Performances
SOUNDplay Screening: Reimagined Realities
October 26, 2024, 7:00 pm
Warbler's Roost, 3785D Eagle Lake Road, South River, Ontario.
General $12, Click Here for Advanced Tickets
October 26, 2024, 7:00 pm
Warbler's Roost, 3785D Eagle Lake Road, South River, Ontario.
General $12, Click Here for Advanced Tickets
A screening of video works that treat sound, image and language with equal importance in communicating their ideas and in the diverse ways they abstract from everyday actions, things and places. The screening will be hosted in the grand living room of Warbler’s Roost during late autumn. Included on the program is Peinture Noire by Laura De Decker, Stefan A. Rose & Herménégilde Chiasson, Postcard by Edgardo Moreno, Hydra by Véro Marengère and Lake Composition by April Martin and Ben McCarthy.
Program:
I. Peinture Noire by Laura De Decker, Stefan A. Rose & Herménégilde Chiasson
Peinture Noire is an experimental video that reimagines the viewpoint of viewer and subject, presenting a documented act of painting in a way that re-frames the digital content as slices of information from specific space-time: across the time-based media, everything that happens at a line in space becomes abstractly apparent. Acadian artist Herménégilde Chiasson paints Peinture Noire; adjacent views are differing viewpoints of the video sliced through time, derived by original computer programming by Laura De Decker. Similarly, Stefan A. Rose slices and extends each brush stroke’s sound, using layers of granular synthesis, spanning the video’s duration and act of painting.
Peinture Noire is an experimental video that reimagines the viewpoint of viewer and subject, presenting a documented act of painting in a way that re-frames the digital content as slices of information from specific space-time: across the time-based media, everything that happens at a line in space becomes abstractly apparent. Acadian artist Herménégilde Chiasson paints Peinture Noire; adjacent views are differing viewpoints of the video sliced through time, derived by original computer programming by Laura De Decker. Similarly, Stefan A. Rose slices and extends each brush stroke’s sound, using layers of granular synthesis, spanning the video’s duration and act of painting.
II. Hydra by Véro Marengère
Hydra evokes the quiet strength of plant beings by re-imagining their lives in a short video fiction. Slowly but surely, the plants no longer look like plants and become more like aquatic or mineral beings. In this meditative and benevolent 3D alter-world, plants explore the ambiguity of their own identity.
Hydra evokes the quiet strength of plant beings by re-imagining their lives in a short video fiction. Slowly but surely, the plants no longer look like plants and become more like aquatic or mineral beings. In this meditative and benevolent 3D alter-world, plants explore the ambiguity of their own identity.
III. Postcard by Edgardo Moreno
Postcard is a sonic message reflecting a state of mind, a nostalgic attempt to find an older more reliable way to communicate with a friend. Some of the sounds were recorded in Santiago Chile a couple of days before the world shut down. Busy subways and city sounds are interlaced with sounds recorded during total lockdown at home.
Postcard is a sonic message reflecting a state of mind, a nostalgic attempt to find an older more reliable way to communicate with a friend. Some of the sounds were recorded in Santiago Chile a couple of days before the world shut down. Busy subways and city sounds are interlaced with sounds recorded during total lockdown at home.
IV. Lake Composition by April martin and Ben McCarthy
Lake Composition by April Martin and Ben McCarthy connects the mystifying beauty and impenetrability of the Georgian Bay shoreline to the experience of falling in love, and to the ways AI is teaching us about who we are as desiring animals at once a product of and alienated from the nature we are continuous with. An arrangement of field recordings, drone footage, interviews, AI-generated audio and imagery, Lake composition documents natural forces at work on clay and human bodies. The aleatoric melody of clay ‘played’ by wind and waves grounds this multi-channel work exploring the relationship of self to nature and the digital spaces forcefully articulating our lives through desire.
Lake Composition by April Martin and Ben McCarthy connects the mystifying beauty and impenetrability of the Georgian Bay shoreline to the experience of falling in love, and to the ways AI is teaching us about who we are as desiring animals at once a product of and alienated from the nature we are continuous with. An arrangement of field recordings, drone footage, interviews, AI-generated audio and imagery, Lake composition documents natural forces at work on clay and human bodies. The aleatoric melody of clay ‘played’ by wind and waves grounds this multi-channel work exploring the relationship of self to nature and the digital spaces forcefully articulating our lives through desire.
The Wetland Project
Included in the livestream event Water (Deshkan Ziibi)
By Brady Marks and Mark Timmings
Dec 12, 2024 from 12 noon to 12 midnight
Livestreaming on YouTube and In-person at the artLAB, Department of Visual Arts, Western University, London, Ontario.
FREE, Click Here for Event Information
New Adventures in Sound Art with support from Other Sights is presenting a new audio-visual version of The Wetland Project by Brady Marks and Mark Timmings as part of the 12 hour in-person and streaming event “Water (Deshkan Ziibi)” which is taking place at the artLAB Gallery. This edition of the event is curated by Christof Migone, Sheri Osden Nault, and Ruth Skinner.
Included in the livestream event Water (Deshkan Ziibi)
By Brady Marks and Mark Timmings
Dec 12, 2024 from 12 noon to 12 midnight
Livestreaming on YouTube and In-person at the artLAB, Department of Visual Arts, Western University, London, Ontario.
FREE, Click Here for Event Information
New Adventures in Sound Art with support from Other Sights is presenting a new audio-visual version of The Wetland Project by Brady Marks and Mark Timmings as part of the 12 hour in-person and streaming event “Water (Deshkan Ziibi)” which is taking place at the artLAB Gallery. This edition of the event is curated by Christof Migone, Sheri Osden Nault, and Ruth Skinner.
Program:
I. The Wetland Project by Mark Timmings and Brady Marks
The Wetland Project is an exploration of a 24-hour field recording of the ṮEḴTEḴSEN marsh in W̱SÁNEĆ territory (Saturna Island, BC). The reverberant soundscape, featuring birds, frogs and airplanes, has been shared with international audiences in the form of slow radio broadcasts, new-media installations and musical performances. The project’s conceptual base is rooted in an algorithm that transforms the recorded sounds into colour fields in flux by mapping audible pitch onto the visible light spectrum. For Water (2024), Wetland Project presents a new audiovisual interpretation of the field recording. Corresponding with the presentation’s start time at 20 PST (23 EST), the first 23 hours and 40 minutes of the recording are compressed into a decelerating 40 minute piece. Then the remaining 20 minutes are played in real time. Time compression has a distilling effect that reveals patterns in the soundscape. After hearing this distortion, listening at normal speed becomes a refreshed experience.
The new version is being made in collaboration with sound engineer Eric Lamontagne and computer programmer Gabrielle Odowichuk.
The Wetland Project is an exploration of a 24-hour field recording of the ṮEḴTEḴSEN marsh in W̱SÁNEĆ territory (Saturna Island, BC). The reverberant soundscape, featuring birds, frogs and airplanes, has been shared with international audiences in the form of slow radio broadcasts, new-media installations and musical performances. The project’s conceptual base is rooted in an algorithm that transforms the recorded sounds into colour fields in flux by mapping audible pitch onto the visible light spectrum. For Water (2024), Wetland Project presents a new audiovisual interpretation of the field recording. Corresponding with the presentation’s start time at 20 PST (23 EST), the first 23 hours and 40 minutes of the recording are compressed into a decelerating 40 minute piece. Then the remaining 20 minutes are played in real time. Time compression has a distilling effect that reveals patterns in the soundscape. After hearing this distortion, listening at normal speed becomes a refreshed experience.
The new version is being made in collaboration with sound engineer Eric Lamontagne and computer programmer Gabrielle Odowichuk.
Installations
A Soundmap of Sherbrooke’s Machine Songs
By Colin Frank
September 26, 2024 to January 6, 2025. Open 10 am to 4 pm Thursday to Monday.
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
Pay by Donation
This interactive installation allows visitors to virtually explore machine sounds from the city of Sherbrooke, Québec. Machines pervade urban environments, yet their sonic performances are often overlooked. From air conditioners to electrical boxes, mechanical sounds resonate all around us, forming urban soundscapes that are frequently ignored. Visitors can navigate a virtual environment comprising of field recordings and 3D models the artist made of machines encountered in Sherbrooke. Through the compression and digitization of those everyday spaces, the industrial urban environment becomes unexpectedly aesthetic, providing a reimagination of the city whereby non-humans have their own voices, and beauty arises from the functionality of industrial objects.
By Colin Frank
September 26, 2024 to January 6, 2025. Open 10 am to 4 pm Thursday to Monday.
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
Pay by Donation
This interactive installation allows visitors to virtually explore machine sounds from the city of Sherbrooke, Québec. Machines pervade urban environments, yet their sonic performances are often overlooked. From air conditioners to electrical boxes, mechanical sounds resonate all around us, forming urban soundscapes that are frequently ignored. Visitors can navigate a virtual environment comprising of field recordings and 3D models the artist made of machines encountered in Sherbrooke. Through the compression and digitization of those everyday spaces, the industrial urban environment becomes unexpectedly aesthetic, providing a reimagination of the city whereby non-humans have their own voices, and beauty arises from the functionality of industrial objects.
Borderline (Almaguin Highlands): Collective counter mapping through sonic geographies
By Jessica Thompson
Open after September 14, 2023. Open 10 am to 4 pm Thursday to Monday.
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
Pay by Donation
By Jessica Thompson
Open after September 14, 2023. Open 10 am to 4 pm Thursday to Monday.
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
Pay by Donation
Borderline is a critical mapmaking project that uses sound to illuminate social and economic differences in local geographies. Visitors to the NAISA North Media Arts Centre are invited to contribute to a large-scale soundmap of the Almaguin Highlands by borrowing a toolkit to map sounds in one of the villages of their choice, or by using the Borderline mobile app. The sounds collected will be added to the map on an ongoing basis.
The Borderline iOS app enables users to automatically map sounds in their environment, put them in dialogue with other forms of data, and generate interactive soundscapes by playing sounds back into the environment. Click here to download
The Borderline iOS app enables users to automatically map sounds in their environment, put them in dialogue with other forms of data, and generate interactive soundscapes by playing sounds back into the environment. Click here to download
The Sensation of Distribution
By Mitchell Akiyama and Brady Peters
Open 24/7 year round.
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
By Mitchell Akiyama and Brady Peters
Open 24/7 year round.
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
The Sensation of Distribution is a reprise of Mitchell Akiyama and Brady Peters’s 2019 work, The Distribution of Sensation, which they created while artists in residence at The Bentway, a large, urban public space situated under an elevated highway in downtown Toronto. The Distribution of Sensation was a sound sculpture composed of PVC pipes installed around The Bentway that invited visitors to listen through the natural resonance of the cylinders, creating a series of musical experiences across the site. Mimic the plumbing infrastructure of the site, the installation was meant to create aesthetic slippages that might potentially lead to confusion as to what exactly functioned or counted as art.
The re-installation of this work at NAISA blends the pipe sculptures into a more domestic vernacular. Mounted on NAISA’s exterior walls to impersonate furnace vents and erupting from the ground to suggest rogue plumbing gone awry, The Sensation of Distribution re-invites visitors to explore the unnoticed or imminent sonic and aesthetic potential of our built environment.
The re-installation of this work at NAISA blends the pipe sculptures into a more domestic vernacular. Mounted on NAISA’s exterior walls to impersonate furnace vents and erupting from the ground to suggest rogue plumbing gone awry, The Sensation of Distribution re-invites visitors to explore the unnoticed or imminent sonic and aesthetic potential of our built environment.