Instead, we began to look at technology that translated sound into vibrations.Earlier this year, a small, wooden, and rather beautiful egg-shaped device arrived by courier to my flat. We quickly ruled out visual translations – some technology like the Audiolux use patterns of flashing lights to convey sound patterns. So, our device had to be something very portable, ergonomic, and flexible with different types of music and instruments.With designer, technologist, and musician Steve Symons – a resident at Pervasive Music Studio – on board we started to explore how we might translate the vibrations caused by the sound waves produced by orchestral instruments to something that could be experienced by a hearing-impaired individual. Unlike other audio enhancement products available we wanted something more discreet, that could perhaps be handheld, or placed in a pocket. But what we established very quickly was that we were interested in developing something that gave the user more autonomy over their experience and, rather than focussing on electronic instruments (like the SUBPAC – which would be perfect for, say, a rave) we were interested in creating something that could also work on acoustic instruments.Many Paraorchestra projects – such as The Nature of Why or The Anatomy of the Orchestra – are immersive experiences, they invite the audience to move about the performance space, empowering individuals to choose what they would like to experience. In my last blog I touched on some of our research into existing technology from established products like the SUBPAC, to more analogue tools such as using balloons to transmit soundwaves. Last summer’s quiet period of reflection was the ideal time for Paraorchestra Executive Producer, Hannah Williams Walton, and I to set about considering ways in which we could further enhance the experience of live music for D/deaf audiences.
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