P S Y C H E D E L I C S P A C E C R A F T
2025- This work introduces a modular symbol language that replaces conventional writing. Each symbol forms part of a visual vocabulary open to interpretation, inviting the viewer to participate through perception and association—where meaning emerges through relationships rather than fixed definitions.
Every symbol functions as a visual–auditory hybrid: a written sound carrying its own rhythm, tone, and phonoaesthetic logic. Through simple geometric operations, each form evolves from the previous one, creating a silent yet rhythmic chain—a speculative language where form, sound, and thought intertwine.
The system grows from a long-standing fascination with structure and variation. As in earlier projects, repetition and transformation generate a syntax: distinct forms that remain interconnected, like elements of a shared grammar.
At the core are subtle, often overlooked sounds—those born where body, material, and movement meet. The friction of fabric, the pulse of machines, breath under effort, faint gestures of the voice, and echoes from nature all feed into what I call auracular sounds: sonic traces of presence, memory, and rhythm.
In textile and performative practice, these sounds become material and movement. Listening turns physical. Sound becomes image, pattern, and space—then returns again.
The symbols originate from my MA examination project Prime Numbers - My Winterland (2005). Photo Sarah Cooper
Graphical collaboration 2025____________________________Jaakko Suomalainen
Every symbol functions as a visual–auditory hybrid: a written sound carrying its own rhythm, tone, and phonoaesthetic logic. Through simple geometric operations, each form evolves from the previous one, creating a silent yet rhythmic chain—a speculative language where form, sound, and thought intertwine.
The system grows from a long-standing fascination with structure and variation. As in earlier projects, repetition and transformation generate a syntax: distinct forms that remain interconnected, like elements of a shared grammar.
At the core are subtle, often overlooked sounds—those born where body, material, and movement meet. The friction of fabric, the pulse of machines, breath under effort, faint gestures of the voice, and echoes from nature all feed into what I call auracular sounds: sonic traces of presence, memory, and rhythm.
In textile and performative practice, these sounds become material and movement. Listening turns physical. Sound becomes image, pattern, and space—then returns again.
The symbols originate from my MA examination project Prime Numbers - My Winterland (2005). Photo Sarah Cooper
Graphical collaboration 2025____________________________Jaakko Suomalainen
