In this collaboration unit, I was questioned about how much of my individual artistic identity I was able to put into my work, and whether the work I was doing tied into my personal creative practice at all.
My initial thought was that it did not at all, as I don’t make music for games in my own practice, do not use VR, and also as the game we were working on felt pretty far removed to anything in my own creative identity.
However, after further thought I realised that some parts of the process and the sounds did tie into my creative identity and practice, such as a piece of music I had created on Ableton, which was made for a calm sunrise scene in the game. I felt that this piece of music tied in to my own creative identity the most out of any of the sounds I contributed, as although being fitting for the context of the game and the sunrise scene, it also felt like it could exist as a piece on its own, and felt very ambient, calming and blissful (which is a feeling I like to explore, both in my sound art and also in my life in general). Another reason that I felt this piece tied into my own creative practice/ process was because it was made using ‘Max for live’, which is completely digital/ synthesised sounds, however the sounds in the piece sound very organic and natural, and doesn’t give a robotic/ computer like feel. This is something I enjoy playing with in my own practice also, creating sounds with technology that feel very natural, and playing with the idea of whether or not the listener can hear the computer in the piece, or hear the influence of technology/ the algorithm (for example warping or time stretching, allows the lister to hear the artefacts created by the digital technological process the sound has undergone).