Brinstaar + Gleb Glonti
Brinstaar + Gleb Glonti
VOICED ARCHITECTURE
VOICED ARCHITECTURE
Brinstaar + Gleb Glonti
The latest collaboration with the architectural bureau LOGIC is focused on the transformation of the visible architectural landscape into a concrete musical composition where the sound becomes the interpreter and the conduit. Each of the four tracks correlates with the key stages of the bureau’s life activity, unleashing the momentary emotions of contact with the particular object. The reference point was the blueprints and architectural models, which were converted into an algorithm in order to compose separate objects of sound and the whole piece.
We now revealing the algorithm for one of the objects from the whole narrative. In this case, it’s Samara Arena.
Brinstaar + Gleb Glonti
The latest collaboration with the architectural bureau LOGIC is focused on the transformation of the visible architectural landscape into a concrete musical composition where the sound becomes the interpreter and the conduit. Each of the four tracks correlates with the key stages of the bureau’s life activity, unleashing the momentary emotions of contact with the particular object. The reference point was the blueprints and architectural models, which were converted into an algorithm in order to compose separate objects of sound and the whole piece.
We now revealing the algorithm for one of the objects from the whole narrative. In this case, it’s Samara Arena.
Gleb Glonti + Mikhail Myasoedov
DATA SONIFICATION, SOUND INSTALLATION
VOICED ARCHITECTURE
The latest collaboration with the architectural bureau LOGIC is focused on the transformation of the visible architectural landscape into a concrete musical composition where the sound becomes the interpreter and the conduit. Each of the four tracks correlates with the key stages of the bureau's life activity, unleashing the momentary emotions of contact with the particular object. The reference point was the blueprints and architectural models, which were converted into an algorithm in order to compose separate objects of sound and the whole piece.
VIDEO — INITIAL OBJECT (Logic)
In 2019 the architectural bureau LOGIC implemented the project of a concept space in GUM department store called SECTION that works as a fashion boutique, an exhibition space, and a chamber for fashion shows and art presentations.
VIDEO — SOUND (kotä)
Here, a sound artist is becoming an interpreter. A translator from the language of blueprints and 3D models to the language of sound. He creates a system, a set of patterns, in which further transformations unfold.
A sound artist as an architect works with time and space but in this specific case, the positioning of the lasting object in the environment is being dictated (despite the composer's will) by the development of the definite space and the architectural objects in it. The obtained data on the spatial position and features of architectural objects transformed into musical objects with a set of musical features, timbres, and harmonics.
We now revealing the algorithm for one of the objects from the whole narrative. In this case, it's Samara Arena.
In 2019 the architectural bureau LOGIC implemented the project of a concept space in GUM department store called SECTION that works as a fashion boutique, an exhibition space, and a chamber for fashion shows and art presentations.
VIDEO — SOUND (kotä)
Here, a sound artist is becoming an interpreter. A translator from the language of blueprints and 3D models to the language of sound. He creates a system, a set of patterns, in which further transformations unfold.
A sound artist as an architect works with time and space but in this specific case, the positioning of the lasting object in the environment is being dictated (despite the composer's will) by the development of the definite space and the architectural objects in it. The obtained data on the spatial position and features of architectural objects transformed into musical objects with a set of musical features, timbres, and harmonics.
We now revealing the algorithm for one of the objects from the whole narrative. In this case, it's Samara Arena.
The rhythmic basis of the composition is determined by small architectural forms of the recreational zone. Recreational modules are divided into semantic elements and sonified by the method of convolution. The geometry of the recreational modules sets the timbre and time windows, and the saw oscillators define the timbre filling of these windows. The frequencies of the oscillators are randomly selected from the intervals chart these numbers are multiple of navigation steles numeration (1−9, 2−8, 3−7, etc.).
The second type of small architectural forms is in counterpoint with the main rhythmic line and also it's an addendum.
The melodic part is formed by the sonification of the numerical stele scheme via means of the inverse Fourier transform.
The tempo of the composition is varied in a pseudo-random order, allowing to create a bigger perspective on a multitude of objects and withal to focus attention on small details, simulating one's ability to glance through space around.
The tempo of the composition is varied in a pseudo-random order, allowing to create a bigger perspective on a multitude of objects and withal to focus attention on small details, simulating one's ability to glance through space around.
Released: 10.10.2020
Composer: Mikhail Myasoedov
Curator: Gleb Glonti
Producers: Gleb Glonti (Kotä) and Andrey Yanshin (Logic)
Comissioned by: Logic LCC.
Composer: Mikhail Myasoedov
Curator: Gleb Glonti
Producers: Gleb Glonti (Kotä) and Andrey Yanshin (Logic)
Comissioned by: Logic LCC.
Released:
10.10.2020
Composer:
Mikhail Myasoedov
Curator:
Gleb Glonti
Producers:
Gleb Glonti (Kotä) and Andrey Yanshin (Logic)
Comissioned by:
Logic LCC.
10.10.2020
Composer:
Mikhail Myasoedov
Curator:
Gleb Glonti
Producers:
Gleb Glonti (Kotä) and Andrey Yanshin (Logic)
Comissioned by:
Logic LCC.
