This project changed the way I think about sound recording and listening. Before starting, I mainly focused on collecting interesting sounds or textures. During the process, I became more interested in how recordings can shape spatial awareness and how listening changes depending on movement, architecture and environmental conditions.
One important thing I learned was the difference between documentation and composition. At first I tried recording many different spaces, but the project became too broad and unfocused. Reducing the work to three environments helped me create a clearer structure and stronger connection between the practical work and the essay research.
I also became more aware of how minimal editing can sometimes create a stronger listening experience than excessive processing. Some of the most effective moments in the final piece were actually very quiet sections where distant airflow, electrical hum or soft reflections became more noticeable over time.
Researching artists such as Janek Schaefer and reading Acoustic Territories also influenced the way I approached listening and spatial perception. I started thinking less about producing dramatic sounds and more about how environments shape bodily awareness, atmosphere and attention.
If I continued developing this project, I would like to experiment more with multichannel sound or installation formats. I think the work could become more immersive if listeners physically moved through different sonic environments rather than only hearing them through stereo playback. The practical work also helped me understand some of the theoretical ideas from the essay in a more embodied and experiential way. The project made me realise how easily everyday spaces become ignored visually, while listening can completely change awareness of movement, atmosphere and distance.
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