Issue
129
Sound Design: Notes Toward a Practice
Moving the Furniture
ANDREAS KAHRE interviews Peter Hinton, Head of English Theatre at the National
Arts Centre in Ottawa, in which he muses on the hierarchies of sound and meaning
in the theatre, and on the limitations of his personal “DJ” technique of sound design.
Tiny Heartbreaks and the Electric Creative Body
NOAH DREW, one of Vancouver’s most prolific sound designers, speaks about his
experience as a “service provider” and about the moments that make it worth having
one’s heart broken.
Electric Sound: Collective Creation and Sound Design
Co-founder of the Electric Company, sound designer and teacher DAVID HUDGINS
describes the Electric Company’s road from first sound sketch to final collective
creation.
Kenaxis and Diamond: Tools for Theatre Artists
Composer, software designer and improvising performer STEFAN SMULOVITZ
describes the process that led him to design a simple, interactive playback system
that is available for download. Free shareware!
Still Ringing: Sounds Collaborative
BRUCE BARTON describes the work of Bluemouth Inc. soundscape artist Richard
Windeyer, and queries the relationship between his sound installation work and his
contributions to the company’s collective, site-specific productions.
Into the Woods: Excavated Journal Entries from a Tent East of Peterborough
During the summer of 2006, SUE BALINT joined a group of artists and researchers in
developing a rural site where Asterion, part of R. Murray Schafer’s Patria Cycle, will
eventually be staged. She describes life inside Canada’s largest sound installation
and the thoughts that come to one at night, in a tent, listening to the roar of the
world.
One River (running …): Hybrid Space – Open Composition for an Immersive
Environment
ALEKSANDRA DULIC, KENNETH NEWBY and MARTIN GOTFRIT describe the
process of designing an installation work that integrates computational media and
narrative elements in a “braided” dramatic model. One River (running …) is an
example of sound design as a central component of an immersive environment that
combines performance, improvisation and interactive media.
Intelligent Instruments for Situated
Media Performance
Based on their work on immersive sound
environments such as One River (running…), KENNETH NEWBY and ALEKSANDRA
DULIC outline a conceptual framework for
the design of an intelligent performance
instrument.
Outside the Black Box: Sound Design
in Non-theatre Contexts
Sound designer and electro-acoustic
composer DARREN COPELAND considers
the relationship between sound design
for theatre and designing audio-based
installation work in a gallery or sited
context.
Audience Is a Verb: A Conversation
with Darren Copeland
Composer, audio theorist and sound
designer MATT ROGALSKY talks with
Darren Copeland about sited sound and his
recent audio installation work Playing for
the 401.
Script
Tiger of Malaya
Hiro Kanagawa
VIEWS AND REVIEWS
Claybank Voices: The specifi city of (T)here by
ELLEN MOFFAT
Creating the Installation Artwork Strata for
Crossfiring: Immersive Interactivity with Sound by
CHARLIE FOX
Voicing Individuality: Creating a Hybrid Identity
in First Nations Theatre. Review of Two Plays by
Darrell Dennis; Wawatay by Penny Gummerson;
Birthright by Constance Lindsay Skinner Adapt.
Joan Bryans. by MELANIE BENNETT
Shared Histories and Collective Stories. Review
of Tightrope Time by Walter Borden; da Kink
in my hair by trey anthony; In the Freedom
of Dreams: The Story of Nelson Mandela by
Michael A. Miller; Exile in the Cradle by Lorne
Shirinian; Scorched by Wajdi Mouawad, trans.
Linda Gaboriau; This Night The Kapo by Robert
Majzels. by HEIDI BICKIS
Modern Jewish Plays, ed. Jason Sherman. by
HEIDI BICKIS
Nature, War and Will: New Plays from the Past.
Review of Belle Moral: A Natural History by Ann-
Marie MacDonald; Letters in Wartime by Kenneth
Brown and Stephen Scriver; Shakespeare’s Will
by Vern Thiessen. by WENDY PHILPOTT
