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Kathryn Walter is a Canadian artist who maintains a studio practice that intersects visual art, design and material culture. She operates the FELT studio as a laboratory to explore modern industrial felt through exhibitions, historical research, architectural commissions and a product line. Influenced by her background in sculpture, Walter has created a body of work ranging from intimate artworks to large-scale installations. She has collaborated with architects and created felt walls for residential, institutional and commercial sites including Google (Montreal), Red Bull (Toronto), The Museum of Tolerance (Los Angeles); and CUNY Law School and The New School (New York). Walter has shown her work in exhibitions at the Royal Ontario Museum (Toronto) and the Cooper Hewitt Nation Design Museum (New York). She received a BFA from Emily Carr College of Art and Design (Vancouver) and an MFA from Concordia University (Montreal). She lives and works in Toronto. www.feltstudio.com

"This is a guest contribution by Jim Griffin, Senior Sound Designer at award-winning Soho-based audio post production facility Jungle Studios. Foley is probably the most fun and creative element of sound design - here, Jim looks at some of the lengths he has gone to creating great sound and offers his tips on Foley. "

Product Design and Electronic Music. Some very fun and far out ideas here. A jelly fish theremin!

"artist anne patterson has synesthesia, meaning that her sensory perceptions overlap; when she hears sound, she sees color. trained as an architect and theater production designer, this unique combination of senses has led to an artistic practice hovering somewhere between the theatrical and experiential. she continues to explore synesthetic environments with 'pathless woods', a colorful installation that began with her acclaimed 2013 project 'graced with light' at grace cathedral in san francisco."

"Icelandic composer/cellist/choral arranger Hildur Guðnadóttir's was brought onto the show's production team in hopes of creating a score haunting enough to make viewers really feel the danger behind the spring 1986 catastrophe.... she used field recordings captured at a now-decommissioned power plant in Lithuania (where the series was filmed) to build the show's eerie and ominous soundtrack."