The video constitutes an audiovisual transcription of an iconic passage from the novel The Waves (1931) by Virginia Woolf. In this excerpt, five voices articulate successive, fragmentary sensory impressions. Reality is not presented as unified and objective, but rather as a constellation of partial, subjective perceptions.

The video adopts this polyphonic structure as its fundamental narrative and aesthetic principle. Instead of realistically representing the objects described, it seeks to convey the very process of perception itself.

The visual rendering focuses on fluidity and the transience of form, reinforcing the idea that the visible is not fixed but continuously emerging, evoking a primary, pre-conceptual experience.

The creator attempts to disrupt the primacy of vision by introducing rhythm as an organizing principle. Through sonic repetitions and rhythmic variations, the video creates a sense of undulation—a sensory pulsation that reflects both the title and the structure of the novel. Sound does not merely accompany the image; it co-constitutes the experience.

The sequential juxtaposition of sensory images undermines the notion of a unified reality. Each voice constructs a different world, and the whole emerges not through synthesis but through coexistence. In the video, this logic is expressed through fragmentary editing and shifts in visual fields, which do not aim for coherence but for the simultaneous presence of multiple perspectives.
On a theoretical level, this approach can be understood as phenomenological, as the work does not examine objects themselves but the way they are given to consciousness. Perception precedes interpretation. As in Woolf’s text, where language functions as a stream of consciousness, the video organizes image and sound as a flow of sensory events.