Letter to the World
Format
Interdisciplinary performance and participatory installation
Role
Sound design, sound score, interactive audio system
Direction and Creation of the project
D. Chase Angier, Markéta Fantová, Evelyne Leblanc-Roberge
Iteration
7th edition
Research Overview
Letter to the World is an ongoing interdisciplinary project centered on collective expression, presence, and public address. During its seventh iteration, I collaborated as sound designer and technologist, contributing the sonic architecture of the work through custom-built sound objects, an original sound score for the film component, and the development of an application that allowed audience members to record their own letters in audio form.
The project positions sound as both an expressive and archival medium, enabling personal statements to circulate within a shared performative space. My contribution focused on creating systems that could support intimacy, clarity, and responsiveness while remaining materially and conceptually integrated into the larger work.
Read more about Letter to the World project at the official website here
Context
This iteration of Letter to the World expanded its participatory dimension by incorporating audience voices directly into the sonic fabric of the project. Rather than functioning as passive listeners, audience members were invited to contribute spoken letters that became part of the work’s evolving sound environment.
The collaboration required sound systems capable of operating simultaneously as instruments, playback devices, and recording interfaces, while maintaining a strong physical presence within the space.
Research Focus
The work explored how sound can function as a vehicle for personal testimony within a collective framework.
- How can sound design support vulnerability and attentiveness in participatory contexts?
- What does it mean to listen to voices addressed to an undefined or collective “world”?
- How can custom-built technologies encourage contribution without imposing performative pressure?
- How does recorded voice shift meaning when placed within a shared sonic environment?
Methodology and Process
My contribution combined sound design, system development, and compositional work. Custom-built sound boxes were designed and constructed to function as both playback and spatial sound elements. These boxes were conceived not as neutral speakers but as physical objects with presence, shaping how sound was perceived and localized within the space.
In parallel, I composed the sound score for the film component of the project, developing a sonic language that could coexist with spoken voices without overpowering them. The score emphasized space, pacing, and restraint, allowing moments of silence and breath to remain audible.
An application was developed to enable audience members to record their letters directly in audio format. The design prioritized simplicity and accessibility, allowing participants to focus on the act of speaking rather than on the technology itself. Recorded letters were then integrated into the sound system, extending the project’s temporal and affective reach.
Technical Components
- Custom-built sound boxes designed for spatial playback
- Original sound score for film
- Application for recording audience letters in audio format
- Multi-channel audio routing and playback
- Integration of live and pre-recorded voice materials
Artistic Outcomes
The seventh iteration of Letter to the World functioned as a hybrid space where performance, film, and participatory sound converged. Audience contributions became part of the work’s sonic landscape, transforming individual gestures of address into a collective listening experience.
The custom sound systems and recording tools enabled a porous boundary between creators and participants, reinforcing the project’s emphasis on shared presence, reflection, and exchange.
Status
Completed contribution within an ongoing project.