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Thesis Info
- LABS ID
- 00802
- Thesis Title
- Archimusic, A New Poïesis: A Method for Archimusical Synthesis
- Author
- F. Myles Sciotto
- E-mail
- f.myles AT gmail.com
- 2nd Author
- 3rd Author
- Degree
- Ph.D.
- Year
- 2018
- Number of Pages
- 331
- University
- UCSB
- Thesis Supervisor
- Marcos Novak
- Supervisor e-mail
- marcosnovak AT mac.com
- Other Supervisor(s)
- Prof. JoAnn Kuchera-Morin, Prof. Curtis Roads
- Language(s) of Thesis
- English
- Department / Discipline
- Media, Arts & Technology / Digital Design
- Copyright Ownership
- c.2018 Francesco Myles Sciotto
- Languages Familiar to Author
- English
- URL where full thesis can be found
- archimusic.info/archimusicrepository/archimusic-a-new-poiesis/
- Keywords
- Archimusic, Architecture, Music, Graphic Notation,
- Abstract: 200-500 words
- In 1958, the 20th-century architect and composer Iannis Xenakis transformed lines of glissandi from the graphic notation of Metastasis into the ruled surfaces of nine concrete hyperbolic parabolas of the Philips Pavilion. Over the next 20 years, Xenakis developed the Polytopes, multimodal sites composed of sound and light, and in 1978 his Diatope bookended these spectacles and once again transformed the architectural and musical modalities using a general morphology. These poetic compositions were both architecture and music simultaneously; forming the best examples of what Marcos Novak would later coin as “archimusic.” Contemporary examples have continued to experiment with this interdisciplinary domain, and, although creative and engaging, the outcomes have yet to yield results that move this transformational conversation forward.
This dissertation examines how to advance this transformational field of archimusic by introducing: (A) a knowledge resource, which collects and categorizes important archimusic practitioners and projects (Archimusic Repository), (B) an evaluative method to analyze the trans- disciplinary works of archimusic (Archimusical Transmodal Matrix), and (C) a generative system which integrates new digital modalities into the transformational compositional process (Kosmos). Together these three contributions categorize the field of archimusic as an end in itself, presenting the trans-disciplinary territory of archimusic as a studied and understood discipline framed for continued exploration and aims to contribute a novel way of thinking and making within this dynamic spatial and temporal territory.