Audiographie 360 ° is a research-creation project in digital design.

Presenting an experiment around audiography, that is to say the synchronization between visual forms and sound objects, it is reflected in an immersive 360 ° universe and offers an artistic creation tool that automates the principles experienced.

This project emerges from the practical observation of an immersive lack in electronic music concerts, and from a personal desire to consider the deployment of a new type of musical listening; this in a context of design research, between multimodal contemplation and bodily interaction. In addition, this research-creation questions the involvement of the digital designer in the artistic creation process, his legitimacy in making the link between art, technology and science as well as his impact in the design of tools for the service of 'user experience.

From interactive video projection, to virtual reality, including usage design, video and even drawing, AG360 ° seeks to question existing tools and research to propose new techniques for creating immersive environments where electronic music becomes audiographic.

Audiography is the name given to couples of sound and visual objects which represent each other (in their form, their animation, their position) in a synchronized manner.

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• The first step of this research consisted in testing, animating, representing the most efficient coupling of electronic sounds with geometric shapes. Then, after having identified experimental hypotheses, to validate them by reproducing the data via neutral sounds and visuals (white noise + digital noise) which are subsequently animated. The technical principle which corresponds to these coherent couplings is called the mapping (in English) or branching of variables of objects here sound and visual.
   

• Following these experiments, two 360 ° musical environments have resulted, featuring a 35-second musical element with 13 audiovisual objects. The first video presents the concept of synchronization between 13 visual and sound objects, their position and movement in space.
  The second video is positioned as a more artistic than functional interpretation of musical listening. It presents an ambient generative carpet at 360 ° where certain textured elements disturb it, all surrounded by neighboring percussions.
   

• During the realization of these environments, new reflections on the use appeared as the fact of evaluating the impact of the positioning of audiographic objects in a 360 ° space on the attention of the spectator.
  Indeed my positioning of these couples will breathe a bodily dimension into the creation according to the principle of cognitive attention regimes. This is why, to accompany these audiovisual creations, it was necessary to consider a new way of writing objects in time and space.