Home Cart Listen Calendar Contact

Upcoming Performances

imagineNATIVE 2017: Receptors
October 20, 2017, 3:45 pm
TIFF Bell Lightbox, Cinema 2, 350 King Street West, Toronto
General $6, Students FREE
NAISA is proud to be a presenting partner for the screening program Receptors at the 2017 edition of the ImagineNATIVE Festival. The program includes films made by or with contributions from artists that have been presented by NAISA in the past such as Casey Koyczan and Caroline Monnet.

Tickets here: http://www.imaginenative.org/2017-in18-buy-tickets/

I. Tsanizid by Beric Manywounds
Tsanizid is a short dance film about a Two Spirit transformation journey by Tsuut’ina Dene Director/Performer/Storyteller Beric Manywounds.
II. Thirza Cuthand Is an Indian within the Meaning of the Indian Act by Thirza Jean Cuthand
A Light Skinned Cree woman, Cuthand contemplates her interactions with racism, and the threat of rejection from other Indigenous people.
III. Ndns on the Airwaves by Jackson 2Bears
NDNs on the Airwaves follows one Indigenous broadcasters journey back home through the airwaves where she finds her own voice and that of her people are doing more than just playing songs and sharing announcements. This documentary is shot in a video mash-up style with a dynamic soundtrack using poetry, soundscapes and voice to make a new genre of documentary storytelling.
IV. ÔTÊNAW by Conor McNally
ôtênaw is a film documenting the oral storytelling of dwayne donald, an educator from edmonton alberta, canada. drawing from nêhiyawak philosophies, he speaks about the multilayered histories of indigneous peoples' presence both within and around amiskwacîwâskahikan, or what has come to be known as the city of edmonton.
V. Uktena and Thunder by Joseph Erb
Long ago, two boys feed a small starving snake. It grows up to a large Uktena that fights Thunder.
VI. A Prayer for the Lost by Natasha Francis
A spirit of a young woman and a Spirit of child speaking from the spirit world about their demise. Their confused and want nothing more than to be with their families again.
VII. In Moment by Samay Arcentales Cajas
"In Moment" is an experimental narrative exploring a juncture in a time where people from different histories and walks of life receive a message from the Four Directions to come together as one. Through unity they are to overcome injustice, violence, and bring peace and well being across these lands.
VIII. North of South / Norte del Sur by Alejandro Valbuena, Casey Koyczan & Francisco Huichaqueo
North of South is the visual and sonic reflections of a group of Indigenous artists coming together from Chile, Northwest Territories, Six Nations, Mexico and Colombia to blend their creative perspectives as they initiate and forge a relationship with South American territories of Palomino Colombia during a three-week collaborative exchange titled Territ(aur)ial Imprints during May and June 2017.
IX. Creatura DADA by Caroline Monnet
Six powerful native women gather up to celebrate a new beginning and the end of the world as we know it.
Imagined Movement
By Natasha Barrett
October 28, 2017, 7:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
Natasha Barrett, visiting NAISA from Norway, presents a performance of her recent works. Barrett has won numerous international prizes for her compelling and evocative works and also for her highly naunced approach to 3-D spatial design using Ambisonics.

NAISA is grateful for the assistance of the Akousma festival in Montreal and the Office for Contemporary Arts of Norway in making this presentation possible.

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

I. He Slowly Fell and Transformed into the Terrain by Natasha Barrett
The metal horses had lost their colour. The leaves dry, the stones worn, the ice froze, then waned. He slowly fell, and transformed into the terrain.

This composition - a fiction - takes the listener on a journey in the mind of a character born to explore the harmony between human constructions and nature. As constructions begin to take over, he needs to find a new balance. He slowly falls from the enjoyment of a fairground carrousel and the allure of the natural terrain overwhelms his being. The new balance gradually embodies a landscape of dry leaves and lost children, worn stones, melting snow, and a final release into abstraction.

He slowly fell, and transformed into the terrain is in two sections: a main journey and a final coda.

The work has been composed in 6th order 3-D higher order ambisonics (49-channel encoded source, which can be decoded to play over most loudspeaker arrays in either pure ambisonics or as a hybrid multi-channel format).

Commissioned by Electric Audio Unit (EAU) with funds from the Norwegian Cultural Council.
II. Involuntary Expression by Natasha Barrett
“Involuntary Expression” explores music that emerges from the micro-movements of hundreds of subjects. Micro-movements are the body's small movements that we ourselves may feel, but for a viewer are undetectable. These movements are present in all we do, and can feel significant even though invisible. Likewise, when we watch a musician, we see the larger movements and how they connect to the sound we hear, yet the micro-movements, vital in the control of the sound, are known only to the musician herself.

In the acousmatic aesthetic there is nothing to see. In “Involuntary Expression” the music of the invisible is made audible in the acousmatic context. Using high resolution spatial-synthesis the details are revealed in a polyphonic space of precise points, dynamic movement and sonorous envelopment. I would like the listener to feel the music through the sound's behaviour in space, feel the involuntary movement from the inside and the expression that then unfolds.

In “Involuntary Expression” micro-movements from three sources - crowds, a cellist and a drummer - are captured by a high-speed and high spatial-resolution 3D motion capture camera system. The motion recordings result in extensive datasets documenting precise 3D space and time. I then used this data in custom designed sound synthesis, sound manipulation, sonification and spatialisation processes, controlling sound and musical structures on all levels of the composition, and magnifying movements to fill the expanse of space and timbre.

The work was commissioned by Notam, with support from the Norwegian Cultural Council.

Special thanks to The Department of Musicology, University of Oslo, for data from the Norwegian Championship of Standstill, and for access to the high-speed motion capture camera system used in this project.
III. Microclimates III-V by Natasha Barrett
Microclimates III-V are three parts from a four-part set of miniatures. Each Microclimate attempts to capture my experience from unique locations in Western Norway during 20th-27th April 2007.

Microclimate III: Glacial Loop - On my first attempt to record sound at Briksdalsbreen glacier the wind was so strong that it forced rain horizontally into my face and body. For brief milliseconds I could open my eyes to glimpse a blue, ice monolith through the turmoil. On my second attempt some days later, the scene was completely different. Although grey and drizzling, there was not a breath of wind. An enormous icy wall of blue twists and gashes suspended vertically an unknown distance away across a glacial melt lake. After rowing out toward the ice I ceremony descended two hydrophones into the water. My guide rowed so close to the face of the glacier that as my microphones recorded its electrical sparking, sucking, squeaking, whistling, burning and clicking sounds, I could at the same time run my hands over the smooth curves of its close-up form. Slowly and gracefully the boat glided away from the face and returned to the opposite shore.

Microclimate IV: Wet Face - Wet Face is composed from the sound of marsh birds, dripping water, squelching mud, tearing moss and rotten tree-wood in the Sandane area. By recording with close microphones and hydrophones, sounds that for our normal ears are a gentle pitter-patter are transformed into a bombardment. The rhythmic performance of incessant dripping had begun when I arrived. Its millisecond timing was 'computer' perfect. I expect it will be the same year after year. Maybe the rhythm will change as the rock is eroded.

Microclimate V: Water Fall - For Water Fall I threw two hydrophones off a bridge into the white rapids of Holvik Fossen (Gloppen), while four more microphones capture the air-born soundscape. Turbulence and eddies dragged the hydrophones through local current systems, tossed them suddenly into the air or further down stream, smacked them into opposite eddies or plunged them into imploding air cavities.
IV. Hidden Values: Optical Tubes by Natasha Barrett
Hidden Values explores through drama and metaphor, three ancient and seemingly minor inventions that have shaped our societies and affect our everyday in a multitude of ways: the umbrella, sight correction and the lock. In this concert I play the second movement of Hidden Values: Optical Tubes. Optical Tubes, apparently invented by Descartes, were glass tubes that touched the eyeball like contact lenses. In our modern world we can choose to see the world in focus or through a soft haze; we can be aware of events and their details, allow information to fall to the periphery of a soft bloom, or choose to be oblivious to that which does not please us.
Natasha Barrett 's works span concert composition through to sound-art, large sound-architectural installations, collaboration with experimental designers and scientists, acousmatic performance interpretation and more recently live electroacoustic improvisation. Barrett is inspired by acousmatic sound and the aural images it can evoke, particularly in terms of the evocative implications of space and the projection of 3-D sound-fields. Over the past 20 years she has been a specialist in the creative application of very high-order ambisonics and precision spatio-musical forms. Her composition has received numerous recognitions, most notably the Giga-Hertz-Preis (Karlsruhe, Germany, 2008), Nordic Council Music Prize (Scandinavia, 2006), Bourges International Electroacoustic Music Awards (France, 1995, ’98, 2001, ’06), Edvard Prize (Norway, 2004), Noroit-Léonce Petitot (Arras, France, 1998, 2002), 9th IREM (2002), Musica Nova (Prague, Czech Republic, 2001), Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’01, Brazil), Concours SCRIME (France, 2000), Festival Internacional de Nuevas Tecnologías, Arte y Comunicación Ciber@RT (Ciber@RT International Festival of New Technologies, Art and Communicaton) (Spain, 2000), Prix Ars Electronica (Linz, Austria, 1998), and Luigi Russolo Competition (Italy, 1995, ’98). Her work is available on numerous recording labels, including Albedo, Aurora, Centaur, Elektron, empreintes DIGITALes, Euridice, Mnémosyne Musique Média, and +3dB.