Underwater
A psychedelic audiovisual descent into a world that is simultaneously alien and home
We are all part of the same breath.
The underwater world feels like a hallucination - yet behind the strange shapes are creatures working, talking, and surviving, just as we do.
Electronic musician An-Ting weaves the conversations of coral, seals, and whales into a tapestry of spatial audio and Chinese verse, creating an epic landscape of deep emotion. As the sound swells, Ian Gallagher's real-time 3D pointcloud environments respond in a kaleidoscope of mind-bending patterns.
Have you heard that fish talk? If we could understand them, what might they show us about their busy lives, what might they tell us about our place in the universe?
In-Person & Digital
Underwater features An-Ting and Ian's unique, innovative hybrid format. The in-person audience will witness an immersive production, surrounded by 270°/360° projection/LED and a spatial speaker system. Simultaneously, the digital audience will download the Underwater app we are developing, join the 3D world as avatars, and interact with the performers and in-person audience in real-time.
Underwater Trailer
Ambisonic Underwater Recording
We recorded underwater sound through a self-designed underwater ambisonic recorder array, which includes four underwater hydrophones (Aquarium, H1a), a customised stainless steel set with four 3D print connectors to take the hydrophones, Tascam X6, a customised waterproof container set from Blue Robotics, and an Insta360 for visual reference.
We take the whole set to dive, snorkel, or put it at the bottom of the sea for a period time to record underwater sound. We so far have recorded in Bali, Lanyu, Norfolk, and Maui, and will continue record in more places to get a variety of different underwater sound.
Poems
These Chinese poems feature in the performance, and are reproduced here.
Excerpt from Chinese Kun Opera (崑曲),《牡丹亭》(The Peony Pavilion) by 湯顯祖 (Tang Xianzu)
不進園來 怎知春色如許
If I hadn't gone into the garden, how would I have known that the spring is like this
奼紫嫣紅
(the author invented this phrase to describe the magical mixing of different purple and red colours — there's no direct translation! The visuals for the coral in the piece is the best translation!)
AI Development
Visually — The underwater environments are constructed from AI-generated 3D point clouds. Real or AI-generated images are fed into an image-to-video model, which is instructed to move the camera through 3D space. Using structure-from-motion algorithms, these videos are converted into 3D point clouds that can be animated and interacted with in Unreal Engine. Their previous project, Lost Communications: Birds, worked at the forefront of AI-generated 2D imagery and video. Underwater extends this research into generative 3D environments.
Audio — AI supported the design of ambisonic hydrophone equipment used by An-Ting for underwater recording, advised on spatial audio systems, and generated code enabling spatial audio output directly from Unreal Engine.
Environmental Responsibilities
Underwater places environmental responsibility at its core. More than practical measures to reduce and monitor our carbon footprint, we invite the audience to resonate with marine life emotionally through immersing them in the vibrancy of nature. We believe fostering a deeper respect can support long-term behavioural change beyond obligation alone.
This strategy aligns with research in environmental psychology, identifying nature connectedness as a robust predictor of sustainable behavior. Studies confirm that inducing awe triggers self-transcendence, shifting focus from individual consumption to collective stewardship, often more effectively than data-driven guilt.
Zero-Material Production: We have adopted a strict “no-build” policy. We will not manufacture props or sets; instead, we will hire or share equipment locally for every touring performance.
Sustainable Transport: The production is designed for extreme portability. An-Ting and Ian will travel exclusively by public transport, utilising a “suitcase touring” model that eliminates freight transport.
AI Accountability: We recognise the controversy surrounding Generative AI's energy consumption. Rather than avoiding the tool, we will use the production to critically delve into this topic. We commit to tracking the carbon footprint of our digital infrastructure, including AI generation and projection, and will publish a transparent blog post to review and share our learnings.
Production Team
Creative Producer: Laura Ducceschi la@lauraducceschi.co.uk
Associate Producer: Yingnan Chu
Advisor: Kirk Woodford
Technical Advisor: Digi-Pad
Technician: He Zhang
Filmed by Joe Mannion and Sol Denker
Supported by Immersive Arts, Norwich University of the Arts and Oxford Contemporary Music
Spatial Audio supported by Aaron Holloway-Nahum, Southby Productions, and Immersive Visualisation and Simulation Lab