The LOST

Goddess

This page isn’t just another artefact within Wayfinder—it is a deeply personal elegy, a moment of raw emotional construction. Goddess is not merely a finished song; it is a fractured reconstruction, built from pieces of past compositions that were disassembled and reshaped. It embodies loss, memory, and absence, but also the act of reworking grief into something new. The song, like the box itself, is a space where memory can be held, revisited, and reconfigured, reinforcing the project’s central theme: meaning is not fixed—it is shaped by interaction, by time, by choice.

By placing Goddess inside Wayfinder, the project moves beyond theoretical navigation into something deeply tangible and visceral. It is a palimpsest of sound, where previous works exist as ghostly remnants within the final piece—just as memory itself is never singular, but layered, rewritten, and reshaped.

  • The act of listening becomes participatory, making the audience bear witness.
  • Its placement in the box gives it ritualistic weight—should it be played? When? How often?
  • Its status as “Demo” reinforces its incompleteness—not because the music is unfinished, but because grief is unresolvable.
  • The deconstruction and reconfiguration of old material mirrors Wayfinder’s entire structural ethos—there is no fixed truth, only reinterpretation.
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PATHS.

Which way will you go?

The Sea / 
The Mother

August Barrington's Journal 5th May 2064

A poetry collection questioning our place in life. Questioning who we've become when so much is behind us, and so much is still ahead.

Float

Footnotes & References

  • Core Theoretical Foundations:

    1. Barthes, R. (1981). Camera Lucida (on images as punctum—grief contained in art).

    2. Hutcheon, L. (1985). A Theory of Adaptation (on the transformative power of reworking material).

    3. Cixous, H. (1993). Three Steps on the Ladder of Writing (on writing as a way of holding the dead).
    4.  

  • Critical Debates and Counterarguments:

    1. Derrida, J. (2001). The Work of Mourning (suggesting grief is fundamentally unresolvable).

    2. Freud, S. (1917). Mourning and Melancholia (on the psychological process of grief and fixation).

    3. Burroughs, W. (1961). The Cut-Up Method of Brion Gysin (on fragmentation as a tool for meaning-making).
    4.  

  • Empirical Studies & Case Studies:

    1. Nick Cave’s Ghosteen (a musical exploration of grief through sound layering and recursion).

    2. *Max Richter’s Sleep (music as an immersive, meditative confrontation with memory).

    3. *William Basinski’s The Disintegration Loops (a looping, decaying soundscape that erodes over time).
    4.