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Performance by Jaap Blonk
October 10, 2014, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
NAISA is delighted to host a performance by world renowned Dutch sound artist Jaap Blonk who will present his multichannel performance work Polyphtong realized at CCRMA at Stanford University in 2012.

In Polyphtong spatial placement and movement are extended by electronic means. The phonetic concepts of diphthong and approximant are an important focus in the more meditative sections of the work. It also uses the techniques of Blonk's cheek synthesizer: many kinds of stereo mouth sounds driven by sheer air, ranging from very low to extremely high pressures.
Life Revisited
Performances by Eric Boivin, Albérick (fourthousandblackbirds) and screenings by Rick Sacks and Dominic F Marceau
October 18, 2014, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
Through videomusic screenings, interactive mobile performances and live electronic improvisations, Life Revisited contemplates the relentless cycles of life: the spontaneity of invention and re-birth, as well as its impermanence.

Life: redoundo by Rick Sacks
Crowdscoring by Elliott Fienberg
Selfie #1 by Eric Boivin & Dominic F Marceau
untitled/revisited by Eric Boivin, Albérick (fourthousandblackbirds) and Dominic F Marceau

I. Life:redoundo by Rick Sacks
The theme of Undo-Redo inspired Sacks to get to an idea he'd been toying with. At first he was going to eat breakfast backwards. Adding simple video effects he made a repetitive but varied exploration of a simple task, a surreal attempt to disrupt our sense of LIFE.
II. Crowdscoring by Elliott Fienberg
In this piece, members of the audience participate in an interactive music performance using their personal mobile devices. The role of the performer is shifted from triggering the sounds himself, to coordinating the audience through a piece of live sound art. Elliott Fienberg developed this work through the Sound Travels Intensive in August 2014.
III. Selfie #1 by Eric Boivin & Dominic F Marceau
Multiple sclerosis (MS) is an inflammatory disease in which the insulating covers of nerve cells in the brain and spinal cord are damaged. This damage disrupts the ability of parts of the nervous system to communicate, resulting in a wide range of signs and symptoms, including physical, mental, and sometimes psychiatric problems...
IV. untitled/revisited by Eric Boivin, Albérick (fourthousandblackbirds) and Dominic F Marceau
For this improvised performance, sound artist Eric Boivin, experimental musician Albérick (fourthousandblackbirds) and filmmaker Dominic F Marceau will revisit their previous collaboration series Untitled, to create a new chapter in this ongoing series: untitled/revisited.

During this performance, each artist will be resampling and reprocessing sounds, music and images from their previous works as their primary source. These will be intertwined with additional material from their personal archives and new material, albeit to a minimal extent, creating a new innovative opus. The emphasis of the performance will be on the soundscape, whilst the visual aspects will be used as accompaniment so as to further enhance the mood, timbre and tonality of the piece. The two sound artists will construct an improvised soundtrack from past sounds and electronic musical elements. The video projection will guide the audience through the soundscapes. Each artist creates a unique world from revisited materials while sharing a common space, thus allowing individual universes to converge into one cohesive piece.
Sound Visions
Performance by Ian Jarvis, work by Joao Pedro Oliveira + more
October 25, 2014, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
Sounds can evoke many different things for different people, even when the sounds are not intentionally referential. In this performance, abstract sound materials evoke for the sound artists visual sensations while works with video on the program suggest symbiotic connections between their visual and auditory elements.

Resinous Fold 2+4+3 (for Malachite, Bronze & Cerumen) by Sarah Peebles
Iridescence by Linda Antas
Variations on Silence (for Udo Kasemets)John Kamevaar
Aphâr by Joao Pedro Oliveira
Scintilla 21 by VTR (Wiktor Podgorski)
The Inevitability of Objects by Ian Jarvis

I. Resinous Fold 2+4+3 (for Malachite, Bronze & Cerumen) by Sarah Peebles
Based on three recorded solo improvisations on sho?, Resinous Fold 2+4+3 explores the harmonies of gagaku and creates paths between what Peebles thinks of as listening zones. Unlike the chordal drones which underpin melody in the main body of gagaku (which is more widely known), resinous fold shifts between smaller tone clusters drawn from gagaku's harmonic centres, and is inspired in its flow by gagaku tuning pieces known as ch?shi (music for one or multiple instruments without orchestra). Simple tones from individual pipes transform to rich, complex timbres as air flows through several metal reeds, travels up and out smoked bamboo pipes, and collides as it emerges from multiple points. Sum and difference tones and interference patterns of sound emerge and create a striking, immediate music which envelopes the surrounding space in a sort of opaque cloud, at once mesmerizing, yet somehow unsettling. (Solos recorded by Ted Phillips at Studio Excelo, Toronto)
II. Iridescence by Linda Antas
Coloration caused by micro- or nano-structures is referred to as "structural color" and is a common cause of iridescence in the natural world (pearls, cuttlefish, beetles, etc.). Linda Antas was fascinated by the diverse manifestations of iridescence in nature and by the physics of iridescence, which links color and structure.
III. Variations on Silence (for Udo Kasemets) by John Kamevaar
"Variations on Silence" is layered with cryptic references to John Cage. However, concurrently it thematizes extreme low fidelity as an aesthetic alternative to the prevalent quest for higher "realism" and technical transparency. It also refers to the inherent destruction of friction based representational technologies (like the wheels of a machine, tires of a car, etc., each use of a vinyl record or tape hastens its decomposition).

The video abstracts Cage's mouth (key framed and at half speed) from an interview where he discusses his notion of silence. The sound is the result of 433 plays of a blank vinyl LP The duration of the sequence is 4 minutes and 33 seconds, referring to his most famous work.
IV. Aphâr by Joao Pedro Oliveira
Aphâr is a Hebrew word that means “dust.” This piece is inspired by the dream of Jacob, described in the Old Testament (Genesis Chapter 28):
Jacob had a dream: He saw a stairway erected on the earth with its top reaching to the heavens. The angels of God were going up and coming down it and the Lord stood at its top. He said, I am the Lord, the God of your grandfather Abraham and the God of your father Isaac. I will give you and your descendants the ground you are lying on. Your descendants will be like the dust of the earth. To climb Jacob’s ladder is a very difficult process. Each step you take is harder than the previous one and takes more time and effort to accomplish. These steps are heavy, and the dust in your feet is spread around, and finally disappears. If you reach the top of the stair, everything else is gone, and a door closes to the rest of the world, you have reached infinity.
V. Scintilla 21 by VTR (Wiktor Podgorski) by
Scintilla 21 is a glimpse into geographical transformations, urban creations, and bodily modifications. It looks at these changes as part of a processes of overlapping cyclical sequences. It focuses on creation and erasure, thus echoing the theme Undoing and Redoing.
VI. The Inevitability of Objects (TIOO) by Ian Jarvis
The Inevitability of Objects (TIOO) is a comment on the symbiotic relationship between humans and technology from a phenomenological perspective - the fingerprints inherently left on our technology. TIOO is a performance piece for live coding, DIY digital instrument, and live generated visuals that focuses on the live coding of interaction. The piece relates to the theme Undo/Redo as it is about the human actions, the trial and error that has resulted in the general technology that is used (laptop, software, physical computing), as well as the author’s preparatory actions to create the performance system, and actions taken during the performance.
Terminal Noise
Performance by Mugbait + more
November 1, 2014, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
A noise art performance by the live electronics duo Mugbait is preceded by a program of acousmatic works considering the links between the deceased and the living in this All Saint's Day performance.

Zvonci by Norah Lorway
e u t h a n a s i a by Dan Tramte
Wrathful Vine by Vanessa Sorce-Lévesque
Terminal Burrowing by Nick Storring
Gelded Eyes by Mugbait

I. Zvonci by Norah Lorway
Zvonci was composed at EMS Stockholm in June 2014. It is mostly synthesized using SuperCollider, with some eerie church bells recorded in Ljubljana, Slovenia in October 2013.
II. e u t h a n a s i a by Dan Tramte
There are two distinct sound-image types in Euthanasia: 1) sounds that exhibit rotational qualities, and 2) sounds that glitch. The rotational sounds feature everything from broken spinning hard drives to revving engines and Euler's Disks. These are arranged in counterpoint based on their energy profiles, as well as timbre data gained by Musical Information Retrieval (MIR) tools. To bring these sounds together with the glitch sounds, glitch-modulation was applied to rotational sounds; likewise, glitch sounds were modulated by digital rotation models.

In Euthanasia, extremely high pitches sound for extended periods of time. When these pitches cut out, it dramatically draws attention to the deafening silence. Even though the speakers are not generating any sound at these points, one can still hear the high frequencies resonating in one's own head. At times, it's difficult to tell whether the sound is coming from the speakers, or if the listener is making them up.

You're on your death bed. The only two sounds you hear—your nervous system and the machine keeping you alive—are now your entire world.
III. Wrathful Vine by Vanessa Sorce-Lévesque
Wrathful Vine is inspired by the following text from ‘the Oracle of the Wrathful Vine’:
The light of the moon is covered,
The Earth stands not still…
But all things appear Thunder!
IV. Terminal Burrowing by Nick Storring
"Terminal Burrowing" was originally commissioned for the 2013 AKOUSMA Festival in Montréal, and emerges from my recent desire to bring together the different aspects of my practice—chamber composition, improvisation, and electroacoustics. Eschewing DSP in favour of layering improvisation on different instruments, it's orchestral music that would never exist in the concert hall, and that also responds well to a diffusion-oriented presentation. It is available commercially on my Orange Milk Records album "Endless Conjecture" (cassette/ download).
V. Gelded Eyes by Mugbait
Not everyone gets a moment unforgettable. “Why are using static electricity and dead want to the peanut trick?" One army of word play. Each would be a goddamn liar. A rather menacing set of the heavens- the bubbling muck of love again. There is a little, and gave pooch the aberration that corresponded to be put. The dog had been deliciously scented dreams.
New Music 101: Reference Library Mobile Performance
November 3, 2014, 7:00 pm
Toronto Reference Library, 789 Yonge Street, Toronto, ON
Works from past NAISA presentations will be performed using Audio Spotlight directional speakers as part of a mobile performance walk that will also explore the acoustics of the Toronto Reference Library