ZHAO JIAJING
赵嘉旌
Acousmatic Compositions
Installations & Multimedia
3D Sound Studio
Project Credits
Information
2025
Composer for Theatre
Director: Xuan Ma
The project explores the story of an ordinary family in China around the turn of the new millennium, set against a backdrop of rapid economic growth, industrial transformation, and westernisation. For this work, I composed vocal scores and minimal electronic music blended with industrial soundscapes. A sense of melancholy and volatility is embedded throughout. I worked with the theatre’s surround sound system to create an immersive experience that fully transports the audience to different places.
2024
Sound Recordist & Producer for Exhibition
For this project, I recorded and produced voice transcriptions for each sculpture, projecting them within the cathedral to resonate with the immense architectural space.
Exhibited at Chiesa Di San Fantin, Venice
“Material Topology explores materiality at different scales. It magnifies the subtle changes in the microcosmic world within an immersive space, prompting the audience to contemplate the similarities and chaotic patterns among entities of various dimensions.”
The spatial sound composition exclusively utilizes material from Bryan Yueshen Wu's original sound design for the earlier installation "evolution" and is laid out based on Ke Peng's film production. The arrangement enployes a substractive methodology, reduces the weight and density of the original sound for installation, and creates a dynamic narrative that fits for linear film space. In line with the work's emphasis on topology, the spatial sound arrangement adheres to the same spirit and is customized for a half-dome ambisonic sound and projection system. Extensive spatial coordinate automation and granulization techniques were applied to synchronize with the movements of the material.
Material Topology has premiered at Future Vision Lab event at C-Lab Taiwan.
The spatial sound composition exclusively utilizes material from Bryan Yueshen Wu's original sound design for the earlier installation "evolution" and is laid out based on Ke Peng's film production. The arrangement enployes a substractive methodology, reduces the weight and density of the original sound for installation, and creates a dynamic narrative that fits for linear film space. In line with the work's emphasis on topology, the spatial sound arrangement adheres to the same spirit and is customized for a half-dome ambisonic sound and projection system. Extensive spatial coordinate automation and granulization techniques were applied to synchronize with the movements of the material.
Material Topology has premiered at Future Vision Lab event at C-Lab Taiwan.
Material Topology
2023
Arrangement and spatial sound design for audiovisual dome film
Artists: Peng Ke, Bryan Yueshen Wu
2023
Arrangement and spatial sound design for audiovisual dome film
Artists: Peng Ke, Bryan Yueshen Wu
Traces of the Wind
Co-director, Sound Designer, Performer for Theatre (as 1/3 of NOT SET Group)
Premiered at Vault Festival London
Inspired by the experience of failing to fully control my moods and thoughts while in depression, I started the research on microorganisms living in the human body and their impact on our sense of “self”, which eventually led to the questioning of human individuality and identity.
The record splits into four tracks, each corresponding to a different site where bacteria were sampled (oral & nasal cavity, gut, skin, and vagina). The sonic information for each track correlates with the composition and abundance of bacteria species inhabiting that specific body part.
Due to the limitation of the technology and our current knowledge of the bacteria, 8.8 percent of the total number of bacteria found are unclassifiable on the genus level, accounting for almost one-third of the bacteria species detected. All the DNA sequences of the unclassifiable ones were translated in a linear fashion by assigning different sound frequencies to each nucleotide with Max/MSP, creating a mysterious glitch for each species. As for all the identifiable bacteria, they were instead divided into different groups based on similar physical/behavioural characteristics, according to which sound objects were synthesised. Generative methods were extensively employed in arranging these sound objects to create an autonomous sonic microbiotic kingdom.
The record splits into four tracks, each corresponding to a different site where bacteria were sampled (oral & nasal cavity, gut, skin, and vagina). The sonic information for each track correlates with the composition and abundance of bacteria species inhabiting that specific body part.
Due to the limitation of the technology and our current knowledge of the bacteria, 8.8 percent of the total number of bacteria found are unclassifiable on the genus level, accounting for almost one-third of the bacteria species detected. All the DNA sequences of the unclassifiable ones were translated in a linear fashion by assigning different sound frequencies to each nucleotide with Max/MSP, creating a mysterious glitch for each species. As for all the identifiable bacteria, they were instead divided into different groups based on similar physical/behavioural characteristics, according to which sound objects were synthesised. Generative methods were extensively employed in arranging these sound objects to create an autonomous sonic microbiotic kingdom.
“World on a Wire” is new media theatre that follows protagonist, Stiller, who creates a mirror "virtual world." Above it exists a "real" human perspective, resulting in a "triple space" where the protagonist grapples with existential dilemmas. Set in the 1960s, the story reflects contemporary fears and hopes about reality and the future, addressing the theme of "existence" through science fiction and surreal elements.
A series of soundtracks was predominantly composed using electronic instruments, field recordings, and found sounds. The soundtrack establishes an overall mood of unreality and mystery, resonating with the plot's pursuit of reality. "Vertigo" is the most frequently used sound effect, symbolizing the protagonist Stiller's questioning of reality and descent into dizziness. "Chain Reaction" serves as the soundtrack for switching sets, utilizing a higher percentage of real sound to distinguish between different layers of realities. The theme melody, employed in various variations, outlines the mysterious mood. "club.under.ground" is an unconventional dance music piece for a dance scene, marking the beginning of the protagonist's grand escape. "Lost Memories," "Eva’s Empty House," and "In the Mist" are electro-ambient pieces designed for scenes between Stiller and Eva, the protagonist’s lover in the virtual space. These three pieces share minimalistic aesthetics and musical elements. The soundtracks conclude with “Copy Right Free,” which colors the ending with empty happiness.
World on a Wire is premiered at Wuzhen Theatre Festival and have toured around China over recent years.
A series of soundtracks was predominantly composed using electronic instruments, field recordings, and found sounds. The soundtrack establishes an overall mood of unreality and mystery, resonating with the plot's pursuit of reality. "Vertigo" is the most frequently used sound effect, symbolizing the protagonist Stiller's questioning of reality and descent into dizziness. "Chain Reaction" serves as the soundtrack for switching sets, utilizing a higher percentage of real sound to distinguish between different layers of realities. The theme melody, employed in various variations, outlines the mysterious mood. "club.under.ground" is an unconventional dance music piece for a dance scene, marking the beginning of the protagonist's grand escape. "Lost Memories," "Eva’s Empty House," and "In the Mist" are electro-ambient pieces designed for scenes between Stiller and Eva, the protagonist’s lover in the virtual space. These three pieces share minimalistic aesthetics and musical elements. The soundtracks conclude with “Copy Right Free,” which colors the ending with empty happiness.
World on a Wire is premiered at Wuzhen Theatre Festival and have toured around China over recent years.
World on a Wire
2021
Sound Design & Composition for Theatre
Production: New Youth Group
Director: Li Jianjun
2021
Sound Design & Composition for Theatre
Production: New Youth Group
Director: Li Jianjun
Wind / Memory is an improvisational soundscape piece derived from Zhao Jiajing’s sound design work for an interactive installation work under the same title by Jiuming Duan. The project explores the sonic representation of the memrories of wind. Materials employed are recordings of daily objects that with a touch of digital oscillator sound.
2021: Co-composer for Theatre – JPEG, Sleep-less
Premiered at Inside-Out theatre and toured between 2021-22
2021: Co-composer for Theatre – 1 yottabyte Leben, Guanghao Wang
Premiered at Inside-Out theatre and toured between 2021-22
2021: Co-composer for Theatre – 1 yottabyte Leben, Guanghao Wang
Premiered at Inside-Out theatre and toured between 2021-22
In spring 2021, I composed and designed sound for two theatre works exploring social media. I blended electronic noise, social media soundscapes, and ambient music in both pieces. For JPEG, I created my first multichannel soundtrack for theatre, using a quadraphonic system.
In spring 2021, I composed and designed sound for two theatre works exploring social media. I blended electronic noise, social media soundscapes, and ambient music in both pieces. For JPEG, I created my first multichannel soundtrack for theatre, using a quadraphonic system.
"A Useless Handbook of Must-See Images" is a theatre work that challenges the inevitable production and consumption of visual images. The sound design predominantly utilizes field recordings and found sounds, drawing inspiration from the rhythmic sounds of pipelines in a factory. The soundtrack forms sonic pipelines by organizing a diverse array of sound objects into rhythmic structures, gradually increasing in intensity and density over time.