The Submission

The submission deadline sat at the end of this week. Everything that had to exist already existed. What remained was finishing, packaging, and handing over. The project had been running for four months. The last five days were about stopping cleanly rather than building further.

THE THREE DELIVERABLES

Three separate artefacts were submitted together. Each one documents the project from a different angle and none of them replaces the other two.

The native desktop application is the project itself. Python with ModernGL for rendering, MediaPipe for hand tracking, OpenAL for spatial audio, the PIC/FLIP fluid solver running on the GPU. Bugis Interior and East Coast Park Interior both operational. Thirteen audio tracks per region feeding the force field. The full experience of walking into the taxi, choosing a district, and having the sonic identity of that place become visible in front of the viewer. This is the thing the research produced.

The Catalogue of Making is the web site that translates the native app for anyone who cannot run the Python build. Three Outcome sections with Hero Films and Sound pages, five Making sections explaining how each part was constructed, forty-one audio tracks presented with real-time waveform visualisation. All of it runs in a browser, at roughly ten percent GPU usage across a session, with IntersectionObserver gating every media component so only what is in the viewport consumes resources. This is the thing that carries the project beyond the hardware that produced it.

The Creative Project Journal is the process record. Sixteen weeks of documentation with the failures preserved alongside the successes. An Architecture page showing the complete system view. Bilingual English and Korean on every page. Every major decision dated, reasoned, and connected to the weeks before and after it. This is the thing that shows how the other two things came to exist.

The dissertation was submitted earlier, at the end of February. The current week closed the remaining three artefacts.

WHAT WAS CHECKED BEFORE SUBMISSION

Packaging the native app took longer than expected. The build depends on specific Python versions, specific ModernGL binaries, specific asset paths. A final clean install was tested on a separate machine to confirm that the zipped package runs end to end without the developer’s environment quietly supplying something. One missing shader file found this way. One audio path fixed after it broke on a different drive letter. One MediaPipe model file re-added after being excluded by the gitignore.

The Catalogue was built for production with Astro, uploaded to Netlify, and tested on three browsers. Chrome, Safari, Firefox. The IntersectionObserver gated video playback held on all three. The Web Audio API waveform rendered correctly on all three. The single-audio constraint across Bugis and ECP Sound sections worked on all three. The file-size warnings that appeared during build were all from the Three.js chunks that only load when their components enter the viewport, so initial load remained under sixty kilobytes gzipped.

The CPJ was walked through week by week. Every link on every page tested. Every image confirmed to load. Every Korean translation cross-checked against its English original. The Architecture page and the Info page were read once more from top to bottom. Week 15 was added earlier this week. Week 16 is this entry.

WRITING THIS ENTRY

This is the entry for Week 16 appearing in the CPJ during Week 16. The CPJ now documents its own final week inside itself. Writing about a site while the site is what you are writing on creates a recursion that cannot fully close. What the reader is reading at this moment is among the last sentences added before the project is handed in.

Every earlier week in this journal was written about a time that was already past. Week 3 was written after Week 3 was over. Week 14 was written after the god rays and the bioluminescent particles were already in place. Week 16 is the only entry that was written while its own subject was still happening. The submission described here had not happened at the moment the first word of this entry was typed. By the moment the entry is read by an examiner, the submission will be complete.

WHAT THE SIXTEEN WEEKS PRODUCED

The project began in Week 1 as a question about how to visualise Singapore’s noise. It ended in Week 16 as a working installation that lets a viewer step into a simulated Singaporean taxi, choose one of two districts, and experience the sonic identity of that place through fluid that moves with the sound of the place itself.

Between those two points were fifteen weeks of decisions. The Three.js prototype was abandoned in Week 3. The native app was built from zero in Week 4. The dissertation was written across Weeks 5 and 6 and finalised in February. The MRT station was replaced by a first-person taxi in Week 9. The Bugis interior was wrapped around religious coexistence in Week 10. The PIC/FLIP particles were coupled to audio in Week 11. The project was shown publicly for the first time at Open Studios in Week 12. East Coast Park was added across Weeks 13 and 14. The Catalogue of Making was built in Week 15. This week closed it.

What survives the submission is not the four months of work. It is the artefacts that result from the four months of work. The dissertation sits in the records as a written argument. The native app does what the project set out to do. The Catalogue carries the project to any browser. This journal explains how all of them came to exist. The work is complete.

FINAL RESULT · END-OF-WEEK STATE

End of Week 16. The dissertation submitted in February. The native desktop application, the Catalogue of Making, and this journal submitted at the close of this week. Four months of work closed into the deliverables that will represent the project from here onward. Where Sounds Breathe now exists as a finished work.