As a sound artist and experiential designer interested in creative technologies, I seek to invoke the imaginations of others through immersive media to reveal the accessibility of sound art.

By utilizing sound as an art form and medium, my immersive installations and performances confront each listener and evoke a bodily response. Thus the emphasis of my works is on the listener’s role, using the ear and resonant body to contribute to the creative process. By studying the physical phenomena of sound and its physiological perception, I can draw a parallel between hearing as passive reception and listening as active concentration. As such, a key component of listeners’ engagements in my work is the mind's ability to fluctuate—rather than simply be heard, my pieces emphasize the body as a listening device and the ear as a musical instrument.

I aspire to create a dialogue between sound and art and challenge the concept that art must be understood to be enjoyed. By lessening the distance between sound and the human body, I hope to bring people as physically close to immersive systems as possible.

In the past, I have created immersive experiences using self-made analog hardware and computerized electronics transmitting the waves of the brain and heart into rhythm. For my undergraduate thesis, I produced a large-scale installation to accentuate the corporeal impact of sonic vibration. Entirely self-designed and constructed, the 24’x8’ ear canal featured a six-channel speaker array that emitted an aural architecture of head-borne tones. By featuring sound localization techniques and the surrounding structure, my audience was able to form their own dynamic music, contingent upon their placement within the installation. 

During a residency at The Atlantic Center for the Arts, I studied sound spatialization by fabricating an octophonic speaker dome installation. After composing an electro-acoustic piece surveying the intimacy of breath, I constructed my own sound system with individually-crafted speakers concealed behind silicone-casted ears, sewn into foam-upholstered canvasses. To sift through the noise and find the medley of breaths underneath, listeners were invited to touch the exhibits’ components and focus on each breathing pattern—creating an orchestra when combined. Those involved were not only implicated in the production, but were also forced to internalize the physicality of listening to others breath and having theirs heard, and to question their discomfort.

My ambitious projects have allowed me to question the role of experience and play, to think about spatial environments, and to delve into the process of bringing a multi-sensory vision to life. Interactive environments are my art form for project development, and my vivid imagination helps me create unique, bespoke projects. I am familiar with the production of immersive audiovisual environments and well-versed in both valuing and incorporating the perspectives of others and being a part of a creative team with a unified goal.

All photographs by Amanda Hakan for Level.