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 mechanisms, ensuring that each mechanism was expressed through quantifiable acoustic or psychological characteristics.
For example, the Brain Stem Reflex is based on sudden, high-energy events. To realise this, I designed three categories of sonic material: metallic friction, transient bursts, and frequency sweeps. By controlling the intervals between bursts and adjusting the perceived distance of the sound source, I can fine-tune the “startle threshold” in response to the audience’s perceptual reactions.
The Rhythmic Entrainment movement uses a highly simplified pulse system—woodblock clicks, low-frequency throbs, and gradually shifting phases. Technically, I employ multi-track micro-phase shifting to maintain a balance between rhythmic stability and subtle variation, thereby promoting auditory–motor synchronization.
The implementation of Evaluative Conditioning focuses more on shaping emotional valence. I begin with a neutral arpeggiated pattern and gradually transform it through filtering, reverb expansion, harmonic enhancement, and spatial widening. To maintain cross-cultural neutrality, I intentionally avoid functional harmonic resolutions typical of Western tonal systems, allowing emotional transformation to emerge instead from changes in timbre and spatiality.
The Emotional Contagion module relies primarily on bodily sounds and breathing. I layer synthetic breaths with real recorded ones to achieve an effect that feels physiologically authentic without becoming overly personal or intimate. By varying the duration and amplitude of each breath, the sound achieves both universality and textural nuance. Soft string clusters provide a resonant bed that reinforces embodied emotional mirroring.
Visual Imagery is driven by suggestive soundscapes. I use minimal micro-sounds drawn from both urban and natural environments—wind, distant machinery, a door hinge—but present only one clue at a time. This allows listeners to construct their own scenes through imagination, prompting the generation of internal imagery rather than receiving a predefined narrative.
The Episodic Memory section follows Lucier’s iterative method rigorously: record → playback → re-record → repeat. The difference is that I incorporate multiple acoustic spaces—indoor rooms, corridors, outdoor environments—introducing “spatial memory” into the process. As the sound dissolves, each transformation carries traces of a distinct spatial identity.
The Musical Expectancy movement explores rhythmic density, timbral gradients, and temporal delay. Instead of relying on traditional harmonic structures, I construct expectation and tension through the relationships of “fast–slow” and “dense–sparse” temporal patterns.
The Aesthetic Judgement movement indirectly reintroduces thematic residues from the previous seven sections. These reappear not as direct repetitions but as recognisable hints in timbre, rhythm, or spatial gestures. Through this integrative process, the entire work forms a cohesive psychological resonance—a kind of meta-perception that invites listeners to reflect on the total arc of their emotional and perceptual journey.