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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/
Enjoy soundscape works presented in the beautiful event space at Warbler's Roost that looks out into the forest and moonlit sky. The concert will use the NAISA spatialization system, including the Holosonic Audio Spotlight and will feature work by James Bailey, Carmen Braden, Nimalan Yoganathan, Nicolás Arnáez, Michelle Macklem, Dan Tapper and Darren Copeland.

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
co-presented with IMAA
November 10, 2016, 8:00 pm
Music Gallery, 197 John St, Toronto, ON
General $15, Students $10, Participants in Sound Art Caucus meetings and Music Gallery members will be admitted at student rate
A performance of sound art work by Amanda Dawn Christie from Moncton and Nico Arnáez and Shawn Pinchbeck from Edmonton. The performance is co-presented by NAISA and IMAA (Independent Media Arts Alliance ) and is part of a nation-wide caucus meeting of sound artists and sound art presenters (Nov 10-11 at Canadian Music Centre) to discuss the state of sound art and to develop strategies for future growth and sustainability.


I. Pathways by Shawn Pinchbeck
Pathways is an improvised sound performance that will explore a theme of pathways, travel, to and from, choices and the journey. Using a his self-recorded library of sounds and a gestural controller, Shawn will sound surf a piece that crosses genres of sound art going from electroacoustics, noise, ambient music and scounscapes.
II. Three improvisations with "Trio a la Distancia" [Distant Trio] by Nico Arnáez
Trio alla distancia is a non-real time trio based in Argentina and Canada. While gathering together for a session of open improvisation in late August 2016 in Mendoza, Jorge Hernaez (double bass), David Bajda (guitar), and Nicolás Arnáez (live electronics) decided to keep performing altogether, since the cities were they reside are separated by more than 13,000 Kilometers they choose to involve themselves into a timeless improvisatory music connection, where the double bass and guitar duo recorded improvised sonic interactions in Argentina, and the live electronics are added later on a concert situation elsewhere in the world… or vice versa.

The pieces being performed are entitled Cuarenta Días Diferido I [Forty days delayed I], Cuarenta Días Diferido II [Forty days delayed II], and 226 Horas de Latencia [226 hours latency].
III. Requiem for Radio: Pulse Decay by Amanda Dawn Christie
Requiem for Radio: Pulse Decay, is the first in a suite of works mourning the loss of the RCI shortwave site that stood in Sackville, NB from 1944-2014. Audio triggered by a Theremin is sourced from contact microphone recordings that were made of each tower when they were still standing. The Theremin is used to play the ghosts of the radio towers.
Generating Electro
Co-Presented with Alliance Française
By Martin Messier and Myriam Bleau
November 11, 2016, 8:00 pm
Alliance Française, 24 Spadina Road, Toronto, ON
General $15, Students $10, Free for 18 or under. Sound Art Caucus Participants admitted at student rate.
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.


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.

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.
Games In Sound, a Performance
Co-presented with Electric Perfume
November 25, 2016, 8:00 pm to 9:30 pm
Electric Perfume, 805 Danforth Ave, Toronto - http://electricperfume.com/
General $20, $30 for two day pass
Game creation like most media arts is a trans-disciplinary practice. This performance will cross many artistic and stylistic boundaries to reveal the many overlaps with other art forms and genres. Performing will be Dispersion Lab, Luis Hernandez and Andrew Shenkman. This performance is part of a weekend-long Soundhackers meetup that also includes artist panels in the afternoon of Saturday November 26 - http://naisa.ca/festivals/soundplayseries/workshops-artist-talks/
Performances are co-curated for this meetup event with Daniele Hopkins of Electric Perfume.

To Register go to: https://naisa.ca/education/register/

I. Myo Improv by Dispersion Lab
Doug Van Nort, the Canada Research Chair at York University and distinguished electroacoustic sound artist, as started the Dispersion Lab, which is a studio and a live ensemble comprised of graduate and undergraduate students as well as artists from the local community. They explore telematic performance, improvisation, laptop performance and gestural conducting in among their prolific artistic activities. Include in this performance are Ian Jarvis and Michael Palumbo.
II. EngineBaroque by Luis Hernandez
EngineBaroque is a live electro-acoustic performance. Luis controls a custom-made 3d environment --a digital extrapolation of Kurt Schwitter's Merzbau, imbued with locative sounds. As he navigates this artificial architecture, he samples sounds in the environment, manipulating them in real-time with tape machines and samplers, creating a live electro-acoustic space located somewhere between the physical and digital world.
III. Hypergame by Andrew Shenkman
Prepare your body for the game-story-musical event of a lifetime! Inspired by tabletop RPGs, improv comedy and rock & roll, Hypergame Storytime: The Musical invites the audience to take their rightful place as the star of an intergalactic, time travelling, life afirming odyssey about the power of the human spirit and butts probably, whatever, just trust us. What is it? What isn’t it! It’s all your favourite activities and interests smushed together with healthy dose of awkwardness, imagination and friendship.