During my time studying Sound Arts, my understanding of sound and my future career has changed quite significantly. When I first started the course, I mainly saw sound as an experimental and open-ended creative medium, focusing on personal expression and abstract listening experiences. However, as the course progressed, through project work and some practical experience,…

My sound arts practice, and my future work in film and game audio, will mainly reach a wider public through several different platforms once I move beyond the BA course, rather than remaining within an academic or gallery-based context. In the film direction, my work is most likely to appear first on streaming and short…

Nisha Ramayya’s work gives me a very unique feeling. Her poetry is not as easy to understand as traditional poetry, because she focuses more on sound, rhythm, and emotion. When I first read her poems, I found them quite abstract, but gradually I realized that her writing is actually full of delicate emotions and rich…

Sue Lynch’s music is very different from traditional jazz or classical performance. As an experimental saxophonist, she seems completely unrestricted by conventional musical rules. The sounds in her performances can sometimes feel chaotic and fragmented, but at the same time they carry strong emotion and energy. The sense that the music is constantly changing and…

Mark Wagner’s work feels like it sits somewhere between science and philosophical or spiritual thinking. He does not treat sound simply as something to be heard, but as something that can be seen and reflected on. His practice transforms sound—something invisible and fleeting—into visual forms, which changes the way we understand sound itself. It blurs…

Jess Rowley’s work gives me the feeling of standing at the intersection of sound, memory, and archival practice, but what stands out most is its combination of conceptual depth and emotional sensitivity. She does not treat archives as static collections of information; instead, she turns them into something that can be reactivated and constantly transformed.…

After fully absorbing the literature and artistic references, I began translating the conceptual framework into an executable implementation plan. The challenge lay not only in designing four distinct emotional climates but also in constructing the transitions between them—allowing emotions to flow like weather systems rather than exist as isolated zones. The installation consists of four…

Although sound is the central medium of Synesthetic Weather, the project’s “emotional climates” rely heavily on multisensory elements such as light, airflow, temperature, and spatial density. This section focuses on atmospheric installation artists who have had the most profound influence on the work, including Olafur Eliasson and James Turrell. Olafur Eliasson’s The Weather Project is arguably the conceptual…

The sonic architecture of Synesthetic Weather is deeply influenced by the traditions of sound art. This section focuses on several sound-based works and artists who have had the greatest impact on the project, including Janet Cardiff, Ryoji Ikeda, Christina Kubisch, Annea Lockwood, and Chris Watson. Janet Cardiff and George Bures Miller’s The Forty Part Motet demonstrates how sound can…

The theoretical foundation of Synesthetic Weather draws from multiple fields, including atmospheric aesthetics, soundscape studies, affective politics, and theories of embodiment. Engaging with these texts not only provided conceptual tools but also helped situate the work within a more mature and rigorous theoretical framework. The writings of several key thinkers—Böhme, Griffero, Ahmed, Schafer, LaBelle, and Massumi—form the…