Listening is a complex sensory event involving pattern recognition unmatched by most modern computers. The human auditory system is capable of listening to an entire band on stage while focusing on the nuances of one guitar. This seemingly effortless, sensory system is complex, powerful, and flexible; and presents sound as a critical medium of exploration as a mode of information, experience, and interaction.
The interdisciplinary research of exploring sound in the development of objects and spaces has at least a 70 year history. A history which has been propelled by the ease which technology has enabled sound to be implemented. The umbrella category of auditory display, thrives on an interdisciplinary discourse ranging from artists, scientists, designers, and engineers. However, this diversity also leads to ungrounded theoretical models — approaching it from one perspective would only allow for a single dimension and model of thought. The gray area in-between these various categories reveals a space where speculative approaches can be developed.
My research in the greater categories of sound and interaction have revealed an interest in developing idiosyncratic modes of productive experiences, affective interactions, altered perceptions, and immersive intimacies; all of which rest on a fine line of intricate immersion through the complex and en-wrapping nature of sound. Following an inquiry focused on subjective, sublime, and affective values; this thesis project is situated in a world that is increasingly technologically linked and globally mediated. Where we are inundated with quantitative functional models of display and interaction which leave no room for thought or meaning. My main focus is exploring ways of utilizing sound and interaction to break and re-connect our perception of the objects and infrastructures which define our technologically expanding landscape.