Abstract The paper presents the artistic and technical concerns behind Ryo Ikeshiro and MetaObjects’s Sonic Topologies: Hong Kong, an aural cartographic interpretation of Tsuruko Yamazaki’s 1967 painting Work. The possibilities of presenting a tactile sound installation as a multisensory means of experiencing an abstract painting via the soundscape of Hong Kong are discussed. The authors explore how the interdisciplinary and collaborative spirit of the Gutai Art Association, to which Yamazaki belonged, is reimagined using technologies available today, including computer vision, 3D printing, and spatial audio field recordings.
Ikeshiro et al. (Fri,) studied this question.