I am drawing and developing these things:

the site and its fields, documenting possible or actual synesthetic moments within them. i.e. the site lies on the boundary of an urban scape and a network of park paths through natural growth in navigation of relatively steep topography. these two fields of operation will be documented and further - where it is they intersect, the locus of the project, will be drawn to find what does emerge in the relation of these two experiences (fields), directly.

the human body as it grows in time. using the average height, shoulder width and arm span, eye level, step or stride, foot size, and any other significant qualites that may occur and change through the growth of one's body, i will draw the extents of these stage's relations to space and touch of things and how for example the experience of a three year old may differ or relate to that of a sixteen year old.

i've also been watching a lot of tarkovsky this semester following a recommendation from marc. his use of sound as an experiential element with and beyond the visual creates creates crossing of sound into recognition and imagination of space, resonance of material, temperature, etc. and in turn when the visual scene may be a static view of a room with a door and sounds are coming from beyond the room (water dripping, wind blowing and rustling fabric, footsteps, creaking mechanics), these make associations in the mind that cross the viewer into a subjective understanding of what is happening by their identification with the sounds through their association by memory. so with this i've been thinking of drawing or making in 3d something about the hearing of sounds - which you cannot see - that elicit other sensations through the deprivation of seeing its source.

also concerning the site: in the sketch problem the idea of the crossing of the two types of air (the stairwells interior unmoved air with the fresh circulating air of outside) was active. i think it would be a good idea to go to the site and begin spending some time there to record sounds yes, but also the way in which the air moves over and in it. there is a scene in the mirror - wind blowing across a field moving leaves and undulating the high grasses coincides with the characters' active thoughts and mental disturbances/processes. by understanding the way the wind acts on the site, a creative opportunity should emerge. the same goes with sounds and their intensities in relation to the location on the site. the same also goes with water - the park, being rocky and with inclined topography develops runoffs and waterflows during times of precipitation....these should be known.

concerning my book: it is clear to me that the weakest part of the book is in the performative technique section. the way in which i've linked or failed to provide adequate linkage to direct experience as it applies to the project as a whole suffers the section and is in process of defining itself more clearly in profusion. also, the book is being formatted with text, images and appropriate captions, and drawings all interwoven, crossed if you will, as was previously planned.