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"As sound designers, we are usually focused on how sound can affect a player's immersion or enjoyment of a game - certainly important. However, for this blog post I wanted to try and focus on a slightly less common topic, how sound can affect a player's experience in relation to their 'performance'. How can we improve-or worsen-a player's ability to succeed with sound? "

The Ground: From the Land to the Sea" brings together some of the most important works by the sound artist, forming a musical and spatial composition in the gallery. For some video, go to this Instagram post: https://www.instagram.com/p/B05G-URnJJ3/?igshid=ftwbbfdvvh4j

"Commissioned by The Store X The Vinyl Factory, this site-specific iteration of Our Time is one of three works in the Other Spaces show. With a new score by electronic musician Mira Calix, this atmospheric installation aims to manipulate our experience of time. As the kinetic sculptures swing in and out of phase, they project light and sound and transform the space they occupy."

Opening track for this album that uses sounds of oceans around the world as its primary sound source

"A performative multi-channel sound installation. The research of the rightest tone, the absolute form.The experience of the abstract music composition is reconstructed by the audience through walking around, closer and past the speakers. The immateriality of the performer. The absence of their physical presence. The absence of sound. The pause. The interspace. When does silence begin?"

Camera Lucida is a highly introspective immersive spatial art work creating a fleeting ephemeral materiality by intersecting ultrasound with hyperlight… in essence the creation of a sonic aurora. Domnitch and Gelfand's piece rejects any possibility to be fixed in space and time, but rather offers up the very definition of an unstable work of art, existing entirely for and within the perceptive realm of the viewer." - Stephen Kovats, Director of Transmediale 2008"

Trapped in darkness, you must use visualized sound to guide your way through threatening environments. The sounds you create will bounce off obstacles, revealing the shape of the surrounding world. It won't be long before your only way of sensing the world attracts a horrifying evil that devours both sound and souls.

"Welcome to the Resources Section. These resources provide useful information for the creation of audio games, game accessibility and background information of the industry in general."

With the advent of Digital Humanities methodologies the visualization of Humanities data has become more and more prominent. However, once the "wow-effect" of a "cool" visualization - such as a pie-chart, a word cloud, a diagram etc. - has worn off many Humanists begin to react with scepticism: is it worth the trouble? Doesn"t a "word say more than thousand pictures"? Their scepticism seems justified: Most of the current visualization paradigms are derived from engineering and mathematics oriented applications. Most of them are context blind, a-historical and driven by an epistemology that reduces complex phenomena to a series of "data points" - which is exactly the opposite of how Humanists tend to look at their field of interest. - In this lecture series international visualization experts will explore new, philosophically and cultural history informed approaches to Humanities data visualization that respond to the Humanities" needs.

"This 9-channel sound, light & smoke installation was created in collaboration with the independent sonic arts collective Call & Response, Sep 2015 London Subterraneous takes the work of seventeenth century alchemist and scientist Athanasius Kircher as inspiration. Kircher was a polymath and inventor, who researched fields as diverse as medicine and Egyptology, and designed and constructed wondrous sound and vision automatons. These included a collection of so called speaking statues whose spiral mouths would lead out into the streets of Rome like giant trumpets. In this way the speaking trumpets or 'hearing lens' would reveal the cacophony of Rome to the listener. London Subterraneous aims to link Kircher's 'speaking trumpets' with his fascination of geology and underground reverberations and find a way to explore London's mundus subterraneous For this project, special microphones have been used to access sounds from a series of "stink pipes" that connect the city's familiar terrestrial environment to a lesser-known complex network of sewers and rivers below. The towering, hollow pipes, now rusting fixtures dotted across London erected as safety valves to vent excess toxic gases along a newly built Victorian sewer network in the 1860's allow us to connect through our past and eavesdrop on the capital's underground world. The resultant exhibition is a portrait of some of the sounds created below ground and through the pipes themselves "Although these stink pipes are nowadays "useless" this work aims to reveal them as poles of sound, or as singing flutes. In a way these are tones from the past." Jacob Kirkegaard"

"New Yorkers gathered on the shores of the East River to hear musicians - aboard a barge and canoe - taking advantage of the unique acoustics of a drainage tunnel."

"Echoes from the Borderlands, which transcribes a sound installation tracing the border, insists on the land's inextricability from the history to which it bears witness. "

"Echoes from the Borderlands, which transcribes a sound installation tracing the border, insists on the land's inextricability from the history to which it bears witness. "