Project Rationale and Aims

This project explores the distinctive soundscape of snooker and develops it into a cross-media artwork. Snooker is a sport defined by silence, concentration, and subtle sonic cues. The click of balls, the gentle movement of players, the sound of chalk on the cue, and the focused ambience of the room all form a sound world that is rarely examined creatively.

The project has three core aims:

• To capture high-quality field recordings that represent the rhythm and tension of snooker.
• To collaborate with a visual artist or independently produce a simple visual element to create a short audio-visual piece or installation.
• To highlight the cultural value of snooker’s soundscape by presenting it in a creative context that encourages deeper listening.

The intention is to reinterpret the sensory atmosphere of snooker, not simply to document a match. The project reframes familiar sounds as artistic material.

Artistic, Social, and Cultural Relevance

This project sits within contemporary sound art, where everyday sounds are reframed to reveal new emotional or cultural meaning. Snooker’s quietness makes it particularly suitable for this approach, as the sport’s identity relies heavily on subtle sonic details that often go unnoticed.

Snooker also aligns with current cultural interests in calm, meditative media such as ASMR, field recordings, and minimalist soundscapes. Presenting snooker sounds in an artistic form may appeal to both fans of the sport and audiences who enjoy ambient listening experiences.

The project also challenges the conventional hierarchy of sports broadcasting, which typically prioritises visuals. By placing sound at the centre, the project invites reflection on how listening shapes emotional engagement. From a social perspective, this work connects different communities: sports audiences encounter art, and art audiences discover an overlooked aspect of sporting culture.

Snooker’s cultural relevance in the UK and Asia further supports the project’s impact. Many people recognise the sound of a clean pot or a tense pause before a shot. By isolating and reshaping these moments, the artwork offers a new way to appreciate a familiar sport.

Technical and Logistical Feasibility

The recording phase is achievable using university equipment such as a Zoom recorder and a selection of microphones. Test sessions will help determine the best microphone placement, gain settings, and room acoustics. A local snooker club has agreed in principle to allow recording during quieter periods. If background noise becomes a significant issue, a controlled recording session with staged play will be arranged.

Collaboration with a visual artist is planned, and initial discussions with two Film students have been positive. If collaboration is not possible due to scheduling, I will independently produce a simplified visual component using still images, motion graphics, or carefully edited slow-motion clips. This ensures the interdisciplinary requirement remains achievable.

Editing will be completed in Adobe Premiere and audio software available through the university. I have experience with these tools from previous coursework and collaborative projects. All required equipment and software are accessible at no cost, and the venue has agreed to allow recording without fees, making the overall budget minimal.

Integration of Peer and Tutor Feedback

Feedback from peers and my tutor significantly shaped this proposal. Several classmates asked for clearer examples of what the final audio-visual piece might look like. In response, I refined the project outcomes and provided specific options such as a short film or a simple installation.

Tutor feedback emphasised the risk of relying entirely on a collaborator. To address this, I developed a realistic backup plan that allows me to complete the visual component independently if needed. This ensures the project remains feasible under different circumstances.

Peers also recommended focusing on a smaller set of distinctive snooker sounds. I refined the sound list to include cue impacts, potting sounds, table ambience, and subtle crowd reactions. This sharper focus will help maintain artistic clarity.

Another helpful comment involved pacing. Snooker’s rhythm can feel slow, so I plan to balance calm atmospheric moments with sharper sound events to maintain engagement. The conceptual direction has also been refined: the final piece will explore themes of tension, precision, and concentration. These themes naturally emerge from snooker but also have broader human relevance.

Finally, feedback highlighted the importance of allowing enough time for editing and revisions. I adjusted the timeline and added peer-review sessions before final delivery.

Personal Expertise and Skills Development

My background in sound design, field recording, and audio editing provides a strong foundation for this project. Previous coursework involving location recording and documentary-style editing has equipped me with practical skills in noise management, microphone technique, and constructing narrative flow.

I also have basic video editing experience from assisting on a short film. This helps me communicate effectively with collaborators from visual disciplines and provides the skills needed to produce simple visuals independently if required.

This project will further develop my critical listening skills, particularly in identifying small variations in sound that influence mood and meaning. It will also strengthen my ability to manage a production timeline, coordinate with collaborators, and adapt to unexpected challenges. These skills are essential for future professional work in audio and media production.

Methodology and Timeline

Weeks 1–2: Research and development

Gather references in sound art, review existing snooker sound projects, and identify key target sounds. Conduct informal conversations with players or club staff to understand practical considerations.

Weeks 3–4: Pre-production

Secure permissions, scout the venue, plan technical setup, and confirm collaborator involvement if applicable.

Weeks 5–6: Recording

Carry out two recording sessions: one to capture authentic ambience and one controlled session to capture clean, close-miked sounds. Take observational notes on acoustics and movement.

Week 7: Logging and sample selection

Organise recordings, label clips, select clean samples, and complete basic noise reduction where necessary.

Weeks 8–9: Audio editing

Construct the main sound piece and share a draft version with peers for feedback.

Weeks 8–11: Visual production

Develop the visual component through collaboration or independent work, depending on availability.

Weeks 10–11: Integration and refinement

Synchronise audio and visual elements, refine pacing, create alternate versions if needed, and review with tutor.

Week 12: Documentation and submission

Prepare written documentation, appendices, and finalise the project for submission.

Evaluation and Expected Outcomes

The project will be evaluated based on how effectively the final audio-visual work meets the original aims. The clarity of the concept, the quality of the recordings, and the coherence of the cross-media integration will be key criteria.

Peer-review sessions will provide valuable feedback on pacing, engagement, and artistic impact. This qualitative input will help refine the final piece and ensure that it works as more than a technical exercise.

An additional outcome is the creation of a curated sound library of snooker recordings. These sounds may be valuable for future student projects or personal portfolio use, demonstrating advanced field recording skills.

Whether completed collaboratively or independently, the project will strengthen interdisciplinary communication, creative decision-making, and problem-solving. The expected final outcome is a short audio-visual work that presents snooker in a new and engaging way, encouraging deeper listening and showcasing the artistic potential of everyday sound environments.

Risk Assessment and Contingency Plans

• Collaborator becomes unavailable: produce simplified visuals independently.
• Poor audio quality: conduct an additional session or use noise-reduction tools.
• Scheduling or venue issues: secure an alternative snooker hall or stage controlled recordings.
• Equipment or safety concerns: test equipment beforehand and follow standard safety practices.
• Time pressure: reduce the complexity or length of the visual component.
• Audience engagement issues: adjust pacing based on feedback from peer-review sessions.

References (Harvard Style)

Acoustic Nature (n.d.) Lowest Self Noise Microphones for Field Recording: A Helpful, Comparative List. Available at: https://acousticnature.com/journal/lowest-self-noise-microphones-field-recording-comparative-list (Accessed 20 Nov 2025).

Brennan, M. (2025) Project timeline: How to create, manage, optimize & more. Teamwork.com Blog. Available at: https://www.teamwork.com/blog/project-timeline/ (Accessed 18 Nov 2025).

CNW Media (2022) The Sound of Snooker. Available at: https://cnwmedia.pl/portfolio/the-sound-of-snooker/ (Accessed 18 Nov 2025).

Durrant, P. & Kennedy, E. (2007) Sonic sport: Sound art in leisure research. Leisure Sciences, 29(2), pp.181–194.

Independent Society of Musicians (n.d.) Music Risk Assessments – Advice for Musicians. Available at: https://www.ism.org/advice/risk-assessments-for-musicians (Accessed 20 Nov 2025).

The Sonic Memorial Project (n.d.) SonicMemorial.org. Available at: https://sonicmemorial.org (Accessed 17 Nov 2025).

Waring, M. (2025) How Snooker Influences Popular Culture and Media. SnookerHub. Available at: https://snookerhub.co.uk/how-snooker-influences-popular-culture-and-media/ (Accessed 17 Nov 2025).