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Conceptual Foundations: Defining Presence and the Exploration of Grief
The concept for our project developed through an iterative process of group discussions centered on the theme of “presence.” Our initial conversations revolved around the idea that presence goes beyond physical existence. It is a state of full awareness and engagement. From this, we began to discuss the contrast between presence and absence, particularly how the absence of someone or something can heighten the significance of being present. This interplay between presence and absence became a key inspiration for our work.
As we delved deeper into the technical aspects of the project, we explored how emotions manifest through sensory experiences, considering how abstract feelings can be externalized through sound, visuals, and other sensory stimuli. This led us to focus on one particularly profound emotional journey: Grief.
Grief became the central focus of our project as it perfectly captures the tension between presence and absence. Its unpredictable and non-linear nature aligned with our goal to move away from traditional, structured storytelling, while its universal relevance made it something participants could connect with on a personal level. We wanted to represent the emotional weight of grief in a way that allowed visitors to actively engage with the experience, influencing the emotional ‘weather’ of the space rather than simply observing it. The sensory design featuring chaotic visuals and layered audio will reflect the mental turbulence often felt during grief, while the interactive elements highlight how acts of empathy and connection can bring stability. By translating abstract emotions into tangible sensory experiences, the installation will encourage participants to reflect on how being present, even in small moments, can have a meaningful impact on emotional well-being.
User Interaction Flow
Entry Point: Introduction to the Installation
Action: The user enters the dark, intimate space of Alison House’s Atrium.
Experience: The room is in a chaotic state, representing the early stages of grief (denial, anger, depression). The visuals on the projection are fragmented and erratic, with dark tones and disjointed animations. The surround sound creates an unsettling atmosphere with low-frequency drones, sharp noises, and overlapping audio elements.
Interaction: Initially, no interaction is required. The system reflects a “worst mental state” as it starts in chaos due to minimal activity.
Exploration: Interaction Begins
Action: Visitors approach the center of the room where interactive sensors (heartbeat sensor, buttons, knobs, light sensors, proximity sensors) are placed.
Experience: The sensors pick up on the Presence.
Heartbeat Sensor: Detects a visitor’s pulse and translates it into rhythmic audio or visual elements (e.g., pulsating light or sound).
Proximity Sensors: Trigger subtle changes in visuals or sound as visitors move closer or farther from specific areas.
Visual Sensors: React to changes in ambient light caused by visitors’ shadows or movements, influencing visuals on the projection.
System Response: The more interactions occur, the system begins to transition from chaos to calmer states.
Dynamic Progression Through Stages of Grief
Action: As visitor activity increases (e.g., multiple people interacting simultaneously), the system dynamically evolves toward later stages of grief (bargaining and acceptance).
Experience: The projected visuals become less fragmented and chaotic, shifting toward more cohesive imagery with lighter tones. Soundscapes evolve from dissonant noise to harmonious and soothing ambient music. Visitors feel a sense of collective impact as their interactions contribute to improving the “mental state” of the system.
Interaction Feedback: Real-time feedback ensures users see their impact on the environment (e.g., visuals brighten or calm as more sensors are activated).
Regression if Activity Stops
Action: If visitors stop interacting with the sensors or leave the space entirely, the system begins to regress back into earlier stages (chaos and depression).
Experience: Visuals become darker and more fragmented again. Soundscapes return to unsettling tones, reinforcing a sense of emotional instability. This regression emphasizes that grief is non-linear and requires ongoing engagement for resolution.
Installation Features:
The installation is non-linear; users can enter at any time during its progression.
Sensors are designed to be intuitive so that all interactions feel natural and engaging.
The evolving system reinforces themes of grief as a shared experience that requires active participation for healing.
This flow ensures an immersive journey where visitors feel both individual agency and collective responsibility in shaping the emotional narrative of grief.
Sound not only shapes emotions but also plays a crucial role in guiding immersive experiences. This project, centered on the concept of “Denial,” explores how sound represents the five stages of negative emotions and enhances emotional resonance through interactive installations. To establish a solid theoretical foundation for sound design, I conducted extensive research on relevant literature and case studies, analyzing how sound influences emotions, the key elements of immersive sound design, and the integration of interactive technology. Through the fusion of sound and visuals, this project aims to create a profound emotional journey for the audience.
2.Theoretical Background
2-1 Denial
Our project is based on the concept of “Denial,” commonly associated with Kübler-Ross’s (1969) Five Stages of Grief, introduced in On Death and Dying. This model describes the emotional responses individuals experience when facing death or major life changes, progressing through denial, anger, bargaining, depression, and acceptance. Denial is more than just temporary avoidance; it serves as a psychological defense mechanism that helps individuals cope with overwhelming emotional shock.
Stage
Overview
Emotional Manifestation
Denial
Rejecting reality, avoiding painful truths.
Numbness, indifference, refusal to acknowledge or face reality.
Anger
Feeling frustration and resentment when unable to escape reality.
Hostility, irritability, possible aggressive behavior.
Bargaining
Attempting to reduce pain through negotiation or compromise.
Self-consolation, hoping to change the outcome through “deals.”
Depression
Recognizing the unchangeable reality, leading to sadness and helplessness.
Loneliness, despair, loss of motivation and interest.
Acceptance
Ultimately accepting reality and facing the future with a calm mindset.
Inner peace, relief, gradually adapting to change.
These five stages describe the emotional changes individuals experience when facing significant loss or trauma. Psychologist Anna Freud (1936) identified denial as a primitive yet common defense mechanism that allows individuals to temporarily escape reality when emotions become overwhelming, helping to reduce psychological stress. When a person struggles to accept inevitable loss or change, denial may persist, manifesting as avoidance of facts or self-soothing to maintain a false sense of reality. Immersive sound installations can enhance this emotional experience, allowing individuals to more intuitively perceive and explore denial and its psychological impact.
2-2 Sound
Huang and Wu (2007) found a strong correlation between music selection and emotional responses. The impact of sound on emotions is a multidimensional process influenced by key factors such as pitch, intensity, rhythm, and sharpness. Research indicates that high-frequency noise and sharp sounds can trigger stress responses, whereas low-frequency vibrations may induce a sense of calmness or suppression (HEAD acoustics, n.d.). Additionally, fast and irregular rhythms are often linked to anxiety, while dissonant intervals—such as minor seconds, augmented fourths/diminished fifths, and major sevenths—stimulate the amygdala, a brain region responsible for processing emotions, particularly fear and distress (Pankovski, 2023). Musical scales also play a crucial role in emotional expression; major scales are generally associated with positive emotions, whereas minor scales tend to evoke negative feelings. Moreover, slow-tempo music is often linked to sadness (Sun, Liu, & Nan, 2009).
In terms of sound design, different frequencies elicit distinct emotional experiences. Low-frequency sounds (20 Hz to 250 Hz) can create physical resonance, which in turn provokes anxiety and fear. For instance, the low-frequency vibrations of thunder and earthquakes are commonly associated with danger and threat, intensifying feelings of unease. In contrast, high-frequency sounds (2,000 Hz to 20,000 Hz) are highly stimulating, heightening alertness and inducing emotions such as anger and anxiety (Wemore8888, n.d.). Additionally, high volume, fast-paced, and irregular rhythms can further amplify tension or aggression, making sound a powerful tool in shaping psychological experiences.
These findings highlight the critical role of sound characteristics in emotional modulation. Variations in pitch, musical scale, rhythm, and frequency can direct and enhance different psychological experiences, effectively influencing the emotional state of an audience in immersive environments.
In The Last of Us, the protagonist, Joel, experiences deep emotional trauma after losing his daughter. The game uses low, slow-paced music and environmental sound effects to create an atmosphere of oppression and solitude.
Composed in 2001, The Disintegration Loops by William Basinski was created when he attempted to digitize old tape loops and discovered that they gradually deteriorated due to aging. He recorded this process, capturing a sense of slow decay and irreversible tragedy, while simultaneously evoking a meditative tranquility and transcendence.
Created by Mexican artist Rafael Lozano-Hemmer, Voice Tunnel is a large-scale interactive installation that allows participants to engage through sound. As visitors vocalize into the central sound system of the tunnel, the installation responds in real-time by adjusting the brightness and flickering patterns of lights based on the intensity and characteristics of the sound. This interplay between sound and light creates a unique and immersive sensory experience.
Isha – User interaction flow, storyboards, visual concept
Kyra – Visual design, Touch Designer
Xiaole – Audio aesthetic research
Evan – Sound design
Lidia – Conceptualisation, note taking
Introduction to concept and project aim:
The project is based on two core concepts: using the five stages of grief as a theme and creating an interactive audio-visual installation. Integrating these ideas into a cohesive and meaningful concept was not a straight journey, but we have now established a strong foundation:
Expressing the profound impact of social interactions on individuals experiencing grief and how these interactions, in turn, shape our own self-reflection.
But how did we get here?
In the first week, we focused on defining what the word ‘presence’ means to us: It is not only to be physically present in a space but to be consciously aware of being there, at that moment. Being present requires us to open our senses and pay attention to everything that surrounds us: every change of breeze in the air, every sound, every movement of light, and every change of sight. Moreover, it means to actively concentrate and pay attention to the other beings around us.
As Buddhist monk Thích Nhất Hạnh wrote once, “The greatest gift we can make to others is our true presence” (Hạnh, 2023).
Coping with the loss of someone or something one loves is probably the biggest challenge in everyone’s life (Smith, 2018). It is highly an individual experience, however, what might be the connection in all, is the need for others who can offer support and comfort: a Swedish study based on a survey outlined that participants during such difficult times did report their need for emotional support. Despite mentioning that this is mostly “provided by family and friends”, receiving kind gestures and a positive attitude from a stranger can equally bring a significant change (Benkel et al., 2024).
The project seeks to raise awareness of this topic, leading us to create an audio-visual multisensory installation portraying “The five stages of grief”. The installation will be ‘an exploration of being present in grief’, primarily from the perspective of an imaginary character’s inner mental world. Secondarily, we direct back a rhetorical question: Do they see themselves in it, and are there perhaps any feelings which they have been hiding from themselves?
First introduced as “The Five Stages of Death” by Swiss-American psychiatrist Elisabeth Kübler-Ross in 1969 (Kübler-Ross, 2014), the model says that those who experience sudden grief will most likely go through the following 5 stages and emotions: denial, anger, bargaining, depression, and acceptance. However, these are very strict categorizations of humans’ complex scale of emotions. The lines between these feelings are blurred (Grief is Not Linear: Navigating the Loss of a Loved One, 2023), therefore, in our project as well, we will aim to present the audience with the general impression of grief as we imagine it from a creative point of view.
Our weekly progression to arrive to this concept can be found in our ‘Progress of Meetings” blog:
The installation will be a true sense-stimulating phenomenon, with powerful sound ambiences, low-humming sounds and whispers, and abstract visual design of distorted faces, muted screams, and chaotic shapes and forms: by mixing the technique of real-time processed video footage playback and digital designs.
The showroom location will be in a closed space such as Alison House’s Atrium, to provide the necessary atmosphere of the intimate and dark characteristics of one’s innermost mind. An array of 6-8 speakers placed around the walls of the room will provide a surround sound environment, while a projector on the front will display the designed visuals.
There will be multiple (at least 5) sensors, such as a heartbeat sensor, buttons, knobs, light sensors, and proximity sensors. These will be placed around the centre of the room, for the visitors to interact with. The sensors will be built with Arduino, which will feed the data into Touch Designer to control the main audio ambience, additional SFX and the visual design.
Rather than going through the 5 emotional stages in order, it will be a non-linear journey influenced by the activity of the visitors. The starting scenario is: with no, or only a few visitors, our imaginary grieving person (abstract presentation on the projection) will be in the worst mental state (first stages of the 5). It will be in chaos, darkness and pure depression. As the number of visitors and interactions with the sensors grow, the system will gradually become more and more calmer, and eventually evolves towards the last stage: acceptance.
However, if the interactions come to a halt, the negative emotions will come back once again.
The roles of the sensors:
Humidity sensor: as the crowd grows and reduces, the change in humidity of the air will provide a smooth and slow change over time. The sensor will most likely affect the sound ambience and the amount of distortive processing on the visuals.
Heartbeat sensor: when visitors scan their heartbeat, as a symbol for supporting the other with care and love, it will be presented with a corresponding heartbeat sound and visuals
Buttons/knobs, proximity sensors, light sensors: will trigger SFX and VFX, or change a set of real-time processing parameters.
The knobs/ buttons do not have a fixed direction, such as turning left for sadness, right for improvement in mood. Instead, it would be completely random. The goal is to get the audience involved, representing the true nature of how random emotions can come and go. Of course, if the input difference is significant, the grief gradually becomes more controllable.
More detailed description of technical concept and user interface layout can be found here:
In order to create relevant sound design aesthetics for the project, Xiaole did a throughout research on audio design techniques on the theme of grief, and related art projects:
In the next couple of weeks we will aim to create more ambiances, effects, and effect parameter changes
The audio-system will be built in Wwise for the freedom of triggering and real-time processing multiple events/sound effects/ ambiances at the same time. This will be integrated into Unity, to use the given data (collected from sensors) to trigger the events. Since now we have a strong concept foundation, experienting with and building these systems will be our main goal for the next weeks.
Visual:
The visuals will be designed with Touch Designer, where the various data sources will trigger different layers/ effects
First, Isha created a moodboard to summarize our ideas for used textures, colors, saturations, figures:
After the workshop at week 4, Lydia has taken up the role of computer tech design. The sensors will be built using Arduino, which will send the data bot the Touch Designer for the visuals, and Unity for the audio. In the next week, the workload will be share between her and Isha.
The technical research and progress can be found here:
By creating a constant connection between the visitor’s input and their result on the art, the project aims to show people the impact they can leave on someone’s mental well-being. Experiencing this through ‘someone else’s eyes, while it reflects the visitors’ bodies, we are hoping to make them ask themselves whether they are truly paying attention to their own, and their loved one’s struggles. And therefore, we aim to foster a deeper awareness of emotional connections, encouraging mindfulness and active presence in their everyday life.
References:
Benkel, I. et al. (2024) ‘Understanding the needs for support and coping strategies in grief following the loss of a significant other: insights from a cross-sectional survey in Sweden’, Palliative Care and Social Practice, 18. Available at: https://doi.org/10.1177/26323524241275699.
Cohen, S. (2004) APA PsycNet, psycnet.apa.org. Available at: https://psycnet.apa.org/buy/2004-20395-002.
Grief is Not Linear: Navigating the Loss of a Loved One (2023) Veritas Psychotherapy. Available at: https://veritaspsychotherapy.ca/blog/grief-is-not-linear/.
Hạnh, T.N. (2023) Dharma Talk: True Presence – The Mindfulness Bell, Parallax Press. Available at: https://www.parallax.org/mindfulnessbell/article/dharma-talk-true-presence-2/ (Accessed: 9 February 2025).
Heaney, C.A. and Israel, B.A. (2008) Health Behaviour and Health Education. Jossey-Bass, pp. 190–193. Available at: https://www.medsab.ac.ir/uploads/HB_&_HE-_Glanz_Book_16089.pdf#page=227.
Kübler-Ross, E. (2014) On Death and Dying, www.simonandschuster.com. Scribner. Available at: https://www.simonandschuster.com/books/On-Death-and-Dying/Elisabeth-Kubler-Ross/9781476775548 (Accessed: 9 February 2025).
Smith, M. (2018) Coping with Grief and Loss: Stages of Grief and How to Heal, HelpGuide.org. Available at: https://www.helpguide.org/mental-health/grief/coping-with-grief-and-loss.
Young, S.N. (2008) ‘The neurobiology of human social behaviour: an important but neglected topic’, Journal of Psychiatry & Neuroscience : JPN, 33(5), p. 391. Available at: https://pmc.ncbi.nlm.nih.gov/articles/PMC2527715/.
My sound design is centered around the five emotional stages of the Kübler-Ross model, exploring the psychological changes that occur when people face a major loss. Each sound piece is designed to capture the core qualities of a specific emotional stage, bringing the listener into the emotional experience described by the model.
Figure 1: Kübler-Ross model (Source: Visual Paradigm, n.d.)
In the denial stage, individuals often show shock and psychological numbness, trying to protect themselves from emotional shock by avoiding reality. The core of this stage is “unreality”, as if they are in a dream that is detached from reality. The sound creates a vague auditory experience at this stage, making the listener feel as if they are in an isolated environment, symbolizing the individual’s resistance to reality and psychological stagnation. The vague background sound and short sense of blankness in the sound strengthen the stagnant state of emotion. This “unreal” auditory experience is closely linked to the emotions of the denial stage, as if the listener himself is also trying to withdraw from the reality of the outside world.
Figure 3: Anger (Source: Fezra Counseling, n.d.)
Anger is a strong outburst of emotion, with instability and confrontation. At this stage, individuals try to find external outlets to fight against the inner helplessness, and their emotions fluctuate violently. The sound shows a greater dynamic range contrast at this stage, and the sudden volume peak enhances the impact of anger. The inharmonious intervals increase the tense atmosphere, making the audience feel the aggressiveness and instability of anger in hearing.
Figure 4: Individuals are wavering between hope and despair (Source: Cardiff University, n.d.)
The bargaining stage is an attempt to regain lost control, with the individual wandering between hope and despair. This stage reflects an inner contradiction: the inability to accept reality, yet the inability to change it. The sound design of this section symbolizes the repeated attempts and failures in psychology through a looping rhythm and a faint modulated melody. The sound reinforces the slimness and impossibility of hope, immersing the audience in an emotional “self-dialogue”. In this way, the sound expresses the core contradiction of the bargaining stage: the desire for change, but the inability to do anything about it.
Figure 5: Deep sense of despair and helplessness (Source: Vanourek, n.d.)
The depression stage is the despair and helplessness deep in the heart after the individual begins to face reality. This is the lowest point of emotion, full of fear of the future and powerlessness of the current situation. The sound at this stage shows strong emotional oppression, as if an invisible weight is looming over the audience.
Figure 6: Trying to appear “normal,” but internally still
struggling to accept (Source: Psychology Today, 2017.)
The acceptance stage is not simply calm, but a compromise of inner emotions and surrender to reality. This is a complex emotional state, including superficial peace and deep worries. The sound of the work at this stage shows a subtle sense of calm, but this calmness always carries a hint of uneasiness. The subtle fluctuations and potential low frequencies symbolize the emotional residue that has not been completely eliminated in the heart. The audience experiences a complex state of balance in this emotion: no longer struggling, but not completely letting go. This sound experience highlights the emotional core of the acceptance stage – accepting reality, but not forgetting the pain.
We focus on the five stages of grief, exploring the “presence within sadness”, inviting the audience into a fully immersive experience of grief. At the same time, we pose a thought-provoking question: “How do you see yourself in it?” This encourages the audience to look inward and confront the grief they may have unconsciously ignored or suppressed.
Grief is an extremely universal emotion, yet we often choose to repress, overlook, or conceal it. Among the five stages, “anger” stands out as one of the most common and visually powerful emotional expressions. Therefore, I decided to start with this stage as the entry point for this exploration.
Anger is an intense, chaotic, and hard-to-control emotion. Smoke, with its shapeless and uncontrollable dynamic flow, perfectly aligns with the visual representation of anger. It can manifest as turbulent surges, sudden eruptions, or continuous diffusion. Each person enters this experience in their own way, and their emotional reactions are beyond our control. This sense of unpredictability is a defining characteristic of both flames and smoke.
Step 2: First Attempt
I experimented with TouchDesigner for visual presentation, as its dynamic adjustment capabilities allow for a more accurate representation of the diversity and fluidity of emotions.
I primarily used the Nvidia Flow Emitter to visualize smoke. By adjusting parameters such as smoke, fuel correction rate, and fuel values, I was able to manipulate the volume of the smoke. The human silhouette gradually deconstructs into a constantly shifting cloud of smoke, retaining its original shape while embodying a sense of fluidity and transformation.
Step 3: Further Effect Enhancement
Adding multiple noise types for layering—could it enhance the complexity and visual appeal of the smoke effect?
Step 4: Real-Time Interaction Optimization and Hardware Output
1. Attempt to connect Kinect to capture 3D body data and enhance spatial perception.
2. Heart rate sensor: Dynamically adjust the intensity of the smoke effect based on the audience’s physiological data, reflecting emotional fluctuations.
