there are at least as many forms as there are visitors experiencing the work.
‘space [becomes] a pulsating encounter, created through movement of sounds,
modified by movement of the person experiencing the space – movement … as space-shaping temporal process; space as time-space’ (Kern 1984).
as noted by Gaston Bachelard, specific architectural features such as corners, angles
(‘cold’) and curves (‘warm … has nest-like powers’) afford symbolic and behaviour-altering meanings (Bachelard 1994: 146). In this sense, placement of sound
or media-emitting objects can be conceived as a compositional decision even within the supposedly neutral ‘white-cube’ setting of the gallery