Sound Kitchen Taipei Schedule


All performances took place at the Taipei National University of the Arts in the Theater and Dance Building, room T2105.

 3 July, 1400h-1700h,  Session 1:

Mitja Nylund (FI)- “Chapel”

Multichannel composition of sounds recorded in the Kamppi Chapel, a lutheran chapel in Kamppi, Helsinki, also known as the "Chapel of Silence". Originally performed in Kamppi shopping mall located right next to the Chapel. The piece was an aural intervention where the hectic and loud commercials and music of the Kamppi shopping mall were replaced with rather quiet, slow and fragile sounds from the Chapel right next to it. In 2016, a four channel gallery version of the piece was performed in Tokyo Geijutsu Daigaku Gallery.


Nela Brown (UK), Roger Alsop (AU) & Tonny A (UK) - “In My Backyard”

This piece revolves around the principles of Instant composition and combines improvised sound, movement and the found visual elements from the location it'll be performed in. The stimulus for this performance is to explore the multilayered relationship between the performer, the composer and their surroundings. We plan to perform the piece remotely, and so to give the audience in Taipei a different experience from what they are used to have if they were present in the space the piece will be performed in. The idea is that the audience will have access to the live performance on their mobile phone - or on a big screen - as the piece will be streamed from a specific London location to Taipei using Facebook live.


Tao Chiang (TW) - “Imaginary environments for dance and puppetry”

This is a collection of sonic and musical elements created for several different productions. "MILKY" is a piece of dance theatre contemplating the themes of travel and the cosmos. "Traveling around Taipei with Garbage Trucks" is a street performance involving puppets made from trash. "While you were Sleeping" is a children's object theatre where a child's room comes alive. Elements created for these past works, mostly atmospheric in nature, are rearranged and layered into a new narrative suggesting an imaginary journey through evolving soundscapes and fictional creatures.


4 July, 1400h-1700h,  Session 2:

Wonhee Shin (KR) - “Nine Tales”

The opera NINE TAILS is written about Korean traditional tale and composed by 4 different writers.
1. How composers make music with Korean traditional tale through western musical style.
2. How four composers cooperate to make an opera together.


Nick Erickson (US), Hong Ji (CN) & Yiran Zhang (CN) -“Sonic Limb”

Three members of Carnegie Mellon University’s sound design for theatre MFA will be collaborating on an interactive musical composition system that uses gestural control and audience participation to trigger events and control effects and the placement of sounds in space.


Roger Alsop (AU)- “Sounding Finnegan’s Wake”

An excerpt of a sound art work based on Finnegan’s Wake where the sonic aspects of computer text readings of it. This is part of a longer work where the entire text will be developed into a multi speaker immersive sound work.



Cheng Lee (HK) - “The City, The Journey”

no information available


1800h-2100h, Session 3:

Jessica Greenberg (US)- “Phantasmagoria”

PHANTASMAGORIA is a non-linear retelling of the life of author Mary Shelley and the creation of her famous novel Frankenstein. The script leaps back and forth between the historically accurate world of Mary and the world of her fictional Frankenstein’s Creature. Beethoven is the music of Mary’s world, with samples played on historical instruments such as the forte piano. The world of Frankenstein’s Creature is droning, percussive, and reverberant. As the Creature takes over, I incorporated melodies that have a classical structure, then distorted and stretched them, and layered them with deep bass rumbles and droning tones.


Jing Yin (CN) - “Halloween”

Originally designed for a immersive Halloween theme show, Halloween aims to get the audience excited and get their heartbeats and breathing irregularly with the pace changing and dramatic soundings.



Tzu-Chi Wu (TW)- “Nightmare”

The storyline of the production is based on MACBETH by William Shakespeare. Director used some key words and the spirit from the script to create and new story that people will interested in, and I created a complete narration according to the keyword. In the beginning, two people on the stage walk slowly, and wear clothes, which are symbolic of bound from daily life, and then people start to face with kinds of relationship during their life journey. After the arguments and conflicts, people find out the answer to live. I tried various of sound textures to explain the different challenges people encounter and the emotion people convey.


Daniel Belton (NZ)- "ONEONE"

Extracts from the production ONEONE performed live.


Rick Thomas & Purdue Team (US)- “Choices theEDMatre”

thEDMatre is the hottest club in town. It’s theatre like you’ve never experienced before. It’s a party. And it’s the most intense experience you will have at WSD 2017. Choices brings the concert version of a new marriage between Electronic Dance Music and Theatre to Taipei. Immersive and loud, this live performance will turn the heat up high in the Sound Kitchen.


5 July, 1400h-1700h, Session 4:


Roger Mills (AU) - “Sonic Autopoiesis”

 Sonic Autopoiesis is a telematic sound performance that mixes and processes live sound streams from global webcams in realtime. Each webcam produces an indeterminate soundscape of sonified local actions and events that are layered and processed in a DAW with additional analogue signal processing. The sound mix utilizes the glitches and network detritus of the webcam streams, which by their nature quite compressed and fluctuate in quality depending on the variability of network speeds. It is envisaged that raw material will be combined with new field recordings from sound/webcams in Taiwan, and/or an external microphone from the Sound Kitchen event to generate a new mix for the performance.


Mojo Woo (TW) - “Water”

t's called Water(水), which is the background music of the last part of Eat(吃), the second act of the play Apple Story(樂園2014). This play is about human desires, especially the primitive ones. The second act, Eat, is comparing sexuality to appetite, and using the imagery of water to imply the process of having sex and getting climax. The sound begins with whispers, which share the secrets and tickle the ears, somehow sounding intimate just like the foreplay between two people. Then the whispers transform to a sound more like a stream or liquid or even splashing water, which is concerned by as the most important element during sex, according to the director of this play. Then there is the holy soprano sound, for sex makes people feel sacred if it feels so right. The music finally ends with noises representing the wildness, several explosions representing the orgasm, and the breaths and the quaking body after all things happened.


Jorg Schellekens (NL) - “Attam Attam”

I originally developed this piece for a dance piece called 'Matta Matta' which premiered at Dansstationen in Malmö (Sweden) in September 2016. For the soundscape of this piece the choreographers wanted all sound to have a starting point within the performance setting itself. The choreography was for an audience of children aged 6 and up. As the name ('Mat Mat' in English) already suggests the performance made use of several mats. These mats are the kind used in gymnastics: two huge ones and several smaller ones creating all kinds of kinetic scenery when handled by the dancers. I started with a collection of recordings made of these mats: dropping them, sliding them, crunching them, et cetera. These samples became the base layer for the soundscape compositions. Part of the composition was made up of these 'found sounds' in a musique concrete inspired way: using them as they are but making music out of them by arranging them in specific ways. Other layers use these sounds but with processing ranging from gentle to extreme. Some of the extreme manipulations make the original sound (almost) unrecognizable but are still very much related to it. Then there was a layer of sounds not coming from the mats themselves but coming from auditory associations caused by the recordings. (For example the dragging of a mat sounding like a brush on a snare drum which leads to a drum rhythm.) For Sound Kitchen I would like to play a new adaptation to be made of my Matta Matta pieces. The basic material would include the original mat samples but I would also like to sample some things live and if time permits also incorporate sounds found in Taipei.


Erik T. Lawson (US) & Joe Pino (US) - “Expected Silence”

Expected Silence is a live sound performance exploring the unique qualities of early spaceflight. The project examines the contrast between the precision of mission control, scientific experimentation, and the captivating beauty and grace associated with human space exploration. The piece illustrates the timeline and flight log of Astronaut Alan B. Shepard’s 1961 Mercury-Redstone 3 (Freedom 7) mission with a combination of performance-oriented sound design hardware and software.


Seth & Heather Warren-Crow (US) - “Exonumia”

Exonumia is a collaborative reworking of Heather Warren-Crow’s Swan Divin’ Into a Tub of Scratch (2016), a semi-improvisational experimental performance that explores cultural attachments to the materiality of money and money-substitutes. In both everyday life and media culture, we continue to embrace the “body” of legal tender even after financial transactions have largely become computerized, virtual—consider cartoon character Scrooge McDuck’s memorable dive into a pool of coins, photographs of award winners posing with giant checks, online discussions about the delicious smell of new credit cards, and research on the relationship between worker productivity and the smell of money. Repurposing audio material from its predecessor, Exonumia situates playful text addressing the materiality of legal tender within an evolving musical landscape of samples, synths, live audio, and loops. Equally inspired by improvisational music performance and composed theatre, Exonumia takes the audience on a virtual audio tour through the warm, fuzzy, cold, and dank corners of capital that refuses to stay virtual.


Roger Alsop (AU) - “Acoustic AV Laptop”

The Acoustic AV Laptop which uses the acoustic qualities of a laptop are used to form a controllable feedback loop which can be mediated by the performer, and which effects the shape of images generated on screen.

6 July, 1400h-1700h,  Session 5:

Roger Mills (AU) - "Tele-Improvisation: Cultures of Sound in the Online Global Jam Session"

This session presents audio-visual material from recent online performances by the telematic music ensemble, Ethernet Orchestra. Excerpts are drawn from research exploring the creative, social and phenomenological characteristics of telematic improvisatory music making. Specifically, the work examines the ways in which cross-cultural musicians perceive intentionality and causation in tele-improvisatory music and sound. The presentation outlines some of the findings of the project and how they can inform our understanding of wider practices in geographically displaced collaboration.



Anj Enriquez & Brendan Apuan (PH)- “Rollercoaster Of Emotions”

This work takes on a “sensory and personal inventory” way in designing this track. Focusing more on the high and lows of one’s feelings or emotions. By this type of design, we want to establish a memory recall and a reminder of what they are now experiencing to what they’ll soon be facing. Comparing one’s life points to a rollercoaster ride, we based all our design through the experiences we’ve had. We want to give the people the experience of riding their own rollercoaster of emotions through sound.


Jorge Hernández Jiménez-Smith (MX) & Yao Liao (TW) - “The Mushroom Head”

The Mushroom Head was the creation of large wearable sculptures that resembled mushrooms. People were invited to use the heads and thus, rather than just seeing a performance, they became the performance. Inside the mushroomheads, the people listened to an audio track that featured two theatrical monologues; one, a very soothing and calming text and, a second one, with a text more in the line of a Beckett-like stream of consciousness. This was mixed with music and rhythm that was similar to that of a heart-beat.


About the Sound Kitchen 2017 team:

Brad Ward (Project Leader) is a New York City based Sound Designer and an Audiovisual/Theatrical Systems Designer. Brad has been a long-time member of OISTAT Sound Design Group, USITT Sound Commission, founding member of Association of Sound Designers(UK) and founding member of Theatre Sound Designers and Composers Association(US). Brad’s work has been exhibited at WSD each year since it’s inception in 2005. Please visit to hear some of Brad’s work.

Nela Brown is an award-winning Croatian musician, sound designer, researcher and educator based in London where she designs for contemporary theatre, dance, interactive installations and documentaries as well as exhibiting her electroacoustic work. She also is a part of events like Music Tech Fest, Campus Party, Sonar, World Stage Design, G.Hack(founder), and FLO(founder). Please visit and to hear some of Nela’s work.

Dr. Karen Lauke is a professional composer, sound artist and designer. Her research focus is primarily in experimental music and sound for theatre, installation, live performance and exhibition. Karen’s work seeks to explore the multi-disciplinary relationship between musical composition, text, space and the visual image.

Don Tindall is an Ithaca, NY based Sound Designer and associate professor of sound design at Ithaca College. Don is an active member of the OISTAT Sound Design Group, USITT, and TSDCA. He also served as the sound design curator for the USA Scenography exhibit at the 2011 Prague Quadrennial and as the USITT Sound Commission’s Vice-Commissioner for Health and Safety from 2007-2015.