“Inside The Walls” is an examination of the current standards of adaptive and generative music in video games. It aims to explain how different methods of video game music can be implemented and how their performances compare. These methods were mainly implemented with either Audiokinetic’s audio middleware Wwise or open-source visual programming language Pure Data (Pd). The game itself was created in Unity and follows a “Choose Your Own Adventure” narrative.
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“Systemic Games” is an interactive sound art piece that criticises how world leaders have dealt with the climate crisis and the threat it poses to our existence. The piece uses recordings of speeches by world leaders from COP26. Their speeches are edited together with short scenes from famous sitcoms and comedy shows, to show that 1. their words are just as empty of meaning and equally ridiculous as these comedic bits and 2. this juxtaposition represents how we often consume serious news in conjunction with internet memes, since many people nowadays consume news through social media rather than news outlets.
A composition/sound art piece that was part of the “What Makes A Day?”exhibition at Interview Room 11 Studios in North Edinburgh in November 2019. The piece is built around speeches by climate activist and founder of the“Fridays For Future” movement, Greta Thunberg. The visual element was arranged in a Max MSP patch that in its live presentation features a rotating sphere that is slowly decaying over time. The 47-minute composition is supposed to evoke several different emotions such as hope and panic.
This game piece places the player within an open-world-like explorable environment, which results in an indeterminate sonic outcome. The player takes on the role of a field recordist on the mission to record the most intricate sounds within a mystical forest. As a field recordist, the player creates the ambience around them themselves through their own choices and movements in this explicitly interactive sound environment. A big influence on this game piece was my own fascination with nature recordings and how there are many sounds within nature that we aren’t even aware of or wouldn’t expect to appear “naturally”. Examples of this would be many of Chris Watson’s recordings, particularly his collection of recordings of glacial shifts.
This singular synthesiser plug-in can - on its own - create many different timbres for different contexts. The main component, the frequency modulation (FM) synthesiser, was created with other digital well-known FM synths in mind such as Native Instrument’s FM8. Other elements of synthesis were explored to create a simple drum set consisting of a kick drum, snare drum and a hi-hat, with certain adjustable parameters. The resulting plug-in turns out to be a handy tool for both composition as well as live performance. The drum elements allow for quick assemblance of a simple beat that could be improvised over, or that new ideas could be developed to in a studio setting. The FM synth itself is capable of creating a wide range of different sounds that can be used in various genres and contexts.
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This piece was written based on a number of audio samples that I recorded myself. The idea was to create a piece that demonstrates various textures. Many recordings were heavily processed to detach all meaning they would usually hold if someone was to identify their original sound source.
This piece has a lot of meaning to me since it was written at a time where I felt extremely vulnerable. “Last Ray of Sunshine” tells the story of a very melancholic and equally content moment in time, its emotions to be interpreted individually by every listener. The glass might be half full or half empty. The last ray of sunshine might be a shimmer of hope or the last drop of happiness fleeing away.
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