The reading states, "Amacher's 'sound characters' operate to immerse the listener/viewer in a specific narrative of sound and space, as a 'sonic theatre' in which the material function of architecture shifts to that of vibration" (205). Similar to the function of sound design in my project, the added sounds serve as a means to fully integrate the viewer into the story. While music isn't appropriate for my narrative, distant sounds of conversations and cars gives the viewer the opportunity to feel. 

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Something I really questioned during the sound design process, was the music and manipulation component. I took a different take on the concept of space by having a story being told rather than directly asking an interviewee what inhabiting a space means to them. In making this decision, the sounds that would accompany the audio drastically changes. Music and odd sounds just doesn't fit the energy of the project. When I read this line in the reading, it made me more confident in my decision to refrain from drastic sound manipulations. "With my original proposal, I expected to take those sounds and manipulate them in real-time performances. During my residency, I recorded several different kinds of sound - windy days, planes and helicopters, traffic, the building swaying after a hurricane - but almost never found an effective way or reason to process the sounds. There was nothing that I could do or wanted to do to 'improve' them or make them more musical" (209). This is exactly how I felt when creating my sound design. Although I initially wanted to make some sounds more musical, I discovered that I actually didn't want to do such a thing to my soundscape.