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After fully absorbing the literature and artistic references, I began translating the conceptual framework into an executable implementation plan. The challenge lay not only in designing four distinct emotional climates but also in constructing the transitions between them—allowing emotions to flow like weather systems rather than exist as isolated zones. The installation consists of four…

Although sound is the central medium of Synesthetic Weather, the project’s “emotional climates” rely heavily on multisensory elements such as light, airflow, temperature, and spatial density. This section focuses on atmospheric installation artists who have had the most profound influence on the work, including Olafur Eliasson and James Turrell. Olafur Eliasson’s The Weather Project is arguably the conceptual…

The sonic architecture of Synesthetic Weather is deeply influenced by the traditions of sound art. This section focuses on several sound-based works and artists who have had the greatest impact on the project, including Janet Cardiff, Ryoji Ikeda, Christina Kubisch, Annea Lockwood, and Chris Watson. Janet Cardiff and George Bures Miller’s The Forty Part Motet demonstrates how sound can…

The theoretical foundation of Synesthetic Weather draws from multiple fields, including atmospheric aesthetics, soundscape studies, affective politics, and theories of embodiment. Engaging with these texts not only provided conceptual tools but also helped situate the work within a more mature and rigorous theoretical framework. The writings of several key thinkers—Böhme, Griffero, Ahmed, Schafer, LaBelle, and Massumi—form the…

In the contemporary landscape of sound art, cross-sensory research, affect theory, environmental humanities, and immersive installation practices increasingly intersect, offering artists new modes of expression. Against this evolving backdrop, Synesthetic Weather emerges from one central inquiry: What if emotions were no longer treated as internal psychological events, but externalized as spatial, navigable environmental phenomena? It is precisely this…

After completing the literature review and analysing the reference works, I began transforming the theoretical framework into an executable creative plan. Throughout this process, I adhered to three principles: correspondence between mechanism and material, control over sonic elements, and the representation of cross-cultural diversity. Structurally, I assigned each of the eight movements to one of the eight BRECVEMA…

During the research phase of this project, I drew extensively from sound artists of diverse backgrounds, including Varèse, Lucier, Takemitsu, Lockwood, Ikeda, and Ferrari. Each of these artists contributed concrete inspiration to the eight movements of the work, providing a clear bridge between theoretical concepts and practical artistic application. To begin with, the noise and…

In the second phase of literature research for this project, I focused primarily on the works of sound-culture scholars such as Schafer, Feld, Stoever, and LaBelle. These texts provide interdisciplinary perspectives on how sound is perceived through cultural, spatial, political, racial, and technological lenses. Their insights have proven especially important for developing the “Visual Imagery,”…

During the theoretical preparation for BRECVEMA-informed Suite, the most central group of readings came from the field of music psychology. Among them, the study by Juslin and Västfjäll (2008) had a particularly significant impact on the conceptual foundation of this project. In their paper, they argue that emotional responses to music are not produced through a…

In today’s landscape of sound art and cross-media creation, the relationship between emotion and perception has increasingly become a central concern for both artists and scholars. The driving force behind my work BRECVEMA-informed Suite stems from a desire to integrate research in music psychology with contemporary sound art practice. Through years of study and experimentation, I have…