Aurora Engine

Composer, Songwriter, Sonic Artist, Pianist / harpist

‘SOUNDS OF THE UNSEEN’


UNSEEN (Working Title) - an immersive performative work telling stories of unpaid domestic labour of women through sound and movement. We have been delighted to date to recieve support from Dance Base, National Theatre of Scotland and Tinderbox Lab in residency time and space to develop this work. In June 2025 we were commissioned by Hidden Door 25 to present a micro 20min version of the work to date (see photos and videos below) . We are now seeking funding to develop the piece to a tourable show, working with dramaturge, lightring and costume designer.

Photo credits @hiddendoor @chrisandhiscamera @tobytrees

listen to audios created from domestic environemnts b y deborah shaw / aurora engine

WATCH AN EXCERPT from HIDDEN DOOR JUNE 2025 (mobile phone recording)



Utilising sounds collected from everyday domestic environments the work sets out to reclaim and reimagine domestic settings, exploring what they mean to women, their ambitions, responsibilities and employability. Creating the score Deborah utilises the sounds of Hoovers, blenders, cleaning aids, blended with live instruments and voice the piece reflects the rhythmic nature of domestic work, sometimes stifling and restrictive, yet also fostering camaraderie and shared experiences among women. Deborah also visited local breastfeeding groups, collecting sounds and stories of new motherhood which informed the musical score. The project also explores how women have responded to work socially, often turning to music or singing work songs during collective labor activities, embedding archival sounds of traditional Scottish ‘Waulking Songs’ which are manipulated live using technology. 

‘Unseen’(working title) is a new work by composer Deborah Shaw, in collaboration with choreographer Katie Armstrong, which explores the often  invisible yet omnipresent unpaid labor carried out by women. Through a collection of soundscapes, song, intricate choreography and captivating visuals, this project endeavours to unveil the hidden narratives woven within everyday domesticity. The project draws inspiration from past and present statistics regarding the distribution of domestic responsibilities and explores how this dynamic affects women's lives and availability for paid work.




 ’Sounds of the Unseen’ explores through movement and the potential of interaction between the disciplines of choreography and sound composition; repetition and pattern, illusion and intricacy, the mundane physicality of the everyday and the beauty/satisfaction of order; versus extremity, through the exhaustive, excessive, laborious never-ending nature of domesticity.  The movement language explores notions of imbalance, isolation/loneliness versus collectiveness.  The sound world of ‘ Unseen’ will blend real instrumentation, vocals, harp, collected sounds, and modular synthesis.  Light and movement sensors will be used to manipulate visuals and sound. 

IMMERSIVE DELVELOPMENT

On residency out intention is do develop this into an IMMERSIVE PERFORMNCE where audiences will sit in the centre ands the performance and sound will surround. With the support of funding we hope to further deepen the immersive element, using sensors to manipulate sounds through movement, and spatial audio to encompass listyeners listeners positioned in the centre of speakers positioned in the round.





These Videos are form out recently supported DANCEBASE residency






This short video shows some development work from Tinderbox Residency in Autumn,n 2024. The centre piece uses speakers on the hands top manipulate the sound / sound positioning through rapid movement, the DOPPLER EFFECT which weak further develop.





Utilising sounds collected from everyday domestic appliances and aids, such as hoovers, blenders, washing machines, and more, blended with live instruments and voice the piece reflects the rhythmic nature of domestic work, sometimes stifling and restrictive, yet also fostering camaraderie and shared experiences among women. The project also examines how women have responded to work socially, often turning to music or singing work songs during collective labor activities.  ’Unseen’ will explore through movement and the potential of interaction between the disciplines of choreography and sound composition; repetition and pattern, illusion and intricacy, the mundane physicality of the everyday and the beauty/satisfaction of order; versus extremity, through the exhaustive, excessive, laborious never-ending nature of domesticity.  The movement language will also explore notions of imbalance, isolation/loneliness versus collectiveness.  The sound world of ‘ Unseen’ will blend real instrumentation, vocals, harp, collected sounds, and modular synthesis.  Light and movement sensors will be used to manipulate visuals and sound. Please see links in supporting examples.


******** ALL AUDIO EXAMPLES HERE ARE SCRATCH RECORDINGS - created to give an audio snapshot of how the work might develop. The audio will be developed in collaboration with Katie Armstrong Choreographer on residency in summer 2024. All recordings are 1st drafts, unmixed and unmastered.

‘Magic Eraser’

"Magic Eraser" is a composition crafted solely from the sounds of a magic eraser cleaning sponge against a mirror. Through deliberate rhythmic motions, Shaw generates a spectrum of sounds oscillating between raw, jarring tones - reminiscent of ululations and screams - mirroring moments of frustration and anger experienced in the solitary management of household tasks as a single parent and more euphoric and enchanting sounds, reflecting the gratifying, sometimes harmonious aspects of domestic chores and the joy found in nurturing and maintaining personal space. At times, the sounds mimic an animal in pain. At other times it mimics beautiful birdsong. 


‘Vacuum Carousel’

A soundwork composed mostly from vacuum cleaners, reflecting on the mundane and isolating nature of household chores. As the vacuum cleaners create an angry hum, droning vocals respond to this relentless noise, capturing the monotony and loneliness of domestic tasks.  Gradually, the din of the vacuums form a resonant chord, and the music transitions. A repetitive riff emerges from the "vacuum organ," circling in a hypnotic pattern. This motif evolves into something reminiscent of fairground music, supported by synths and beats.


Other Pieces in progress:- 

‘Linen Wings’ 

This work weaves together the delicate sounds of harp, ethereal vocals, and the sounds of rustling  sheets  drying in the wind as well as the intimate sounds of folding sheets, traditionally performed by two women. As the composition unfolds, the gentle sounds of flapping and folding sheets gradually intensify, building momentum until they seamlessly transition into the sounds  of fluttering wings. The harp and vocals dance harmoniously amidst the backdrop of swirling sheets, creating a rich tapestry of sound that transports listeners to a realm of escapism










Waulking Songs Reimagined’ (working title)

Taking traditional ‘Waulking Songs’ where women sang to rhythm  whilst making textiles in Scotland Deborah electronically manipulates historic recordings and her own vocal performance of the songs using electronics, specifically Max MSP patches which use current relevant statistics and data (info HERE)  to inform the sound manipulation.. Examples of Waulking songs can be heard HERE