{"id":2221,"date":"2018-10-13T21:19:05","date_gmt":"2018-10-13T12:19:05","guid":{"rendered":"https:\/\/realtokyo.co.jp\/_sys2024\/en\/?p=2221"},"modified":"2019-05-31T19:36:42","modified_gmt":"2019-05-31T10:36:42","slug":"audio-architecture","status":"publish","type":"post","link":"https:\/\/realtokyo.co.jp\/en\/exhibition\/audio-architecture\/","title":{"rendered":"&#8220;Audio Architecture&#8221;<br><small> 21_21 Design Sight 2018.6.29-10.14<\/small>"},"content":{"rendered":"<p>The music created by Cornelius (aka Keigo Oyamada), especially since 2001 album \u201cPoint\u201d, is characterized by a sound that, through sharpened stereo images and a sense of time, intuitively conjures up geometric spaces in the listener\u2019s mind. This sound reached a new level on 2017\u2019s \u201cMellow Waves\u201d, which actively incorporated tremolos and drone music with a sense of fluctuation. It is quite accurate to speak of Cornelius\u2019s music in architectural terms, and both \u201cPoint\u201d and \u201cMellow Waves\u201d are examples of this. The former is an extremely balanced work of modern architecture, conjuring up the experience of a modern space through the accumulation of minimal elements, while the latter is a contemporary creation that puts into practice a dynamic type of spatial design incorporating curves and distortions brought about by a computer\u2019s calculations.<\/p>\n<p>This exhibition features eight artists, who came together to create and exhibit original video works themed on Cornelius\u2019s music. The projections, which luxuriously take up half of the venue\u2019s walls and floor, are worth a look as is, but when combined with the moving images that are displayed one after one, the entire installation turns into a single, superb architectural experience. <\/p>\n<p><img decoding=\"async\" class=\"aligncenter size-full\" src=\"https:\/\/realtokyo.co.jp\/_sys2024\/wp-content\/uploads\/2018\/10\/IMG_3443.jpg\" alt=\"\" \/><\/p>\n<p>That said, because the music, which in itself appears architectural, and the space that provides a vessel for it are both so eloquent, the impact of the individual video pieces seems to be weakened. In other words, due to the fact that both music and architecture so obviously exist in this space, the question of what role the video projected into that space is supposed to play is left dangling in the air. <\/p>\n<p>This is a problem that cannot be traced back to the faults of individual pieces. It could be said that by being shown with the same music and on the same screen, the works, all based on the two big themes of music and architecture, are homogenized \u2013 even trivialized \u2013 under the \u201cmusic and architecture\u201d banner. My impression of many of the works after watching them varied quite significantly in nuance from that I felt after reading their respective explanations, leaving me wondering whether displaying them like this really was the right choice.<\/p>\n<p><img decoding=\"async\" class=\"aligncenter size-full\" src=\"https:\/\/realtokyo.co.jp\/_sys2024\/wp-content\/uploads\/2018\/10\/IMG_3550.jpg\" alt=\"\" \/><\/p>\n<p>In the end, I thought the smartest \u201cpiece\u201d on display \u2013 the one in which the three themes of music, video and architecture best complemented each other \u2013 was the first exhibition room, which features video of a studio gig by Cornelius and his band, along with a ProTools project screen with an audio recording of the performance. Ironically, the rest of the exhibition \u2013 supposedly the main part \u2013 appeared merely as a variant of the opening display \u2013 something that speaks to the admirable clarity of said performance and installation.<\/p>\n<p><img decoding=\"async\" class=\"aligncenter size-full\" src=\"https:\/\/realtokyo.co.jp\/_sys2024\/wp-content\/uploads\/2018\/10\/IMG_3692.jpg\" alt=\"\" \/><\/p>\n<p class=\"img-text\">Pro Tools<\/p>\n<p><img decoding=\"async\" class=\"aligncenter size-full\" src=\"https:\/\/realtokyo.co.jp\/_sys2024\/wp-content\/uploads\/2018\/10\/IMG_9248.jpg\" alt=\"\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"The music created by Cornelius (aka Keigo Oyamada), especially since 2001 album \u201cPoint\u201d, is characterized by a [&hellip;]","protected":false},"author":44,"featured_media":2226,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[103,142,155],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts\/2221"}],"collection":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/comments?post=2221"}],"version-history":[{"count":12,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts\/2221\/revisions"}],"predecessor-version":[{"id":2328,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/posts\/2221\/revisions\/2328"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/media\/2226"}],"wp:attachment":[{"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/media?parent=2221"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/categories?post=2221"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/realtokyo.co.jp\/en\/wp-json\/wp\/v2\/tags?post=2221"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}