Enrique Ramirez

Maximum Volume Yields Maximum Results: History as Aural Performance

This paper is an exploration into sound and music as historical materials. Although it delves momentarily into the parallel and intersecting histories of modern aurality and visual culture, this paper considers different aspects of music composition and performance—sampling, coding, recording, and live instrumentation—as techniques for creating historical knowledge. To demonstrate, this paper will consider a work-in-progress—a musical composition whereby Josef Albers paintings and Anni Albers textile become sonic landscapes. This project suspends issues of representation momentarily in favor of a slight, curious, and perhaps playful turn of phrase: conversion. In other words, this is a project about the historical, technological, and performative aspects of converting one work into another, and its implications for the practice of history. 

Enrique Ramirez

Yale School of Art

Enrique Ramirez is a writer, architectural historian, and critic in Graphic Design at Yale School of Art. He holds a Ph.D in Architectural History and Theory from Princeton University and a Master of Environmental Design from Yale School of Architecture. His writing, which covers design at all scales and across different media, has appeared in publications such as Perspecta: The Yale Architectural Journal, Harvard Design Magazine, The Journal of the History of Ideas, e-flux, and others. Mr. Ramirez serves as an advisory editor for Manifest: A Journal of American Urbanism and Landscape and is a member of the Curatorial Advisory Committee for Exhibit Columbus. In addition to working on a manuscript that considers how exchanges between architectural and aeronautical cultures in 18th- and 19th-century France constructed new, modernized ideas about air and the natural environment, he currently reviews art and architectural titles for the Los Angeles Review of Books. Enrique has also been a recording and touring bassist since his high-school years in Houston. Recently, he has performed with the interdisciplinary artists POSTCOMMODITY at the 2018 Venice Architectural Biennale. And as a bassist for the sound art collective Field Works, he has recorded music with contemporary musicians such as The Field, Pantha du Prince, Visible Cloaks, Dntel, Kaitlyn Aurelia Smith, Dan Deacon, Lali Puna, Lusine, and others