4 April 2006
(glasgow to london train ride)


Are my research questions still the same?

Research Questions

What components of a perceptual sound-space need to be identified and/or created to create a collective phenomenological experience?

Within the context of contemporary art created for phenomenological experience(s), how does the creation of a perceptual sound-space establish itself as art?

By questioning the very construct of space [material vs. immaterial] what implications and questions will be raised by the success of a perceptual sound-space within the context of contemporary architectural practices?

How does a piece of art quantify and document the ineffable?

Is sound a germane medium to generate an ineffable experience-or is a visual component necessary to generate a phenomenological experience?

Can phenomenological experiences be the same for two different people?

What are my questions as of right now? At this stage in the research what are the changes from August. Firstly the pre-occupation with architectural space per se has changed. What has cleared up is the desire to look at pre-existing architecture for ‘sonic’ architecture’ and look more for individuals whose practices may reside more in ‘paper architecture’ The idea of idealized spaces and the possibilities that model spaces provide have more potential for change than looking at ‘sonic architecture’. But can these spaces exist without the visual? A few months ago I was willing to say yes… but the idea of creating idealized phenomenological spaces within which actual people can interact with on a real scale is exciting… but then where does the sound fit in? How does the sound become more than just an element… the idea is to challenge the construct of the term installation. Installation art implies a sense of intervention in the white cube, a rescuing and removing of the sterile towards an immersive experience (either enjoyable or challenging) But that the context of the previous space is removed if only for a temporary time. (come back to)

NB asked me why could it not be painting, watercolour in particular. Whilst I do not disagree that paintings or photographs for that matter can produce phenomenological situations (Rothko, Eggleston, Uta Barth) sound as a medium does not necessarily lend itself to passive observation. The combination of both sound and space lend themselves to a more physical experience. Perhaps installation is the wrong word: interactive physically immersive art. Sound can be more than just listened to-it can be felt and if one had the ability to move about a space, then that element can be more highly utilized. Also the ability to have a versatile physical experience has more potential to realizing and creating a phenomenological experience in my opinion than a static experience does.


What do I want to know from this research? Where is it headed? Are both the question and the concern mainly dealing with the creation of phenomenological/spiritual experience? Through the research done to date, questions have arisen about what particular school of phenomenology to seat the research (existential or transcendental). As well whilst it is probably a second or third tier question. The sound art debate is still a valid issue.