Theatre Design & Technology - Spring 1988 - 50

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Sound continued from page 19
loudspeaker volume from within the
mic picture would need to be correspondingly adjusted for the microphone volwlle within the specific loudspeaker graphic. All of this is
technically feasible right now, so if
you're wondering, "Why hasn't someone done this 1 " the answer is easy:
Money ... and a few other problems.
For example, how do we tell the computer which of the many pictures we
want to see and focus on and how
should they all be organized spatially I
Also, how do we handle a myriad of
other functions that crop up as soon as
we start designing one cue after another and want to put them in a logical
order, edit them, and provide smoothly
timed transitions between them 1
All of these problems could be dealt
with through graphic solutions similar to the above exercise, but the fact
remains that this is very much uncharted territory and is a program considerably more difficult than nomlal
to write. The fact that theatre people
are by nature creative and i11l10vative
makes me feel hopeful that we will
provide important developments in
the areas of human/machine interface, especially now that such incrediby powerful graphic-based microcomputer systems are becoming
commonplace.
In the meantime, I have to say that
my own solution to the immediate
problem is one of basic expediency: a
computer-based graphic representation of a virtual control panel of enormous proportions (considerably larger
than any physical console one would
want to control I so that a very large
number of inputs and Outputs can be
completely manipulated. Volumes are
controlled by faders, and switches look
like switches, but who knows what
the next incarnation of the software
will bel The most incredible aspect of
software-based systems is that the
computer and its programllling can be
updated or replaced completel)\ giving
the designer and operator the feeling of
a new system, yet the hardware may
not need any alteration whatsoever l I
really feel we have finally arrived at
the future.
Let's hear from you if you have any
ideas on this subject. In my next column I want to deal with the other end
of the human/machine interface, i.e.,
not how the computer tells the designer what it is doing, but how the
designer tells the compllter what to
do. *



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1988

Contents
Theatre Design & Technology - Spring 1988 - 1
Theatre Design & Technology - Spring 1988 - 2
Theatre Design & Technology - Spring 1988 - 3
Theatre Design & Technology - Spring 1988 - Contents
Theatre Design & Technology - Spring 1988 - 5
Theatre Design & Technology - Spring 1988 - 6
Theatre Design & Technology - Spring 1988 - 7
Theatre Design & Technology - Spring 1988 - 8
Theatre Design & Technology - Spring 1988 - 9
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Theatre Design & Technology - Spring 1988 - 18
Theatre Design & Technology - Spring 1988 - 19
Theatre Design & Technology - Spring 1988 - 20
Theatre Design & Technology - Spring 1988 - 21
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Theatre Design & Technology - Spring 1988 - 30
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Theatre Design & Technology - Spring 1988 - 36
Theatre Design & Technology - Spring 1988 - 37
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com