A Prelude to Projection 1
As I entered Unit 3, the narrative thread of standardisation remained central to my enquiry, but it shifted focus — from the body and the book to sound, and more specifically, the voice. In my previous work, I explored how reading could become a sensory and embodied experience, challenging the conventions that shape how we engage with books. This same interest in disrupting norms now informs my exploration of how we represent and interpret voice.
Georges Cziffra pianist Exhibition – Budapest 2024
This shift in focus was also inspired by an exhibition I visited in Budapest in December 2024, dedicated to the pianist Georges Cziffra. What struck me was the interactive nature of the exhibition — rather than presenting his life and work in a static, archival way, it invited visitors to actively engage with his musical process and professional journey. It was an unusual and immersive experience that inspired me to explore sound in a more personal and interpretive way within my own practice.
As a musician, sound has always felt like a natural language to me — something I intuitively understand and perform, almost like a mother tongue. But this exhibition made me reflect on the audience’s perspective. How do others perceive sound? What happens when they’re not trained to read musical notation? These questions became critical in shaping my enquiry: how can sound be translated, visualised, or made emotionally accessible to those who might not “speak” it fluently?
Cage, J. (1969) Notation. New York: Something Else Press
Lupi, G. and Posavec, S. (2015) Dear Data.
Kim, C.S. (2020) The Rhythm Pyramids
These references have been key in inspiring my practice and shaping a more critical understanding of my work. John Cage’s Notation (1969) was very visually captivating and it challenged my understanding of how music and sound can be represented — pushing the boundaries of traditional musical scores and highlighting the expressive potential of experimental forms. Christine Sun Kim offered a powerful reflection on sound from a Deaf perspective, prompting me to consider how rhythm, tone, and silence can be felt, seen, and interpreted beyond hearing. Finally, Dear Data by Giorgia Lupi and Stefanie Posavec showed me how personal, emotional experiences can be transformed into visual systems — a process that resonated deeply with my intention to turn something as intimate and fluid as voice into a form of visual expression. These works collectively encouraged me to see sound not just as something to be heard, but as something that can be read, felt, and questioned.