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 sound-mass tradition played a central role. Varèse’s Poème électronique demonstrates how high-energy sonic events and sudden gestural changes can provoke a visceral, bodily reaction—perfectly aligned with the Brain Stem Reflex mechanism in the BRECVEMA framework. His use of metallic textures, explosive noise bursts, and spatially dynamic sound placements informed my own approach in the first movement, where I employ high-frequency transients, percussive shocks, and rapid sound-image shifts to construct an immediate “startle response.”

Reich’s phase music and pulse-driven structures directly influenced the Rhythmic Entrainment section. His work Drumming uses gradually shifting phases of repeated pulses to generate temporal illusions, drawing listeners into an unconscious rhythmic alignment. In my composition, I adopt light wooden pulses, low-frequency rhythmic curves, and subtle micro-phase shifts to guide listeners into a state of rhythmic synchronization without their explicit awareness.

Lucier’s I Am Sitting in a Room serves as the core reference for the Episodic Memory movement. His piece reveals how sound gradually becomes reshaped by a room’s resonant frequencies, transforming spoken language from meaningful utterance into pure spatial resonance. In my work, I similarly use a short spoken phrase and allow it to undergo iterative recording and transformation, enabling the audience to experience the gradual dissolution of meaning and the unfolding of memory across time.

East Asian composers such as Takemitsu and Hosokawa influenced my treatment of space and delicate sonic textures. Through the use of silence, breath-like pacing, and extremely refined dynamics, they create what could be described as “breathing spaces.” This approach is crucial for the Emotional Contagion movement: breath sounds, bodily micro-textures, and soft string clusters can readily activate mirror responses, enabling listeners to sense emotional connection on a bodily level.

In the realm of soundscape composition, Lockwood’s A Sound Map of the Danube and López’s La Selva were especially important for shaping the Visual Imagery module. Their works are not simple field recordings; instead, they construct layers of texture, distance, and spatial hierarchy that form an “unspoken narrative.” Inspired by this, I use minimal environmental cues so that listeners build the scene themselves through their own inner associations.

Ikeda’s data-driven aesthetics offered a new perspective for the “Musical Expectancy” and “Aesthetic Judgement” movements. His work—precise, sharp, and hypnotically structured—demonstrates that expectation does not always rely on traditional melody or harmony; it can instead emerge from rhythmic density, flickering structures, and controlled frequency modulation.

Together, these artistic references provide not only technical direction but also aesthetic insight, enabling me to construct a sound world that is both cross-cultural and experimental within the BRECVEMA framework. The goal of the work is not imitation, but to develop my own artistic language through a process of understanding, interrogating, and transforming the contributions of these influential predecessors.