While I wasn’t able to produce any notable or satisfactory results within the session, I did reflect on the nature of Audio-Visual Composition and the different kinds of thinking you can approach it with. I specifically watched the scene from Blade Runner, linked on the Moodle page, which is one of my favorite films. I then watched a similar scene in the film’s sequel, Blade Runner 2049. The most notable aspect for me was how the score seemed to seamlessly blend into the soundscape of the film after adding flourish to events happening on screen in both films. This also occurred the other way around. The sound effects used for the flying cars blended seamlessly into the score and gave it new dimensions; this is probably why the digital release of the score for the original films includes dialogue from the film. I found out through research these sounds in 2049 were created with Tibetan Mountain Horns. The implementation of musical instruments as sound design tools, which can then deepen the score the sounds are being layered over, is an incredibly rich approach that has so much potential. I noticed this too in a recent film I watched: DUNE Part II. The sound design and score within this film felt almost modular, with sound from certain scenes being resued in the score, and the sound design and scoring have a level of harmony that I haven’t really witnessed outside of a few exceptions. Having a singular musical motif in an otherworldy vocal performance by Loire Cotler to mark pivotal moments of the main character’s transformation into a god-like messiah character was very intelligent. Within this framework, the music also acted as a sonic indicator, which, through repeated application, then communicated to viewers when to recognize important character shifts within the film. As I continue to expand the world of my project sonically and visually, this is an approach and mindset that I want to carefully consider and imagine its potential applications. Being able to play off of the perception of the work itself to further immersive people in what they are experiencing is a powerful tool and one that I value both in scoring and sound design as individual practices. In a blog post written by Mangini in designing sound for Fight Club, he advises readers to “Develop an understanding of the movie aesthetic and ask how that translates to what one needs to add (or subtract). If it’s a superhero movie, maybe the big bone crunches and vegetable abuse sweeteners are a useful palette for a film where sound needs to be larger than life.” I wonder how this same ethos can be applied to a world that exists within the abstract visual/mental space of your own imagination. Both in sound design and sample recording I always find my results are more precise and rich when I have some form of imagery in mind. I would like to apply this thinking to creating my personal imagined landscapes through my own process of sound design moving forward.