UNSTABLE TERRITORIES OF REPRESENTATION: Architectural Experience and the Behaviour of Forms, Spaces and the Collective Dynamic Environment

This thesis applies an interdisciplinary cybernetic and phenomenological analysis to contemporary theories of representation and interpretation of architecture, resulting in a speculative theoretical model of architectural experience as a behavioural system. The methodological model adopted for this research defines the main structure of the thesis where the narrative and the contributing parts of its complexity emerge. The narrative is presented through objectives and hypotheses that shift and slide between architectural representation and its experience based on three key internal components in architecture: the architectural forms and spaces, the active observers that interact with their environment, and finally, the responsive environment. Three interrelated research questions are considered. The first seeks to define the influence of the theoretical instability between complex life processes, emerging technologies and active perception upon architecture. The second questions the way in which the architectural experience is generated. The third asks: Does architecture behave? And if so, is it possible to define its behavioural characteristics related to its representation, experience and the medium of communication in-between? The thesis begins by exploring the effect of developments in digitally interactive, biological, and hybrid technologies on representation in architecture. An account of architectural examples considers the shift in the meaning of representation in architecture from the actual and literal to the more conceptual and experimental, from the individual human body and its relations to the multifaceted ecosystem of collective and connected cultures. The writings of Kester Rattenbury, Neil Leach, and Peter Cook among others contribute to the transformation of the ordinary perceptual experience of architecture, the development of experimental practices in architectural theory, and the dynamism of our perception. The thesis goes on to suggest that instability in architectural representation does not only depend on the internal components of the architectural system but also on the principles and processes of complex systems as well as changes in active perception and our consciousness that act as the external influences on the system. Established theoretical endeavours in biology of D’Arcy Thompson, Alan Turing, and John Holland and philosophies of Merleau-Ponty, Richard Gregory, and Deleuze and Guattari are discussed in this context. Pre-programmed and computational models, illustrative and generative, are presented throughout the thesis. In the final stage of the development of the thesis architecture is analysed as a system. This is not an unprecedented notion, however defining the main elements and components of this system and their interactions and thereafter identifying that the system behaves and defining its behavioural characteristics, adds to the knowledge in the field of theoretical and experimental architecture. This thesis considers the behavioural characteristics of architecture to be derived from the hypothetical links and unstable thresholds of its non-dualistic notions of materiality and immateriality, reality and virtuality, and finally, intentionality and interpretation

Musicians in Space

Musicians in space (MiS) is a practice-based research project investigating the impact of spatialization on the performance of free improvised music (FiM). It draws heavily on Christopher Small’s idea of musicking to contextualize the argument that in the fifty year history of FiM, improvisers have failed to fully explore possible alternatives to the formal separation and static positioning of the audience and performer. While the conventional performance situation is seen as being integral to the pageantry of the performative experience, I argue that the fixity of the spatial and social arrangement has done little to support the allencompassing and heterarchical aspirations that had once been a noted rallying cry of the free improviser. The thesis traces a journey through a series of live performances involving experienced free improvisers, on the UK and European improvised music scene, and incorporates the voices of over 70 participants. The thesis establishes a separation between hierarchical and heterarchical forms of musicking, where the former emphasizes the convergence of more unifying and fixed ideals associated with the construction and organisation of a musical process, while the later celebrates a more decentralized, polysemic, and self-organizing musicking practice. This categorization is used throughout this research to support a greater degree of understanding of the particular characteristics of FiM within the broader context of music-making. MiS, in essence, simply invites all the participants the option to modify their spatial relationship to the musicking process in order to expand their listening and playing experiences. It was found that this single change, in the approach to performance, greatly influenced many aspects of the FiM process, providing new insights into ways of engaging and listening for both the improviser and the listener. It afforded the improviser new opportunities to connect musically with the ensemble, while elevating the profile of the audience member from a focused listener to a visible participant and active collaborator in the process. This document attempts to establish a clear impression of what was uncovered by this research, while also celebrating the impossibility of capturing in words the complexity of an improvisation experience. It does this by incorporating a range of different forms of writing and a collection of personal depictions of a number of performances and improvising participants. This document also includes links to multi-perspective audio and visual footage of all the performances. This can be found at: http://www.dafmusic.com/Musicians_in_Space/mis_projectbrief.html