Form in Architecture and Music
Is it realistic to think of an overarching perception of form that can be emancipated from the confinements of any single medium? Developing around a set of discussions concerning the creative act, idea, order, and the intellect, this book sets of with a “yes.” This book will perhaps be welcomed by some, as an “old-fashioned” scrutiny that has turned its back to those recent and popular topics, and dealing with relatively more attractive ones; with subject matter like digital media, popular culture, or even eroticism. Throughout the course of human intellectual activity, the relation once of a physical reality, audial and spatial, had inevitably gained a complexity as it evolved into music and architecture. If one is concerned with projecting a dialogue-based correlation, the presence of a common denominator is required to define nodal points that are transcendental with regard to the means of creativity, temporality, geography, and intellectual activity. This relationship dwells on the fundaments laid at the crossroads of form, where many disciplines, such as philosophy, linguistics, and art history and theory and concepts like figure, shape, type, format, and structure reside. For a research concerned with a comparison confined neither to the restrictions of a specific medium nor to analogies, it is necessary to introduce a set of overarching concepts like creative act, idea, order, and the persistence of the intellect.