While the introduction of the field into architecture is correlated most frequently with the early 1960?s conceptual work of Archizoom and Archigram as well as contemporaneous systems-driven Modernists, it has taken some time for a theory of the differentiated field in architecture to develop. Coalesced by Sanford Kwinter with Michael Fehrer in 1986 in the inaugural issue of Zone, this new regime of thought was a synthesis of chaos theory, nonEuclidean geometry, and complex non-linear thinking. In this context, the object was no longer understood in terms of figure and ground; it was bound up in a wider mileu of intensities, forces, and perceptions. Central to Kwinter?s text is a folding together of science and aesthetics to define the imminence of fields as the abstract and experiential space of the emerging digital paradigm. ? The era of Big Data, with its attendant multi-media technologies, challenge conventional means of projecting the complexity of three dimensional space into two dimensional representation. Beyond a problem of extensive geometry, information that describes the intensive qualities of environment and the field of relations between visible surfaces, now easily collected and accessed, invites new means of visualization. This projects captures a large data set by breaking down a recording of sound into volume and frequency, the raw numbers allowed us, through computational means, to develop a series of immersive drawings with a focus on blurring as an atmospheric quality.
