In and Of The Sea
“What we do to the oceans matters, because the ocean is not separate from us.”
Sylvia Earle
An immersive audio-visual installation
Stephanie Van Reit & Yuval Gur
IN AND OF THE SEA is an immersive installation created in collaboration with the National Oceanic and Atmospheric Administration (NOAA). The work examines underwater sound pollution by treating the ocean as an acoustic environment under pressure, where sound is essential for communication, navigation, and survival.
The project combines underwater recordings, original multichannel composition for 25 stringed instruments, sculptural environments made from bio-plastics, and a third order ambisonic sound system. Together, these elements form a navigable space where sound behaves not as atmosphere, but as force, interference, and occupation.
The Music
At the core of IN AND OF THE SEA is a sound environment shaped by both composition and ecological reality.
Ocean sounds were captured using hydrophones at the surface and at depths of 25 and 50 feet in Boston Harbor and its surroundings. These recordings include both natural underwater activity and persistent human-made noise, forming the spectral and spatial foundation of the work.
They are interwoven with a 7.5-minute composition for 25 stringed instruments, recorded in separate channels and distributed through a third order ambisonic array at The Studio for Research in Sound and Technology (SRST) at RISD.
Humpback whale recordings provided by NOAA are embedded throughout the piece. These sounds are not presented as isolated or symbolic elements, but as fragile signals navigating an increasingly saturated acoustic field.
The collaboration with the National Oceanic and Atmospheric Administration was foundational to the development of IN AND OF THE SEA. NOAA provided a curated archive of whale recordings as well as ecological and scientific insight into underwater acoustics and the impact of sound pollution on marine life.This partnership grounded the work in real environmental conditions. Rather than illustrating scientific data, the installation translates it into an embodied listening experience, allowing audiences to sense the pressures, masking, and acoustic congestion that define contemporary ocean soundscapes.
The project developed through an extended process of research, field recording, composition, and spatial design. Underwater recordings captured at multiple depths informed both the musical material and the movement of sound through space.After composing and recording the string ensemble, the piece was mixed as an ambisonic environment designed to simulate depth, proximity, and acoustic saturation. Lighting was programmed to interact with the music, shifting between illumination and darkness in response to density and intensity.Sculptural elements crafted from bio-plastics form an underwater-themed environment that visually echoes the sonic conditions of pressure and fragility. Sound, light, and material operate together as a single ecological system.