Mapping Strategies: Final Project Proposal


Robert Shattuck, on Proust:

“Relativity tells us that no object by itself has either definable or measurable velocity. Two objects are required to yield a relative reading, and there is no universal grid like the ether to give an absolute figure. An object can be described as located somewhere and in a certain motion only in reference to what is about it. And so it is also with memories and experiences.

to see is to see against or beside something else

everything is perceived in clusters, each framed by another

proposal3 3


  • performance piece by Ray Lee initially performed in 2007
  • installation of large sound sculptures
    • metal tripods
    • rotating arms that emit electronic drones
  • “create a hypnotic composition”
    • audio visual spectacle / live experience
    • Wherever you stand in the space it sounds different.
    • As the arms rotate, the sound pulses past the listener with a Doppler-like effect
    • minimalist phasing of the rhythmic pulses
    • a constantly evolving polyrhythmic structure.
    • series of overtones that evoke the sense of an ethereal choir


proposal3 4


by FM3 in 2005

  • generative music maker
    • layering loops of ambient sound
    • named: popular Chinese device that intones repeating loops of Buddhist chanting
  • size of a pack of cigarettes
    • >3 editions exist now, with different loop settings
  • described as “poetic noise,” & “confrontationally tranquil,” & “engagingly intimate.”
  • “… a transistor radio sized device that plays endlessly changing sounds, chosen by the program, from a given set of notes and sounds. There is, as one would expect, no arc to these compositions—no beginning, middle and/or end. They are merely states of being, not substitutes for narrative. These indeterminate scores can be viewed a bit like the literature that emerges out of oral traditions—the great epics and sagas.” – David Byrne


proposal3 5


  • Futurist manifesto published in 1913
  • Sound is defined as the result of a succession of regular and periodic vibrations.
  • Noise is instead caused by motions that are irregular, as much in time as in intensity.
  • “Every manifestation of life is accompanied by noise. Noise is therefore familiar to our ears and has the power of immediately reminding us of life itself.” – Luigi Russolo


“meditative memory map”

  • Record dynamic noises (as defined by Russolo)
  • Focus on how things are framed in relation to each other
    • Inter-aural Level Differences
    • Inter-aural Intensity Differences
    • Start/Stop
  • Generative music dictated by patterns
    • transform sonic clutter into a meditative map
    • the tracks of mediative music buffer the clamorous sonic nature of live perceiving. A memory is softened and fluid compared the urban cacophony of transit systems.


How does sound and memory relate?
How does generative music relate to memory?
How could memory rehearsal and recall be translated into algorithms and rules for music?


While an innovative idea, generative programs are still very demanding of programmers and musicians. A specific instance of such a piece of music was then proposed.

Acoustic Scene Analysis was the subject of Memory Tests as shows the diagram below:


A proposed interface that links waveform, actual audio, temporal-shifted audio, and spatial location:g.png


A final sketch of the score of temporal-shifted audio:

odonnel_Acoustic_Memory 14.png

<p><a href=”″>SUBJECT 6 – 3D 2HR 32M AGO</a> from <a href=”″>Patrick J. O'Donnel</a> on <a href=””>Vimeo</a&gt;.</p>