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Correspondances in music

Doubt, paranoia and resistance In the dawn of new technologies such as Artificial Intelligence, BioChemistry, Algorythmic calculations, machine learning etc. There is a new future awating human kind and we are wondering the possible future of our species through these scenarios. In the age of AI and rise of machine learning which is replacing every human function with higher speed and definitely higher precision, what future role is left for our species ? What are the inherent qualities that still make our species unique or relevant in the near future? Resistance, Doubt. The genius doubts, there is always a big element of self criticism in all great creators be it scientists, composers, writers etc. As well the idea of resistance is an inherent human quality, not to give way to authority at all times. Refusal of solid is meant to be a constant reminder for us to doubt and to resist. I believe this is very relevant to what makes us human, and the way our mind works, not like an algorithm, like a predicting tool, or generating information that we do not have from the information that we have etc. On the other hand, the way the system of communication, education, finance, etc. is structured, is heading towards a machine like persona type. Although the system is constructed by humans, it has by far surpassed nearly all human qualitites, rendering the human intervention nearly unnecessary. This brings us to the point of an existential question again. The question is how much will we need human services in the future, or will the system that we have set up completely outrun the necessity of any human intervention ? How AI will shape the future for humanity is a big question at this point. Lefebvre’s objection to Marx and Engels’ description of substructure and superstructure to define the whole dynamics in a society, he finds it insufficient. Augus Halm also studies music in two cultures, the melodic one in Bach’s fugues, and Harmonic one in Beethoven. He suggests there is a third place, and that he describes in Bruckner. In Von zwei Kulturen der Musik, Halm describes two historical cultures of music, opposes them dialectically, and identifies their synthesis. His first culture—melody—is exemplified by Bach’s fugues. The second culture—harmony—is exemplified by Beethoven’s works in sonata form. Halm believed a third culture that united the previous two had arisen in Bruckner's symphonies, the subject of his next book, Die Symphonie Anton Bruckners (1914). The interrelation of music and society becomes evident in technology. Its unfoldings is the tertium comparations between superstructure and infrastructure. As an individual psychology, a mechanism of identification with technology as a social ego ideal evokes resistance and resistance will only create originality. Pg.47 from Adorno notes on Beethoven Harmonics of the next working habitat... I imagine, a thema for a working environment’s ephemeral qualities, is important to discuss in order to adress new and curious issues, that will enable us do better work. Workplace is basically a place of performance, only with this simple definition, there may be many analogies to a “stage” an “agora” or to the antiquity of the theatre, where a society gathers, to perform and to observe the performance but in their cultural link of doing things together. Silence and Light This I imagine, is a timeless way of defining a space and its relations to the people who inhabit it, from abstract space to inhabited place, but in the orders that define the overall quality of that space that makes is ever so unique. And when we go into the furniture inside that we imagine as instruments which help us perform our work, we may see the elements of furniture as the second skin of that space, as well the interface that people connect with. In this respect, the dialogue with space, and the relation with the human body and physiology is of a great importance, and only when we discuss the objects in this concern, we can step away from the linguistic approach of the office furniture world thus created by the office furniture industry, which is ever so repetative. At this stage of our discussion, we are now in the domain of planes, volumes, sounds and light, elements which are much more critical to shape what we can design, qualities that we can contribute in these new designed pieces, but more in the abstract language of the artist, to place and time and with body in motion. This way we can start discusing maybe the postures of people doing different tasks at different times at different places, and asking the questions from this point of view would liberate us, from the definition or pre-requisites of what a table is, how a sofa should look like, what is the function of a coffe table, a cabinet etc... We may act in a freer realm of proportions, forms, materials and investigate new possibilities to do the jobs that we know what they are. People will sit, write, look at a tablet a screen, they will drink, chat, discuss, meet, collaborate, flirt, or they will seek for solitude, a peace of mind for a short time, to concentrate or just to cleanse their mind and spirit, which helps them for a much better quality of work afterwards. So we are looking at a place that looks like an office and a hotel and a coffe shop, and a theatre and a temple as well and actually none of them in the canonic sense. With all these in discussion, we are interested into creating pieces to work with, definition of them we can develop in further dialogue but the idea is to have furniture that is in proportion to open landscapes to work on, instead of fitting into standard rooms as in usual. This gives us a freedom in proportion, shape and in possible richness of modulations. Koray MALHAN