The Philosophy of Perception: How Art Explores the Boundaries of Reality and Illusion

Perception is not fixed. It shifts, it adapts, it is shaped by context, memory, and expectation. When I create, I am not just working with sound and image—I am working with perception itself.

I don’t ask, What does this sound like? or What does this image mean? Instead, I ask:

• How is this being perceived?
• What happens when expectation is broken?
• Can reality be bent through sound, light, and time?

Art, for me, is not about representing reality—it is about questioning it.

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Sound as an Unstable Form

One of the most fascinating things about sound is that it is always disappearing. The moment we hear something, it has already passed. Unlike an image, which can be fixed, sound exists only in continuous movement, in memory, in anticipation of what comes next.

This instability allows for a kind of perceptual illusion:

• A sound that seems distant can suddenly feel close.
• A slow rhythm can shift perception of time.
• Silence can become louder than noise.

By manipulating duration, layering, and space, I can explore not just how sound is heard, but how it is experienced in the body, in the mind, in the absence of sound itself.

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The Role of the Unseen

Not everything needs to be shown. Not everything needs to be heard.

Some of the most powerful experiences come from what is suggested but not fully revealed—a note that never resolves, an image that exists in shadow, a piece that feels unfinished because it continues inside the mind of the audience.

I am interested in:

• The edges of perception—where the known dissolves into the unknown.
• The feeling of presence in absence.
• The idea that reality is not what we see, but how we interpret it.

What happens when art refuses to provide answers?

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Time and Perception

Time is not linear.

Or rather, it is—but only in the way we measure it, not in the way we experience it.

A single tone held for minutes can make time feel suspended, stretched, endless.
A fragmented rhythm can feel erratic, unstable, faster than reality.
A still image placed between two moving frames can make us question what is real and what is imagined.

I work with time not as a fixed sequence, but as a material—something that can be expanded, distorted, looped, erased.

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Expectation and Disruption

We rely on patterns to make sense of the world. Art can either reinforce these patterns or break them.

• A melody that never resolves creates tension.
• A sudden silence forces attention onto what is missing.
• A visual that contradicts sound makes the brain work harder to resolve meaning.

I like to disrupt expectation—not for the sake of surprise, but to make the audience more aware of their own perception. When something is disrupted, we notice it more. We question it. We become part of the process.

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Beyond the Senses

I don’t believe sound and image exist in isolation. I believe they exist within a network of perception—linked to memory, to movement, to emotion.

• A single drone can feel like weight.
• A color shift can create a sensation of warmth or cold.
• The absence of something can be more powerful than its presence.

What interests me is not just how art is experienced through the senses, but how it resonates beyond them—how it lingers in thought, how it alters perception long after it ends.

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Art as an Open Question

The more I work, the more I realize that art is not about providing conclusions. It is about creating space for questions, for doubt, for awareness of perception itself.

Nothing is fixed.

Everything is in motion.

And in that motion, reality is not something we observe—it is something we shape.