulation of the number of waves. The slight phase shifts that occur create what is
known as ‘binaural beating patterns’. The beats themselves can be seen as ‘nodes’, from
which structure can emerge.
Through the use of oscilloscopes and other devices, these waves can be seen as a kind of abstract visual music as shown in the work of artists like Jordan Belson, and John Whitney among others. Through the use of more advanced computer software such as max/msp/jitter, visualization of the topology of sonic phenomena can advance into new directions, moving past the oscilloscope’s display constraints of cartesian coordinates, and into much more advanced geometry. Current discourse in the field of architecture is heavily concerned with these issues as Computer Assisted Design (CAD) software such as Maya enables a radical re-visioning of received notions of form. My intention is to use sound as a form finding technique which will
be represented in 2 dimensional space in the form of video projections as well as a series of
large format prints, in 3 dimensional virtual space, and ultimately in 3 dimensional physical
space. Through the use of CNC milling and printing machines, this technique has made it
possible to execute and physicalize these advanced geometries. The topology of the air
which is imprinted by the index of sound will be represented and left as a physical trace in
the surface topology of the chosen materials, (which will show a heavy emphasis towards reflective materials). Kinetic 2 dimensional forms created through the process will be projected against the physical assemblage, creating a hybrid form of sculpture, cinema and sound.
Iannis Xenakis, Brussels World Fair
Hans Jenny, Cymatics
John Whitney, Digital Harmony
Roger Caillois and legendary psychanesia
Rosalind Krauss and the index
Henri Focillon and dynamic form
Phylogenesis (Foreign Office Architects)
Biolocomotion (bioloogical models and cinematic models)
live performance, immersive sound and video environment.
Working with Max/MSP/Jitter as a means of developing a taxonomy dynamic form, exporting coordinates from jitter matrices into maya as a strategy for dynamic 3d design, using creating a series of large format prints illustrating unique forms created through the process, fabrication and assemblage of large sculptural installation based on deformational morphogenesis incoporating kinetic video projections.
in certain ways. Due the omnidirectional nature of sound, (particularly in the lower fre-
quencies) an immersive experience can be created in the sensorium of the subject. In a
sense, sound can be used as an indexical device which imprints itself upon the listener. This
phenomenon is the thrust of much of my recent work. I have been concerned with the to-
pology created in the air by the accumulation of dense layers of slightly out of phase, low
frequency sine waves. I see a relationship between the deliberate use of simple materials in
my sonic work and the use of primary colors in monochrome painting styles. What differs
from the simplicity of the material, however, is the complexity of the composites created by
the accumulation of the number of waves. The slight phase shifts that occur create what is
known as ‘binaural beating patterns’. The beats themselves can be seen as ‘nodes’, from
which structure can emerge.
Through the use of oscilloscopes and other devices, these waves can be seen as a kind of abstract visual music as shown in the work of artists like Jordan Belson, and John Whitney among others. Through the use of more advanced computer software such as max/msp/jitter, visualization of the topology of sonic phenomena can advance into new directions, moving past the oscilloscope’s display constraints of cartesian coordinates, and into much more advanced geometry. Current discourse in the field of architecture is heavily concerned with these issues as Computer Assisted Design (CAD) software such as Maya enables a radical re-visioning of received notions of form. My intention is to use sound as a form finding technique which will
be represented in 2 dimensional space in the form of video projections as well as a series of
large format prints, in 3 dimensional virtual space, and ultimately in 3 dimensional physical
space. Through the use of CNC milling and printing machines, this technique has made it
possible to execute and physicalize these advanced geometries. The topology of the air
which is imprinted by the index of sound will be represented and left as a physical trace in
the surface topology of the chosen materials, (which will show a heavy emphasis towards reflective materials). Kinetic 2 dimensional forms created through the process will be projected against the physical assemblage, creating a hybrid form of sculpture, cinema and sound.
Iannis Xenakis, Brussels World Fair
Hans Jenny, Cymatics
John Whitney, Digital Harmony
Roger Caillois and legendary psychanesia
Rosalind Krauss and the index
Henri Focillon and dynamic form
Phylogenesis (Foreign Office Architects)
Biolocomotion (bioloogical models and cinematic models)
live performance, immersive sound and video environment.
Working with Max/MSP/Jitter as a means of developing a taxonomy dynamic form, exporting coordinates from jitter matrices into maya as a strategy for dynamic 3d design, using creating a series of large format prints illustrating unique forms created through the process, fabrication and assemblage of large sculptural installation based on deformational morphogenesis incoporating kinetic video projections.