The object, the instrument, the book, the score: compositional tools and the sonic imagination is a project that culminated in an exhibition of systematic grid-based drawings, organic watercolour monoprints/monotype prints, handmade book-objects, and recorded sound. The process of creating this collection of work investigated connections between viewing and listening practices, asking how visual representations of sound can influence the sonic imagination. Disorientation is a central concern throughout this project, as influenced by Sara Ahmed’s Orientations: Toward a Queer Phenomenology, seeking a recontextualization of sonic experiences mediated by visual media as a way of engaging with different ways of being in a body in time and space. Chance-imagery, described by George Brecht as both improvisatory chance that engages the subconscious and mechanical process-based chance, has been central in this work because engaging with chance in visual media can be a way of opening up the imagination to better perceive the complexity of the world of sound. The artwork invites “playback” within the mind via audiation of sound images, created by blending the aesthetics of sound recording visualizations with the music staff symbol from Western classical music notation. This juxtaposed treatment is also used in working with sound directly, in combining “noisy” sounds with “musical” ones as part of an album of sound/music recorded as part of the project. The representation of time in fixed images is a consideration when creating music notations, and this project presents both the book form and the use of stitching traditions as multivocal methods of embedding temporality. Throughout this body of work, the idea of the score as an invitation rather than instruction is central to its function.