Taranta festival 11-12-13 July 2008 Auric Augusta theater Basel-
In the first century C., the highest authority in the Roman architecture, Vitruvius, he supposed that his predecessors knew very well how to design a theater to emphasize the human voice. "Following the rules of mathematics and the method of music, they made sure that the voices from the scene is spread more clearly and sweetly to the ears of the audience ... structuring the theaters in full agreement with the science of harmony, the ancients could to increase the power of voices, "wrote Vitruvius.
later writers have assumed that the excellent acoustics of Epidaurus, built in the fourth century BC C., may be due to the prevailing wind (which blows mainly from the stage to the audience), or it could be a general effect due to the rhythm of the greek theater particular speech or the use of masks that acted as speakers. Such use was widespread in the Roman theater. But none of these explanations explain why a modern theater, still occasionally staged, can be heard very clearly on a day devoid of wind.
It is assumed that the response could be related to the way sound is reflected from the corrugated surfaces. A striking example of this kind is given by the surface steps of a Mayan ziggurat in Mexico, or Metaponto, where the hand-clapping or the steps of a person play a sound similar to the chirping of birds or rain that falls. Scholars have calculated how the files stone seats to act on the reflection of sound, discovering that the lower frequencies of 500 Hz are damped more strongly than at higher frequencies.
Every transformation of a concept in a formal sense as a genuine and fruitful leads conseguenzauna new conception of the whole field that is dominated by it and orderly. "E. Cassirer
from direct surveys and engineering controls and scientific, meticulously redone every time the system performance theater, has come to a revision of many traditional assumptions correnti.Indubbiamente, the pattern of work, goals assumptions, the tools used to review and replace one type seemingly untouchable and now universally described and located in the history of classical architecture and in the more specific, the theatrical form, calls for much thought and forces, such large thoughts.
If we wanted to gloss Cassirer's phrase, we should point out that actually play the new proposition of the type for the conceptual implications of their morphology, involves a reinterpretation of the structure across the board, forcing us to rethink not only the issues constructive, but the same geometrical reasons for the choices. Would want to use, with technology, the concept expressed by Russell in ' Principia Mathematica ', with the definition of propositional function: it is a question not an opinion of value, but a paradigm to bring a class of judgments. The organization of space is not only dramatic and biunivocally result of the use patterns of the underlying functional classes, but, instead, is mainly linked to the symbolic relationship between representation and participation. The result is a quality organization of the entire territory of the performance of duties attached to the system that sees the figures interactive actors, for those looking demiurgic and intentionality of the text: the formal complexity that follows is a direct consequence of the equally complex functional, because the distribution of the object is commemorative of the distribution of ideas and the impact of those civilians. The general form of the function, which may appear at first in curvilinear paths in the risers to mount the stairs, not the image is transposed to the different variables of the conception of the theater, the project structure generally understood, but is a representation of the variable linkages between the various parameters of the destination and use. Basically, it's as if the space could take, from time to time, a number of qualities that derive from the primitive elementary functions and meanings that specific action would have required the actors and spectators. Thus, compared the age-old question of direct dependence on buoyancy morphological's intended use, so often imposed by the modern movement as a causality of First Instance, the analysis of the test (not even consistent in its parts and complicated, but in its total reconstruction) urges us to say that there is a clear distinction between the concept as a form and its content, ie between the idea of \u200b\u200btheater as a cultural entity and the object as a structure operating theater. Among the functional and formal object and the configuration used the same run, therefore, many logical connections, not all consistent, so it is not true that the technologies are the design and use of categories of users so direct: the choices are rather large and random, unclassifiable in a rigid concept synergy between form and function, because class space is not physical but conceptual. Tempted to return and transfer architecture, the themes advanced by a philosopher of science - though late follower Kant - that special insight, which is always here and now, is not the basis from which the ' abstraction that leads to the concept, as this intellectual production, but it also has an extremely important role: it is the catalytic element. That is precisely why the original intuition particular, although the quota, the application of concepts you already have or to produce new ones.
are reflections of those who, for years, is trying to read in a non-triumphalist, nor foolishly pessimistic, the role of technological culture in the definition, structure, use and transformation of spaces for men. Antonio Infantino
Gorky: "He is an artist who, working on their own subjective impressions, she sees a general objective meaning and express in a form convincing."
0 comments:
Post a Comment