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Upcoming Installations

Open 24/7 July - Oct
By Barry Prophet
Open 24/7 July to October
Between the pier and the boardwalk on Centre Island
Synthecycletron was commissioned in 2006 by New Adventures in Sound Art and has been a Toronto Island favourite amongst Toronto cyclists and visitors ever since. It is an interactive installation where the public generates power by pedalling on stationary bicycles which in turn activate synthesizers and generate sounds connected to the pedalling movement.
Site Specific Installations at Warbler’s Roost
By Yves Daoust, BARFFF Enterprises, Christine Charette and Darren Copeland
July 29, 2016 to July 31, 2016
Friday and Saturday 10am - 4pm; Sunday noon-4pm
Warbler’s Roost located in the forest behind the Inn, 3785D Eagle Lake Rd, South River, ON
General $PWYC
Darren Copeland's new installation Hidden Sounds will be included on the Artscape Studio Tour organized by the Almaguin Highlands Arts Council. Enjoy a northern summer visit to Warbler’s Roost and also experience outdoor sound installations curated by NAISA that includes works by Yves Daoust, BARFFF Enterprises and Christine Charette.

I. Home by Christine Charette
Christine Charette’s sound art installation “Home” wanders through forest metaphors inspired by “women’s work” in sight and sound. In scope are the co-existence of the object and the domestic, the parallels of mending in the home and in the environment, and what that can look and sound like. Charette’s installation is meant to unwind you and hopefully carry you to places that move you in your own relationship to what “Home” has meant or can mean to you.
II. Empreintes by Yves Daoust
Sponsored by the the René Derouin Foundation, for the International Symposium of Art in Situ, Val-David, Québec

The work is a long loop of about 36 minutes, the end merging perfectly with the beginning, without any interruption. The structure makes it very difficult, even in extended listening, to perceive repetition, all the sound elements being repeated two or three times, but in different contexts and vertical organizations.
The sound materials are in immediate relationship with the environment: wood (beaten, broken, rubbed), leaves, the wind whistling, rain, rocks, some real sounds of animals (frogs, birds), and naturalists electronic sounds evoking the forest bestiary .

I worked according to my usual way: classification of sounds by typo-morphological categories, but especially expressive energies and potentialities. The srtucture consists of a juxtaposition of moments in which, for each of them, a specific material is in forefront.

The eight speakers are above the heads of listeners. The spatial distribution of sounds is done according to the following principles:
1) a specific category of sounds invading all the space;
2) opposition of the different materials, spreaded in different area of the diffusion system, circular movements, echoes…

In compliance with the natural environment in which the installation takes place,  I mainly used the medium and high registers, and levels were adjusted so that the dissemination area is restricted. Some bass sounds, evoking menace of nature, appear sometimes.
III. WR - NETTT – wilderness and technology by BARFFF Enterprises
Readings from the local environment using a triangle mesh interface. Visitors will have a chance to record a simple composition which will serve as a document of the combined living presence of the environment, the participants, and myself. Some of the results will be presented as animations on my website (www.BARFFF.com/wr-nettt-technology-and-wilderness/). This is part of a continuing investigation into the human psyche – consciousness, using artwork as the medium. The forest provides networks rich beyond comprehension. The tools of scientific computing offer an opportunity to discern some of the information, messages, and forms that are carried along them.
IV. Hidden Sounds by Darren Copeland
This is the second part in my piece Hidden Sounds which is a series of installations that uncover sounds not audible to the human ear. The work uses unconventional methods for capturing ultrasound, material-born sound, and electromagetic radio waves. Discarded materials that have interesting sound properties are collected from my home and nearby environs and then incorporated into the design of the sound installation. Hidden Sounds is generously supported by the Ontario Arts Council's Northern Arts program. This presentation coincides with the Almaguin Arts Council's 2016 Studio Tour.
Yves Daoust Composer, teacher and researcher, Yves Daoust has greatly contributed to the development of electroacoustic music in all its forms in Canada since 1976. Co-founder in 1978 of ACREQ (now ELEKTRA), he headed for 7 years this organization producing concerts and experimental events. From 1976 to 1979, he worked as a sound designer in the National Film Board. From 1980 until 2011, he taught at the Conservatoire de musique de Montréal, where he developed a five year program of electrocaoustice music composition. His concert works bear witness to his past endeavours in music for the cinema. A ''figurative'' composer, he mostly uses sonic sources that are evocative, such as sounds from day-to-day life, musical quotations and sound archives. A visual music, eagerly evolving on the boundaries of musical genres. Mixed musics (acoustic instruments and electro-acoustic support) are an important part of its production, since Valse (1980), to Chorals ornés (2007/2008), Official selection in 2009, Prix de composition Prince-Pierre-de-Monaco. Alongside the composition and teaching, he works since 2004, in collaboration with Alexandre Burton, to the creation and development of educational tools for sound creation. He developed the FonoFone, a sound creation application for the iPad. In 2009, Yves Daoust received the Serge Garant Awards (Émile-Nelligan Foundation), for his work.
BARFFF Enterprises Working with nearly complete autonomy for two decades, BARFFF Enterprises is now moving to connect with the rest of humanity in what could possibly be a glorious awaited revelation or an inexcusable reckless failure. Finding middle ground has seldom been an option. Exploring the intersection of ancient, modern, and natural technologies. Everything we could possibly ever need is provided, its just a matter of figuring out how to access and use these tools. The forest speaks.
Christine Charette , a local multi-disciplinary Northern Ontario artist, has been sharing her artwork publicly since 1992, through themes of mothering, mending, existence, and the environment. Through narrative whisperings she invites you to wander through both ancient and ephemeral stories of sound, colour, shape, and spirit. Textile artist, printmaker, painter, sound and word art relationship maker, Christine’s art is meant to draw you deeper into our human experience, and our connection to nature.
Darren Copeland has been active as a sound artist since 1985 and is the founding Artistic Director of New Adventures in Sound Art. Copeland's sound art practice focuses on multichannel spatialization for live performance, fixed media composition, soundscape, radio art and sound installation. He studied electroacoustic composition under Barry Truax at Simon Fraser University and Dr. Jonty Harrison at University of Birmingham. Copeland incorporates both abstract and referential sound materials in his fixed media compositions, and many of these works are published on the empreintes DIGITALes label. His radio art works engage in the associative qualities of environmental sounds in relation to spoken text and have been commissioned for public radio across Europe and North America. His sound installations include gallery and site-specific works which examine the relationship of sound and place.
‘Birth and Death Frequencies’ from A Time to Hear for Here (2007)
Co-presented with the Canadian Music Centre
By John Oswald
August 8, 2016 to August 26, 2016
Mon to Thurs, 9 AM to 5 PM & Fri, 9 AM to 1 PM
Canadian Music Centre, 20 St. Joseph Street, Toronto, ON
The Birth and Death Frequencies is a component from John Oswald's site-specific sound installation for the Crystal at the Royal Ontario Museum. Using the high frequency characteristics of directional speakers this component from the expansive reflection on time, space and Canadian identity gave the illusion of sounds whispering into the ear of the visitor. Although magical and mysterious, it was also rarely heard as it was situated in a remote part of the Crystal. For the month of August, the Birth and Death Frequencies will be heard anew where they will receive special focus in the composer’s lounge of the Canadian Music Centre.
John Oswald is best known as the the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the ’90’s he began, with several commissions from the Kronos Quartet, to compose scores, in what he calls the Rascali Klepitoire, for classical musicians and orchestras, including b9 (2012-13), a half hour condensation of all Beethoven’s Symphonies. He also improvises on the saxophone in various settings, dances, and is a visual media artist and chronosopher, best known for the series Stillnessence. He’s a Canadian Governor General’s Media Artist Laureate. His multifaceted sonic clock, A Time To Hear For Here, is a permanent environment at the Royal Ontario Museum in Toronto. In 2016 he’ll be in residence in California, and Umbria, presenting a concert in total darkness as part of 21C at Koerner Hall in Toronto, and, with Scott Thomson, filling Parc Fontaine in Montreal with performance.