Month: May 2022

I feel as though my sonic contribution to this project provides a gateway to some much-needed self-actualization, the sounds and visuals translating the integral part that nature and the psychological play in regard to our daily well-being, both sonically and physically. The mixture of naturalistic field recordings, tethering our receiver to their new visual environment, alongside the fruitful, pleasant ambience, creating that somewhat supernatural line in the sand, informing our receiver that, whilst naturalistic tendencies and climate do exist in this new world, that it is not completely conventional. This is made clear visually, because of course the world presented to them is by no means conventional, but the addition of unnatural, processed synthesis enhances this unconventionality. The receiver is clearly separate, indulging in their own experience with VR, and only bodily present. Psychologically, they are elsewhere, lured in by VR’s inherent wonder and the still unknown characteristics that it holds. My aim, as i’m sure everyone else’s was, is to wholly transport the receiver from one world to the next, seamlessly and without any hesitation or distraction. By having sonic interaction almost immediately, one is limiting the amount of distraction available, taking full advantage of the platform and commencing the experience and the immersion almost at once.

Along with my own designed ambience (synthesis), this compact collection of sounds drifts seamlessly through one another, enhancing the definitive calm of the virtual garden. Mixed for headphone surround, the scape flows through and around the sonic receptors, letting the very environment reverberate around your mind, luring one into its total escape. I found working on this scene extremely resourceful, improving my understanding of how naturalistic sounds can provide total immersion, but also to help develop my own skills regarding designing soundscapes, something I am always looking to refine as a sound artist.

The project ran mostly smoothly on my part at least. The third-year students were able to provide a short, sharp brief upon our first meeting over Zoom, giving me the most time possible to create what needed to be created. The outline for what they were seeking was clear and concise, with written and visual aid for each of our scenes provided. Although there was little contact with the rest of my peers from my class group, (due to some unforeseen personal issues I was not able to attend some of the on-site sessions) we kept each other up to date with our progress via WhatsApp. This is definitely not the way I would have wanted to work prior to the project, with collaboration in all forms being a medium/resource of great interest and enjoyment to me. Working in isolation, however, gave me more time to source the ideal naturalism required.

For this most recent collaborating project, which included supplying sounds for a ‘Zen Room’ virtual reality experience, I was tasked with collecting and delivering a range of environmental, naturalistic sounds, as well as my own, carefully crafted ambience. Said ambience had to position itself perfectly amongst the overgrowth of naturalistic recordings, providing a crucial, underlying role within the work.

Once briefed, I decided to equip myself with a Zoom H5 field recorder and set about finding the most suitable environments for my sound collection. A trip to my local parks’ open spaces proved most useful, providing me with plenty of bioacoustics perfect for the virtual habitat of the Zen Room.

Whilst on a sound-walk a few days later in my local area, I happened to stumble across a quaint little stream complete with pebbles and overlooking trees. I saw this as not only a bit of luck, but a perfect opportunity to enhance my sonic contribution to Lauren & Rita’s world.

A spontaneous weekend break to Dungeness proved most useful too, the power plant emitting a natural, slightly unsettling rumble of noise which again, sits underlying in the overgrowth of the sonic climate.

‘Future Shock’ is an interactive virtual, physical and sonic exhibition taking place at 180 strand. The exhibition explores a range of different mediums, including Virtual Reality, short film, optical illusions and interactive sculpture. Upon visiting, I am determined to exhibit or work on projects that are able to sit within the same space. The indulgence in the virtual world, colourful scapes and psychedelic imagery greatly lends itself to my own aesthetic tendencies, so seeing something so true to my own indulgences live in the flesh, along with sonic work to accompany each visual, was something I hold to great value.

Last October, I had the pleasure of experiencing Virtual Reality for the first time. Premiering at the London BFI Film Festival 2021 and employing striking VR animation, Asif Kapadia tells the story of Laika, the stray dog that the Soviet Union sent into orbit, an exclusive LFF Expanded world premiere.

I found this experience eye-opening and wholly fascinating. Bar a select few cinematic/sonic experiences, I had never witnessed anything like this before, where both immersion and cinematic craft are at its highest level. How the immersion was used to provoke emotion startled me, and the flexibility of camera work enhanced this. As a sitting individual, I was able to still explore each frame untoward. An example would be, as my character (camera) was sat on one side of the room, by merely leaning in my seat, I was able to view and experience the whole room, what was outside of the window, what was underneath me, and who else was existing at the same point.

I left the screening inevitably wanting more, wanting to experience and work more within such a fascinating and emerging landscape.

My creative sound piece for this unit consists entirely of organic, untouched field recordings, both in and outdoors, as well as patches of processed synthesis and live instrumentation.

Each individual field recording was recorded on a H5 ZOOM. The constant chatter, born from myself placing the device in a crowded lobby space, intended for post exhibition discussion and general chatter. The exhibition in question was ‘Future Shock’, at 180, the Strand.

As well as this, a constant vinyl crackle is heard throughout, also organically recorded in my bedroom. The work consists of many organic recordings, including a vintage telephone, morse code, cars and keys, and two isolated naturalistic environments.

To have the two constants; the vinyl and the chatter, as a constant theme throughout, is something I allude to in my essay, and this idea of ‘ecological consciousness’ and a heartbeat. To have this heartbeat as two organic recordings, both ambient and unsettling in their nature, is something new to me, but something I will definitely be exploring further, as I now treat such an ideology as crucial to the type of work that I make, and would subsequently want to continue making throughout my sonic career.

Throughout this unit, I have been exploring my future career possibilities, as well as intertwining this exploration with a few external scoring and personal projects, which I hope to aid my search for a suitable career choice, upon completing my course.

Firstly, a series of short, experimental videos (more to be released as the summer months go on) produced with my longtime collaborator Tobias Futers (UAL, Chelsea, Fine Art). As well as this, I helped to sonically design, score and film his experimental short film ‘VALA’.

My stand alone, sonic work which I have been working on and releasing intermittently throughout the year is available to stream here:

I have also been recently commissioned to produce an accompanying sound work for a third year’s final piece, which will be exhibited in Chelsea on the 17th of June.

I am finding much enjoyment in scoring work, and can see a partly sustainable future in this, so long as I continue to expand my network of collaborators, as well as taking time to further strengthen my craft.