My future aspirations are also deeply shaped by two specific thematic threads from my BA: therapeutic sound and social critique. In my second year, I focused on how sound can heal—using traditional instruments like singing bowls and rain tubes alongside electronic frequencies analysed for their neurological effects on relaxation. In my final year, I turned to feminism and socially overlooked uneconomic labour. These are not separate interests. They are the same question: how can art intervene in human suffering, whether internal (mental health) or structural (invisible labour)?
This question will guide my postgraduate studies. I want to pursue a design-focused master’s programme—potentially in interaction design, speculative design, or social design—where I can take my sound art foundation and redirect it toward tangible products, systems, or experiences. For example, I am already imagining how therapeutic sound protocols could be embedded into wearable design or how uneconomic labour could be made audible through multichannel installations in public spaces. The course gave me the technical tools—Pure Data, Ableton, multichannel setups—but more importantly, it gave me permission to treat sound as a serious medium for social intervention.
My peers influenced this direction enormously. Collaborating with a dancer in my second year taught me that therapeutic sound is not just about frequencies; it is about bodily reception. Watching that dancer respond to singing bowl vibrations changed how I understood empathy in art. Similarly, discussing feminism and labour with classmates from Hong Kong and London sharpened my ability to critique quietly—not through shouting, but through precise, incisive installation.
Looking ahead, after my master’s degree, I see myself working in a media or design company in mainland China or Hong Kong that takes social responsibility seriously. Beyond the companies mentioned earlier, I am also drawn to Can Liu Design (Shanghai), United Design Lab (Beijing), or Hong Kong’s One Bite Design, which often works with community narratives. Ideally, I would join a team that designs public-facing digital or physical experiences—museums, wellbeing apps, interactive exhibitions—where my background in therapeutic and critical sound can be directly applied. I am not interested in purely commercial work. I want my future employer to share my belief that design can heal and critique simultaneously. That belief was forged in my sound art course, and I will carry it into every application, every interview, and every project ahead.