The project derives it’s name from synaesthesia, a condition described as “the production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body.”
I was interested in exploring the ways in which visuals could be experienced as audio and of how existing pieces of art could be appropriated in another format. The project was an extension of my fascination with generative art.
I found I could move much faster in software and iterate in tighter loops. I decided to validate the algorithm that produces the music itself, and work on the hardware in parellel with a view to merge both streams of work at a later stage.
I took much of the learnings from the early hardware exploration and settled on a hardware stack that I was comfortable with and began to spec out the design in Solidworks.
Fabrication of the wooden unibody was expertly crafted by friend and fellow Melbourne designer Elliot Henkel, who helped me choose an appropriate timber, handled creating the jigs and hand-routed each of the 3 prototypes.