School of Simulation and Visualization

This year’s School of Simulation and Visualization cohort has developed a dynamic spectrum of work, exploring themes ranging from spatiality to immersive inquiry to ecology. Many students use contemporary techniques and digital software to realize their concepts. Max Wardle of the BSc Immersive Systems Design program has created a virtual experience called Inside the Metallurgist’s workshop, in collaboration with the Casa del Alabado Museum of Pre-Columbian Art in Quito, Ecuador. As the name suggests, Wardle’s work allows participants to interact with museum objects related to Ecuador’s indigenous heritage using a computer. The simulation features a rich color palette with softened pixels, evoking a welcoming atmosphere for users.

The Sound for the Moving Image program has been instrumental in its fusion of digital art forms, inspiring students to merge their sound practices with visual content. Much of the work presented is driven by user experience, which is notable in Craig Hamiltonit is Tributary, a game that invites audiences to trigger musical loops with a Nintendo gamepad connected to both Ableton Live (digital audio workstation software) and Max MSP (a music programming app). In the first version of Hamilton’s show, players can arrange a piece of lo-fi style music with a spin of jazz harmony and staggering rhythms. The second version features a lush myriad of piano, synth, bass, and percussion that can be put together to create a dreamy soundscape. The goal is to make the music-making process a more accessible experience for those who lack knowledge of music theory or the resources to learn.

Influenced by Mulholland Drive director David Lynch, Marguerite Lioliit is Hypnagogia uses highly creative and detailed sound design to immerse the listener in a transient hypnotic state, delivering a truly unique and evocative experience. Insight into the world of altered consciousness and dream sequences is established using hauntingly crafted sound elements through experimental recording. Through experimentation with different microphone techniques, including hydrophones (microphones capable of recording underwater), a very unusual and unique soundscape was created. A series of different frequencies have been captured to reveal this otherworldly dimension, along with expert audio processing to transform the sounds.

The arrangement begins with an eerie pulsation, reminiscent of mechanical horror sounds, which cause uncomfortable sensations and prepare us for a journey to another realm. Composed using wavetable synthesis, a peacefully synthetic and atmospheric passage further encloses us in this authentic depiction of a different reality. Carefully brushed industrial sounds gradually induce an unusual, but somewhat pleasant state. It ends with an altered, saturated and cleverly altered version of Minnie Ripperton’s Lovin’ You, transforming this once simple love song into a haunting and captivating sonic rendition, fitting rather eerily into the soundscape. If you’re interested in exploring different states of human consciousness, this soundscape offers a lucid alternative that successfully makes you feel like you’ve just been on a weird and wonderful journey. To listen absolutely!

The Simulation and Visualization School show runs from 1-12 June at the Haldane Building, 24 Hill Street, Glasgow. It is also available online at

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