When I began this research, I had zero prior knowledge of oscilloscopes beyond their technical function as measurement tools. What started as simple curiosity quickly evolved into a deep and multifaceted exploration, leading me to uncover both the creative potential and the limitations of this device in a musical context. Throughout this journey, I navigated unfamiliar territory, learning not only about the technical aspects of waveforms and synthesis but also about the ways in which visual representation can shape and influence compositional choices. This process was both challenging and rewarding. Each experiment—whether successful or not—offered new insights and shaped my approach. From the initial amazement of seeing sound take on visual form to the struggle of balancing musical and visual complexity, this research was ultimately a hands-on learning experience. Along the way, my perspective shifted: I no longer saw the oscilloscope merely as a reactive tool but as an active participant in performance and composition. Now, at the end of this phase of research, I look forward to sharing my findings, not as definitive answers, but as an invitation for further exploration. My journey with the oscilloscope is far from over, and I hope that this work will serve as both a reference and a source of inspiration for others interested in integrating sound and visual art.

At the core of this research was a fundamental question: how can I incorporate the oscilloscope into my practice as a composer? This overarching question led me to explore whether the oscilloscope could serve not only as a tool for composition but also as an instrument in live performance, whether it could be integrated with acoustic instruments, and how it might function within an ensemble. At the outset, these questions felt open-ended and speculative, requiring both theoretical inquiry and hands-on experimentation. As my research progressed, I approached them from multiple angles—technical, aesthetic, and practical—gradually uncovering potential answers while also encountering new challenges. Revisiting these questions now, at the conclusion of my work, allows me to assess the insights gained while also acknowledging the areas that remain unresolved. Some answers became clear through structured experimentation, while others led to further inquiries that extend beyond the scope of this project. Throughout this research, I have developed several methods for composing with the oscilloscope. The process has been similar to learning a new instrument—it requires practice and exploration to achieve deep familiarity with its behaviour. The oscilloscope is a device that speaks its own language, and working with it effectively means learning to understand and communicate within that language. While there are clear mathematical principles that govern its operation, these rules only hold within a narrow range, particularly when working with pure elements such as sine waves and just intervals.

Stepping outside this controlled environment introduces unpredictability, revealing the fundamental challenge of using a tool that was never designed for the kind of music I typically write or listen to. Navigating this challenge requires a balance between embracing its constraints and discovering ways to work around them. Once this mindset is adopted, the creative potential becomes vast. My experiments have been invaluable in both practical and conceptual terms, but they have also made me realise that mastering this approach is a long-term process. Fully understanding the oscilloscope’s possibilities—especially in combination with other instruments and tools—demands years of exploration. Throughout my research, software such as Max/MSP and Ableton has been essential, allowing me to shape and refine my approach. However, these tools also introduce endless possibilities to be discovered. This process has been full of surprises, exciting breakthroughs and frustrating limitations. The biggest disappointment remains the unsuitability of inputting purely acoustic sounds from multiple instruments, as my original idea was. Without mediations, the resulting visuals are chaotic and overloaded. This means that in any practical application, I must always find a workaround to manage the visual material effectively, making compromises between musical and visual clarity. Eventually, inventing and testing different strategies, became in a short time the new source of excitement and inspiration. Moreover, when questioning if the oscilloscope can work in combination with acoustic instruments, it does not necessarily mean to input the sound from the instruments. A positive answer can be represented by a successful combination where only the synthesised sounds are generating the shapes, as the two last ideas shown can demonstrate.

The limits and potential of the oscilloscope are what made this journey both challenging and rewarding. One of the most valuable outcomes of this research is that the oscilloscope actively shaped my compositional process, pushing me in directions I would not have otherwise explored. In each of the three examples I developed, there was always a moment of struggle—an obstacle that ultimately led to discovery and new creative solutions. In one case, I found an original way to integrate the performance space into the composition; in another, I followed numerical relationships and ratios in a way that was entirely new to my practice. In the last example, I refined my harmonic approach, striving to craft a progression that is simple yet distinctive and well-balanced. Beyond these technical and structural aspects, the oscilloscope also provides a strong foundation for musical narrative. The dialect between sound and image creates powerful visual metaphors, shaping the emotional and conceptual storytelling of a piece. The dynamic interplay between these two elements offers a unique source of inspiration, opening up new ways of thinking about composition and performance.

Hands-on practice turned out to be essential, productive, and genuinely enjoyable. However, the theoretical aspect of this research has been just as important. Contextualizing the format I am proposing within a historical framework not only provided artistic inspiration but also gave me a stronger sense of direction. Understanding the roots of my practice and building upon the foundations laid by figures such as Pythagoras and Lissajous has given me confidence in my approach. The literature review on cross-modal art made me aware of key principles that I needed to consider when composing in this setting. Some of these concepts helped me structure my ideas, analyze my work retrospectively, and strengthen my artistic choices. For example, I became more conscious of how and when the visual aspect should take precedence over the music, and vice versa. I also developed a sensitivity toward making visual shapes more concrete and tangible, ensuring they remain accessible to the audience. Another crucial takeaway was the importance of delivering information in a coherent way—stimulating the senses without overwhelming them. Beyond the practical and conceptual insights, this research has given me a sense of belonging to a broader movement. Seeing how artists and thinkers before me have explored similar questions reinforces my desire to carry this legacy forward, integrating and expanding upon these ideas in my own creative journey.

As much as this research has provided me with answers—mostly positive ones—it has also opened the door to new ideas and further questions. One of the key questions that emerged is how the concept of the oscilloscope can be developed even further. What tools can enhance its possibilities? For instance, I have considered using a laser projector instead of a regular beamer to achieve sharper and brighter shapes. Looking beyond two dimensions, could this concept be expanded into augmented reality? There are also questions concerning the limitations of this approach. Will I eventually find myself repeating ideas, exhausting the techniques I can use? After composing a few pieces, will the creative potential of this medium start to feel constrained? Another significant area that remains unexplored—simply because it requires more time—is the reaction of the audience. Will my work resonate with listeners and viewers? How can I structure a performance in a way that clearly conveys the principles that first inspired me? Will the audience recognize and connect with them? On a technical level, many practical challenges remain unanswered. How can I optimize the stage setup, the projector placement, and the overall performance environment to ensure the best possible experience? What technical limitations might arise during live performances, and how can I prepare for them? Will it be difficult to find venues that can accommodate the specific needs of this project? These and many other questions will guide my research in the near future. Rather than marking the end of my exploration, this project has provided valuable material for a longer and more in-depth investigation.