New Adventures in Sound Art (NAISA) is a non-profit organization, based in Toronto, that presents performances and installations spanning the entire spectrum of electroacoustic and experimental sound art. NAISA’s annual events include: the Deep Wireless Festival of Radio & Transmission Art in May, the Sound Travels Festival of Sound Art in August, NAISA’s participation in the international Art’s Birthday celebration in January, as well as the NAISA Sound Bash Series in March and the SOUNDplay series in November. The objectives of NAISA are to foster awareness and understanding locally, as well as nationally and internationally, in the cultural vitality of experimental sound art in its myriad forms of expression. This objective will be achieved through the exploration of new sound technologies in conjunction with the creation of cultural events and artifacts.
Call for Papers, Performances and Workshops/Tutorials
Deadline February 1, 2015
New Adventures in Sound Art (NAISA) is pleased to announce the 2015 edition of the TransX Transmission Art Symposium
with Keynote speakers Knut Aufermann and Sarah Washington
May 22 - 24, 2015
NAISA is now inviting submissions for papers, performances and workshops/tutorials:
Rooted in the earliest experiments with radio, Transmission Art has continued to flourish into the 21st Century with experiments using wireless communications technology over the past 100 years, including the exploration of a variety of mobile-based platforms and lesser-known forms of transmission, such as VLF. The terrain of transmission art is dynamic and fluid, always open to redefinition.
The TransX Transmission Art Symposium, part of the Deep Wireless Festival of Radio & Transmission Art, will focus on Transmission Art, with particular interest in contributions that summarize, examine or reframe traditions and histories of transmission art practices, technology, education and pedagogy. Additionally, we are very interested in presentations that go beyond the local contingent to give a sense of how new technologies of international transmission activity might be experienced. Proposed presentations, performances and Workshops/Tutorials that combine the themes of Transmission Art and our 2015 theme “HEAR n o w HERE” are also especially welcome.
"Radio with Everything at Hand: the early years of 24 Hours of Radio/ART, 1992 - 1996" curated by Peter Courtemanche
launches with a concert January 16, 2015, 8 PM with performances by Peter Courtemanche and Anna Friz
the NAISA Space, 601 Christie St #252
Cross Waves is a Canadian Sound Art series that includes performances and internet radio programs curated by eight media artists representing different regional and cultural perspectives in Canada. The series is taking place between July 2014 and June 2015. The content is contextualized by the curators through commentaries and essays and draws attention to Sound Artists from across Canada. The third in the series is "Radio with Everything at Hand: the early years of 24 Hours of Radio/ART, 1992 - 1996" and is curated by Peter Courtemanche. Courtemanche's series will launch on January 16th with a concert featuring live performances by Anna Friz and Peter Courtemanche.The first two programs in the series (Room Tone by Chantal Dumas and Nothing (Repeated) by Steve Bates, are currently being aired on NAISA Radio everyday at noon, 8pm and 4am on NAISA Radio (www.naisa.ca/naisa-radio). The remaining upcoming series' will be curated by Jason Ryle, Janna Graham, Christof Migone and Anna Friz.
January 29, 2015, 7:00 pm to 9:00 pm
the NAISA Space, 601 Christie St #252
An interactive sound installation by Ellen Moffat
co-presented with Charles Street Video
January 17, 2015 to February 15, 2015
Fridays 1:00 pm to 4:00 pm - Saturdays 10:00 am to 3:00 pm - Sundays 10:00 am to 3:00 pm
Join the artist for a performance demonstration on January 18, 1-4 pm
NAISA Space, 601 Christie Street #252
Book, Table, Chair is an interactive installation for sound and image creation inspired by Gertrude Stein’s writing. Stein shifts the identity and stability of words as perceptual, spatial and playful experiment. In Tender Buttons, her emphasis on sound and rhythms over rational sense privilege the body, sound and the mind state over conventional meaning. By detaching words from meaning, Stein shifts the identity and stability of words, inverting expectation and predictability. She opens up language through deconstruction and spatial orientation as a form of Cubist analysis.
My approach to her work uses objects, materials, punning and spatial relationships to reveal or obscure the text, combining Dadaist, conceptual and theatrical elements with analogue and digital techniques. Participants perform the installation through direct contact, actions and interactions, triggering spoken word recordings and creating experimental sound through extended techniques. The core objects – chair(s), a table, a book - are simultaneously props, players and audience. Additional objects and materials connect to the text with delay, reverb and spatialised sound. Programming is in Max/MSP.