This work will invite a number of people from my community (initially) to provide recordings of sounds they capture in response to a word, or number of words. I will use these samples to compose a work, or I will devise a system to present them in. The composition/system will explore imagined sound, listening and semiotics of written language. Presentation will consider listening environments closely.

By asking collaborators to provide the sounds, I will be able to listen in new ways without representational signifiers from the locations in which the sound was captured. 


This work will investigate how different people consider sound material and associate sound and language (or image depending on the words).  More directly, this is a semiotic investigation of sound and written language. Similarities and differences in supplied materials will become important when forming a narrative between the sounds, and connecting these responses together. The intention is to explore what happens when many people respond to words through sonic material. Visual or semantic signifiers may elicit sonic responses. I will try not to influence responses so we will collect varied and personal materials. 

By including a number of participants from different backgrounds throughout Australia (and possibly the world), I hope to provide a large scope of different ways of thinking about sound. At this stage the work is in trial. This could be developed into a much bigger project that targets certain groups of professions. Cultural signifiers are important, and will effect how participants will respond. 


Key words will be provided to the participants via email. Three (?) words, for example gravel, circle, blue. The words are separate, each word requires a different response. (I need to develop the set of words carefully, these are initial thoughts/ ideas)

Each person will submit a recording with a duration of  1 - 10 minutes. This can be one sample, a number of samples, a field recording. These are to be real world sounds, not synthesised. Each contributor will be credited as such, or given the choice to remain anonymous. 

Once All the materials have been collected I will listen to every one. I will really listen to these recordings. Then I can find links through listening, which will then inform my compositional approaches. I really want to sound materials to inform the work. This is about the imagined sound response primarily. 


Do I include details about the contributors - location, age etc? 

Do I include information about the recordings themselves - location, source, date, etc? 

Should there be an overarching idea in the words? Or is it better to have no direct connection between the three words in order to create an unaltered response from participants? 

How do I organise the sounds? 

Is there a map? 

What role does place play in this? 

Is the word present in the presentation? Or is this just sonic? 

Should I use words with multiple meanings? 

Are they adjectives, nouns, verbs? Are they visual words? 

Do I need a release form from participants? 




Experimenting with ways to trial my resonpose to visual colour in sound. Before I invite others to participate in this work, I'd like to see what it's like to be supplied a colour and be asked to respond vis sound. So I found this random colour generator that can spit out colours which I can then respond to. This could become another work at some point. It's also nice to be generating some sounds myself.


I want to point out here, that I am not investigating synaesthesia here. I don't have synaesthesia, so can't replicate and experience of the sensory phenomenon. My interest is more in the imagined sound. So an association with colour and sound, rather than a direct or involuntary connection between the senses. 

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