{"id":1533,"date":"2003-12-03T07:00:11","date_gmt":"2003-12-03T06:00:11","guid":{"rendered":"http:\/\/easa.antville.org\/stories\/604221\/"},"modified":"2003-12-03T07:00:11","modified_gmt":"2003-12-03T06:00:11","slug":"architectural-parameters-vs-flow","status":"publish","type":"post","link":"https:\/\/easa.paradeiser.net\/?p=1533","title":{"rendered":"architectural parameters vs &#8216;flow&#8217;"},"content":{"rendered":"<p>In music composition you may operate with certain parameters such as density, pitch \/ frequency, texture, duration, transparency, opacity, collision, collapse, intensity, flow\/movement, rhythm, volume, timbre &#8211; dynamics &#8211; contents of a spatial narration.<br \/>&#10;<br \/>&#10;Tao G. Vrhovec Sambolec showed some examples in Ljubljana (some stimulating spatial experience\/awareness\/appearance). For instance we heard sound\/noise, simultaneously followed by 2D transcriptions of some parameters.<br \/>&#10;<br \/>&#10;To make music you either work directly with these parameters, graphically, as in electronic generation of sound, or more indirectly, as in any manipulation of some musical &#8216;sketch&#8217; \/ notation.<br \/>&#10;<br \/>&#10;Architecture operates with similar parameters, at least in architectural description of projects \/ buildings, often with intuitively based transcriptions, from space\/drawing to text. For instance: We talk about &#8216;flow&#8217; without communicating the character of it. Transcriptions through parameters may assist this communication, and even make it possible to generate architectural space from transcriptions &#8211; in the first place.<br \/>&#10;<br \/>&#10;Anyone using parameters like this?<br \/>&#10;<br \/>&#10;Jon nc\/N&#10;&#10;<br \/>&#10;<br \/>&#10;<small>&#10;posted by dr jon<br \/>&#10;Wed, 03 Dec 2003 06:00:11 GMT<\/small>&#10;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In music composition you may operate with certain parameters such as density, pitch \/ frequency, texture, duration, transparency, opacity, collision, collapse, intensity, flow\/movement, rhythm, volume, timbre &#8211; dynamics &#8211; contents of a spatial narration.&#10;&#10;Tao G. Vrhovec Sambolec showed some examples in Ljubljana (some stimulating spatial experience\/awareness\/appearance). For instance we heard sound\/noise, simultaneously followed by 2D [&hellip;]<\/p>\n","protected":false},"author":26,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1533","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=\/wp\/v2\/posts\/1533","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=\/wp\/v2\/users\/26"}],"replies":[{"embeddable":true,"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1533"}],"version-history":[{"count":0,"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=\/wp\/v2\/posts\/1533\/revisions"}],"wp:attachment":[{"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1533"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1533"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/easa.paradeiser.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1533"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}