work ritual about contact

MONAD ORIGIN · PROCESS · DRAFT FOR REVIEW

From ear to object

Sound passes through the practice the way old body charts show energy passing through a person: along one channel, from node to node, until it reaches the ground.

INPUT
Sound

OUTPUT
Form

01 · ORIGIN
Ear / human perception
The practice began in the ear. Listening to sound attentively. Choosing sounds that resonate with or are pleasant to listen.

02 · INPUT
Frequency / resonance
Sound enters as data, not music. The result is varied and unexpected; only the frequency can be controlled, within the resonance of the space.

03 · SOUND-REACTIVE INSTALLATION
Vibration
Inside the installation, sound moves a membrane that carries a mirror.

04 · LASER / LIGHT / REFLECTION
To see sound
A laser reflected from the mirror turns the vibration into moving light, projected on the surface.

05 · PHOTOGRAPHY
Capture
The form is real and visible, but it passes. Long-exposure photography holds it still and fixes it as a trace.

06 · MATHEMATICAL SHAPE
Translation
The trace looks like a mathematical shape: a direct visualisation of the sound wave.

07 · FORM-FINDING
Selection
Only shapes strong and stable enough to become three-dimensional objects are chosen.

08 · MATTER
Materialization
The chosen shape becomes an object in laser-cut aluminium or concrete, finished by hand.

09 · MOMENT VS ETERNITY
To slumber / sit
The object becomes furniture: a moment of sound, fixed in matter, that a body can rest on.

sound

frequency

vibration

light

trace

shape

form

object

HOW TO READ
Each ring on the channel is a step. The word between two rings is what one step hands to the next.

RESEARCH FIELDS
#Sound-driven form-finding #Inverse sonification
# Analog computation #Archaeoacoustics

NOT CYMATICS
The form exists physically in the installation before it is photographed. Nothing here is a data visualisation.

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