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CIM417 - T324

PROJECTS

WEEKLY ASSESSMENT TASKS FOR CREATIVE PRACTISE 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.

In the chaos of digital noise and social masquerades, I find myself seeking the truth, aw, 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.

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.

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

R

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.

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.

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.

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.

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

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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

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.

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

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.

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.

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

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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. 

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.

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 shattered version of themselves.

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.

References:

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.

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, organic 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 cosmos—struggling to find meaning in a broken, disconnected landscape.

HOW DO WE KNOW ANYTHING ABOUT ANYTHING?

We don't...

Research

Knowledge

methodology

epistomology

Reflect on what you know about the world, and where you came to learn those ideas. 

Start to reflect on your practice, and the many different kinds of knowledge embedded within it - technical, philosophical, ethical, emotional, interpersonal. 

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.

 
REFLECTION

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.

References

Natural DMT
ChatGPT

sound to enhance natural DMT function.
Human connection and perception

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/

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.

Please be aware that:

  • Sound levels may vary, with moments of high intensity or abrupt changes.

  • Certain frequencies may be disconcerting for some individuals.
     

We advise caution for:

  • Individuals sensitive to loud noises or disorienting sounds.

  • Those who may experience sensory overload or heightened anxiety in immersive/auditory settings.

Beautiful Ugly

Beautiful Ugly

Play Video

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/

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