Theatre Design & Technology - Winter 2025 - 46

BOOK REVIEWS ERIKA GUAY, EDITOR
Chapter seven is the longest, but
perhaps the most important chapter for
a lighting supervisor. Weber goes into
detail about electrical planning and provides
a lot of information, but it is all well
explained and separated to not be overwhelming.
He parses out dimmed power,
hot power, and data in his approach
and accounts for a multitude of power
infrastructures that exist in theatres.
Chapters eight and nine continue walking
through the prep and load-in. The
information is useful to all levels-from
a beginning student to a professional
who wants to continue to hone their expertise.
These, along with electrical planning
in the previous chapter, are the real
heart of the book and where Weber's expertise
and experience shines.
Chapters 10 and 11 are where the
lighting supervisor, if they have done
their job well, start to hand off the rig
to the lighting designer and their team.
Weber continues to share how the lighting
supervisor can be involved in the process
in a more substantial way than just
fixing notes. He shares how he helps to
support the lighting designer during the
focus process and how to keep the process
going smoothly so as not to waste
the lighting designer's time. As the show
and rig continue to be handed off to the
rest of the lighting team, Weber focuses
on the continued need for collaboration
and empowering the rest of the lighting
crew.
Part three, " Innovation, " is broken
into two sections: how to do those things
that the lighting designer wants, which is
pushing boundaries and asset management.
Chapter 12 looks at how understanding
the idea from the design team
is key to the successful implementation
of it. Weber uses examples from his work
to provide the framework for explaining
his process and the necessity for asking
questions. Chapter 13 provides a look at
asset management. I was pleased to find
that Weber writes an excellent explanation
of both depreciation and capital/asset
planning. The importance of tracking
An Ethico-Phenomenology of Digital Art
Practices
By Giuseppe Torre
Routledge, 2023, 82 pages
Hardcover $136, paperback $42.36,
eBook $42.36
Review by Kristen Morgan
In An Ethico-Phenomenology of Digital
Art Practices, digital art practitioner
Giuseppe Torre lays bare the tension
46 | THEATRE DESIGN & TECHNOLOGY | ISSUE 4, 2024
not only your inventory but also maintenance
and detailed records helps in
the management of the equipment. The
book concludes with Weber passing the
baton off to the reader. Take the book as
guidance and go forth and succeed.
This book is extremely successful in
what it sets out to do: provide tools to be
a successful lighting supervisor. Weber
has added a valuable book to both the
Focal Press Toolkit Series as well as the
library of any lighting supervisor or faculty
member teaching in the field.
Caleb Stroman is a professional
lighting designer, assistant professor
of theatre at the University of
Montevallo in central Alabama, and
resident lighting designer at Virginia
Samford Theatre in Birmingham, AL.
He has an MFA in theatre design from
the University of Kansas. Reach him
at caleb.stroman@gmail.com.
between digital art practices and the
search for artistic identity through a
phenomenological lens. Torre's short
treatise, while heavy with language that
readers outside of academia may find
difficult to navigate, is nonetheless delivered
in a relaxed and often humorous
style-imagine a digital performance
professor holding forth in a pub after
class. Torre alludes to this approach in
the acknowledgement section, referencing
" debates and reading suggestions
over numerous points. " However, while
the book posits itself as being " of great
interest to students and scholars of theatre
and performance studies, art, and
technology, " I would recommend it only
for the most advanced undergraduate
student; it feels more appropriate for
MFA/Ph.D. candidates and professional
digital practitioners who will appreciate
Torre's examination of art practices involving
digital technologies.
Torre begins with " epiphanies, "
drawing on the work of Theodor Adorno
and others to construct a challenge to
readers to consider digital tools not only
as a separate entity for creation but as
a necessary participatory element in an
artist's individuation process. In the next
chapter, " What is digital? " Torre explores
the etymology of the term " digital " and
emphasizes that while a simplistic binary
code-based view of digital is widely held,
0s and 1s can be seen as a means to represent
something invisible. He goes on
to challenge the axioms of the relationship
between the artist, the art object,
and the audience through the lens of
phenomenology, drawing on the work of
thinkers like Merleau-Ponty to reconcile
the dissociation of subject from object
by focusing on the experience of reality
as a first-person phenomenon. Torre's
experience as a performer informs his
philosophical exploration of developing
meaningful relationships with digital
tools and the artist's and audience's understanding
of space and time in digital
realms. Torre discusses artistic identity
within a digital framework as he details

Theatre Design & Technology - Winter 2025

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2025

Contents
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Theatre Design & Technology - Winter 2025 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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
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