Next event:
ERINN SAVAGE – Performance
Tomorrow 15:00 GMT

MDes in Sound for the Moving Image

This programme enables students to explore and develop their creative practice through the medium of sound design and music composition/production for the moving image. The emphasis of the programme rationale is the interplay between creative practices underpinned by theoretical research and mediated through the craft elements of sound production within a visual environment.  This practice of sound production is applied to film, animation, television, virtual reality, new media, electronic games and sound art.

Students also engage with the theoretical and historical framework of sound for the moving image thus facilitating the ability to contextualise their own work within this framework.

 

The programme promotes production of original work, through individual or group-based research, that is conceptually-driven, aesthetically challenging and wide-ranging in its use of sound design and music production/composition.

Text Compositions & Performance Art

This project was an exploration into "Composition as a Performance Art". It seeks to question what it is that musical composition, and subsequently performance, can consist of. A collection of seven pieces from a larger body of Text-Based Compositions.

Veil of Mist

Improvisations layered one upon another. The longform of the drone permeates my work, and this is one of several pieces to explore that - but the only one so far to have visuals attached. Inspired by the vague, the uncertain, the glitchy, and the pervasiveness of noise.

MELT

A short commentary on climate change, and other environmental issues.

Using Ambisonic Surround Sound to Enhance Player Experience in 3D Games

This project investigated how Ambisonic surround sound can improve a player's immersion and enjoyment of a 3D game. A 3D game, Pirate Ship Revenge, was developed using Ambisonic spatialisation techniques then tested by members of the public. Participants in the study tested two versions of the game, a binaural mix and a stereo mix, then compared their experiences of the two games through an online survey. The results from this survey suggest that players can successfully tell the difference between a binaural game and a stereo game, and felt more immersed by, and thus preferred, the binaural game.

ShipPlanView

Which version did you prefer?

How often do you play videogames?

Are you a musician or have experience working with audio?

Which did you think was stereo and which was binaural?

Sam Welch Expanded Field

A personal expanded field denoting the internal relationships between various creative outlets which form my larger creative practice

iт will bring the mice in

The mice will be brought in.

My panic is your panic, is your panic mine?

My panic is your panic, is your panic mine? We wither, wallow, wait and ward off this unshakable evolutionary response. Panic is silence. Panic is crowding, a bustling cornucopia of responses and reactions. Panic is i n d i v i d u a l and collective. We all experience panic in different forms, differing severity differing in frequency. Our panic is individual yet collective. It is both private and public, secret and gossip. Do we all feel panic the same? Do we perceive others panic as our own perception of panic? My panic is your panic, is your panic yours?

Is a beaver's dam natural?

'Is a beavers dam natural?' explores the pervasiveness of both the natural and unnatural in the urban environment. Specifically focusing on the Kingston bridge, a large motorway bridge built over the River Clyde, questioning its status as an unnatural object and asking the question: ‘Where does the natural end and the unnatural begin?'