My initial studies began with synesthetic associations to sound, then went to general synesthesia case studies, and then to an arrival at an idea about a difference between “true” synesthesia and cross-modal association that can be brought about by experience and understanding. Using music furthermore, i developed ideas about time and memory, the means by which the relativity of constituents that is music is experienced. I like palaasma’s critique of humanity’s alienation from architecture and causality in society, and am interested in creating a strong causal connection between sonar events and the figure in the space, the relations of these events building up to some kind of composition as a greater product of time.
i am interested in exploiting figure/ground relationships in sound, where figures come out of the ground and can dominate a composition, as in the example that I have presented before of scarpa’s querini stampalia with its many different sounds of water that change intensity as the listener approaches or leaves, as if they are walking through the different sections of an orchestra. but what happens when someone isn’t just walking through the orchestra, but pushing their way through? pertaining to the flushing airport site that i mentioned at my review, due to wildlife and tidal waters, there are many different sounds at different points of the day.
I am interested in how music and rhythmic sounds have the ability to penetrate into our minds and into the rhythms of life. because of this, I have considered doing something programmatically that involves people spending a lot of time there, like housing or a monestary, etc. however, I have also considered simply making it a soniferous garden, a place for the re-appreciation of sound in the city. I have also been thinking about the relation of materials to sound.