Authors: Ben Challis; Rob Dean
Addresses: Department of Contemporary Arts, Manchester Metropolitan University, Cheshire Campus, Crewe Green Road, Crewe, Cheshire, CW1 5DU, UK ' Cardiff School of Creative Industries, Atrium, 86–88 Adam Street, Cardiff, CF24 2FN, UK
Abstract: Using a series of reflective case-studies, the role of the Foley artist is reconsidered alongside technological innovations in both digital sound manipulation and physical computing. Through a series of theatrical productions and collaborations Challis and Dean have explored the sonic and dramatic possibilities created by the utilisation of digital technology in a live performance context. In this article, a variety of approaches to electronic sound-production and control are described along with first-hand reflections on the expressivity and control that are offered by each within a context of live drama. Their current project is a multimedia adaptation of the novel and film Metropolis where the aural accompaniment will be performed live using a range of adapted and purpose built sonic triggers. In defining digital-Foley, design considerations and key principles are outlined that can enhance the connectivity between the sound-artist and the sonic-landscapes they create.
Keywords: digital technology; theatre; drama; liveness; electronic sound; sound artists; music; digital-Foley; live performance; Foley artist; technological innovation; digital sound manipulation; physical computing; expressivity; multimedia adaptation; sonic triggers; sonic landscapes.
International Journal of Arts and Technology, 2014 Vol.7 No.4, pp.339 - 355
Available online: 21 Dec 2014Full-text access for editors Access for subscribers Purchase this article Comment on this article