sonic	
  scenery	
  :	
  interactive	
  storytelling	
  through	
  sound	
  and	
  music	
  
MMus	
  thesis	
  proposal	
  for	
  Music	
  Technology	
  Innovation,	
  Berklee	
  College	
  of	
  Music	
  2014	
  
Beth	
  Michelle	
  Schofield	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
Sonic	
   Scenery	
   is	
   a	
   project	
   exploring	
   interactive	
   storytelling	
   through	
   sound.	
   I	
   am	
  
producing	
  a	
  hybrid	
  installation-­‐live	
  performance	
  piece	
  that	
  uses	
  music	
  and	
  technology	
  
to	
  take	
  listeners	
  on	
  a	
  journey	
  through	
  emotion	
  from	
  different	
  points	
  of	
  view.	
  Thanks	
  to	
  
an	
  invitation	
  to	
  join	
  the	
  Walk	
  to	
  Fisterra	
  team,	
  I	
  took	
  on	
  the	
  Camino	
  de	
  Santiago	
  where	
  I	
  
was	
   able	
   to	
   encourage	
   other	
   ‘pilgrims’	
   to	
   share	
   their	
   experiences.	
   I	
   have	
   produced	
   a	
   3	
  
movement	
  audiovisual	
  work	
  with	
  the	
  possibility	
  of	
  live	
  performance.	
  	
  
The	
  following	
  report	
  documents	
  the	
  experience.	
  
	
  

Contents	
  
	
  
Introduction	
   	
  

	
  

	
  

	
  

	
  

	
  

	
  

3	
  

	
  

	
  

	
  

	
  

	
  

4	
  

	
  

	
  

	
  

	
  

5	
  

	
  

	
  

	
  

	
  

	
  

6	
  

	
  
Description	
  of	
  the	
  Work	
  
	
  
Innovative	
  aspects	
  of	
  the	
  Work	
  
	
  

	
  

New	
  Skills	
  Acquired	
   	
  
	
  
Challenges	
  

	
  

	
  

	
  

	
  

	
  

	
  

	
  

7	
  

The	
  future	
  

	
  

	
  

	
  

	
  

	
  

	
  

	
  

8	
  

Conclusion	
  

	
  

	
  

	
  

	
  

	
  

	
  

	
  

8	
  

	
  

	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

2	
  

Introduction	
   	
  
	
  
The	
   work	
   I	
   am	
   presenting	
   is	
   the	
   product	
   of	
   a	
   journey	
   –	
   educational,	
   spiritual	
   and	
   literal.	
  
I	
   have	
   developed	
   in	
   many	
   ways	
   this	
   year	
   and	
   with	
   an	
   onslaught	
   of	
   new	
   knowledge,	
  
comes	
   a	
   terrifying	
   but	
   wonderful	
   sense	
   of	
   understanding	
   so	
   much	
   more	
   but	
   not	
   yet	
  
knowing	
   how	
   to	
   use	
   this	
   knowledge.	
  	
   I	
   flirted	
   with	
   as	
   many	
   different	
   possible	
   new	
   skills	
  
as	
  I	
  could	
  this	
  year	
  hoping	
  to	
  integrate	
  them	
  all.	
  	
  My	
  plans	
  were	
  too	
  extensive,	
  for	
  this	
  
year	
   at	
   least,	
   and	
   I	
   was	
   getting	
   concerned	
   of	
   the	
   risk	
   of	
   not	
   actually	
   producing	
   anything.	
  
At	
   the	
   lowest	
   point,	
   an	
   answer	
   came	
   in	
   the	
   form	
   of	
   an	
   invitation	
   to	
   join	
   a	
   film-­‐crew	
  
making	
   a	
   documentary	
   –	
   an	
   idea	
   I	
   had	
   not	
   seriously	
   entertained	
   since	
   my	
   young	
   self	
  
came	
  to	
  the	
  realization	
  that	
  I	
  could	
  never	
  be	
  Michael	
  Palin.	
  
	
  
I	
   joined	
   them	
   as	
   a	
   sound	
   engineer	
   along	
   with	
   Kyle	
   Pyke.	
   We	
   brought	
   a	
   lot	
   of	
   very	
  
expensive,	
   sought	
   after	
   audio	
   equipment,	
   and	
   as	
   a	
   team	
   we	
   walked	
   the	
   Camino	
   de	
  
Santiago.	
  Whilst	
  the	
  project	
  started	
  as	
  a	
  documentation	
  of	
  Dane	
  Johansen’s	
  travels	
  with	
  
his	
  cello	
  and	
  recording	
  sessions	
  in	
  the	
  churches	
  along	
  the	
  way,	
  it	
  morphed	
  into	
  a	
  much	
  
more	
  selfless	
  offering	
  to	
  the	
  camino	
  community,	
  looking	
  at	
  the	
  stories	
  of	
  many	
  pilgrims	
  
and	
  instead	
  of	
  private	
  recording	
  sessions,	
  offering	
  free	
  concerts.	
  
	
  
Every	
  day	
  we	
  had	
  two	
  Units	
  –	
  Van	
  unit	
  and	
  Walking	
  Unit,	
  seeking	
  out	
  the	
  best	
  nuggets	
  of	
  
the	
  camino	
  to	
  capture.	
  I	
  cam	
  away	
  with	
  a	
  plethora	
  of	
  raw	
  footage	
  and	
  have	
  made	
  it	
  into	
  a	
  
3	
   movement	
   suite	
   with	
   visuals	
   to	
   express	
   the	
   emotional	
   journey	
   of	
   some	
   of	
   the	
   pilgrims	
  
we	
  met	
  along	
  the	
  way.	
  
	
  
	
  
	
  
	
  

	
  

3	
  

Description	
  of	
  the	
  Work	
  
	
  
The	
  work	
  is	
  a	
  through-­‐composed	
  piece	
  in	
  three	
  parts	
  for	
  audio	
  and	
  video.	
  	
  
The	
   first	
   movement	
   is	
   made	
   up	
   entirely	
   of	
   field	
   recordings	
   from	
   the	
   camino.	
   The	
  
recorder	
   melody	
   was	
   recorded	
   at	
   the	
   church	
   of	
   Zabaldika	
   with	
   a	
   shotgun	
   up	
   in	
   the	
  
gallery	
  to	
  emulate	
  the	
  sound	
  of	
  standing	
  above	
  looking	
  down	
  over	
  the	
  player.	
  
	
  
I	
  had	
  already	
  programmed	
  the	
  second	
  movement	
  as	
  a	
  standalone	
  piece	
  in	
  Max	
  MSP	
  so	
  
the	
   final	
   element	
   for	
   that	
   was	
   trawling	
   through	
   the	
   audio	
   footage	
   to	
   extract	
   some	
  
moments	
  I	
  found	
  particularly	
  expressed	
  the	
  emotion	
  I	
  was	
  portraying	
  in	
  my	
  lyrics.	
  
	
  
The	
   final	
   part	
   is	
   an	
   arrangement	
   of	
   Feliciano’s	
   setting	
   of	
   R.	
   Tagore’s	
   poem	
   Silence	
   My	
  
Soul.	
  Before	
  I	
  left	
  for	
  the	
  camino	
  I	
  felt	
  like	
  this	
  would	
  be	
  a	
  perfect	
  summing	
  up	
  and	
  when	
  
I	
  reached	
  Finisterre,	
   this	
  was	
  confirmed.	
  The	
  natural	
  sounds	
   in	
   this	
  movement	
  are	
  from	
  
Finisterre	
   and	
   the	
   spoken	
   word	
   was	
   recorded	
   in	
   the	
   Berklee	
   studios	
   on	
   our	
   return.	
   I	
  
originally	
  planned	
  to	
  find	
  all	
  the	
  words	
  of	
  the	
  poem	
  in	
  interviews	
  from	
  the	
  camino	
  but	
  
quickly	
   realised	
   I	
   did	
   not	
   have	
   time	
   for	
   that	
   and	
   there	
   was	
   no	
   reason	
   to	
   only	
   use	
   pilgrim	
  
interviews	
  when	
  really	
  the	
  piece	
  is	
  about	
  an	
  emotional	
  cycle	
  we	
  all	
  experience	
  whether	
  
on	
  a	
  camino	
  or	
  not.	
  
	
  
The	
  second	
  and	
  third	
  movements	
  can	
  both	
  be	
  performed	
  live	
  with	
  Max	
  MSP	
  with	
  a	
  live	
  
performer	
   taking	
   the	
   primary	
   role.	
   The	
   versions	
   in	
   the	
   film	
   I	
   am	
   presenting	
   feature	
  	
  
recordings	
   of	
   Ganavya	
   Doraiswamy	
   singing	
   in	
   Mvmt	
   2	
   and	
   myself	
   playing	
   recorder	
   in	
  
Mvmt	
   3,	
   both	
   live	
   with	
   the	
   program	
   recorded	
   directly	
   from	
   Max.	
   I	
   added	
   the	
   field	
  
recordings	
   to	
   Mvmt	
   2	
   after	
   the	
   live	
   recording	
   but	
   Mvmt	
   3	
   is	
   entirely	
   recorded	
   in	
   Max.	
  
The	
  additions	
  to	
  Mvmt	
  2	
  and	
  the	
  whole	
  1st	
  movement	
  were	
  edited	
  in	
  ProTools	
  and	
  the	
  
final	
  mix	
  and	
  master	
  was	
  also	
  in	
  ProTools.	
  

	
  

4	
  

Innovative	
  aspects	
  of	
  the	
  work	
  
	
  
The	
   concept	
   of	
   presenting	
   a	
   work	
   in	
   a	
   new	
   form	
   is	
   something	
   that	
   has	
   caught	
   my	
  
imagination.	
  With	
  an	
  initial	
  proposal	
  to	
  produce	
  an	
  interactive	
  promenade	
  theatre	
  piece,	
  
I	
   started	
   to	
   learn	
   to	
   program	
   in	
   Max	
   MSP	
   and	
   Jitter	
   and	
   designed	
   the	
   system	
   to	
   run	
   such	
  
a	
  show.	
  From	
  that,	
  I	
  was	
  able	
  to	
  experiment	
  with	
  new	
  ways	
  to	
  allow	
  anyone	
  to	
  perform	
  
with	
  technology	
  without	
  requiring	
  specialist	
  knowledge.	
  The	
  two	
  parts	
  of	
  my	
  work	
  that	
  
can	
   be	
   performed	
   live	
   with	
   Max,	
   whilst	
   complex	
   under	
   the	
   surface,	
   have	
   friendly	
   user	
  
interfaces	
  allowing	
  anyone	
  to	
  perform	
  with	
  the	
  piece.	
  This	
  was	
  proven	
  at	
  an	
  event	
  at	
  the	
  
Museo	
   de	
   las	
   Bellas	
   Artes	
   in	
   Valencia	
   where	
   Ganavya	
   Doraiswamy	
   performed	
   the	
   2nd	
  
Mvmt.	
   With	
   no	
   prior	
   Max	
   experience	
   she	
   was	
   able	
   to	
   perform	
   a	
   complex	
   multichannel	
  
piece	
   controlling	
   the	
   software	
   with	
   the	
   tool	
   she	
   knows	
   best	
   –	
   her	
   voice.	
   When	
  
performed	
  live,	
  the	
  3rd	
  Mvmt	
  will	
  be	
  such	
  that	
  any	
  audience	
  member	
  can	
  take	
  the	
  role	
  of	
  
the	
  main	
  orator	
  and	
  the	
  piece	
  will	
  listen	
  to	
  them.	
  
	
  
For	
   me,	
   this	
   is	
   the	
   beginnings	
   of	
   an	
   understanding	
   and	
   implementation	
   of	
   true	
  
interactivity	
  and	
  immersion.	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

5	
  

New	
  Skills	
  Acquired	
  
	
  
This	
  year	
  has	
  given	
  me	
  more	
  new	
  skills	
  than	
  I	
  could	
  have	
  hoped	
  for.	
  I	
  now	
  feel	
  confident	
  
in	
  a	
  myriad	
  of	
  areas	
  all	
  of	
  which	
  have	
  been	
  of	
  immense	
  use	
  whilst	
  making	
  this	
  work.	
  
-­‐

Programming	
  in	
  Max	
  MSP/Jitter	
  	
  
This	
  has	
  been	
  an	
  invaluable	
  skills	
  which	
  I	
  did	
  not	
  anticipate	
  learning	
  or	
  
enjoying	
   as	
   thoroughly	
   as	
   I	
   have.	
   There	
   is	
   a	
   long	
   way	
   to	
   go	
   but	
   I	
   feel	
   that	
  
every	
   day	
   I	
   become	
   more	
   comfortable	
   in	
   this	
   medium	
   and	
   I	
   love	
   to	
  
compose	
  and	
  design	
  with	
  it.	
  

-­‐

Recording	
  and	
  Mixing	
  skills	
  on	
  large	
  format	
  consoles	
  
After	
   a	
   year	
   of	
   watching,	
   I	
   am	
   astounded	
   how	
   comfortable	
   I	
   know	
   feel	
  
working	
  on	
  the	
  AKSS.	
  

-­‐

Audio	
  editing	
  
I	
  am	
  much	
  quicker	
  and	
  more	
  confident	
  now.	
  

-­‐

Video	
  editing	
  
Another	
  skill	
  I	
  did	
  not	
  anticipate	
  learning	
  at	
  all.	
  I	
  would	
  like	
  to	
  continue	
  
developing	
  this	
  to	
  improve	
  my	
  personal	
  brand	
  image.	
  

-­‐

On-­‐location	
  film	
  audio	
  techniques	
  and	
  etiquette	
  
Life	
   as	
   a	
   sound	
   engineer	
   on	
   a	
   film-­‐crew	
   is	
   in	
   many	
   ways	
   very	
   different	
   to	
  
that	
  in	
  the	
  studio.	
  It	
  is	
  true	
  it	
  is	
  sometimes	
  overlooked	
  with	
  precedence	
  
given	
   to	
   camera	
   but	
   in	
   reality	
   it	
   is	
   the	
   unit	
   dynamics	
   that	
   dictate	
   the	
  
quality	
  of	
  any	
  footage	
  captured,	
  camera	
  or	
  sound.	
  

-­‐

Troubleshooting	
  and	
  patience	
  
Probably	
  the	
  most	
  useful	
  skill	
  I	
  have	
  developed.	
  

-­‐

Be	
  open	
  to	
  change	
  and	
  do	
  not	
  limit	
  yourself	
  with	
  your	
  own	
  expectations	
  
Probably	
  the	
  joint	
  most	
  important	
  thing	
  I	
  have	
  learned.	
  

	
  

	
  

6	
  

Challenges	
  
	
  
Time	
   has	
   been	
   a	
   recurring	
   challenge	
   for	
   this	
   year	
   and	
   this	
   filming	
   project.	
   We	
   were	
  
constantly	
   pushing	
   to	
   get	
   to	
   the	
   next	
   venue,	
   set	
   up	
   before	
   a	
   Missa,	
   capture	
   interviews	
  
before	
  our	
  subjects	
  moved	
  on	
  to	
  the	
  next	
  pueblo.	
  In	
  many	
  ways,	
  on-­‐location	
  recording,	
  
in	
   particular	
   the	
   Camino	
   de	
   Santiago	
   environment,	
   is	
   the	
   polar	
   opposite	
   of	
   that	
   as	
  
fostered	
  on	
  a	
  film	
  set	
  or	
  in	
  a	
  recording	
  studio.	
  	
  Very	
  little	
  can	
  be	
  planned	
  and	
  anything	
  
you	
  do	
  plan	
  rarely	
  turns	
  out	
  as	
  expected.	
  We	
  all	
  had	
  to	
  accept	
  that	
  any	
  expectations	
  we	
  
had	
  were	
  limiting	
  the	
  experience	
  and	
  once	
  we	
  let	
  go	
  of	
  those	
  expectations,	
  we	
  started	
  to	
  
find	
  some	
  brilliant	
  situations.	
  
	
  
I	
  knew	
  that	
  time	
  would	
  be	
  an	
  issue	
  for	
  me	
  personally	
  all	
  year	
  but	
  hoped	
  to	
  improve.	
  In	
  
reality	
  I	
  am	
  still	
  frequently	
  up	
  against	
  the	
  clock	
  but	
  I	
  have	
  also	
  learnt	
  that	
  the	
  problem	
  
only	
   comes	
   when	
   the	
   panic	
   and	
   react	
   adversely	
   to	
   this	
   instead	
   of	
   taking	
   the	
   opportunity	
  
to	
   use	
   that	
   adrenalin	
   to	
   fuel	
   work.	
   Thus	
   giving	
   an	
   example	
   of	
   limitation	
   fostering	
  
creativity.	
  
	
  
Lack	
  of	
  experience	
  in	
  film	
  audio	
  was	
  a	
  challenge.	
  I	
  arrived	
  certain	
  that	
  I	
  could	
  apply	
  my	
  
studio	
  etiquette	
  and	
  techniques	
  and	
  whilst	
  true	
  to	
  some	
  extent,	
  I	
  found	
  I	
  had	
  to	
  learn	
  a	
  
whole	
  new	
  vocabulary,	
  style	
  of	
  working,	
  people	
  skills	
  to	
  succeed.	
  I	
  particularly	
  enjoyed	
  
the	
  challenge	
  of	
  working	
  with	
  people	
  we	
  met	
  and	
  documenting	
  their	
  reality	
  rather	
  than	
  
the	
  ‘artist’	
  in	
  a	
  studio	
  documenting	
  their	
  art.	
  
	
  
The	
   biggest	
   challenge	
   has	
   been	
   self-­‐belief,	
   whilst	
   learning	
   so	
   many	
   new	
   skills,	
   it	
   was	
  
easy	
   to	
   conclude	
   I	
   simply	
   couldn’t	
   do	
   anything	
   very	
   well.	
   Accepting	
   that	
   with	
   learning	
  
new	
  skills	
  comes	
  the	
  responsibility	
  of	
  understanding	
  that	
  you	
  have	
  a	
  lot	
  more	
  to	
  learn	
  
has	
  been	
  a	
  great	
  challenge	
  to	
  overcome.	
  

	
  

7	
  

The	
  future	
  and	
  further	
  plans	
  for	
  the	
  work	
  
	
  
I	
  hope	
  to	
  take	
  all	
  the	
  skills	
  I	
  have	
  learned	
  this	
  year	
  and	
  continue	
  to	
  design	
  and	
  program	
  
innovative	
   uses	
   of	
   technology	
   to	
   both	
   enhance	
   reality	
   and	
   encourage	
   real	
   interactivity	
  
and	
  immersion	
  for	
  anyone	
  without	
  requiring	
  technical	
  knowledge.	
  
	
  
The	
   first	
   element	
   to	
   complete	
   after	
   graduation	
   will	
   be	
   my	
   full	
   intention	
   for	
   the	
   3rd	
   movement.	
  
It	
   will	
   have	
   the	
   ability	
   to	
   become	
   heavily	
   interactive	
   allowing	
   the	
   guest	
   to	
   take	
   the	
   role	
   of	
   the	
  
primary	
   orator.	
   The	
   programming	
   of	
   this	
   movement	
   is	
   such	
   that	
   anyone	
   can	
   stand	
   in	
   front	
   of	
  
it,	
   offer	
   their	
   musical	
   ideas	
   and	
   their	
   ‘performance	
   partner,’	
   Max	
   MSP,	
   will	
   respond	
   and	
  
interact	
   in	
   a	
   sensitive	
   way.	
   For	
   this	
   reason	
   I	
   will	
   be	
   able	
   to	
   also	
   setup	
   this	
   movement	
   as	
   a	
  
stand-­‐alone	
  installation	
  piece	
  to	
  see	
  if	
  people	
  enjoy	
  interacting	
  with	
  it.	
  This	
  observation	
  will	
  
be	
  extremely	
  useful	
  in	
  development	
  of	
  future	
  interactive	
  works	
  also.	
  
	
  
The	
  next	
  stage	
  of	
  development	
  for	
  this	
  piece	
  –	
  and	
  an	
  exploration	
  for	
  future	
  works	
  using	
  
similar	
   technology	
   –	
   would	
   be	
   to	
   give	
   the	
   audience	
   more	
   control	
   over	
   the	
   dialogue	
  
narrative	
   and	
   let	
   them	
   choose	
   their	
   own	
   path.	
   	
   Each	
   audience	
   member	
   would	
   be	
   given	
   a	
  
‘passport’	
  which	
  can	
  ‘read’	
  the	
  objects	
  and	
  provide	
  personal	
  narrative	
  via	
  headphones.	
  
The	
  passport	
  would	
  hold	
  an	
  app	
  to	
  gather	
  audience	
  decision-­‐making,	
  so	
  I	
  must	
  have	
  a	
  
way	
   to	
   send	
   that	
   information	
   from	
   the	
   interactive	
   physical	
   element	
   to	
   the	
   app.	
   I	
   can	
  
achieve	
  this	
  using	
  a	
  Raspberry,	
  a	
  RPi-­‐Arduino	
  shield	
  bridge	
  and	
  the	
  Arduino	
  NFC	
  shield.	
  	
  
	
  
This	
  shield	
  can	
  read	
  NFC	
  tags	
  on	
  the	
  objects,	
  send	
  information	
  to	
  Max	
  via	
  Maxuino	
  and	
  
thus	
  trigger	
  the	
  appropriate	
  audio	
  file.	
  An	
  extension	
  would	
  be	
  to	
  run	
  something	
  akin	
  to	
  
wordclock	
   over	
   a	
   wifi	
   network	
   to	
   each	
   ‘passport’,	
   which	
   could	
   allow	
   more	
   specific	
  
control	
  over	
  integration	
  of	
  the	
  headphone	
  audio	
  with	
  the	
  speaker	
  audio.	
  Adding	
  a	
  WiFI	
  
USB	
  dongle	
  to	
  the	
  Raspberry	
  Pi	
  and	
  writing	
  the	
  patch	
  to	
  have	
  an	
  overall	
  clock	
  keeping	
  

	
  

8	
  

an	
  eye	
  on	
  the	
  piece	
  and	
  communicating	
  musical	
  time	
  to	
  each	
  device	
  would	
  achieve	
  this.	
  	
  
An	
  alternative	
  to	
  the	
  Raspberry	
  Pi	
  would	
  be	
  to	
  use	
  an	
  Arduino	
  Yun	
  board	
  although	
  more	
  
research	
  is	
  needed	
  to	
  define	
  which	
  would	
  ultimately	
  be	
  more	
  suitable	
  for	
  the	
  task.	
  
	
  
I	
   would	
   have	
   two	
   options	
   for	
   headphones.	
   One	
   is	
   to	
   use	
   bone-­‐conduction	
   technology	
   for	
  
the	
  full	
  effect	
  of	
  both	
  audio	
  sources	
  being	
  experienced	
  as	
  intended	
  without	
  interference	
  
from	
  having	
  headphones	
  over	
  ears.	
  I	
  have	
  successfully	
  made	
  a	
  prototype	
  of	
  simple	
  bone-­‐
conducting	
  headphones	
  made	
  from	
  piezo	
  transducers.	
  They	
  function	
  well	
  as	
  a	
  prototype	
  
although	
   the	
   sound	
   quality	
   is	
   somewhat	
   low	
   fidelity	
   and	
   I	
   will	
   look	
   into	
   the	
   best	
  
amplifier	
   to	
   use,	
   as	
   the	
   one	
   I	
   used	
   in	
   the	
   prototype	
   is	
   not	
   powerful	
   enough.	
   I	
   could	
  
instead	
  provide	
  users	
  with	
  an	
  alternative	
  solution,	
  possibly	
  being	
  open-­‐backed	
  earbuds	
  
or	
   just	
   one	
   earpiece.	
   Whichever	
   my	
   decision,	
   I	
   also	
   must	
   decide	
   if	
   the	
   headphone	
   feed	
  
will	
   be	
   mono	
   or	
   stereo.	
   The	
   dialogue	
   will	
   be	
   recorded	
   using	
   my	
   own	
   binaural	
   in-­‐ear	
  
microphones	
  so	
  stereo	
  would	
  be	
  ideal	
  but	
  perhaps	
  overkill	
  realistically	
  speaking.	
  
	
  
The	
   next	
   project	
   I	
   would	
   like	
   to	
   work	
   on	
   using	
   the	
   technology	
   I	
   learn	
   through	
   this	
   study	
  
would	
  be	
  trying	
  the	
  same	
  ideas	
  but	
  with	
  pre-­‐existing	
  stories	
  and	
  fairytales.	
  I	
  would	
  like	
  
to	
   focus	
   on	
   bringing	
   together	
   traditional	
   theatre	
   elements	
   and	
   new	
   interaction	
  
technology	
  ideas	
  to	
  provider	
  hyper-­‐immersive	
  interactive	
  theatre	
  that	
  the	
  audience	
  can	
  
take	
   true	
   ownership	
   in.	
   This	
   was	
   a	
   project	
   too	
   extensive	
   for	
   this	
   year	
   and	
   will	
   require	
  
me	
  to	
  find	
  some	
  likeminded	
  people	
  who	
  can	
  offer	
  their	
  specialist	
  skills	
  to	
  help	
  out	
  in	
  the	
  
realization.	
   Through	
   The	
   Walk	
   to	
   Fisterra	
   project	
   I	
   have	
   started	
   to	
   network	
  
internationally	
  and	
  I	
  am	
  starting	
  to	
  see	
  that	
  it	
  is	
  a	
  possibility	
  to	
  achieve	
  this.	
  
	
  
	
  
	
  
	
  

	
  

9	
  

Conclusion	
  
	
  
I	
   had	
   no	
   idea	
   the	
   joy	
   that	
   I	
   would	
   experience	
   in	
   capturing	
   the	
   emotions	
   of	
   others	
   in	
  
audio.	
   Spoken	
   word	
   as	
   music	
   has	
   always	
   been	
   a	
   interesting	
   concept	
   to	
   me,	
   sparked	
  
originally	
  by	
  Steve	
  Reich’s	
  Different	
  Trains	
  and	
  I	
  now	
  realise	
  that	
  it	
  is	
  not	
  just	
  a	
  simple	
  
interest	
  but	
  I	
  really	
  love	
  to	
  listen	
  and	
  work	
  with	
  spoken	
  word.	
  
	
  
I	
  also	
  have	
  a	
  new	
  appreciation	
  for	
  the	
  impact	
  of	
  visual	
  media	
  and	
  I	
  will	
  be	
  making	
  efforts	
  
to	
   further	
   my	
   familiarity	
   with	
   this	
   medium.	
   I	
   will	
   be	
   undertaking	
   an	
   internship	
   in	
   the	
  
audio	
   department	
   of	
   a	
   post-­‐production	
   house	
   in	
   New	
   York	
   this	
   Fall	
   which	
   I	
   anticipate	
  
being	
  a	
  very	
  enlightening	
  experience	
  which	
  I	
  can	
  use	
  to	
  not	
  only	
  work	
  with	
  other	
  people	
  
but	
  also	
  implement	
  in	
  my	
  own	
  work.	
  
	
  
In	
   conclusion,	
   my	
   primary	
   findings	
   from	
   this	
   year	
   of	
   study	
   have	
   been	
   confirming	
   my	
  
idea	
   that	
  technology	
  can	
  be	
  used	
  discretely	
  and	
  simply	
  to	
  enhance	
  one’s	
  experience	
  of	
  
the	
   world	
   around	
   you.	
   Now	
   I	
   hope	
   to	
   continue	
   bringing	
   the	
   audience	
   further	
   into	
   that	
  
world	
  with	
  fewer	
  barriers	
  to	
  their	
  full	
  experience.	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

10