Audiolise Documentary

A short video documenting Audiolise. Outlines who Audiolise are, what we aimed to achieve and our progress across our three exhibitions.


Audiolise Soundscapes

The following is linked to audiolise soundcloud containing all the soundscapes that were made over the course of the first 2 exhibitions in Dundalk and in Dublin. The soundscape for every different painting from each participant are available to listen to. These soundscapes were also available for people to listen to at the Fis exhibition in the Carrols building in Dkit in June.


Findings – “Into the Woods”, Diana Muller

We found some interesting aspects to this painting as two people had very different descriptions of their feelings towards the paintings. One user had a massive background in music and music production while the other had a huge interest in everything visual. This can be reflected within their soundscapes. The musically inclined user gave the sound more “space” while the visual user went for more “chaos”. This “chaos” was achieved by placing many different notes all over the time line resulting in a loud and uncontrolled sound from the soundscape.A large portion of the people who picked this piece were foreign. This statistic was not seen across any of the other art pieces with 35% of the users for “Into the Woods” being foreign.
All of the user soundscapes for “Into the Woods” are on our Soundcloud http://soundcloud.com/audiolise
and here’s 3 example soundscapes.

Findings – “Untitled 1”, Ken Browne

This painting produced very different soundscapes. This was not reflected in the feedback, however, as there were trends found in users feedback from the paintings such as dark, isolation, loneliness and division. These trends did not have any effect on the sounds capes as there was no similarities found in those who used similar words to describe the painting.Upon listening to the soundscapes both on an overall scale and within each category mentioned, no relationships were noticed between the audio pieces. This may have been reflected in the results where on average, users did not fully feel they represented the
feelings of the painting in their soundscapes.
All of the user soundscapes for “Untitled 1” are on our Soundcloud http://soundcloud.com/audiolise
and here’s 3 example soundscapes.

Findings – “Tree”, Susan McEvoy

In two particular soundscapes for “Tree”, the users who created them stated that they felt the sounds were perfect for the painting, and both felt the same about the relationship between their soundscape and the painting, that it suited the painting. They also both had similar feelings toward the painting, making reference to nature and forestry. However, their resulting audio pieces were very different, and both audio pieces were created using different techniques. One went for a rhythm while the other ignored this and chose a sensory arrangement.What was more unusual about this was that the user who did not choose the rhythm option is a DJ, yet every other DJ who used the project went for rhythm in their soundscape, thus breaking a trend that applied across all paintings. The other user who created it using the rhythm is not a DJ.
All of the user soundscapes for “Tree” are on our Soundcloud http://soundcloud.com/audiolise
and here’s 3 example soundscapes.

Findings – “Plunge”, Ben Readman

The users were happiest with the relationship between the sample sounds and the art for this painting. However, this did not reflect their views on the soundscapes that they created, as they did not necessarily feel that they created audio that suited their feelings towards the painting. This indicated that although people would be likely to choose an audio sample that they felt related to the painting, this did not necessarily mean that their soundscapes would exactly turn out what they wanted to portray in their audio.The audio pieces themselves did not have any resemblance with each other in
particular, which resembles the feedback users gave about the paintings, i.e. they differed in audio and they differed in verbal explanations for the piece. The common research ground here was that most of the users did not feel that their soundscape suited the
painting and that they all had mainly different feelings towards the painting.
All of the user soundscapes for “Plunge” are on our Soundcloud http://soundcloud.com/audiolise
and here’s 3 example soundscapes.

Findings – “Mottled Blue”, Sean Cotter

There were no similarities with how users felt about the painting and it’s relationship to the soundscape they created. Some reflected that they created an audio piece that did not resemble the art while others felt that it did to a certain extent. The second noticeable point was that we got a mixture of occupation types or creative interests for this painting, there were no trends in this either. The descriptions that people gave towards their feelings for the painting were also completely different for this painting.When we examined the audio soundscapes that the users had created, it showed us that there were no similarities in the audio pieces either; some created busy audio pieces, other created less busy ones, some attempted to induce rhythm, others didn’t. Even the tempo’s for the piece differed extensively, from as slow as 40bpm to 129.76bpm.All of the users created a soundscape slower than 140bpm, the default tempo when starting a new soundscape. This indicated that each of the users made a conscious decision to turn the tempo down during their audio production stage.
All of the user soundscapes for “Mottled Blue” are on our Soundcloud http://soundcloud.com/audiolise
and here’s 3 example soundscapes.