The Score as Cognitive Ecology

 

The Score as Cognitive Ecology

Across this new body of work, what becomes increasingly evident is a shift from “score-as-instruction” to score-as-ecology. Each page behaves like a feedback system—a responsive field in which semiotic overload, architectural suggestion, and graphic vibration generate a complex reading environment.

Take for instance DOLAVANCE or LAVYNTIA—these are not merely titled pages but spatial economies in which industrial design, linguistic suggestion, and performative typography collide. They establish temporary worlds in which logic is bent, familiar hierarchies suspended. The score no longer directs; it pressurizes.

Symbols drift across the field, unmoored from classical alignment. Timbral cues dissolve into volumetric geometries. Sonic gestures manifest as objects and vice versa. This is not “interdisciplinary” work in the traditional sense. It is a synthetic ecology of reading—an entangled environment of sound, symbol, code, and contradiction.

Typographic Noise as Material

A significant evolution in these works is the escalation of typographic materiality. If in earlier scores language functioned as interference, here it takes on new roles: it becomes topography, volume, and terrain. These are no longer linguistic annotations, but semiotic condensates—dense nodes of visual-sound that ripple across the score.

In ACTEMBRATE and BOLRIBINE, we see a hypermodern baroque—a condensation of letterform and metallic geometry that creates a kind of sonic texture through type alone. These are not instructions. They are noise surfaces—rich with unreadability, illegibility, and possibility.

Letters, once symbols of language, are now carriers of sonic behavior. Some words are playable. Others are obstacles. Many act as thresholds, marking transitions from interpretation to speculation.