A) Written Part:
1) a short, philosophical/speculative research into a) the cultural, ideological and esthetic differences between composition based on sound and composition based on pitch (eurocentric vs non-eurocentric); b) the opposition/implications of ‘nature-based’ artistic endeavors vs. ‘culture-based’ artistic endeavors and c) the implications of the scientific working method when applied to the creation of artistic products (ie. the collective vs. the individual).
2) a written documentation of: a) my findings, both old and new, in the areas of vibration + resonance, the relationships between vibration and tempo, speed, pulse and pitch and the relationships between sound and duration (ie. Time); b) the implications thereof on form: the use of linear and exponential time, the use of mirroring and parabolas, the use of isochronic forms; c) specific aspects of harmony, orchestration, amplification and psychoacoustics within the context of sound and, most importantly: d) the implications on notation.
B) Compositional Part: A series of new works exploring the relationship between aural and visual vibration, used to the same effect and expanding upon the findings described above.