CIM417 - T324
PROJECTS
WEEKLY ASSESSMENT TASKS FOR CREATIVE PRACTICE RESEARCH
ARTIST STATEMENT
In the style of
Patti Smith
Assisted by ChatGPT
I was born in sound. It thrums in my bones, seeps into my skin like ink on paper, a visceral echo that lingers between the heartbeats of nature and machine. I craft experiences, not to escape, but to connect. To peel back the layers of what we know, what we’ve forgotten, and what we long to remember.
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In the chaos of digital noise and social masquerades, I find myself seeking the truth, raw, unfiltered, unapologetic. My work is a communion with the earth and its forgotten voices, with the city and its relentless pulse. Every exhibit, every project, is a bridge to the unsaid, the unseen, the unheard. A delicate dance between authenticity and illusion.
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I am the whisper of a bird’s wings caught in the static of a restless mind. I am the silence between the rain, the hum of a crowd, the punk anthem that screams for something more. I am Wallflower and I am Bloom, the question and the quest for identity in a world obsessed with conformity.
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Through immersive soundscapes, through art that speaks to the senses, I aim to create a space where we are all vulnerable, where we can shed the skin of expectations and simply be. My journey is not to craft perfection, but to give a voice to the beautiful imperfection that is being human.
REFLECTION
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I used ChatGPT to reimagine my artist statement in the style of Patti Smith. At the time, I was reading one of her books and was intrigued by how my statement might sound in a more poetic, evocative style. After reading the rewritten version, I felt a surge of inspiration to create, yet it struck me as a bit grand for my more understated, often less assured nature.
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Reference
ChatGPT. (2024) Write an artist statment in the style of Patti Smith. Retrieved from https://chatgpt.com/c/6716203f-2318-8013-b73a-4be1b5524b85
FASHIONING PROFESSIONALS
The introduction of Fashioning Professionals explores how professional identities in creative industries like fashion, design, and architecture are shaped and performed through media, institutions, and organisations.
It traces the evolution of these identities, considering historical and contemporary influences, while analysing the shifting definitions of professionalism and creativity. The book uses "fashioning" as a framework to examine identity construction, integrating insights from social history, fashion theory, and cultural theory.
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The text highlights the professionalisation of creative industries, beginning in Victorian Britain and expanding globally with industrial capitalism. After World War II, fields like design and advertising sought recognition but often remained "semi-professional," balancing artistic expression and professional norms. It also discusses how the rise of the post-industrial economy blurred personal and professional boundaries, introducing concepts like "immaterial labor," which expanded the idea of work in the creative industries.
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Creativity is examined as a historically contingent concept, evolving from a metaphysical idea to a socio-economic force central to labor. The passage highlights the increasing importance of creativity in post-industrial economies, where it intertwines with entrepreneurship. Gender plays a significant role in shaping professional visibility, while fashion and self-representation serve as tools for navigating identity, social norms, and cultural dynamics.
Overall, the introduction frames the book’s analysis of how fashion, media, and self-representation contribute to the construction and evolution of professional identities in the creative sectors.
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Reflection
Reflecting on Fashioning Professionals has helped me understand how my creative practice is shaped by the interplay between personal and professional identity. The concept of "fashioning" identity through media, institutions, and self-representation mirrors my journey in creating immersive art experiences that balance artistic vision with industry norms. The book’s perspective on creativity as both an abstract concept and an economic force resonates with my need to align self-expression with financial sustainability, especially in ventures like immersive art and sound design.
The blurred boundaries between personal and professional realms are also relevant; my projects, such as Wallflower, inherently draw from my own experiences, challenging me to consider how much of my personal identity I reveal. Finally, Fashioning Professionals brings attention to how gender and visibility impact perception in creative spaces, encouraging me to use self-representation consciously. Overall, the book provides a thoughtful framework for navigating professional identity in creative industries, inspiring new perspectives on my own path.
Fashioning Professionals : Identity and Representation at Work in the Creative Industries, edited by Leah Armstrong, and Felice McDowell, Bloomsbury Publishing Plc, 2018. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/sae/detail.action?docID=5205416.
Created from sae on 2024-09-16 00:54:19.
ANNOTATED BIBLIOGRAPHY
Sinclair, J.-L. (2020). Principles of game audio and sound design : sound design and audio implementation for interactive and immersive media. Routledge. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2564460
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Principles of Game Audio and Sound Design is a guide to the art and science of sound in games and interactive media, specifically utilising Unity. This comprehensive introduction covers both the creative and technical sides of game audio, addressing topics like sound design, spatial audio, scripting, implementation, and mixing. Starting with fundamental techniques such as linear and interactive sound design, the book progresses to more advanced concepts like procedural audio. It also provides digital resources, including adaptable scripts, equipping readers with practical tools to overcome the challenges of game audio production. Perfect for beginners and intermediate learners with a basic background in audio production and Unity, this book offers the foundation needed to excel in the dynamic field of game audio.
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Filimowicz, M. (2019). Foundations in sound design for interactive media : a multidisciplinary approach. Routledge.
https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2175293
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Sound Design For Interactive Media is an in-depth introduction to the key concepts and practices in sound design for interactive media, including gaming, virtual reality, and augmented reality. It covers a wide range of topics such as compositional techniques, new sound interfaces, spatial audio, sonic cues, semiotics, and software for sound production. The book brings together contributions from international authors with multidisciplinary expertise, providing diverse perspectives on the role of sound in computational media and design. Serving as both a textbook for students and educators and a reference for researchers and practitioners, this volume explores current trends and innovations in interactive sound design.
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Filimowicz, M. (2019). Foundations in sound design for embedded media : a multidisciplinary approach. Routledge.
https://doi.org/10.4324/9781315106359
This volume offers a thorough introduction to foundational topics in sound design for embedded media, including physical computing, interaction design, auditory displays, data sonification, speech synthesis, wearables, and smart objects. It also explores user experience, sound in toys and playful objects, and the evolving concept of sound design as it expands to include all aspects of our environment. Featuring chapters from international authors with diverse expertise, the book provides multidisciplinary perspectives on the use of sound in computational products and design. It is intended as a textbook for students and educators, a resource for researchers in sound and design, and a reference for practitioners exploring innovative trends in sound design.
Katz, B. F. G., & Majdak, P. (2022). Advances in fundamental and applied research on spatial audio.
IntechOpen. https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=4007506
Advances in Fundamental and Applied Research on Spatial Audio is a collection of eight peer-reviewed chapters that explore the dynamic and rapidly evolving field of spatial audio, which is closely tied to advancements in computer technology and digital signal processing. With the rise of virtual reality hardware in consumer markets, spatial audio research has expanded beyond traditional labs into applied research that targets a broader audience. The book is divided into three sections: "Acoustic Methodology," "Perception," and "Applications." It covers a range of topics, focusing on both headphone and loudspeaker-based audio reproduction, providing methodological insights and specific case studies.
REFLECTION
Sinclair’s (2020) principles of game audio highlight the importance of balancing creativity with technical skilL, something I’m aiming to cultivate in my own soundscapes, where the emotional journey of the listener is shaped through each auditory choice.
Filimowicz’s (2019) exploration of interactive media emphasises how sonic cues, spatial audio, and interdisciplinary techniques can deepen engagement and communicate complex narratives. This idea resonates with me, as my immersive work relies on layers of sound to create spaces that feel alive and interactive. The book’s focus on semiotics in sound reminds me to think about how each sound can carry meaning, adding an additional layer to the audience’s experience of my installations.
Spatial audio, as described by Katz and Majdak (2022), also holds immense potential for my practice, allowing me to shift my sound work into 3D spaces that respond to the movements and positions of listeners. This gives my work a new dimension, letting sound physically envelop the audience and blur the boundary between the art and the environment.
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These insights have encouraged me to shape my practice in a way that’s not only technically refined but also speaks to my own quieter, reflective style. My aim is to create soundscapes that engage audiences in a more intimate and contemplative experience, where they can immerse themselves in sound as an expressive, transformative force.
BRICOLAGE
Jessie Jackson
This bricolage ties into my creative and cultural work by exploring themes like identity, perception, and belonging. The fractured mirror and collage of eyes reflect how we see ourselves through others, and the alien embrace is all about connecting with things that feel unfamiliar.
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Like in my multi sensory storytelling, it touches on the idea of fragmented identity and finding understanding in unexpected places. The question “What do I look like in your eyes?” mirrors the way I aim to challenge and rethink the stories we tell about ourselves and others, pushing beyond the surface.
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The broken mirror element is a powerful visual metaphor that I was particularly drawn to. It represents fractured identity or the fragmentation that occurs when self-image is distorted, either by external or internal struggles. The act of the person touching the mirror adds a layer of interaction, as if trying to understand the disassociation between themselves and reality. As Lawrenz (2021) explains, dissociation being the fracturing of the personality into different parts such as:
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a disconnect from your body, or an out-of-body experience
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feeling separate from what’s around you, or the world around you feels unreal
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emotional detachment or feeling numb
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lacing a sense of identity
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forgetting personal information or events
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having a number of distinct identities
I chose the alien figure holding the human to represent time and space between worlds and the interconnectedness each has to the whole.
​The eyes, in particular, resonated with me, representing the experience of judgment, not only from others but, perhaps even more profoundly, the judgments we impose on ourselves.​​​​
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Reference:
Lawrenz, L (2021). Complex Trauma: Dissociation, Fragmentation, and Self-Understanding. Psych Central. Retrieved from https://psychcentral.com/lib/dissociation-fragmentation-and-self-understanding
Sean Everett
A twisted figure commands attention, caught in violent motion, its exaggerated limbs reaching out as if it’s in the middle of some transformation. Tattered, vibrant clothes whip around it, like it’s battling unseen forces. There’s a chaotic energy to it, as if this distortion isn’t just physical but the result of something deeper. A reflection of inner turmoil spilling out. Suspended in space, it feels disconnected, floating aimlessly in a cosmic backdrop that’s vast and indifferent. The figure’s struggle feels tragically small against the endless galaxies, its torment amplified by the isolation.
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Below, a dystopian city rises, cold and lifeless, with sharp industrial structures like tombstones marking a world overtaken by technology. The contrast is striking, the figure’s wild energy clashing with the city’s mechanical, soulless nature. It’s like the figure has been torn away from this place, drifting through space with no real direction, alienated and lost. Together, the image captures a sense of being caught between worlds. Creation and destruction, human and machine, earth and cosmo. Struggling to find meaning in a broken, disconnected landscape.
HOW DO WE KNOW ANYTHING ABOUT ANYTHING?
1. What do you know about the world, and where did you come to learn those ideas?
I know about the world through a combination of personal experience, cultural influences, and ongoing exploration. My nurtured upbringing, and the lessons learned from my parents, especially around compassion and social work, shaped much of my understanding of the world. I learned about the importance of empathy, diversity, and supporting those who are marginalised. I also experienced grief at a young age with the loss of my father, which taught me about the complexity of human emotions and how they can shape our identities.
Additionally, my work in kitchens and the hospitality industry gave me practical knowledge about hard work, collaboration, and creativity, while also introducing me to diverse communities and the concept of "chosen family." My experiences have fostered a deep understanding of different people, their struggles, and their stories.
My exploration of the world through music, art, and literature, particularly the works of artists and poets struggling with identity has expanded my worldview. These influences, from punk music to the works of strong female artist and industry professionals, shaped my creative practice and helped me learn to navigate the complexities of identity and self-expression.
2. What is your creative practice and how does it produce knowledge?
My practice is multi-disciplinary, blending immersive sound design, art, and narrative to explore themes of identity, emotion, and human connection. It’s through this process that I produce knowledge, not only about technical methods and creative techniques but also about human nature, social constructs, and the emotional undercurrents of life.
For instance, the immersive environments I create through soundscapes and visual art allow people to experience complex emotions and identities in new ways. My work is deeply influenced by my personal experience, including my journey of self-discovery and my ability to empathise with others, particularly marginalised groups. Through my creative work, I am asking questions about how we navigate our own identities in a world that constantly pressures us to conform. I use art as a vehicle to produce insights into human vulnerability, connection, and transformation.
3. What kinds of knowledge are embedded within your practice?
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Technical Knowledge: My sound design skills and use of immersive technology like binaural and spatial audio are essential to my practice. I know how to manipulate audio to create environments that evoke emotions and build stories. This technical knowledge shapes how I can communicate themes and ideas to the audience.
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Philosophical Knowledge: My work grapples with deep existential questions about identity, belonging, and transformation. I am exploring how humans understand themselves and others through art. This kind of knowledge is about meaning and purpose, not just facts or information.
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Ethical Knowledge: Much of my work is influenced by my understanding of ethical principles, including empathy, compassion, and respect for others’ experiences. I navigate the world with an ethical compass shaped by my family upbringing, my deep, dark personal experiences and my commitment to sustainability in both my artistic and business ventures.
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Emotional Knowledge: I bring a unique emotional sensitivity to my work. My exploration of themes like love, heartache, and the complexity of human relationships through immersive soundscapes reflects a deep understanding of emotions and how they shape our identities and actions. This emotional knowledge helps create works that resonate with audiences on a personal level.
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Interpersonal Knowledge: My work is also rooted in my ability to connect with others. Through my creative collaborations, I understand how teamwork, dialogue, and shared vision can lead to new ideas and outcomes. My experiences with "chosen family" in the kitchen and as a part of the creative community have contributed to this aspect of my practice.
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My creative practice produces knowledge that is both intellectual and emotional. It seeks to understand not only the mechanics of art and sound but also the complexities of identity, emotion, and human experience. This knowledge is shaped by my technical skills, philosophical reflections, ethical considerations, emotional depth, and interpersonal relationships.
ARTIST STATEMENT
PROPOSED FUTURE CONCEPT
Assisted by ChatGPT
At the core of my work is a deep interest in how we perceive the world and the way storytelling holds power in shaping our thoughts and experiences. My practice explores how stories are not just simple, linear narratives but are influenced by culture, technology, and social norms.
I aim to break down the usual ways in which stories are told, opening up new possibilities for how people connect with and experience them. My approach is interdisciplinary, with sound, my main medium, combining with light, texture, and advanced technology. This combination goes beyond traditional artistic boundaries, creating immersive environments where participants are not passive viewers but active creators of meaning. In these spaces, all the senses are engaged, and participants are invited to experience something deeply personal and transformative, rather than just observing from a distance.What makes my practice unique is the way I blend the organic, untamed energy of nature with the precision of modern technology. This creates spaces that feel both natural and innovative.
The soundscapes I design are not just to be heard; they shift how people experience time, space, and even themselves. By immersing participants in these environments, I challenge their usual ways of thinking and perceiving.
In a forthcoming project, I’m exploring how soundscapes can stimulate the brain to release natural DMT, a chemical linked to altered states of consciousness. By using carefully designed spatial audio, light, and interactive elements, this project aims to create an environment where participants can access these states naturally, without external substances. The experience is dynamic, responding to participants' movements and emotions, so that each person's journey is unique, just like the shifting nature of consciousness.
My work pushes beyond just telling stories; it questions how stories are created and experienced, and how they shape our understanding of the world. By blending sound, technology, and sensory engagement, my practice aims to open up new ways of perceiving and connecting with ourselves and others. It’s in these new spaces that we can explore deeper layers of identity and meaning, offering a fresh perspective on how we experience the world around us.
There has been a renewed interest in using hallucinogenic drugs as therapeutics in clinical research to address depression, obsessive-compulsive disorder, the psychological impacts of terminal illness and substance abuse disorders, including alcohol and tobacco (Barker, 2018). Furthermore, Suner (2023) points out that this interest in psychedelics and plasticity has occurred with a contemporaneous growth of research into the potential health benefits of psychedelics generally, and the role of neuroplasticity in mental and neurological illness such as depression, Alzheimer’s, addiction, and schizophrenia, in particular.
In aiming to stimulate natural DMT release through immersive soundscapes, I am engaging with consciousness in a way that respects both the organic and the technological. It blends the rhythm and unpredictability of nature with the structure of modern tech, providing a space that feels both innovative and authentic. This project isn't simply an artistic endeavor; it's a way to explore how immersive media can shift not just our experiences, but also our perceptions of time, space, and self.
Synaptic Dreams
Objectively Ugly, Objectively Beautiful
The Save Wallum group in Brunswick Heads, Australia, is working to protect a coastal heathland that supports rare species like the Wallum Froglet. A recent council vote approved a developer’s subdivision plan, despite community opposition and environmental concerns. This decision has intensified local activism, with residents rallying for further action to prevent construction and preserve the area’s biodiversity (Sriranganathan, 2024).
Beautiful
Visual Imagery taken at Wallum Reserve by Mark Seiffret.
For more info on Save Wallum visit https://www.savewallum.com/
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Ugly
This soundscape uses intentionally harsh and unsettling audio to highlight the potential negative impact of development on the Wallum reserve. The ‘ugly’ sound elements reflect the disruption and loss that could affect this sensitive ecosystem, creating an auditory reminder of what stands to be lost.”
Sensory Warning
This soundscape includes intense audio elements designed to evoke strong sensory reactions. Some sounds may be disorienting, contain loud or sudden noises, or evoke intense emotions.
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Please be aware that:
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Sound levels may vary, with moments of high intensity or abrupt changes.
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Certain frequencies may be disconcerting for some individuals.
We advise caution for:
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Individuals sensitive to loud noises or disorienting sounds.
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Those who may experience sensory overload or heightened anxiety in immersive/auditory settings.
Beautiful Ugly
Sriranganathan, J. (2024). Save Wallum: A radical struggle against destructive 'development' on the suburban fringe (Part 1 - Lessons and insights). Green Urbanism. Retrieved from https://www.jonathansri.com/savewallumpart1/
Barker, A. (2018). N, N-Dimethyltryptamine (DMT), an Endogenous Hallucinogen: Past, Present, and Future Research to Determine Its Role and Function. National Library of Medicine. Retrieved from https://pmc.ncbi.nlm.nih.gov/articles/PMC6088236/#s
Shutterstock. (2024). Fractal Eye Photos. Retrieved from https://www.shutterstock.com/search/fractal-eye?image_type=photo
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Sumner, R (2023). Psychedelics and neural plasticity. BMC Neuroscience. Retrieved from https://bmcneurosci.biomedcentral.com/articles/10.1186/s12868-023-00809-0
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HABITUS: PORTFOLIO REFLECTION
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Question 1: What is your culture?
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I come from a white Caucasian background, raised in a middle-class household in the coastal town of Townsville, North Queensland. Growing up in a community with a large Indigenous population provided me with early exposure to diverse cultural perspectives. This experience was integral in shaping my understanding of cultural heritage, respect for the First Peoples, and the importance of inclusion and empathy. My parents, both engaged in employment services, social work, caring for people with disabilities and working with Indigenous communities, fostered a deep sense of compassion in me and taught me not to judge others based on their background. Their work showed me the value of cultural diversity and how much there is to learn from the experiences and histories of those who have been marginalised.
My upbringing in this diverse environment shaped my views on compassion, inclusion, and understanding. I attended an all-girls catholic school, while excelling in socially and academically, it was also a time of personal struggle, particularly with my sexual identity, which I grappled with from the age of 12 to 24.
My first experience of female love at 15 became a formative influence on my values in love and relationships.
My parents provided a supportive and loving home, which taught me the importance of family. I also experienced financial contrasts firsthand; my parents’ divorce exposed me to both sides of the socioeconomic spectrum. Living with my father, who was unemployed at the time, I learned about financial hardship and the emotional toll of not being able to provide. His passing when I was 16 further deepened my understanding of grief, loss, and the individuality of human experiences.
From the age of 14, I worked in kitchens, where I learned the values of hard work, dedication, and the joy of serving others. This experience taught me about chosen family, diversity, and the importance of craftsmanship in my creative and professional life. Over time, I’ve come to realise that the more I learn about the world, the less I seem to know about myself, and every day brings new discoveries. I don’t always know where I fit culturally, aesthetically, or creatively, but I trust my intuitive and observant nature to offer a unique perspective on the world and the people in it.
​​Question 2: What is your aesthetic habitus?
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My aesthetic habitus is defined by an eclectic range of influences across music, art, film, and literature. In music, I’m drawn to a wide variety of genres—from country and dream pop to hip hop and indie sleaze. What captivates me most are the lyrics, the deep bass, and melodies that resonate emotionally, particularly those that evoke feelings of love, heartache, and longing for a world outside of one’s own experience. I gravitate toward stories that express complex emotions, raw vulnerability, and a yearning for something unattainable.
In art, I find inspiration in graffiti, sketching, abstract styles, and the stark contrasts of black and white. Grunge and punk aesthetics also speak to me, particularly the anti-establishment and rebellious spirit they embody. These forms of expression feel authentic and unfiltered, much like the music I enjoy, challenging conventional norms and giving voice to the marginalised.
When it comes to film, I’m drawn to stories that portray the underdog—characters who live on the fringes of society or exist in alternative perspectives on reality. I appreciate narratives that delve into the complexities of human nature, complicated love, and the challenges of life. These films explore the raw, untidy aspects of humanity and offer a reflection on the nuances of identity and personal struggle.
In literature, I’m captivated by dreaming books, fantasy worlds, and mythology. These genres provide an escape while also allowing for a deeper exploration of the human experience through symbolic and fantastical lenses. They offer a space to contemplate life’s mysteries and the power of imagination in shaping reality.
I also admire the poetic nature of artists like Patti Smith, Alanis Morissette and Sylvia Plath—strong female artists who have struggled with their identities and expressed their inner turmoil in raw, visceral ways. Their words resonate with me, particularly their vulnerability, complexity, and the search for self amidst the chaos. These artists have a unique way of capturing the messiness of human existence, and their work inspires a deeper exploration of one’s own identity and place in the world.
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Question 3: What aesthetic principles does that habitus predispose you to appreciate?
The aesthetic principles I appreciate are grounded in complexity, authenticity, and emotional depth. My cultural background, shaped by a diverse mix of experiences, has led me to value narratives that explore the intricacies of human identity, struggle, and connection. I am drawn to art, music, and film that challenge the conventional and embrace the raw, unfiltered aspects of life. Whether through rebellious punk art, intimate and poetic lyrics, or the complexity of an underdog story, I seek out creative expressions that reflect the messy, multi-layered nature of existence. In music, I am particularly moved by lyrics that express longing, heartache, and a deep sense of emotional vulnerability, along with melodies that evoke those feelings—qualities that reflect both personal introspection and universal human experiences. I appreciate soundscapes that are intimate, authentic, and powerful in their ability to evoke a sense of connection to something larger than oneself. Visually, I am drawn to art that is not polished or idealised, but rather speaks to the messy, unfinished, and emotional aspects of life. Graffiti, abstract art, black-and-white photography, and grunge visuals all appeal to my desire for raw, honest expression. This aesthetic also aligns with my admiration for strong, empowering female artists, whose work dives deep into identity, emotion, and the struggle for meaning in an often harsh world. When it comes to film and literature, I am compelled by stories that represent the underdog and those exploring alternative perspectives on reality. I value films and books that delve into complicated relationships, personal turmoil, and the messiness of life. These works challenge the viewer or reader to consider multiple viewpoints, ask difficult questions, and embrace ambiguity. Ultimately, my aesthetic principles reflect a love for complexity, introspection, and raw authenticity, embracing the beauty in imperfection and the exploration of identity and emotion.
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Artist Statement V.3
Sound as Dialogue, Emotion, and Immersion
As a multidisciplinary storyteller and sound designer, my work has always been driven by a desire to explore the emotional and immersive power of sound. My journey began with a deep fascination for how sound shapes our experience of the world around us, and how it can act as a tool for personal expression and communication. I am developing my craft through a range of projects, from creating raw, nature-inspired soundscapes in Way of the Wild to exploring the complex layers of identity in Wallflower. Each project has been a stepping stone in refining my understanding of sound as a medium for dialogue, emotion, and storytelling.
Sound as Dialogue
One of the central themes in my work is the idea of sound as a way to communicate feelings and experiences, particularly for those who find it difficult to articulate their thoughts with words. This concept was explored in Way of the Wild, where I captured the essence of nature through detailed field recordings of birds, insects, and environmental sounds. The project was not just about the sounds themselves but about using those sounds to convey an emotional state—a dialogue with the listener. Whether it's the delicate call of a Glossy Black Cockatoo or the soothing rhythm of ocean waves, I aimed to evoke a visceral, embodied response in the audience. This concept of sound as dialogue continues to influence my current work, particularly in Wallflower, where I use sound to delve into the complexities of identity, societal pressure, and the inner turmoil of self-discovery.
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The Evolution of My Practice
While my earlier works were largely rooted in organic, field-recorded sound, I have recently begun to experiment with new technologies to further enhance the emotional experience of my audiences. The exploration of spatial audio and immersive sound environments has opened new possibilities in my design process, allowing me to move beyond traditional stereo and 5.1 surround sound formats. Drawing inspiration from Dolby Atmos, I’ve come to see how 360-degree sound movement can place the listener in different emotional contexts, heightening the impact of a scene or narrative (Sadia, 2023). . This exploration is particularly exciting because it allows me to design more dynamic soundscapes that are not just heard but felt, creating an intimacy and immersion that wasn't possible with traditional sound design. Additionally, I’ve begun to experiment with Sound Particles, an AI tool that enables me to layer multiple sound sources in a 3D environment. This has drastically changed how I approach sound placement, as it will allow me to create complex, evolving environments in a short amount of time. For example, the ability to simulate a bird's flight path through a forest or the subtle shifts in wind direction has given potential for a level of detail and control I had never imagined before. This tool will expand my creative possibilities, encouraging me to think beyond the constraints of traditional sound formats and embrace the freedom that immersive sound technologies offer.
Emotional Storytelling through Sound
Listening to audiobooks and exploring sound as a means of emotional storytelling has been a profound influence on my recent projects. I've realised that we all listen to music, and in doing so, we all feel something. But how do we express and share those feelings through sound? In my project Wallflower, I aim to do just that: to convey complex emotions, personal struggles, and societal themes with as little dialogue as possible. Sound becomes the language through which I communicate the deeper emotional layers of the work, allowing the audience to experience the story in a more visceral and personal way.
Spatial Sound and Immersion
The use of spatial sound has become a pivotal element of my practice. By placing the listener at the center of a 360-degree soundscape, I am able to create a non-linear environment that mirrors the emotional complexities of the narrative. In The Glade, an animated film concept inspired by the themes of Wallflower, my initial lack of knowledge in visual design led to the development of a new idea: an audiobook where sound design plays a central role in reflecting the inner world of the characters. Drawing on my fascination with how environments can mirror emotions, the audiobook’s soundscape would dynamically shift with the narrative, subtly aligning the auditory experience with the evolving emotional landscape of the story. ​
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Taking this concept further, I wondered if emerging technologies could enhance the emotional connection and storytelling experience. By formatting the audiobook in virtual reality (VR), I could immerse the listener in a fully realised environment where audio, rather than visuals, drives the emotional experience. In this VR space, as the story unfolds, the soundscape would transform in real-time, amplifying the narrative’s emotional nuances and immersing the audience in a more intimate, sensory-driven experience.
The integration of VR with spatial audio techniques significantly deepens the connection between sound, space, and emotion, creating a more immersive and emotionally engaging experience. This immersive storytelling method allows the audience to focus solely on the auditory elements, enhancing their emotional involvement by removing visual stimuli and fostering a visceral connection to the narrative. Spatial audio, which can accurately simulate three-dimensional soundscapes, enables the creation of dynamic environments where sounds can be placed in specific spatial locations, elevating the emotional impact of the experience. As a result, this technique has been shown to enhance empathy and engagement by immersing users in the environment and providing emotional cues that affect their perception and response to the story (Thompson, Lyon, Lages, 2024).
My background in sound design and immersive environments, has taught me the importance of layering and texture in storytelling. Through projects like Way of the Wild and Entering CBGB, I have learned how to use sound as an artistic tool that is both functional and expressive. These works explore the potential for sound to create an atmosphere, evoke a feeling, or set a tone. Whether through the ethereal sounds of birds in the wild or the raw energy of a New York punk venue, sound is always at the core of my work, guiding the audience through the emotional arc of the narrative.
DIY Roots and Technological Growth
Throughout my practice, I have maintained a DIY ethos, particularly in projects like Way of the Wild, where I captured field recordings from different locations to craft a rich, layered soundscape. Although this process was labour-intensive, it gave me a deep connection to the work and the natural world. Now, as I incorporate new technologies like AI and spatial sound, I am finding ways to combine this hands-on approach with the possibilities offered by advanced tools. The challenge is to preserve the organic, personal touch while embracing the efficiencies and creative potential that these new technologies offer. I see this balance as an essential part of my creative journey.
Looking Ahead
Moving forward, I am excited to continue exploring new technologies like AI, immersive sound, and virtual reality as tools for emotional and narrative exploration. These tools allow me to push the boundaries of what sound can achieve—creating worlds and experiences that feel immersive and deeply personal. In future projects, I plan to further integrate spatial sound and AI tools like Sound Particles, not only to enhance the emotional depth of my stories but also to create new, interactive ways for audiences to engage with sound as a transformative art form. I will be spending the next few months compiling audio and visual assets for Wallflower and investigating the possibilities of VR Audiobooks by exploring platforms like VRChat, doing research in the field of storytelling with adudio and have reached out to VR specialists, Phoria for possible work experience.
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Sadia, S., & Carbon, C.-C. (2023). Looking for the Edge of the World: How 3D Immersive Audio Produces a Shift from an Internalised Inner Voice to Unsymbolised Affect-Driven Ways of Thinking and Heightened Sensory Awareness. Behavioral Sciences, 13(10), 858–858. https://doi.org/10.3390/bs13100858
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Spatial audio technologies - (Visual Storytelling) - Vocab, Definition, Explanations | Fiveable. (2024). Fiveable.me.
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Thompson, T., Lyon, E., & Lages, W. (2024). Breaking barriers in immersive stories: Empathy, representation, and access | ACM Interactions. Acm.org. https://interactions.acm.org/blog/view/breaking-barriers-in-immersive-stories-empathy-representation-and-access
Way Of The Wild Surround Panning
Way Of The Wild Walkthrough
SPEAKER SET UP 1ST CONFIGURATION (1)
Punk Nature is an audio soundscape exploring the fragile relationship between nature and human impact. Using a dynamic blend of serene natural sounds and chaotic punk elements, it transports listeners into a world where harmony is disrupted by industrial noise and recklessness. This powerful auditory journey invites reflection on the tension between environmental resilience and human influence, leaving an unresolved impression of coexistence.