Portfolio of original compositions with written commentary

Sound propagates through space as a series of vibrations which are mediated, perceived and interpreted by the listening body. Whilst the body receives the physicality of sound, we predominantly focus on our listening experience through audition. In this work, I propose approaches to employing haptics, or vibration technologies, as a mechanism through which we can extend our experience of sound across the body and achieve a greater control of its physical presence. I will discuss ideas pertaining to sound as a physical and embodied practice, and the ways that I have explored this through developing conceptual systems relating sonic and physical materials. During the production of this work, themes of embodiment, mediation and immersion emerge which are unpacked through this commentary. Many of the works in this portfolio employ an audio and a haptic element that controls sound and vibration in synchrony, with the physical element rendered on bespoke haptic displays. A latter work explores the development of and performances with an algorithmic language for choreography. In this commentary, I reflect on each individual piece, documenting the process of making and subsequent outcomes to my creative thinking. Overall this project is underlined by a reflexive methodology where each new piece of practice influences the formation of the next—revealing new opportunities, concepts and technological approaches. I do not present a framework for the development of audio-haptic works, instead, I document and reflect on the processes through which my own practice has found connections, tensions and opportunities between the two forms. I conclude that whilst the inclusion of haptics heavily mediates and reconfigures the experience of listening, it can function as an immersive addition to sound that provokes presence, aura and tangibility in abstraction