This thesis examines the relationships between sound, language, text, and graphic notation through a research-creation practice situated at the intersection of multilingual studies, sound art, and typography. It explores how sound operates as a compositional system for text, shaping how language is perceived, organized, and experienced across diverse linguistic contexts. Utilizing interactive systems, typographic experiments, and poetic computation, the project investigates moments of illegibility, translation failure, and sonic mediation. It asks how meaning is produced and transformed when language is approached as a resonant, embodied process rather than a static semantic structure.
Grounded in contemporary sound studies and experimental typography, this research engages with contexts of migration and cross-cultural exchange, positioning language as a temporal phenomenon emerging through listening, speaking, and reading. Disorientation and partial legibility are treated as productive conditions through which meaning is negotiated across linguistic and sonic boundaries. Methodologically, the project adopts a research-creation framework that integrates sound-responsive typographic systems, interactive installations, and process of poetic computation. These works invite participants to encounter language as a relational and embodied experience. Ultimately, the thesis proposes alternative modes of multilingual legibility that inhabit the liminal spaces between language, sound, form, legibility, and loss.