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TransX Audio Archive

Trans-X – 2013

[mp3] Keynote address: Radio In Its Place – Here There Nowhere Now
by Steve Bates
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In this talk, Steve Bates will discuss some of his recent projects that include site-specific recording, questions of threshold and border, residues of colonialism, silent broadcasts, sonic infiltrations and transmission. These projects include low-power productions in Dakar, and Ndar/Saint-Louis, Senegal and on Austria’s national state radio network. While different in their range and context, these investigations with site-specific sound geographies relate to a larger whole. The colonial history of longitude connects the project Radio 16º 16º to the site of Saint-Louis where site-specific recordings were collected as the raw material for low-power broadcasts. The title, borrowed from the abbreviated coordinates of the city, indicate an influence of military concept and jargon on the everyday. A Year of Radio Silence is a project with multiple iterations that uses the idea of a silent broadcast as its primary material, here one that causes a grand piano in Austria’s state radio studio to resonate across the former colonial power.

Steve Bates is an artist and musician living in Montréal. The sonic is always the starting point for his projects which are evocations of communication networks and systems, or expressions of spatial and temporal experience. Bates frequently uses sound material that is site-specific in an attempt to uncover place and how the sonic effects our experience of site. Time is measured, stretched, pulled at, ignored, and extended. His work has been exhibited in Canada, the United States, Europe and most recently, Senegal. Steve Bates works in the field, on the air and in museological/gallery contexts. These shifting territories reflect the content of his practice.

[mp3] Radius RANGE: Local, Distant, Fringe
by Jeff Kolar and Meredith Kooi
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Radius’ 2012 series RANGE: Local, Distant, Fringe explores the importance of place and proximity in the event of radio transmission and reception. Radius, the experimental radio broadcast platform based in Chicago, IL, USA, released a three-part, location-based commissioned series and booklet titled RANGE: Local, Distant, Fringe, which highlighted the economic, political, and technical dimensions of the electromagnetic spectrum. The artists involved in RANGE produced sound works for the three coverage areas of Local (Emilie Mouchous and Andrea-Jane Cornell “Rise & Shine”), Distant (Damon Loren Baker “Distant”), and Fringe (Rob Ray “Subject to Greater Uncertainties”) in order to challenge issues of signal accessibility and question radio’s role as a distribution tool. The three parts of the series are based on the proprietary mapping software that plots radio station coverage areas. The talk will present audio excerpts of the three episodes featured in the RANGE series, and Radius’ curatorial vision for executing location-based broadcasts.

Jeff Kolar is an audio artist working in Chicago, USA. His work, described as “speaker-shredding” (Half Letter Press) and “wonderfully strange” (John Corbett), includes cross-platform collaboration, low-powered radio, and live performance. Jeff is a free103point9 Transmission Artist, and also the director of Radius, an experimental radio broadcast platform. His work has been released on Panospria (Canada), HAK LO-FI Record (France), free103point9 (USA), and has appeared in compilations by Furthernoise.org (Australia) and Sonic Circuits (USA). His video work was published in the DVD journal ASPECT: The Chronicle of New Media Art. He presents at festivals, radio programs, exhibitions, and performance venues which recently include GLI.TC/H, KUNSTRADIO, and The Kitchen; and in Argentina, Mexico, and the Netherlands, among others internationally. http://www.jeffkolar.us/

Meredith Kooi is the editor for Radius. She is currently a PhD student in the Graduate Institute of Liberal Arts at Emory University where she organizes the salon series SENSORIUM for the Visual Scholarship Initiative. She received her MA in Visual and Critical Studies from the School of the Art Institute of Chicago and her BA in Environmental Studies from Denison University. Her visual and performance work has been shown in galleries and medical venues both nationally and internationally including the High Museum of Art in Atlanta, the Goat Farm Arts Center in Atlanta, Swedish Covenant Hospital in Chicago, and the Green Lantern Gallery in Chicago. Her critical writing has been published in Theorizing Visual Studies: Writing Through the Discipline edited by James Elkins, Kristi McGuire, Maureen Burns, Alicia Chester, and Joel Kuennen (Routledge 2013), her arts commentary in the DVD journal ASPECT: The Chronicle of New Media Art (2010), and her poetry in CTRL+P (2012). http://meredithkooi.us


[mp3] Frequencies: Dawson City
by Andrew O’Connor
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Part public sound installation, part narrative documentary Frequencies: Dawson City is project for a series of low watt FM transmitters laid out around Dawson City Yukon. It was commissioned by the Klondike Institute for Art and Culture as a part of their series The Natural & The Manufactured. The transmitters are all broadcasting on the same frequency and laid out in an array so that as you walk the installation with your radio tuned one transmitter starts to fall out of range as the next one is coming in. Each transmitter broadcasts a different collage of soundscapes and stories (played on a loop) that relate specifically where you are standing. The buildings, the landscapes, the stories and experiences attached to them, and how these memories resonate in a physical location. By employing random chance and juxtaposition, multiple narratives are combined in a way that creates a unique listener guided narrative experience.

Andrew O’Connor is a transmission artist based in Toronto. His work for the radio has been featured on numerous programs across CBC Radio 1 & 2 such as Inside the Music, The Signal, and Metro Morning as well as syndicated internationally on the Australian Broadcasting Corporation, Radio Zero in Lisbon and WGXC in upstate New York. Andrew’s installation and sound design work has been presented by the Vancouver New Music Festival, the Third Coast Filmless Festival, Megapolis, and was recently featured in a multi-disciplinary theatre project called Boblo that premiered in December 2012 at the Theatre Center in Toronto.


[mp3] Still Here
by Alyssa Moxley and Ramona Stout
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Still Here is a soundscape of the island of Santorini, in the Cyclades, Greece, recorded and composed by the artists Ramona Stout and Alyssa Moxley.

We have selectively edited our recordings from Santorini to create a sound map. It is fundamentally inaccurate, yet it is all drawn from the aural environment as it is today, and likely will be for many years to come. It is a soundtrack that glosses the extremes of silence and noise that have come to dominate the island and recreates a bygone era in which there existed a host of functioning communities like Vothonas, of which there are now very few. It is the result of our recording the pulse of a place that now exists in suspended animation, a place that is alive but not quite living.

Alyssa Moxley is an artist, writer, and audio producer with interests in embodied knowledge, music, cosmology and acoustic ecology. She studied Ethnomusicology at the School of Oriental and African Studies, Sound Design at the London College of Communication, production techniques at the Banff Centre, and is currently studying an MFA in Sound at the School of the Art Institute of Chicago. www.alyssamoxley.com/ www.soundcloud.com/dromomaniac

Ramona Stout studied ethnomusicology at the University of Chicago. After graduating she dealt in vintage vinyl. She now lives on the island of Santorini, Greece, where she also learned to walk, talk, and swim. She is organising an annual music festival on the island, which will cater to its permanent community with a showcase of lesser known musicians from around the Balkans. She works as a freelance writer and sound artist/audio producer.


[mp3] Expanded Radio
by Robin Koek
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Expanded Radio (Robin Koek) – approaching the concept of ‘radio’ from the perspective of composition and the practice of sound art. The lecture deals with the possibilities radio allows for composers to work with non-lineair concepts of time, make instant global musical, connections through transmission and re-define concepts of the public space within their creations. It elaborates on how radiophonic concepts like interference, wavelength and tuning were translated to the domain of musicians within the work Tuned City

Robin Koek (Netherlands, 1987) is active as a composer, musician and designer of artistic systems. Koek studied Sound Design and Composition at the Utrecht School of the Arts.
Over the last years he established a repertoire of various multidisciplinary collaborations. With a main focus on sound art and interactive systems he was involved in projects that range from installation art to interactive dancepieces.
His works explore states wherein acoustic, digital and analog signals intertwine and form in to one body of sound. Currently his focus is on compositions and sculptures that explore the spatial potential of sound.


[mp3] Keynote address: From Radiation to Resonance
by Anna Friz
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Speculations and curiousities regarding the Radio of the Future, including the search for extraterrestrial life and cetacean radio. Maps are certainly lost, and mutiny may be declared.

Anna Friz got her start in campus/community radio at CiTR Vancouver in 1993. Since then she has created audio art and radiophonic works for extensive international broadcast, installation, or performance in more than fifteen countries. She is currently an FQRSC post-doctoral fellow in the Sound department at the School of the Art Institute of Chicago (2011-2013), and holds a Ph.D. in Communication and Culture from York University, Toronto. Anna is a free103point9 transmission artist. www.nicelittlestatic.com


[mp3] City Sondols – Toronto
by Matteo Marangoni and Angel Faraldo
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City Sondols is the title of an ongoing series of public interventions exploring architecture and public space that employ performative practices and mobile audio technologies to induce perceptual shifts within the built environment. Performers equipped with self-made mobile electronic musical instruments lead an audience on a walk through the city while probing the surrounding space with sound. In this talk we will present some questions that form the background of our project and summarize the trajectory that has conducted to its current state of development. We will further report on the two week residency organized for us by NAISA in Toronto during the Deep Wireless festival preceding the Trans-X Symposium, presenting documentation of our interventions in Toronto and Mississagua and relating the process of choosing locations, composing the soundwalks and interacting with both incidental listeners and with the audiences attending the Deep Wireless program.

Matteo Marangoni
(Florence, 1982) Focusing on the potential of listening to establish new connections between people, places and objects, his performances and installations employ field recordings, sound archives, computer programming and DIY electronics. His research investigates the relationship between sound, space and the body, looking for ways to address the body of the listener and to induce enhanced states of auditory awareness.

His work has been presented at Stroom Den Haag (The Hague), at the European Media Art Festival (Osnabruck), Patterns Pleasure (Amsterdam), Fabbrica Europa (Florence), Q-02 (Brussels), Signal Raum (Munich), the International Biennial of Contemporary Music (Koper) and Tadaex (Tehran). He is currently working on a commission from the Humboldt Lab Dahlem in Berlin.

Ángel Faraldo
(Spain, 1980) is a composer, sound artist, improviser and digital instrument designer currently based in The Netherlands. He is interested in processes that maximize minimal resources, as materialized in his ongoing cycle, The Feedback Study Series his digital synthesizer MISS or his interactive sonifications of Tanja Smit’s Textworks.

He has presented his work in festivals and venues throughout Europe and the United States; his music is released for free through various net-labels on the internet and his works involving computers are entirely based on free and open-source software.

He also teaches workshops on improvisation and electronic music with Pure Data, and collaborates as digital instrument designer or electronic music performer with projects and ensembles such as Modelo62 (NL), Fonos21 (ES), Medea Electronique (GR) and IOM (NL).


[mp3] The Dancer From the Dance: Mapping Motion With Sound Via Radio Transmission<
by Tricia Postle and Leif Bloomquist
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We present our work on the development of a device by which a dancer may wirelessly transmit bodily motion to a MIDI-capable device or computer in order to produce or alter sound, creating music that is immediately integrated with and inseparable from the dance.

To begin we briefly consider the history of movement mapping and dance notation. Moving into more recent history, we then present the technology employed (Arduino).

An accelerometer measures the motion. The x/y/z components are scaled and inserted into a MIDI message, which is then transmitted to a receiver and can be interpreted by any MIDI device. The motions can be mapped to parameters such as filters, pitch, etc., allowing the dancer to affect any sound that can be created electronically.

We then discuss some of the possible applications.

Several short vignettes will be used to demonstrate the device, followed by a three-minute piece showing the techniques working together as a whole.

Tricia Postle is the artistic director of Majlis Art Garden, a multidisciplinary seasonal art space in Queen West presenting poetry, music, dance and storytelling. This summer through Majlis she will be hosting a number of salon evenings on the intersection of music and technology, to be documented online, as well as other performances. For further information please visit majlisarts.com

Tricia is also a poet and a musician with a strong interest in medieval troubadour traditions, and has recently started composing. She holds a Bachelor of Arts in Medieval Studies and Music from the University of Toronto.

Leif Bloomquist has been creating computerized sounds since the days of the Commodore 64. Classically trained in clarinet and percussion, he now composes using sequencing software and homebuilt hardware. His music can be heard in diverse environments such as gothic nightclubs and churches. He has released five albums to date through his various projects. For further information please visitwww.schemafactor.com .

When not creating experimental music, Leif is a senior engineer at MDA, an aerospace company best known for their work on the Canadarm. He holds a Bachelor of Applied Science in Systems Design Engineering from the University of Waterloo.


[mp3] Cellphonia: Toronto SONicGeo
by Steve Bull
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The Cellphonia.org project explores the social, technological, and creative possibilities of cell phones with bias to encourage new applications for cultural growth. With over a dozen examinations of this approach to using cellphones as social microphones, the Cellphonia: SONicGeo -Toronto was formulated around the concept of moving through time and the landscape of Toronto. The participants asked to “press” a number to answer one of the three questions:

Where have you been? – Where are you now? – Where are you going?

The server side script then puts their various responses into three sound storage locations: Then- Now –Future. The score changes slightly with each new call, so participants can continue to hear their contributions in the various sections juxtaposed in new ways with each new call and providing a new aleotoric narrative each time. The conceptual framework of cellphonia is direct and comprehensible, but capable of constant and varied levels of surprise.

Steve Bull
is a mixed-media technology artist and entrepreneur whose practice includes extensive software engineering experience. For the last ten years he has created location-specific narratives and games that explore the social, technological, and creative possibilities of cell phones. Bull received grant to create Cellphonia from NYSCA in 2005.

Scot Gresham-Lancaster
is a composer, performer and instrument builder. Currently teaching Sound Design at ATEC UT Dallas, his recent work at IMéRA is a 2nd order sonification of data sets. With HUB he is an early pioneer of “computer network music” and cellphone operas and “co-located” international Internet performances.


[mp3] ‘Be Here Now’ – Meaningful Strategies for Embodied Presence at Live Concerts in the Age of Techno-Mediation
by Alexandria Lepinski
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“Be Here Now”: Meaningful Strategies for Embodied Presence at Live Music Concerts in the Age of Techno-Mediation’ offers an in-depth analysis of the state of modern-day live music concerts in the age of techno mediation, where social media platforms, wireless communication and mobile technology play an integral part in our social identities and the ideologies that surround us. After briefly examining the dichotomous philosophy that informs many technological sceptics and musical purists, the paper offers an opportunistic argument for the inevitable convergence of new media and sensory-enhancing technology in the live music arena.

Crucial questions are posed: How can we innovate and maximise our state of presence as technologically driven individuals and through the familiarity of visual media? Where does this leave the unique physicality, temporality and ‘liveness’ of live music?

Be Here Now draws on a large breadth of scholarship and is organized into four sections – Antiquity, Erosion, Alternatively, and Recuperation – which, through the thoughtful consideration of varying performance case studies, serve to provide a mediated resolution.

Alexandria Lepinski received a BA in Popular Music and Women’s Studies from Western University, focusing on desktop production and the cultural significance of music. Upon graduating, Alexandria attended a live concert that prompted her to reconsider her understanding of music performance and the formalized divisions between art mediums and new media. She pursued a master’s degree in Creative and Cultural Entrepreneurship at Goldsmiths College in London, England, and in the fall of 2012, submitted her thesis entitled ‘“Be Here Now”: Meaningful Strategies for Embodied Presence at Live Music Concerts in the Age of Techno-Mediation’, along with a curated concert series proposal. She is now living in Toronto, eager to begin a dynamic career in live music curating that shatters conservative performance standards and explores daring, pluralistic multi-media platforms.


[mp3] The Sounds of Sea Swim
by Robert Mackay
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The Sounds of Sea Swim is a collection of compositions, sound collages, and installations developed as part of commissioned work for the Sea Swim project run in Scarborough, UK. Part swimming club and part art club, Sea Swim explores how swimming transforms the way we feel ourselves to be in our bodies and the liberating effects these changes have on the imagination.

Several aspects have been explored in this work, including phonography, sonic geography, acoustic ecology, field recording practice, and voice.

Set-up by co-artistic directors Lara Goodband and John Wedgewood Clarke, Sea Swim is part of imove: a Cultural Olympiad Programme in Yorkshire –www.imoveand.com/seaswim

imovehas been funded by Legacy Trust UK, creating a lasting impact from the London 2012 Olympic and Paralympic Games by funding ideas and local talent to inspire creativity across the UK.

Rob Mackay is a composer, sound artist and performer. Currently he is a Senior Lecturer in Creative Music Technology at the University of Hull. He is the director of the ‘Sounds of Our Surroundings’ research group (http://icpcluster.org/page/sounds-of-our-surroundings).

Prizes and honours include: IMEB Bourges (1997 and 2001); EAR99 from Hungarian Radio (1999); Confluencias (2003); La Muse en Circuit (2004 and 2006). His work has been performed in 18 countries (including several performances on BBC Radio 3). He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), the Tyrone Guthrie Arts Centre (Ireland), and CMMAS (Mexico).

He has worked in a number of groups, including the Welsh Hip-Hop collective ‘Tystion’, collaborating alongside John Cale on ‘A Beautiful Mistake’, as well as two John Peel sessions on BBC Radio 1 and supporting PJ Harvey. More recently, he has collaborated with percussionist Evelyn Glennie on the Ruskin Rocks project (www.leeds.ac.uk/ruskinrocks).

John Wedgwood Clarke trained as an actor at the Guildhall School of Music and Drama and holds a D.Phil. in Modernist poetics from the University of York. He is currently Leverhulme Artist in Residence at the Centre for Environmental and Marine Sciences at the University of Hull, Scarborough.

Lara Goodband is an curator and artist. She studied art history and English literature at the University of York and holds an M.A. in art history from Manchester University. Since then she has worked continuously in art galleries, first as an in-house curator and now as a freelancer, specialising in temporary and touring exhibitions, in museums and galleries throughout Yorkshire.


[mp3] Grey Ecologies: Sonic Transfers and Monuments
by Abinadi Meza
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This paper/listening presentation focuses on interstitial urban space and clandestine soundscape interventions. The presentation starts with a contextualization of themes and references related to sonic territory, intervention, time, anonymity and the psycho-politics of cities, then shares original listening examples from transmission art projects in Los Angeles, California and Houston, Texas.

Each paper section is approximately 6 minutes in presentation length:


1. Charles Babbage and the permanent impression of sounds in our environment


2. JG Ballard and spatial/urban paranoia


3. Temporal monuments and ruins, citizens, habitants, wanderers

Listening examples are approximately 6 minutes in length (three 2-minute excerpts).

Abinadi Meza is a sound artist and writer based in Houston, Texas. He was educated at Drake University, University of Northern Iowa, University of Minnesota and Southern California Institute of Architecture (SCI-Arc). Meza\’s performances, installations and transmissions have been presented in the United States, Spain, Ireland, Sweden, Portugal, and Brazil. He teaches in the Interdisciplinary Practices and Emerging Forms MFA program at the University of Houston.


[mp3] Distant Touch and a Faraway Feeling
by Samwell Freeman
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Distant Touch and a Faraway Feeling (DTFF) is a suite of wearable electronic apparrel equipped with radio transeivers, vibrating motors, and touch sensors. Participants wear haptic sensor gloves that use radio to control vibrating motors embedded in hats, gloves, wrists bands, underwear, and socks. Marshall McLuhan described the immense network of electronic connections that made possible the distant transmission of signals as a sort of externalized central nervous system for the human race. Distant Touch and a Faraway Feeling experiments with this externalization of our nervous system. The project allows people to feel another’s touch not through proximity, but by transduction of electronic sensors and transmission as radio. Using custom circuity, caresses can cross rooms and go through walls.

Samwell Freeman works with electricity, trying to find a starry synthesis of the mysterious speedy electron and the soft slow human. Studying obsolete technology Freeman explores our potential lives as elderly cyborgs. Many of his works are platforms for creativity that facilitate virtual drawing using sensors like gyroscopes and joysticks.

Freeman has exhibited at Maker’s Faire, Figment Detroit, Seton Hall University, New York University, Flux Factory, Burning Man, and Dorkbot NYC. Always interactive his work takes shape as devices, applications, videos, performances, drawings, and conversations. His website is: http://welike2draw.com/samwell/

Trans-X – 2012

[mp3] Radio Naked
by Christof Migone
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The presentation of an overview of projects involving radio and other means of transmission sincethe late 1980s to the present. Contexts aside from radio include dance, installation, performanc and publications. The works display a recurring attention to voice, language, translation, boredom, endurance, abjection, play, and humour. They also question the listener’s expectations, flirt with the unintelligible, and descend readily into noise. Once radio is stripped of its trappings, we are left with the sonic somatic ready to emit.

Christof Migone
is an artist, curator and writer. His work and research delves into language, voice, bodies, performance, intimacy, complicity, endurance. He co-edited the book and CD Writing Aloud: The Sonics of Language (Los Angeles: Errant Bodies Press, 2001). He has released seven solo audio cds on various labels (Avatar, ND, Alien 8, Locust, Oral). He currently lives in Toronto and is a Lecturer in the Department of Visual Studies at the University of Toronto Mississauga
and the Director/Curator of the Blackwood Gallery.http://www.christofmigone.com

[mp3] Sound as transmission: towards and away from non-cochlear sound art
by David Cecchetto
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The “expanded” understanding of sound that resists the implicit claims to authenticity of both Schaeffer’s “sound itself” and Cage’s attentional injunction nonetheless includes both, and it is precisely through this ambivalence that we can fully embrace sound’s potential to refigure contemporary forms of communication (and particularly networks). Discussed will be Two projects—SRMP and Exurbia—that leverage the metaphorics of sound to trouble existing understandings of specific forms of network communication. The conceptual and material dimensions that constitute these projects stridulate in a hum of recursive transmission—in novel modes of “two-way communication rather than one-way distribution” (Joseph-Hunter)—that offer fresh vectors for considering the constitution and consequences of networked aural interaction in contemporary artistic practices.

Dr. David Cecchetto
is Assistant Professor of New Media (History and Criticism) at OCAD University. David has published numerous academic articles and book chapters, co-edited a collection titled Collision: Interarts Practice and Research (CSP, 2009), and has a monograph titled Humanesis: Sound, Discourse, and Technological Posthumanism forthcoming on the Posthumanities series of the University of Minnesota Press. As an artist working with sound, David’s work has been presented in Canada, the United States, the United Kingdom, Mexico, and Russia. www.davidcecchetto.net


[mp3] Foundations of Transmission Art
by Galen Joseph-Hunter
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Informed by her recent publication Transmission Arts: Artists and Airwaves (PAJ Publications: 2011), Joseph-Hunter will discuss key inventors, activists, and organizations, including free103point9, who have helped pave the way for Transmission Arts. Citations of specific artists and works will spark dialogue towards defining the qualitative principles of the genre.

Galen Joseph-Hunter
is the Executive Director of free103point9, a New York State-based nonprofit arts organization whose mission is to define and cultivate Transmission Arts. Over the past fifteen years she has organized and curated dozens of exhibitions and events focused on artist’s experiments with broadcast media and the airwaves. free103point9.org, transmissionarts.org


[mp3] techNOMAD device art
by James Partaik
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This paper examines transmission tactics for the occupation and imbrications of urban infrastructures and interdisciplinary creations. TechNOMAD device art, or mutant technologies and art actions coalesce with the emerging discourses surrounding the issues of site specific art practices in the age of the networked landscape. techNOMAD art interventions actuate urban space and its infrastructures, revealing issues implicit to the site, the technologies themselves in a specific cultural context and the creative actions used to transform public space in a tangible way. The notion of wireless, meshed networks, hacking and real-time technologies extend the parameters of transmission art to the realm of the invisible forces of pure dynamics, creating a
complex, multilayered reality.

James Partaik
James Partaik’s truly hybrid creative practice embraces a range of non-mainstream contemporary art forms and media audio, video, electronic site specific installations, performance art and installActions. He is a founding member of AVATAR, at Meduse in Quebec City. Professor at the Université du Québec à Chicoutimi, he directs the Digital art sector. He has participated in international meetings and exhibitions in North America, South America, Europe, North Africa, the U.K. and Asia and has published notably in the Artextes’ anthology Sound in Contemporary Canadian Art.


[mp3] Telegraph: Transmission in a streetscape audio artwork
by Geoffrey Shea & Alan Boulton
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Telegraph is a multi-nodal sound installation, supported by a network of microcontrollers connected by radio transmitters. The design of the infrastructure requires a high degree of flexibility and mutability. The transmission of audio files could easily stress a wireless network. The broad range of sound manipulations requires us to think differently about the networks functionality, but also to take advantage of inherent weaknesses (using latency to create an echo effect, for example). Flexibility is also required because we expect to add further functionality in future iterations, including interfacing with the viewer’s mobile phone as a locating device and a sound input/output device.

Geoffrey Shea
is a Canadian media artist and researcher whose work highlights the intersections and opportunities between technological systems, belief systems and identity. His productions incorporate interactive programming, site-specific installation, mobile phones, a philosophical twist and a critical voice. Working primarily in video and installation, Shea’s artwork has been exhibited widely and was featured at two recent Nuits Blanches in Toronto and the exhibition “Talk to Me” at the Museum of Modern Art in New York. Shea was a founder, in the 1980s, of InterAccess Electronic Media Art Centre in Toronto and an editor of the video journal, Diderot. He has curated numerous exhibitions and film programs, and is currently the Co-Artistic Director of the Common Pulse Media Art Festival.

Alan Boulton
is a hacker and mathematical explorer who moves between the worlds of symmetry, experimental music and software design. He is passionate about the potential for technology to create magical and shared experiences, and to engage in play while inspiring change through authentic interactions. An Oxford graduate in mathematics, Alan has worked in software engineering for over 20 years, and is currently developing applications for mobile devices. This is Alan’s first foray into collaborative art installation and he hopes to contribute a fresh approach using his rigorous scientific background to encourage meaningful interactive play, while continuing to explore the limits and potentials of working within a framework of self-imposed technological constraints, adopting the Ouxpo philosophy.


[mp3] Panel: Locating the transmission & Transmitting the location
by Geoffrey Shea, Victoria Fenner and Kristen Roos (Moderator: David Cecchetto)
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A sonic portrait of a place, a site specific transmission art performance and locative media apps for mobile phones are each points of reference in this panel discussion. How does location inform artistic content? How does the way in which an artwork is transmitted determine the experience?

Kristen Roos
Whether Kristen Roos is working with DIY radio-based projects, massive arrays of low frequencies, or sampled and sequenced rhythmic construction, Roos demonstrates that there is more to sound than just audibility. His work appears in the Errant bodies publication Radio Territories, and The New Star Books publication Islands of Resistance: Pirate Radio in Canada. kristenroos.com

Geoffrey Shea
is a Canadian media artist and researcher whose work highlights the intersections and opportunities between technological systems, belief systems and identity. His productions incorporate interactive programming, site-specific installation, mobile phones, a philosophical twist and a critical voice. Working primarily in video and installation, Shea’s artwork has been exhibited widely and was featured at two recent Nuits Blanches in Toronto and the exhibition “Talk to Me” at the Museum of Modern Art in New York. Shea was a founder, in the 1980s, of InterAccess Electronic Media Art Centre in Toronto and an editor of the video journal, Diderot. He has curated numerous exhibitions and film programs, and is currently the Co-Artistic Director of the Common Pulse Media Art Festival.

Victoria Fenner
is a writer, journalist and sound artist living in Hamilton Ontario. She takes a creative approach towards sound making, using her microphone to gather sounds and her computer to organize them in ways that reflect the way she hears the world. With a background in both journalism and art, one of her goals is to create, and help others create, works which portray reality in a creative and evocative way. She has worked in community and public radio in Canada and the United States, and is now an independent producer creating multimedia works for the internet. She has recently returned from Central America where she gathered material for the radio and podcast series The Green Planet Monitorwww.greenplanetmonitor.net. Her own website is www.magneticspirits.com