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Performances

Soundscapes in the Dark
October 22, 2016, 8:00 pm
Warbler’s Roost, 3785D Eagle Lake Road, South River, ON
General $10, free for Intensive participants. Tickets here: https://naisa.ca/purchase-tickets/
For this concert in the dark we will begin our soundscape journey from the immediate location at Warbler's Roost and then venture to other parts of Canada and the world before returing back to Warbler's Roost. All along the journey the pieces will slide in and out of abstraction, playing with representation and reconfiguring reality. The concert will use the NAISA spatialization system, including the Holosonic Audio Spotlight.
https://naisa.ca/purchase-tickets/

Program:
I. Around the Roost by James Bailey
The sounds in this piece were recorded in the environment around Warbler's Roost, near South River, Ontario. It comprises eight separate tracks which, at the beginning, are present in all speakers. These gradually decay at varying rates in each speaker until each has its own individual voice.
II. Yellowknife Soundscape by Carmen Braden
What is your ‘hometown’? Is it the town you grew up in? The town you live in now? The town you would call home for whatever reason? My hometown is Yellowknife, Northwest Territories, and it is the answer to all three of those questions. Thanks to the Northwest Territories Arts Council, I was able to produce this soundscape of Yellowknife. It is an audio portrait that reaches through the seasons and finds common sounds (soundmarks) like ravens or crunching snow, as well as more unusual sonic moments like goat or buffalo grunts, or ants chewing wood. Photo credits go to three amazing local photographers: Bill Braden, Dave Brosha and Rae Braden. Sounds I love from the town I love – enjoy! To view go to: http://blackicesound.com/portfolio/compositions/yellowknife-soundscape/
III. Unseen Songlines by Nimalan Yoganathan
Unseen Songlines immerses the listener within the soundscapes of Mamori Lake, a remote village inside the Brazilian Amazon. This piece explores the ambiguous perception of sounds emanating from the jungle and deep beneath the Amazon River, where we hear the sounds but often cannot see their sources: a blindfolded acousmatic concert performed by the rainforest itself. Field recordings subtly weave through electroacoustic textures and gestures so as to accentuate the grey area between natural and synthetic sounds. The listener is invited to hone in on the musical subtleties of the rainforest without being distracted by its visual beauty.
Instrumentation: Yamaha PSS-380 synthesizer, bells, mbira, field recordings gathered within the Amazon rainforest around Mamori Lake, hydrophone underwater recordings of dolphins and fish in Amazon River tributaries.
IV. Fuzhou by Nicolás Arnáez
Jazzinto is an Argentinean jazz band, eclectic enough to incorporate many other languages into their modern approach to jazz music. Funk, rock, tango, chacarera and electroacoustic music can be heard all over Poxirunning, their second release (easy to find on the internet). Fuzhou is the last track of this album; this Chinese city, its sharp and permanent noises, and a monument of the local Perón inspired a wine-seller drummer to think into a musical piece able to collapse different (but not always coherent) sonic textures. This idea was brought to the ex-bassist and actual muffin maker and composer, who was invited to participate on this album. The result is Fuzhou, a piece that presents a variety of Edmontonian soundscapes, extremely compressed versions of the tunes presented earlier on the album, a Mexican tortilla seller, amongst other. All this presented today, on its most rhizomatic spatial texture.
V. Immersion: Dynjandi by Michelle Macklem
“Immersion: Dynjandi” is a piece created from field recordings from the Dynjandi waterfalls in Iceland. In Icelandic, “dynjandi” means “thunder” and accordingly, this piece displays the sonic intensity and spectrum of the waterfalls. Under and above water recordings make-up the immersive experience of approaching Dynjandi and becoming entranced with its soundstate, as portions of the waterfall are brought into a sample-based soundscape.
VI. Black Sands by Dan Tapper
How does imagination alter how we perceive an environment before, during and after experiencing it? Black Sands is a series of three audio-visual works exploring the before, during and after of a journey to Iceland. Sounds move from crisp collages to hyper-real realities and nostalgia tinted memory.
VII. while working and walking by Darren Copeland
In this piece I have combined recordings made while working outdoors or walking around at different times between early spring and late summer of 2015. Some key moments include the cat trying to pounce on a squirrel, burning brush, wind, water dripping in spring, the neighbour’s pigs chowing down on household veggie scraps, and ice sounds from the lake. It has been my experience that many sounds pass by without being noticed while I am in the process of completing different tasks. This piece is an attempt to capture and savior those fleeting moments. The everyday soundscape is richer then I often realize. “while working and walking” was made in 2015-16 and commissioned by New Music Edmonton with funding from the Canada Council for the Arts.
A Gathering of Canadian Sound Art
November 10, 2016, 8:00 pm
Music Gallery, 197 John St, Toronto, ON
General $20, Students $15
The Independent Media Arts Alliance (IMAA) is bringing together sound artists and sound art presenters from across Canada to discuss the state of the art-form and to develop strategies for future growth and sustainability. This gathering affords a wonderful opportunity to host performances by a number of sound artists from across the country.
https://naisa.ca/purchase-tickets/
Generating Electro
By Martin Messier and Myriam Bleau
November 11, 2016, 8:00 pm
Alliance Française, 24 Spadina Road, Toronto, ON
General $15, Students $10, free 18 years and under
This performance, co-presented with Alliance Française, will feature two Quebecois media artists. Martin Messier’s Field captures imperceptible electrical signals that become performance generators while the music in Myriam Bleau’s Soft Revolvers is generated by the motion of spinning tops. 

https://naisa.ca/purchase-tickets/

Program:
I. FIELD by Martin Messier
With this project FIELD, Martin Messier assumes that it is possible to create sounds using electromagnetic fields of our environment. These residual and imperceptible electric signals are picked with electromagnetic transducer microphones, and become generators of the performance. On stage, he plays with two connections patches that offer many possibilities to connect many outputs to many inputs. By a continuous movement of plugging and unplugging, Messier interacts with them, thus noise and light composition emerges. With FIELD, Messier makes material this flow of power otherwise inaudible and invisible.

CREDITS
Martin Messier concept, audiovisual composition, programming and performance • Interface Thomas Payette • Nathanaël Lécaudé Electronics • Technical design Thomas Payette, Maxime Bouchard, Frédérique Folly • Production 14 lieux • Support Canada Council for the Art for their support.
II. Soft Revolvers by Myriam Bleau
Soft Revolvers is an audiovisual performance for 4 spinning tops built with clear acrylic by the artist. Each top is associated with an ‘instrument’ in an electronic music composition and the motion data collected by sensors – placed inside the tops – informs musical algorithms. With their large circular spinning bodies and their role as music playing devices, the interfaces strongly evoke turntables and DJ culture, hip hop and dance music. LEDs placed inside the tops illuminate the body of the objects in a precise counterpoint to the music, creating stunning spinning halos. Soft Revolvers received a Honorary Mention at Prix Ars Electronica in 2015.