IKTSUARPOK.
All the visuals and sound were created by myself. I used for sound: Ableton, ProTools, and for vision: MAX MSP and PREMIERE PRO.EXPERIMANTAL SHORT FILM. DIR . TOMASZ GRAB.
In my experimental short film, my goal was to explore the interplay between memory and creativity by transforming the old into something entirely new. To achieve this, I assembled a tapestry of archive footage, pairing it with music I composed and layered with audio recordings from my travels. This blending of visual and auditory elements created a work that feels deeply personal yet universally evocative.The process of crafting this film was a profound learning experience. It pushed me to experiment with unfamiliar techniques and explore unconventional ways of storytelling. By reimagining archival material through my own lens, I not only developed a deeper appreciation for the potential of found media but also expanded my understanding of experimental filmmaking as a medium for self-expression.
VIDEO ART DOCUMENTARY. DIR. TOMASZ GRAB AND GREG BREEN.
Documentary I made with my frind Greg Breen as a part of a University project. We got the task to create a documentary on a chosen art movement. We chose ‘video art’.In the documentary, our goal was to inform viewers about video art while also embodying its essence. To achieve this, we experimented with Multicam interview recording, employing vintage analog cameras to evoke the nostalgia often associated with archive footage. The process of making this documentary was a learning experience for me. Almost every task was unfamiliar, presenting numerous challenges and prompting me to learn new skills. This journey broadened my understanding of documentary filmmaking and enriched my knowledge of video art.
I made this work with Greg Breen, Jules Franey and Andy Dunn.
REAL-TIME WEATHER DATA SONIFICATION.
For my dissertation project, I created a system using Max/MSP that generates real-time sonification of the weather in Glasgow. The patch receives live weather data and interprets it to create sound collages — a never-ending piece of music with no clear beginning or end. The data used in the video represents four different weeks from four different seasons across Scotland. Each week was chosen for its weather anomalies. I created this fixed-data version to fully demonstrate the potential of my main project and to explore how the system sounds across different seasons, days, and nights.The mapping of my sonification project is as follows:
Temperature is mapped to the pitch of virtual instruments, allowing them to arpeggiate within either a major or minor scale, depending on the temperature. Wind speed directly affects the volume of the wind instrument, making it louder as the wind intensifies. Cloud cover influences the overall brightness of the sound by interpolating between ‘bright’ and ‘mellow’ timbres. Humidity controls the reverb, which activates when levels are between 75% and 100%. When it rains, a chorus effect is applied to reflect the wet conditions. Additionally, the system generates music during sunrises and sunsets — different compositions for each event. On the visual side, I’ve mapped strong wind to blur the screen. Cloudiness is connected to the grains. The screen colors change to reflect day and night cycles.
The purpose of my project is to create a compassionate mirror of reality — a sonic system that embraces the fear surrounding increasingly severe global warming-related weather anomalies. It transforms the ontological data of the weather into phenomenological sound. The sonification is meant to keep playing, no matter how extreme the weather becomes. The piece is designed for an art gallery setting and can be easily reprogrammed to reflect weather from any part of the world.
I am aware of both the potential and the imperfections of my patch. In the future, I plan to create a website for this project. I’m also exploring ways to make my sound works more collaborative. I recognize the limits of my environmental knowledge and hope to collaborate with someone who can help harness natural processes and translate them into sound — amplifying the message of the coming climate catastrophe.
SOUND_FILM.
It is an experimental audio-visual project of mine. The inspiration I took to create this film is derived from my traveling experiences as well as the street photography I practice while being on the road.GAME AUDIO. THE LIGHTHOUSE.
My game audio project uses atmospheric soundscapes, acousmatic effects, and original compositions to immerse players in a haunting journey of longing and unfulfilled anticipation, where sound becomes the primary guide through a surreal narrative world.
My game is an atmospheric audio-driven experience inspired by Virginia Woolf’s To the Lighthouse, translating the novel’s themes of longing and unfulfilled anticipation into an interactive journey. The lighthouse, always visible but never reachable, serves as a poignant metaphor, guiding players through a soundscape that evokes curiosity, unease, and melancholy. Drawing on Woolf’s exploration of deferred desires, I used acousmatic effects, original compositions, and ambient soundscapes to create a narrative where sound takes precedence over visuals, immersing players in a world shaped by memory and emotion. Each phone booth and fragmented voice offers a piece of the puzzle, culminating in a bittersweet realization as the lighthouse finally appears on the horizon, embodying the emotional depth of the journey itself.