game-audio.org comprises a collection of sonic-centric game-audio projects focused on the construction of novel grammar for dynamic media in sound, music and in composition using 3Daudio and spatial thinking. It is divided in three distinctive sections; role-playing of musical instruments, sonic Expeditions and bio-Simulators where sound is key for progression. Overall, game-audio projects are informed by cultures which provide a high value on non-visual modes of experiencing the world (e.g. ancient hunters, merchants, fishermen and seafarers) and who relied on sound when visually-oriented tools had failed (kamals, quadrants, mariner's astrolabes or sextants). These projects explore sound-centric techniques for pathfinding and orientation in immersive environments, throughout the creation of interactive worlds employing physics-graphic and audio game engines. Organising dynamic sound employing game-audio technology as the focus for the user experience is still in its infancy and we are learning it as we walk here in game-audio.org
My research focuses on the articulation of structure and creative expression in interactive game-audio and music composition. The architecture of my works often employs mosaic-size sonic materials and procedural thinking, which I have exposed across a wide range of outcomes and media tools. Since 2008 I have concentrated on the use of audio-graphic-physics in game engines and the use of metadata retrieval. This culminated with the creation of new interactive experiences driven and inspired by "SonicPathfinding" techniques and games aesthetics in general, exploring the great potential of these technologies beyond strict game-play. Pushing the frontiers of human's understanding of the potential of sound is, ultimately, the motivation to drive my creative thinking. Tip of the day: Best ideas are often triggered when the most unexpected circumstances suddenly concur, so I try to create the grounds for them to exist!.
When I create a new musical work, it often becomes a journey of exploration of a musical instrument. I also put a lot of thinking on how to discover and extract the DNA of virtuoso performers. This is loads of fun.
By creating immersive experiences using game-audio, I provide users with the pleasure of navigating these instruments and more importantly, getting into the performer's aural thinking, which is often the result of many years of study and performance practice.
These are imaginary sonic expeditions to aurally-rich places using game-audio as the interface for navigation. The player becomes the performer, sound sculpturer or casual navigator as ‘the captain of a ship’. Such journeys place the navigator on situations where sound becomes the key to progress throughout the 3D environment. Colliding musical spheres or exploring historical facts become the grammar of the narratives on which players can immerse themselves while creating aural beauty.
What if I tell you that microorganisms and other life forms have many things in common with a musical ensemble?. Constructing a simulator of a Microbial Fuel Cell can provide players with the tools to discover how microbes sound like. Isn't it great?
Imagine now that humans had to artificially rebuild aspects of our ecosystem on another planet, including the construction of a virtual habitat for birds singing and calls.