My project explores the friction that occurs when one medium can present what another cannot and attempts to utilise this as a method of representation. The outcome is a series of sequential experiments that address multiple mediations in relation to each other, formed through the imagination of sound. I believe the moment of impossibility in each medium triggers a moment of imagination through the viewer. I am therefore chasing the impossible with each experiment. The context I have attempted to represent is cyber warfare and cyber attacks due to the nature in which they exist; beyond the realm of sensory experience.

The imaginary can be articulated through sound as when we cannot see the source of a sound, we try to imagine what caused it. When the sound is one we have never heard before, the source we imagine is likely to be out of reality. Can we therefore use imagined sound to experience occurrences outside of human sensory knowledge? Could it be used to attune to a future in which this conflict is resolved? The power of sound as a utopian form rests in its nonverbal, nonrepresentational, abstract character and its consequent capacity to transcend the utterable. It may not merely prefigure a better world but invoke it.

A visual representation of sound has been portrayed in Tom Philip’s Last Notes from Endenich; a drawing of a score representing Schumann’s last dying days in an Asylum. The score would be impossible to play as notated. He is portraying the potential for music that can only be seen and therefore imagined. This indicates an interesting friction between mediums that occurs when one can portray what the other cannot. The moment of imagination occurs within this friction.