This phase was principally about the vibration sensation experience.
I tried to focus on the essential elements that made up different experiences of sensation. I focused on sensation without complementary (or leading) sound.
During this time, I considered the constraints of the medium and how to deliver within these.
In developing a second composition that combined sensation and hearing, I attempted to open up more space for improvisation and gesture in the making of sensation. This gave rise to new challenges in how different frequencies and intensities of low frequency signals would interact when presented as sensation.
Work also helped me set logical boundaries to placing compositions within the spectrum between symbiotic or “contrapuntal” interaction between the auditory and tactile senses.
This period explored all of my principal research aims:
A main finding from this period was the notion that texture was integral to how vibration engages with the body, over tone, frequency or other aspects of timbre.
I also felt that I came against, and worked through, conceptual challenges about the use of vibration as a medium to express and communicate through.
At the end of this phase I found a comfortable and successful range of approaches to sensation composition methodology, based on a much better understanding of sensation perception.
Research detail subpage: 4.1 - Low frequency sound activating spaces - the articulation of building materials through vibration