Darrin Verhagen is a senior lecturer in Media and Communication.
Darrin teaches 'Sound and Vision', 'Score and Sound Design' and 'Art, Music and the Brain' in the School of Art. He runs the
Darrin's postgraduate research has focused on musical extremes – the delicate instability of lowercase sound for his Masters, and the brutality of Noise for his Doctorate. His soundtrack practice features music and sound designs for contemporary dance, theatre, installation, film, television and computer games. He has released over 20 albums of material internationally, traversing a range of styles, and performs his audiovisual live shows locally and internationally. He was the founder and curator of Dorobo records, which showcased Australian sound art for 15 years.
- Green Room awards: Best Sound Design/Soundtrack, Independent Theatre (M+M, Daniel Schlusser Ensemble) 2013
- RMIT (DSC) Research award 2013
For technical innovation.
- RMIT Teaching award 2012
For excellence in ten years of teaching practice aligned with industry engagement in the field of Sound Design and composition.
- 'Best Collateral Material' (silver) prize in the ANZ media awards (for Showtime Station idents) 2008
- Green Room awards:
Best Sound Design/Soundtrack, Theatre (Memory of Water, MTC) 2005
Best Sound Design/Soundtrack, Independent Theatre (Poet #7, Daniel Schlusser Ensemble) 2010
- Green Room nominations:
Best Soundtrack/Sound Design Theatre (Meat Party, Malthouse) 2003
Best Soundtrack/Sound Design Independent Theatre (Antidote, Melb Fringe) 2008
Best Soundtrack/Sound Design Independent Theatre (Life is a Dream, Daniel Schlusser) 2010
Best Soundtrack/Sound Design Theatre (The Birthday Party, MTC) 2010
- Soundtrack to 'Fine Line Terrain' (dir Sue Healey) 2003
Winner Napolidanza Italy, Reeldance Australia/New Zealand, Best Dance Film Ausdance
Darrin Verhagen studies the neurobiology of aesthetic experience, with particular interest in the multisensory.
As a soundtrack composer his research has previously focused on the sonic codes of cinema as well as the relationship between musical and environmental sound in relation to vision and narrative in theatre, dance, film, computer games, installation, jingles and earcons.
His postgraduate work in systematic musicology has used extreme genres, from the delicacy of 'lowercase sound' to the assault of 'Power Electronics', to interrogate generative theories of musical grammar and to explore the relationship between innate and acculturated responses to music.
His current doctoral research 'Noise, Music & Perception: towards a functional understanding of Noise Music' investigates:
- The traditions of environmental versus musical sound
- How traditional and contemporary experimental musical practice differ in their relationship to paralinguistic codes
- Audiovision and its effects on musical experience
- The perception of narrative in instrumental musical experience
- The effects of idiomaticism on contemporary compositional practice
In 2013 Darrin Verhagen established AkE (pron. 'ache') - a multidisciplinary research laboratory using motion simulators and 4D cinema seating to explore the relationship between sound and movement, as well as sound, movement and vision.
AkE features a dedicated team of composers, programmers, and designers, working to explore the perceptual and cognitive underpinnings of audiokinetic experience. Creative projects and research opportunities involve collaborations with choreographers, writers, directors and film makers as well as academics from a range of disciplines.
- metaphoric relationships across senses
- using movement and vibration to explore the differences between musical and environmental sound
- generating narrative frames of reference through movement and vibration
- establishing then de-coupling audiokinetic relationships
- exploring the possibility of innate (as opposed to acculturated)
- audiokinetic relationships
- relationships between paralinguistic codes and physical gesture
- the cross-modal chunking of data into phrases
- auditing 4D cinema design
- Thembi Soddell, PhD, Narratives from a Disordered Mind: Understanding Mental Illness through Sound Art Practice
- Nat Bates, PhD., Second supervisor, Sampling and the 'sound object' in contemporary Sonic Art
- Stuart McFarlane, PhD, Second Supervisor, Exploring Internet CO2 emissions as audio feedback.
- BA, Monash University 1999
- MA (Media Arts), RMIT University 2001
- Rassell, A.,Robinson, J.,Verhagen, D.,Pink, S.,Redmond, S.,Stadler, J. (2016). Seeing, sensing sound: eye-tracking soundscapes in Saving Private Ryan and Monsters, Inc. In: Making Sense of Cinema, Bloomsbury Publishing, New York, United States
- Verhagen, D. (2015). What's wrong? The sounds of danger versus hearing dangerously In: Endangering Science Fiction Film, Routledge Taylor and Francis, New York, United States
- Verhagen, D. (2015). ICONS In: On View: Icons Sydney, Australia
- Verhagen, D. (2015). I call my brothers In: I call my brothers Melbourne, Australia
- Verhagen, D.,McFarlane, S.,Brodel, T.,Paul, J.,Hunt, A.,Frost, A. (2015). Einsturzende Neubauten's Klangbewegung Maschine In: Geniale Dilletanten Melbourne, Australia
- Verhagen, D. (2015). Seven Deadly Sins In: Seven Deadly Sins Brisbane, Australia
- Verhagen, D. (2014). Evolution In: Melbourne Now: Sound & Performance Melbourne, Australia
- Verhagen, D. (2014). Audiokinetic jukebox (Faster ride in a faster machine) In: White Night Melbourne, Australia
- Verhagen, D. (2014). Ugly mugs In: Ugly Mugs Melbourne, Australia
- Verhagen, D.,Blair, W. (2014). Walking into the bigness In: Walking into the bigness Melbourne, Australia
- Audiokinetic Jukebox. Funded by: Australia Council for the Arts Research Grant from (2012 to 2013)
1 PhD (pub) Completions and 2 PhD Completions and 4 Masters by Research Completions5 PhD Current Supervisions and 3 Masters by Research Current Supervisions