The world outside your ears: Intimacy and isolation through binaural sound
Gareth Fry is an award winning sound designer best known for creating work for leading UK theatre directors (e.g. Katie Mitchell, Complicite‘s Simon McBurney, John Tiffany and Sacha Wares. He is chairman of the Association of Sound Designers.
In 2012 he was asked by Danny Boyle to design the sound effects for the Opening Ceremony of the 2012 Olympic Games. He won the 2007 Olivier Award for his work on “Waves” at the National Theatre with Katie Mitchell, for which he was described by The Guardian newspaper as “visionary“. He won the 2009 Olivier Award for his work on National Theatre of Scotland’s “Black Watch” directed by John Tiffany, and the 2008 Helpmann Award for the shows performance in Australia. His work includes 20+ productions at the Royal National Theatre, over a dozen at the Royal Court and countless more at venues such as the Donmar Warehouse, Old Vic, Young Vic and in the West End. He has worked extensively internationally, including New York, Berlin, Cologne and Dublin.
Gareth initially trained as a studio recording engineer and spent two years working for AMS Acoustics on speech intelligibility modeling before moving into theatre. He spent 4 years engineering the live sound component of BBC1’s New Years Eve broadcast and works extensively at Somerset House on their public events including the annual ice rink and the Film4 Summer Screen open air cinema. He also works as a photographer, specializing in time-lapse photography.
Virtual spaces and affect: using Virtual reality and EEG
Dorothea Kalogianni is currently a PhD candidate at the Edinburgh College of Art, University of Edinburgh, where she is also a tutor. Her doctorate research links neuroscience, digital media and sound. More specifically she investigates the affective responses that digitally mediated sonic environments have on the spatial behaviour of the users.
She has worked on responsive arts installations and has been exploring electroencephalography (EEG) technology for the creation of affective responsive environments. She received her graduate diploma in architecture from the Aristotle University of Thessaloniki (Greece) and has completed the Msc in Adaptive Architecture and Computation at the Bartlett School of Architecture of the University College of London. She is an AHRC funded student (tuition fees only) and a registered Greek architect.
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Roy Luxford is the Planning and Operations Director of the Edinburgh International Festival (EIF). He liaises with Festival Director Fergus Linehan to deliver the programme of performances across theatre, classical music and dance, during the festival. He is responsible for co-ordinating the artistic planning and technical functions, as well as leading on contractual negotiations with artists, companies and venues.
His independent company Luxford Productions was set up in 2005. He has been executive director for Cheek by Jowl, Michael Clark Company and Blue Boy Entertainment. He was producer on Dash Arts’ One Thousand and One Nights, directed by Tim Supple, which was cast and produced in the Middle East before touring to Toronto and Edinburgh.
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Robin McNicholas is co-founder & Director at Marshmallow Laser Feast. He has lived & worked within digital arts since the CDROM. Robin’s interests are routed in creating people-centered, live interactive work. Starting life at the BBC, he has worked with a wide range of people, organisations & brands including Aphex Twin, U2, Saatchi & Saatchi and Royal Opera House. He also co-founded visual art collective Flat-e and experimental alien rock ballad duo Relinquistix.
Marshmallow Laser Feast is a creative studio that explores technology to make work which reinterprets the idea of human perception. Their expertise has earned a reputation for creating the seemingly impossible—for producing installations that push boundaries, redefine expectations and excite audiences worldwide. Their work is responsive and spans kinetic sculpture, film, live performance and virtual reality.
Immersive Memories – Are Virtual Reality Archives the Future of the Past?
Lauren Moffatt is an Australian artist working between video, performance and immersive technologies. Her works, often presented in multiple forms, explore contemporary subjectivity and connected bodies as well as the limits between virtual and physical worlds. Over a number of years she has developed a body of work pivoting on stereoscopic photography and video and informed by the history of cinema and broadcast technologies.
Lauren is interested in how the dimension of depth in moving image can be used as a storytelling device. Her works have been screened and exhibited most recently at Museum Dr. Guislain, SAVVY Contemporary, FACT Liverpool, the Werkleitz Festival and at the ZKM in Karlsruhe. Lauren completed her studies at the College of Fine Arts in Sydney, Paris VIII University and Le Fresnoy Studio National des Arts Contemporains. She currently lives and works in Berlin.
Is immersion three dimensional?
Varun Nair has spent the past decade with sound, design and interactivity — on over 400 projects in films, games and advertising and music, with some of the top companies, brands, artists and production houses around the world.
He is co-founder and VP of Products at Two Big Ears, a company that develops 3D audio authoring tools and rendering technology for virtual/augmented reality, games and post-production. Since 2013, Two Big Ears has had the opportunity to work with thousands of developers and designers working in VR and AR.
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Richard Slaney is one of the Creative Directors at 59 Productions, specialising in interaction and digital design, as well as consultancy on digital strategy for arts organisations. Recent projects include Digital Revolution, a new exhibition of digital creativity opening at the Barbican Centre and ‘Lighting the Sails’ of Sydney Opera House as part of Vivid Live 2014. Before joining 59 Productions, Richard was the Head of Digital for the Philharmonia Orchestra (London) and Managing and Creative Director of Rite Digital, a digital production company owned by the Philharmonia.
Richard’s work and vision was integral in shaping the Philharmonia’s digital innovation and it is this philosophy he brings to his work at 59 Productions.
A music graduate, Richard’s previous projects include PLAY.orchestra; producing the Philharmonia’s Video Podcast series; and bespoke websites and films. In establishing the digital department at the Philharmonia Orchestra, Richard aimed to use technology to allow audiences closer than ever to the heart of the orchestra in unique interactive way.