Abstract
In this practice-based case study, we investigate the subjective aesthetic and affective responses to a shift from 2D stereo-based modelling to 3D object-based Dolby Atmos in an audio installation artwork. Dolby Atmos is an infinite object-based audio format released in 2012 but only recently incorporated into more public-facing formats. Our analysis focuses on the artist Sadia Sadia's 30-channel audio installation 'Notes to an Unknown Lover', based on her book of free verse poetry of the same title, which was rebuilt and reformatted in a Dolby Atmos specified studio. We examine what effect altered spatiality with an infinite number of 'placements' has on the psychoacoustic and neuroaesthetic response to the text. The effectiveness of three-dimensional (3D) object-based audio is interrogated against more traditional stereo and two-dimensional (2D) formats regarding the expression and communication of emotion and what effect altered spatiality with an infinite number of placements has on the psychoacoustic and neuroaesthetic response to the text. We provide a unique examination of the consequences of a shift from 2D to wholly encompassing object-based audio in a text-based artist's audio installation work. These findings may also have promising applications for health and well-being issues.