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As last semester ended, and this semester begins, things have changed. You will notice a new title for the blog (thesis) as well as a new description in the “About” section.

Below is the new thesis abstract:

This thesis seeks to fuse a practice of architecture and media art into an interface designed for the spatial and embodied experience of everyday sounds and the discovery of their musical qualities. It views architecture from a particular lens of the everyday while concerning media with computing and interaction design, both relating specifically to embodiment. Through an embodied interaction with both architectural and media interfaces, sounds begin to emerge. These sounds can describe and establish our connections with space; a door slams and one understands a certain degree of presence – of people and of physical objects made of specific materials.

The problems with embodiment and sound: Only until recently has interface design been concerned with embodiment, historically technology has aided in disembodiment. Whereas architecture, which sees embodiment in all of its mediation of body and space, reduces sound to something needing to be removed (absorbed) or amplified (in a concert hall). This thesis challenges the defined shortcomings of architecture (in sound) and interaction (in embodiment) by fusing the two into a physical interface for conducting music in space.

Music is understood in a very specific way; sounds of interactions with space and built interfaces are seen as the content for generating audio samples. These samples are then used to generate music by returning back to an interaction with that space. The result is a form of music that arises out of everyday interactions with space as well as the consequences of multiple person input. This understanding of music, and hearing/listening to the everyday, challenges the way we normally listen to music within the everyday. Personal stereos listened through headphones radically alters our experience of space, often removing oneself from that space completely. This thesis attempts to question the ways in which we interact with space and other within space from a musical perspective, redefining notions of musical listening.

These sounds also begin to take on certain rhythmic qualities as a consequence of embodied interaction. As sonic rhythms are discovered, patterns of using this particular space begin to emerge. When rhythms and patterns emerge through interactions with space, place is defined. In this sense, this thesis is concerned with redefining patterns of use, revealing meaning out of the everyday, and inscribing place in the sounds that emerge through embodied interactions with a physical interface.

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