Leo Murray

This article explores Anthropoiesis, the authors’ eco-performance installation presented as part of the European Cultural Centre’s Time, Space, Existence  exhibition at the Venice Biennial during the Venice Biennale Architettura 2023. Drawing on David Farrier’s Anthropocene Poetics (2019), the project investigated how ecocritical texts might be reconceived as multisensory artworks, advancing the concept of slow listening to engage with the Anthropocene’s scalar extremes. By integrating spoken word performance, soundscapes and visual poetry, Anthropoiesis sought to disrupt anthropocentric narratives, compelling audiences to confront the disorienting temporal and spatial dynamics of ecological crises. Foregrounding the urgency of improving attunement to landscapes, the article situates Anthropoiesis within the broader challenge of anthropogenic planetary destabilisation. Its multidisciplinary design reimagines Farrier’s ecocritical text as a sonic and visual assemblage, layered with living, organic and technologically generated soundscapes. Positioned within a nested exhibition alongside Ainslie Murray’s Registry of Itinerant Architectures and Joshua Zeunert’s Shallow Roots, Deep Incisions, offered a multisensory exploration of fluctuating scales and temporal horizons, creating an immersive experience to transcend traditional narrative structures. The article argues that sonic ecologies can help to reorient audiences within fractured Anthropocenic landscapes. Through the lens of slow listening, it analyses how the installation provokes reflection, destabilises linear perceptions of time and space and facilitates poiesis as a threshold moment of ecological revelation. Discussion moves from the project’s interdisciplinary approach to examine the transformative possibilities of careful listening as a critical and creative intervention. In doing so, it seeks to foster heightened attentiveness to more-than-human presences and advance collaborative performance-making to address the sublime tensions of the Anthropocenic moment.

Advertising is selling us a dream, a lifestyle. It promises us fulfilment and tells us where to buy it - from international flights to a vast array of goods we consume like there is no tomorrow. The truth is, if advertising succeeds in keeping us on our current trajectory, there may not be a tomorrow.

In Badvertising, Andrew Simms and Leo Murray raise the alarm about an industry that is making us both unhealthy and unhappy, and that is driving the planet to the precipice of environmental collapse in the process.

What is the psychological impact of being barraged by literally thousands of advertisements a day? How does the commercialisation of our public spaces weaken our sense of belonging? How are car manufacturers, airlines and oil companies lobbying to weaken climate action? Examining the devastating impact of advertising on our minds and the planet, Badvertising also crucially explores what we can do to change things for the better.

Sound design research methods can vary considerably depending on the nature of the field of practice. A semiotic method provides a valuable approach to sound design in that it accounts for the individual differences in interpretation of sound stimuli, and is one which can be applied to a range of sound usages such as film and television, interactive, auditory display and product sound design. At its heart is a fundamental belief that there are building blocks of thought and perception which shape our ability to make meaning from any sign, including sounds.

Sound Design Theory and Practice is a comprehensive and accessible guide to the concepts which underpin the creative decisions that inform the creation of sound design. A fundamental problem facing anyone wishing to practice, study, teach or research about sound is the lack of a theoretical language to describe the way sound is used and a comprehensive and rigorous overarching framework that describes all forms of sound. With the recent growth of interest in sound studies, there is an urgent need to provide scholarly resources that can be used to inform both the practice and analysis of sound. Using a range of examples from classic and contemporary cinema, television and games this book provides a thorough theoretical foundation for the artistic practice of sound design, which is too frequently seen as a ‘technical’ or secondary part of the production process. Engaging with practices in film, television and other digital media, Sound Design Theory and Practice provides a set of tools for systematic analysis of sound for both practitioners and scholars.

Testing creativity in tertiary learning activities is a young field of research, and current assessment methods are difficult to apply within the diverse context of media production education, where disciplines range from journalism through to video game production. However, the concept of remix is common across this wide range of media, and offers practitioners ‘endless hybridizations in language, genre, content, technique and the like’ (Knobel & Lankshear, 2008, p. 22). The conceptual commonality of remix indicates that the study conclusions will have useful implications across a range of media production disciplines. This study aims to consider new methods for testing creativity in media production learning activities and to provide better assessments for learning design. This study focused upon a learner cohort of music technology students that were undertaking a work-integrated learning programme with a record label. To make the students more work-ready and inspire greater creativity, they remixed tracks recorded by professional music artists as part of a unit assessment. Subsequent self-report surveys (N = 29) found that the process of creating a ‘remix’ enhanced their creativity and provided suggested improvements to the design of the learning experience. Importantly, we found no relationship between the survey responses and objective assessments, indicating that the self-reported improvements in creativity were not simply a measure of how well the students performed the formally assessed tasks. Although more research is needed to establish effective measures of creativity, these findings demonstrate that self-report survey tools can be a powerful tool for measuring creativity and supporting improved iterative learning design.

This paper argues that the semiotic model proposed by C.S. Peirce (1839-1914) has the potential to be adapted to sound in order to provide a comprehensive conceptual framework and meta- language for describing sound both as product and as practice. The flexibility of the Peircean model means that it is ideally suited to the analysis of sound and sound/image combinations and to the analysis of audio-visual media.

The starting point of the decision-making process for sound producers and designers can be framed by some fundamental questions: (a) What does the audience need to know? (b) How should the audience feel? And (c) what should they think? With the overall goal of the soundtrack being to ‘serve the needs of the story’, the choices in the soundtrack are geared around creating these understandings or emotional responses. The opening sequence from The Conversation (Coppola, 1974) is examined to illustrate the Peircean model as it is applied to sound in the audio-visual soundtrack. Viewed in this way the soundtrack can be thought of as a kind of trail of breadcrumbs, a part of the narrative which allows the audience to search for cause and consequence for themselves. A Peircean semiotic approach can then be used to inform the process of designing the soundtrack as well as aid in the analysis of the finished work.

The semiotic model described by C.S. Peirce has been adapted to film and media generally and more recently to sound analysis, but seldom has it been applied to the actual practice of sound design. This paper argues that the model provides not only a comprehensive and powerful tool for the analysis of sound but may also be used as a tool to examine and inform the practice of sound design and production. By focussing particularly on Peirce’s later model of semiotics, which clarifies and reframes the definitions of some of the principal elements of his system, its utility in application to the analysis of sound is greatly enhanced. It provides an appropriate and flexible conceptual framework which can be applied to the processes involved in creating elements of the soundtrack – the practice of sound design – and a means to understand how the sounds themselves, in conjunction with the image, can be used to create meaning for the audience.

While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary film Gallipoli Submarine is used as a case study to examine the implications for practice.