9zhang

[9zhang]

Dann Event Hire Internship Reflection Week Eight

Wednesday 4th September

Today, I had the opportunity to attend a meeting with their external UX contractor, where they discussed the possibilities for creating a new website. It was incredibly insightful to witness a professional exchange between the client and the UX designer. One key takeaway was the importance of clear communication—there had been some miscommunication between the two parties earlier, and watching how the UX designer worked to fully grasp the client’s needs and priorities was eye-opening. The designer also used simple, accessible language to ensure that everyone was on the same page, which was crucial for resolving issues and moving the project forward.

As someone unfamiliar with content management, I found the conversation around building a website for that purpose particularly challenging. The reliance on external platforms, with their inherent pros and cons, added a layer of complexity to the project. This highlighted the importance of understanding both the technical constraints and the client’s objectives. Knowing how to balance these factors and prioritise the right features is essential in creating a successful website.

Thursday 5th September

Today, I worked on another video for the ‘Dali’ collection. After numerous iterations and gathering feedback from the team, we finally settled on a draft that everyone felt captured the right tone. Given the limited amount of available footage, I aimed to create something minimal yet playful, using a more refined approach to keep the video engaging despite the constraints.

One of the key elements I was particularly proud of was the use of AI to transform a static 2D image into a dynamic motion video for the intro. This added a fresh layer of visual interest to the project, compensating for the lack of variety in footage. The AI-assisted animation not only elevated the overall look but also made the video feel more interactive and visually appealing. I was very pleased with how this technique turned out, as it allowed me to push creative boundaries even within the limitations.

[9zhang]

Dann Event Hire Internship Reflection Week Seven

Wednesday 28th August and Thursday 29th August

This week was largely focused on administrative tasks related to stock management. While the work was quite tedious and repetitive, it was essential for maintaining accurate stock control, which serves as a foundation for the rest of the team’s operations. Part of my task involved basic Photoshop tasks, such as removing image backgrounds, which I then uploaded to their website.

Through this process, I became more familiar with WordPress, a platform I hadn’t worked with before. Additionally, it was my first experience dealing with the content management side of UX design. This exposure was valuable, as it broadened my understanding of how content integration and management play a crucial role in user experience, contributing to my overall learning in UX design.

[9zhang]

Dann Event Hire Internship Reflection Week Six

Wednesday 21st August

This week, I focused once again on creating social content for the new hospitality collection, and the final result was successfully published on their Instagram. I developed a new colourway for the teaser video, aligning it with the current green theme. I’m pleased with how the teaser turned out, as it brings a fresh, modern feel to their feed, unlike anything they’ve posted before. The video offers a unique and visually engaging introduction to the collection, setting it apart from their usual content and presenting something new and exciting for their audience to experience.

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[9zhang]

Dann Event Hire Internship Reflection Week Five

Wednesday 14th August

This week, I experimented with a new concept, building on some moving backgrounds I had created in TouchDesigner the other week. I repurposed these dynamic backdrops for a new video, layering them with playful animations centered around the ‘Pepi’ hospitality collection. The goal was to explore fresh, engaging ways to showcase the crockery, moving away from traditional approaches and adding a sense of fun to the content. This trial allowed me to experiment with creating more interactive and visually captivating videos, ultimately aiming to make the product presentations more exciting and appealing for the audience.

[9zhang]

Dann Event Hire Internship Reflection Week Four

Wednesday 7th August

I collaborated closely with the content manager, who meticulously plans the Instagram post tiles before they go live. Historically, their focus has been on highlighting event footage, primarily using images captured by event photographers. However, with the launch of their new hospitality collection featuring crockery and cutlery, she aimed to shift the narrative, introducing these products to their audience in a more creative and visually engaging way.

To support this vision, I worked on a new video for the upcoming series of brown-themed tiles. Drawing from the previous 'ripple' concept, I integrated the actual product into the motion graphics, creating a seamless blend of artistic visuals and real-world items. This approach not only ties the new collection into the brand’s aesthetic but also gives followers a fresh perspective on the products, moving beyond event documentation to showcase the creative potential of the collection itself.

[9zhang]

Dann Event Hire Internship Reflection Week Three

Wednesday 24th July

I was tasked with creating InDesign templates based on their current project proposals. The goal is to standardize fonts and images so that the templates can serve as a consistent starting point for future use. This ensures that every proposal presented to clients reflects a cohesive and unified brand identity.

Thursday 25th July

Today, I worked on developing a new coluorway for the ‘Fleck’ collection, building upon the previous video. This time, I recreated the motion graphics using a green color palette, experimenting with various animations and transitions to give the visuals a fresh yet cohesive feel. It was an enjoyable and creative process, reworking the possibilities while maintaining the core concept. Exploring different nuances within the same theme allowed me to push the boundaries of the design while keeping the collection’s essence intact.

[9zhang]

Dann Event Hire Internship Reflection Week Two

Wednesday 17th July

Building on last week’s progress, I continued working on the video by refining the overall colour and texture to better match the actual product. I also added transitions at the end to introduce the new product’s appearance. The final video was then published as a story on their Instagram page.

Thursday 18th July

I resumed sorting stock images from last week, reviewing each category to locate missing images for certain items. In the afternoon, I reviewed my current portfolio with the creative director and another team member. They really liked some of the motion visuals I had created with TouchDesigner, so I spent the later part of the day creating new creative visuals for the collection. Here are some screenshots from the motion videos.

[9zhang]

Dann Event Hire Internship Reflection Week One

On Wednesday, I started my internship at Dann Event Hire with an in-depth induction, including tutorials on how to navigate their website and manage online inventory. This was a great opportunity to get acquainted with their products and various collections. My task involved organizing their stock images according to their product navigation guidelines. Below are some sorting examples. 

Thursdays are my work-from-home days, and I spent the first half of the day continuing the work from Wednesday. In the afternoon, I received a small creative brief to create promotional videos for their new hospitality collection. I was provided with inspiration from other brands and focused on their 'Flek' collection, which features a ripple pattern engraving. I then created a short motion graphic mimicking the ripple effect using After Effects.

[9zhang]

week ten

Project One:

In our audio project, Alana and I have decided to take a fresh approach. We're in the process of creating an entirely new video using the generated footage as our foundation. Alana is currently dedicated to crafting a new ambient audio piece that will complement the visuals. She's focusing on creating a soundscape that harmonizes with the themes and emotions we aim to convey.

On my end, I've been actively engaged in experimenting with the editing of the current video footage. This involves refining the timing, sequencing, and visual effects to ensure they align with our artistic vision. We're committed to achieving a seamless fusion between the audio and visual elements, resulting in a captivating and immersive experience for our audience.

Project Two:

In the animation project, I've made a significant pivot by transitioning from Blender to Unreal Engine. This decision was motivated by the specific strengths of each software tool. I've successfully migrated some of my existing Blender footage into Unreal Engine, where I've found a more user-friendly environment for handling lighting and rendering tasks. Unreal Engine's capabilities in this regard are proving to be highly advantageous for achieving the desired visual quality.

However, it's essential to note that due to the intricate nature of the scenes and the attention to detail required, the final product is likely to be a relatively short animation. Each scene demands a substantial amount of work and time investment to achieve the level of quality we aspire to deliver.

Furthermore, I've adopted a consistent approach throughout the entire video project. I'm approaching all the perspectives within the animation with an aura of secrecy and mystery. This thematic choice is intentional and aims to evoke a profound sense of terror, tapping into the sublime aspect of the viewer's experience. By creating an atmosphere of mystery and suspense, we intend to engage our audience on a visceral level and leave a lasting impact.

[9zhang]

week nine

Project one 

From the WIP presentation, I have received some precious feedback. Mainly the fact that the static images seemed more attractive than the actual moving video. Because all the particles move very fast, it kind of breaks the sense of ‘sublime’, and some of the fading and motions aren’t as smooth, especially when presenting on a bigger screen. Therefore, I came up with the solution might have to use the current video file as raw footage and edit around with it. Especially slowing down the paste will enhance the ‘sublime’. I have also asked Alana to work on another audio which I can potentially use for the slower pasted video. Another option I have been given was to just use the static images themselves as the final result. Therefore I will also try to generate more footage and take screenshots more photos as part of the project. 

Project two

Very valuable feedback that I have gained from the presentation is to utilise a sense of scale. Currently, I have only worked on some small detailed objects, therefore they aren’t necessarily sublime. In order to further my understanding of the topic, I decided to research how the sublime is represented and experienced in virtual or digital environments. In Sensuality, AR/VR, and the Virtual Sublime written by Lynne Heller, of particular interest is the virtual sublime, which has emerged as a prominent facet of the contemporary sublime. Vincent Mosco aptly captures the enigmatic and complex nature of the virtual sublime, describing cyberspace as the latest icon of the technological and electronic sublime. It is both celebrated for its epochal and transcendent characteristics and criticized for its potential to evoke profound existential and moral concerns. The virtual sublime shares certain characteristics with the classic natural sublime. When confronted with the vastness of the natural world, individuals often experience feelings of anonymity, solitude, and abandonment. Similarly, in the expansive realm of the virtual sublime, particularly within user-created virtual worlds, there exists a paradoxical loss of identity. While one can assume any desired persona, the presence of a diverse and amorphous multitude of virtual beings can paradoxically intensify feelings of isolation and loneliness. This intersection of the virtual and the sublime not only underscores the adaptability of the sublime concept but also highlights the profound ways in which virtual environments challenge and expand our understanding of the sublime, offering unique opportunities for both awe and alienation within the digital realm.

[9zhang]

week 8b

[9zhang]

week 7

Project one:

This week I successfully developed a complete interactive screen that emulates the dynamic characteristics of a moving oil-painted canvas. My goal with this project is to explore the concept of the 'sublime' within the realm of traditional art, translating it into the digital realm by transforming audio into a living canvas. 

However, I've encountered a noteworthy challenge, which is to pinpointing which attributes of the audio should trigger the canvas's movement. This dilemma has led me to ponder whether it should be the waveform, frequency pitch, loudness, rhythm speed, or tone that dictates the visual changes. When dealing with repetitive ambient audio, I've noticed that there's only minimal visual movement. Consequently, I've come to the realization that conducting multiple tests and experiments throughout the audio composition process is essential to achieve the desired results.In my research, I came across a paper titled 'A General Framework for Visualization of Sound Collections in Musical Interfaces,' which introduced the concept of segmentation. This approach seems particularly promising for my project, as it offers a convenient method for working with audio data. From a creative standpoint, I've found that shorter audio segments provide greater flexibility for recombining them into new patterns and sounds, which aligns well with my artistic goals.

And from class, I have also decided to collaborate with Alana and she will be in charge of the audio design since she has previously worked on ambient sound design, so this way it will be less challenging for me to complete everything by myself. 

Additional Project:

I have completed an immersive video design that weaves the natural harmony of science through captivating montages of nature, forming a thematic context where the cyclical transitions symbolise the interconnectedness of nature and scientific phenomena using the changing seasons as a powerful visual metaphor. This will be achieved through a carefully curated colour palette, lighting, and soundscapes, immersing viewers in the emotions and atmosphere associated with the natural world’s rhythms and scientific intricacies, ultimately offering an immersive and enlightening exploration of science’s profound influence on our environment. However, I want to make it into a multichannel project if possible, where various visuals can be played together, creating a heightened multisensory experience.

[9zhang]

week six

[9zhang]

week five

Project one: 

I've composed an ambient audio piece using Logic Pro, meticulously weaving together an array of natural elements – rocks, streams, ponds, and islands – set against the backdrop of lush vegetation. This auditory masterpiece is crafted to tantalize both the senses of sight and sound, creating a symphony for the soul.

Through the harmonious blend of these ambient sounds, listeners are transported to a serene haven – a tranquil Japanese Garden. The gentle rustling of bamboo leaves, and the soothing melody of a solitary wind chime, all carried on the soft caress of a gentle breeze. In the distance, the barely audible rumble of a distant waterfall adds a layer of enchantment to the experience. As you linger, the persistent hum of cicadas serenades you, a melodious reminder that summer is in full bloom.

To enhance this auditory journey, my inspiration for the visual draws from the realm of traditional oil paintings, where each brushstroke and colour choice carries meaning. This artistic dimension is particularly poignant when contemplating the concept of the 'sublime.' By harnessing the techniques employed by skilled painters, I strive to recreate the intricate strokes of a paintbrush and replicate the captivating colour palette, all within the visual canvas of TouchDesigner.

In harmonious union, these auditory and visual components converge, aimed at crafting an immersive encounter that encapsulates the very essence of the sublime.

Project two:

This week, I've taken my first steps in Blender, diving into experimentation with various elements. My primary focus currently revolves around crafting the human figure, a foundational aspect of my project. In parallel, I've been actively engaging with textures and colours, conducting tests to establish a consistent and coherent visual style.

By investing time in creating a well-crafted human figure and experimenting with textures and colours, I'm laying the groundwork for a cohesive and visually captivating project. As I progress, I anticipate a seamless integration of these elements to bring my vision to life in a way that resonates with the audience.

Project four:

I've successfully crafted an ambient audio track that combines an array of thunderstorms and rainfall sounds. By melding rain, thunder, and wind together, a harmonious blend is achieved that effectively masks noises across the entire spectrum of hearing. This strategic fusion results in an incredibly immersive auditory experience that captivates the listener.

With the audio aspect underway, my attention has shifted towards designing the visual elements. I'm currently focused on creating the pharos, aiming to ensure that its design and implementation align seamlessly with the immersive atmosphere I've crafted through the audio. As my project advances, the synchrony of sound and visuals will be paramount in delivering a truly captivating experience that resonates deeply with the audience.

[9zhang]

week four

Following my presentation, I received valuable feedback on my proposal that I am eager to incorporate. The primary suggestions were to reevaluate the overall workload and the genre of music for my CGI project. 

Based on my planned timeline, I am scheduled to commence resource gathering and the initial drafting phase next week.

Project one: 

Regarding the audio visualization project centred around ambient natural sound interwoven with music, I've ventured into an exploration that's slightly outside my comfort zone due to my limited background in sound. However, I've identified a few soundtracks that resonate with the theme of the 'sublime,' and I'm delving into their composition, dissecting elements such as duration, harmony, and overall structure. This analysis serves as a valuable foundation for my own creative endeavours.

As a starting point, I've crafted an ambient background audio featuring elements like birdsong, the gentle flow of a water stream (shishi odoshi), rustling bamboo leaves, and a solitary wind chime. However, it's worth noting that at its current state, the audio leans more towards a meditative and serene atmosphere rather than encapsulating the essence of the sublime. My intention is to elevate this composition by introducing additional musical elements and editing techniques. Through this process, I aim to guide it away from its current imagery, creating a soundscape that encompasses a broader emotional spectrum.

A key strategy I'm employing involves the strategic placement of pauses. By thoughtfully incorporating breaks in the audio, I hope to transition away from the meditative aspect and steer the composition towards a more dynamic and immersive experience of the sublime. This deliberate manipulation of timing will be instrumental in shaping the narrative of the audio, helping it to resonate more deeply with the theme of the sublime.

Project two: CGI animation ‘The Gyres’

My dad recently had the opportunity to engage with the 'Horizon of Khufu,' a captivating 45-minute VR experience by Immersive Expedition in Shanghai. During this virtual journey, he explored and unearthed the mysteries of the Great Pyramid of Giza. From our conversation, it became evident that the narrative's approach played a pivotal role in sustaining his engagement and focus throughout the experience.

A notable aspect he highlighted was the dynamic shift in perspectives that the narrative offered. This strategic change, alternating between first-person and third-person perspectives, effectively retained his interest and kept him deeply engaged. This insight, gleaned from his firsthand encounter with the 'Horizon of Khufu,' resonated with me as a valuable takeaway for my own project.

Incorporating both first-person and third-person perspectives promises to enhance the immersive quality of the visual experience I am working on. By seamlessly transitioning between these vantage points, I want to create a multi-dimensional journey that captures the viewer's attention and sparks their curiosity. This approach will not only draw them into the narrative but also provide a fresh and captivating means of exploration.

My dad's experience has underscored the importance of perspective shifts in maintaining engagement and creating an immersive environment. As I continue to develop my project, I am inspired by this valuable insight, and I am excited to apply it to my own visual narrative, striving to offer a dynamic and captivating experience for my audience.

Scene 1: Opening Shot

A vast and desolate wasteland stretches as far as the eye can see. Crumbled skyscrapers and twisted metal structures are overrun by nature – ivy-covered walls, trees sprouting from windows, and wildflowers breaking through cracks in the pavement. The sky is a mixture of dramatic clouds and rays of sunlight piercing through, creating an otherworldly atmosphere.

Scene 2: Introduction of the Protagonist

We follow a lone figure walking cautiously through the urban ruins, their steps stirring up dust and debris. Their clothes are tattered, and they wear a determined yet reflective expression. The character gazes at a broken cityscape with a mixture of awe and melancholy.

Scene 3: Unveiling the Gyres

As the protagonist reaches the heart of the wasteland, they discover a series of enormous, swirling vortexes of wind and light – ‘the gyres’. The gyres are formed by the convergence of natural energy and the remnants of the city's power sources. The character is both mesmerized and overwhelmed by their beauty and intensity.

Scene 4: The Dance of the Gyres

The protagonist watches as the gyres dance with an ethereal grace, their luminous energy shifting and swirling in intricate patterns. The wind carries particles of debris, catching the sunlight and creating a magical shimmer in the air.

Scene 5: Confrontation with Nature's Power

A sudden gust of wind from one of the gyres catches the protagonist off guard, pulling them towards it. They struggle against the force but are eventually lifted into the air and spun around. Amidst the chaos, the character's initial awe turns to fear as they realize the raw power of nature.

Scene 6: Tranquility Amidst Chaos

The character's whirlwind journey eventually brings them to a calmer area within the gyres. Here, they find a small oasis, a serene pocket of nature untouched by the turbulent winds. A clear pool reflects the sky, and colourful birds sing from nearby branches. The character catches their breath, finding solace within the turmoil.

Scene 7: A Profound Revelation

As the character rests, they have a moment of introspection. The gyres, once seen as destructive and chaotic, reveal a pattern – a rhythm of creation and destruction, just like the cycles of nature itself. The protagonist experiences a moment of clarity, realizing that the gyres are a representation of the sublime: a force that is both beautiful and terrifying in its vastness.

Scene 8: Embracing the Sublime

With a newfound understanding, the protagonist stands at the edge of a gyre, arms outstretched. The wind sweeps around them, lifting their hair and clothes. They close their eyes and surrender to the power of the gyre, experiencing a harmonious unity with the sublime force of nature.

Scene 9: Closing Shot

The animation fades out as the protagonist remains within the gyre, a symbol of their acceptance of the sublime. The camera pans upward, capturing the expanse of the wasteland and the swirling gyres against the backdrop of the ever-changing sky.

Project four

After the conclusion of the presentation, I consciously opted for an approach that would ensure my experience remained manageable and not overwhelming. This deliberate choice acknowledges the importance of striking a balance between ambition and practicality in my project.

As a starting point, I took the initiative to create an ambient thunderstorm audio track that forms the foundational layer of my project, inspired by the concept of the 'pharos design.' While the specific details of the 'pharos design' remain to be fully explained, my intention is to align the thunderstorm audio with the overarching theme or concept it represents.

However, I recognize that the initial thunderstorm audio, while promising, requires further refinement to truly captivate and immerse the audience. To enhance its immersive quality, I am considering a multifaceted approach. One crucial element is the addition of diverse layers of sound that mimic the intricacies of a real thunderstorm environment. By incorporating various raindrop sounds, different thunder intensities, distant rumbling, and even subtle natural ambiences like wind rustling or distant wildlife, I aim to achieve a more convincing simulation of being amidst a storm.

An important consideration is the progression of the audio experience over time. Thunderstorms are dynamic events characterised by moments of intensity and moments of calm. Thus, I am working on implementing gradual changes in volume, frequency, and spatial distribution throughout the audio track. These changes will not only lend authenticity but also sustain the audience's engagement by preventing monotony.

A pivotal factor in my approach is tailoring the audio experience to the desired emotional impact on the audience. Depending on the intended effect – be it relaxation, tension, or another emotional response – I will craft the thunderstorm audio to align with this objective.

[9zhang]

week 3

This week, I delved deeper into academic research related to the topic. Additionally, I have identified the software I will utilise to create my projects and gathered visualisations of others' works as references.

Project 1 - the capitol lighting system

I have begun the process of mapping out the lighting design in Pharos, although I acknowledge that there is still much for me to learn in this area. However, I am eager to take a bold approach with the lighting colours, drawing inspiration from James Turrell's works. Turrell's art often provides a pleasurable experience, akin to the effects of hallucinogens, where all the senses are immersed in a relaxed state within the luminous spaces he creates. His work leads viewers to introspect, transcending the external world and attaining a moment of enlightenment.

In contrast to the traditional association of lighting and thunderstorms with darkness, I aim to infuse natural phenomena into vibrant and colourful lighting. This juxtaposition of sublime elements with the notion of terror will evoke a unique emotional response in the audience. By merging the beauty of colourful lighting with the inherent power of thunderstorms, I seek to create an immersive experience that captivates and challenges perceptions, provoking a sense of awe and fear simultaneously.

Although there is still much to learn on this journey, I am enthusiastic about experimenting and exploring the potential of lighting to evoke powerful emotions and transcend traditional assumptions. By pushing the boundaries and experimenting with the interplay between light and nature's forces, I hope to create a thought-provoking and emotionally resonant experience in Pharos.

Project 2 - ‘the gyres’ visual narrative animation

The animation I am working on will embrace a dreamlike and hallucinatory visual style, immersing the audience in an otherworldly atmosphere. To achieve this, I will employ rich and vibrant colours, intricate patterns, and fluid animations. The opening scene will feature a faceless figure suspended in an infinite void, symbolizing the concept of a 'face without a body,' as mentioned in the poem. This enigmatic figure will act as the narrator, guiding the audience through a series of poetic and philosophical vignettes, offering a captivating and thought-provoking journey.

The project will also incorporate avant-garde and experimental music, enhancing the sense of the sublime and elevating the film's emotional impact. I believe this combination of innovative visuals and music will create a truly immersive and transcendent experience for the audience.

In terms of the technical aspects, I have chosen Blender as the primary tool for CGI modelling, which will enable me to bring surreal and fantastical elements to life in the animation. Additionally, I plan to use After Effects for further video editing to refine and enhance visual storytelling.

Currently, I am in the process of developing the storyline and creating storyboards to initiate the visual planning phase. As the project progresses, I will continue to refine the narrative and expand on the visual elements, ensuring a cohesive and compelling film that effectively communicates the themes and emotions inspired by the poem.

The environment I envision for the film will be inspired by 'The Wasteland,' a place where nature's intelligent force is palpable. In this setting, ongoing conversations occur between beings of all sizes, communicating in ways that are inaudible to those who are not attuned to nature's whispers. The soundscape is alive with echoes of animals navigating decaying concrete structures, the mesmerizing drone of bees as they communicate their thoughts through dance, and the silent signals that pass from root to root.

This locale resists human control and cultivation; despite human influence, the natural order always prevails. It's a place where nature's resilience and power are evident, even amidst the remnants of human civilization. The environment will showcase the beauty of nature's adaptation and survival, drawing viewers into a world where the boundaries between humans and nature blur.

Visually, I intend to depict a landscape that showcases the juxtaposition of decaying urban elements with the vibrant and relentless growth of the natural world. The contrast between the lifeless, crumbling concrete and the thriving, flourishing flora and fauna will be visually striking. This portrayal will emphasize the ever-present interplay between humanity and nature, highlighting the enduring force of the latter.

The sound design will play a crucial role in creating an immersive experience, allowing the audience to perceive the subtle conversations between different forms of life. The use of ambient sounds, animal calls, and organic sounds will bring the environment to life, enhancing the film's dreamlike and hallucinatory atmosphere.

Throughout the animation, I aim to emphasize the importance of coexistence and our connection to nature. It will be a meditation on the beauty and mystery of the natural world and the ways in which we can attune ourselves to its rhythms and intelligence.

With this environment as the backdrop, the enigmatic narrator will lead the audience on a mesmerizing and thought-provoking journey, inviting them to contemplate their relationship with nature and the profound wisdom it holds. The combination of the poetic narrative, avant-garde music, and surreal visuals will evoke a sense of the sublime and create a truly immersive and unforgettable cinematic experience.

Project 3 - audio visualisation

In the article 'Sublime Frequencies: The Construction of Sublime Listening Experiences in the Sonification of Scientific Data’, Alexandra Supper highlights a unique approach to evoking the sublime not through conventional beautiful music, but rather through the transformation of scientific measurements of dynamic events into immersive sensory experiences. This concept seeks to bridge the gap between science and art, using data from natural phenomena or brain activity to create a profound impact on the listener.

A prominent example illustrating this concept is the collaborative installation by Composer John Luther Adams and others. In this project, real-time scientific measurements of natural forces become the driving force behind both the visual and auditory elements. As a result, the installation acoustically and visually represents the interplay of these natural forces, establishing a direct connection between the listener's consciousness and the sensory experience.

The essence of this approach lies in its ability to convey the intangible aspects of natural forces and brain dynamics through sound and visuals. By translating scientific data into an artistic medium, the installation immerses the audience in an evocative journey, enabling them to perceive and engage with these complex phenomena in a more intuitive and emotive manner.

‘This is not a simulated experience of the natural world. It is a heightened form of experience itself.’ quote by Adams in a book about the genesis of piece. In conclusion, the concept of creating sublime listening experiences through sonification of scientific data exemplifies the potential of merging artistic expression with scientific exploration. By translating data from natural phenomena or brain activity into immersive sensory experiences, these installations enable us to perceive and appreciate the harmonious interplay of nature's forces and the intricate workings of our consciousness on a more profound level. 

This has inspired me to embrace natural sounds and to infuse my work with organic and immersive elements. The richness of sounds found in the environment, such as the gentle flow of water, and the whispering of wind will serve as the raw materials for my audio compositions. These elements will add a unique and captivating dimension to my artistic expressions, resonating with the audience profoundly. To further strengthen my artistic journey, I recognize the significance of delving into basic music theory. Acquiring fundamental knowledge in rhythm, melody, harmony, and form will provide me with a structured foundation for my compositions. 

Since my overall structure has been set, here is a list of actions for this project: 

1. Gather potential audio footage

2. Create Audio in Logic Pro: To compose and design the audio elements and use various instruments, effects, and synthesis techniques to represent the natural forces 

3. Import audio and build Visuals in TouchDesigner: Use TouchDesigner to design and implement the visuals that correspond to the audio data. You can use various visual elements, shaders, and interactive techniques to create an immersive experience.

4. Connect Audio and Visuals: synchronise the audio and visual elements in real-time. 

5. Testing and Refinement

Project 4 - audio experience in the recital centre

Through my research on Willem Boogman's Sternenrest, a musical composition inspired by stellar oscillations, I discovered that the audience experiences a unique immersion by being surrounded not only by the 192 speakers of a wave field synthesis loudspeaker system but also by live musicians playing acoustic instruments. This setup aims to transport the audience into the heart of a star, offering a sense of being inside the cosmic phenomenon. The immersive experience is achieved through rhetorical, spatial, and technological strategies, with a particular focus on surround sound techniques.

This incredible immersive approach has inspired me to further develop my volcanic project, intending to transport the audience into the perilous world of the earth's volcanic activity. I aim to create a captivating experience that captures the essence of volcanic forces at the recital centre. 

Additionally, I came across another intriguing project by sound designer Micah Frank, featuring ghostly oscillations and unsettling harmonic rhythms, titled the 'chilling aural portrait' of the 2011 earthquake in Japan. This work serves as a poignant reminder of the power of sound to evoke emotions and immerse the audience in a specific event or environment.

Overall, these remarkable examples of immersive and emotionally evocative experiences have fueled my passion to explore new possibilities in my own project, aiming to bring the audience closer to extraordinary phenomena and emotions through the medium of sound and technology.

[9zhang]

week two

Project 1

The idea of exploring the concept of the Sublime with a sense of terror through the Capitol lighting system simulation is both intriguing and ambitious. Combining elements of intense lighting and thunderstorms with the Sublime has the potential to create a truly immersive and captivating experience that evokes powerful emotions in the audience. By transporting audiences into the heart of a simulated thunderstorm, where they can witness the awe-inspiring power of nature in all its grandeur. The juxtaposition of sublime elements with the terror of thunderstorms will create a heightened sense of intensity and evoke a range of emotions, from fear to fascination. However, after researching Mareo Rodriguez’s series of work, an idea of inserting lighting into random reality space could be an innovative immersive experience, especially through MR/AR, therefore the approach of this project needs to be further researched and decided. 

This table of Triggers and Structure of the Sublime Experience from Longinus to Contemporary Aesthetics from the article ‘The Aesthetics and Design Principles of the Sublime Experience’ by Luca Barberis can be an invaluable resource for the later planning stage of your project. It provides a structured framework for understanding the various elements that contribute to the sublime experience, ranging from historical perspectives to contemporary aesthetics.

Project 2

Continuing with the idea of creating a mesmerizing visual narrative that brings William Butler Yeats's poem ‘The Gyres’ to life through abstract and symbolic imagery. 

Visual Approach: 

The film will adopt a dreamlike and hallucinatory visual style, using rich colours, intricate patterns, and fluid animations to create an otherworldly atmosphere. It will open with a faceless figure suspended in an infinite void, symbolizing the 'face without a body' mentioned in the poem. This figure will serve as the enigmatic narrator, guiding the audience through a series of poetic and philosophical vignettes.

Disorienting Effects:

To mirror the disorienting effect described in the poem, the film will employ innovative visual effects such as morphing shapes, kaleidoscopic patterns, and surreal transitions between scenes. These techniques will immerse the audience in a world where reality and illusion blend seamlessly, prompting contemplation and introspection.

Contrast and Contradiction:

Contrast will play a central role in the visual storytelling. Scenes of tranquility and chaos, light and darkness, life and death, will juxtapose to emphasize the paradoxical nature of existence. The 'tragic joy' will be conveyed through moments of profound beauty emerging from the very absurdity and contradictions of life.

Cyclic Motifs:

The concept of the 'gyre' will be a recurring motif throughout the film. Spiraling patterns and circular motions will symbolize the eternal cycles of human contemplation and seeking meaning. As the film progresses, these gyres will evolve and intersect, representing the interconnectedness of life's enigmatic journey.

Project 3  

an immersive audio-visual experience that explores the concept of the 'Sublime' through the fusion of music and abstract visualizations. The project aims to create a mesmerizing journey where viewers can witness the enchanting dance of sound and visuals in space. By carefully mapping the intensity and dynamics of the music onto abstract elements, such as lines, shapes, colors, and particles, the film will evoke emotions and sensations that resonate with the essence of the 'Sublime.'

Visual Approach:

The film will feature a series of abstract visualisations that correspond to specific musical pieces, each carefully selected to invoke a range of emotions and experiences. The visuals will be intricately designed to complement the nuances of the music and respond to its tempo, pitch, and mood. The elements will gracefully move and morph in harmony with the sounds, creating a synesthetic symphony that engages both the eyes and the ears.

Mapping Music to Visual Motion:

The visualisations will be created by translating the music's intensity and dynamics into visual motions. High-energy and crescendo moments will be represented by vibrant colors, bold lines, and rapid movements, evoking a sense of excitement and exhilaration. On the other hand, softer, more delicate sections will be portrayed with gentle curves, pastel hues, and slow, graceful movements, inspiring feelings of tranquility and introspection.

Spatial Interaction:

Spatial design will be a key aspect of the project. The visuals will dynamically move and interact in three-dimensional space, surrounding the audience and immersing them in a multisensory experience. The manipulation of depth and perspective will enhance the sense of immersion, making the audience feel like they are part of sound and light.

Emotional Resonance:

"Harmonious Sublimity" will be carefully curated to evoke a wide spectrum of emotions, ranging from euphoria to introspection, from wonder to serenity. The visuals will align with the emotional contours of the music, allowing viewers to connect with the essence of the 'Sublime' on a profound level.

Project 4

Expanding on the volcanic idea which i proposed last week, a film that came to mind is the documentary ‘Fire of Love’ by Sara Dosa. The first shots of Fire of Love reveal images and sounds that are in stark contrast to the heat and passion promised by the film’s title. This documentary begins in an extremely cold landscape, with the freezing weather obscuring the horizon line. These spaces appear so still and desolate, they could be flat, abstract, black and white photographs. The two scientists find a deep sense of purpose and a sublime connection with this landscape. Later, the hot lava near the mountains were captured, reveal the connection between science, nature and art. Morley stated in his book ‘The Sublime’, Katia says that “once you see an eruption, you can’t live without it because it’s so grandiose, it’s so strong. That feeling of being nothing at all.” This is Katia’s version of the sublime, the threshold, passion, fear, astonishment, and potential “transformation of the soul in response to the power of the natural world. Now im wanting to create something similar to the film, where such sublime, spectacular, astonishing and terrifying. 

Overall themes: 

The Sublime Experience: the overwhelming sense of awe and insignificance experienced in the face of nature's mightiest forces.

Transformative Power of Nature: depict how witnessing the raw power of volcanic eruptions can evoke profound changes within individuals, leading to personal growth and a deeper appreciation for the natural world.

Emotional Connection: create an emotional connection between the audience and the volcanic landscapes. For example, by presenting the human experience alongside the majestic visuals, viewers will feel a sense of empathy and understanding of the scientists' and artists' journey.

Conservation and Respect: highlight the importance of preserving these unique ecosystems and raising awareness about the fragility of our planet in the face of environmental changes.

Elements: 

juxtapose the tranquil, frozen beauty of snow-covered volcanic peaks against the fiery intensity of molten lava cascading down mountainsides.  The use of slow-motion and time-lapse techniques will accentuate the majesty of these moments, allowing the audience to savor every detail.

The soundtrack will play a pivotal role in setting the tone for the project. A mix of ethereal melodies and powerful orchestral compositions will heighten the emotional impact, amplifying both the tranquility and the tension of the volcanic encounters.

In the article ‘Walking in someone else’s shoes: creating empathy in the practice of immersive film, media practice and education’, Jones and Dawkins provided an overview of empathy  within CVR, and how enhancing the feeling of empathy is the key to an immersive experience. They emphasize that the primary goal of immersive experiences in virtual reality is not merely to entertain or stimulate the senses but to foster a profound emotional connection between the viewer and the virtual world. This connection is facilitated by empathy, which allows individuals to emotionally understand and share the perspectives and feelings of others, including virtual characters or situations. After researching, the idea of building this project in VR seems like a good fit too. 

References : 

Simon Morley, The Sublime (Cambridge, Mass: The MIT Press, 2010)

Luca Barberies, The Aesthetics and Design Principles of the Sublime Experience (2020)

Sarah Jones & Steve Dawkins, Walking in someone else’s shoes: creating empathy in the practice of immersive film, media practice and education (2018)