Sound design and non-music

There is a lot to discuss. This coming Saturday I have another workshop. This time I am working on two new scenes between Claire and Sophie. Besides trimming and readjusting the dialogue, I have been continuing to find new ways to approach choosing and setting up shots.
This time I wrote a parallel visual narrative. This is from the viewpoint of what we might know from the outside of the scene, without reference to the dialogue. Then I drew up a storyboard of shots, again trying to think less, and draw with reference to the actors and how they might be set in the frame from an emotional point of view. That is to follow my instincts.

But I know I did say that I would talk about sound and my visit to Roland's new studio.
He has set himself up with a 5.1 surround-sound system. Very sexy in a sound geeky way.
The best part was that he introduced me to what might we have crudely termed sonic experiments. Perhaps non-music would be better? Liminal music? These sounds that sit at the threshold of sound becoming music.They suggest a music that never arrives.
These sounds are created by the interference between sine waves. That is two waves meet and reflect off each other creating a third sound. These can only be heard on a set of speakers. You hear three sounds, left, right and middle, but removing one sound removed the middle sound as well - it could not exist. It was created inside our heads.
A lot of these experiments were developed by the composer Alvin Lucier, but the music Roland played for me was created by a friend who for now is only known as Ashley. So we will shall see where the experiments take us. If we decide we want to try them I will meet up with Ashley and we will go from there.
The effect is disconcerting to say the least. I think these are the sonic equivalent of the Rothko images, those at the edge of perception. I have included them at a number of places throughout. I have almost already dismissed them from the Norway segment. They just don't seem to make sense there. I need to explore their use in the middle segment, but so far they have been most effective in the first segment. I have taken them to be a part of the calling theme, that is the sense that Claire is being affected by something she does not understand. This is part of the idea of looking into, into the opacity of the object.
As you watch you are not certain that you have actually heard the sounds, and then even more strangely you begin to hear the sounds in all sorts of places, even though they are not present. You brain begins to manufacture them on their own accord.
Of course the idea of this music is linked to the Rothko ideas, the liminal image, at the threshold, the edge of perception.
I need to develop their use more, and I integrate more of the other sounds that Roland passed my way. And then there is the workshop on Saturday, so more about that.