Sound is immersive

​“When I found [futures] in the mid 90s. Basically, it was sort of a trans-disciplinary field, but not a transmedia one at all. So I started using sound as a companion to or as a component of theatrical manifestations of possible futures. That is to say, in order to immerse people bodily into a hypothetical scenario we needed to think about what they would be hearing, not just what they would be seeing or who they would be interacting with.”

Sound is intimate

“I think of that because I listen to a lot of podcasts and audio books, and I think the the possibility of sort of directly entering into somebody's brain or sensorium like you can they can close their eyes if you put something in front of them. But you know you've got. If you're in someone's ears, it's almost like you're in their mind. And I think that's a really interesting.”

 

Sound is immediacy

“You can have this emotional response through music without it being translated into logical sense and I think that that's really interesting. I'm not saying that's necessarily completely unique to sound, although the way that it does it is unique by definition. But I think that the possibility of evoking mood is both in a kind of literal sense, and in a more metaphorical sense, two important things if we want people to have feeling about future ideas.