NAISA Video Archive

Video story about the interactive art installation Ice Voices by Joan Sullivan and Robin Servant. The commentary was recorded on Sept 26, 2025 during the opening of the installation. Video production is by Darren Copeland with installation photography by Joan Sullivan and installation audio recording by Robin Servant. The installation Ice Voices invites visitors to listen to what the disappearing ice is trying to tell us and to use their sense of touch and vision to explore further. Underwater recordings of ice ‘voices’ play in the artwork which can be both fascinating and destabilizing. They pull listeners into their evocative vortex, coaxing them to listen more intently to the non-human world.

Joan Sullivan is a photographer, writer and artivist. Her climate change photographs oscillate between documentary and abstraction. Her current series of experimental photographs, JE SUIS FLEUVE, explores the fleeting nature of the disappearing ice on the Saint Lawrence River as a metaphor of impermanence in a rapidly changing world.

Robin Servant is a sound artist whose installation work and electroacoustic compositions are anchored in territorial soundscapes and the people who inhabit it. Convinced that listening to our sound environment creates empathy with it, he has listened to and documented many soundscapes in the Lower Saint Lawrence region for 20 years.

In this video David Bobier and Jim Ruxton explain their vibro-tactile art installation Haptic Voices and discuss the evolution of their work at VibraFusionLab in Hamilton, Ontario as well as their support for Deaf and Disabled artists. Haptic Voices is a large scale ten channel vibro-tactile wall with the potential for 10 independent streams of sound signals. Visitors are invited to stand against the wall to experience vibrations that are controlled using an iPad. Four sound compositions, designed explicitly for the vibro-tactile experience, were commissioned for the wall. The composers include Toronto-based John Gzowski and Ravi Naimpally, Deaf Irish composer Ailís Ní Ríain and Haptic Voices co-creator Jim Ruxton. Using vibration as the final output, Haptic Voices is equally accessible to the Deaf, hard of hearing and able-bodied communities to experience the wall.

David Bobier is a disabled artist whose creative practice is exploring vibrotactile technology as a creative medium. This work led to his establishment in 2012 of VibraFusionLab, a creative multi-media, multi-sensory centre that has a reputation as a leader in accessibility for the Deaf and disability arts movement in Canada and internationally. As a practicing artist his exhibition career includes 18 solo and over 30 group exhibition projects across Canada and internationally. David Bobier has served in advisory roles in developing Deaf and disability arts Equity programs for both Canada Council for the Arts and the Ontario Arts Council and a presenter at the Global Disability Summit in London, UK. He has recently been nominated by the Canada Council for a Governor Generals Innovation Award.

Jim Ruxton has a Masters in Electrical Engineering from the University of Ottawa and is a graduate of the Ontario College of Art and Design . He works as an artist and engineer in installation, performance, theatre, dance and film collaborating with many other artists throughout his career. Jim is a founder and former Director of Programs for Subtle Technologies, a Toronto based organization that has created links between artists and scientists . Jim is a member of the Hamilton based VibraFusionLab collective, an organization that works to foster media arts within the Deaf and disabled arts community.

In this artist talk from July 20, 2025 at NAISA, Eric Powell introduces his Voice of the Water installation at NAISA and talks about the evolution of the work, which uses a rotary telephone to connect listeners to underwater recordings made by local residents. Visit the project website to interact with the online sound map and learn more about Voice of the Water.

Eric Powell is a sound artist, composer, teacher, and tinkerer. His practice brings together maps, interactive technologies, and field recording to create unique interfaces for exploring both rural and urban sound environments. His work invites users to listen in new ways, challenging them to rethink the role of sound in their daily lives. He is a founding member of several media arts organizations, and has served on the board for both the Canadian Association for Sound Ecology and the World Forum for Acoustic Ecology. Eric regularly collaborates with other artists and academics, enabling him to share his work around the world.

A video profile of the artwork Foresta Inclusive: (ex)tending towards by Jane Tingley. The video features a conversation with Jane Tingley, Hrysovlanti Maheras and NAISA Artistic Director Darren Copeland about the interactive multi-sensory art installation, which is on exhibit January 9 to March 31, 2025 at the NAISA North Media Arts Centre in South River, Ontario, Canada and is a presentation of New Adventures in Sound Art.

Foresta Inclusive: (ex)tending towards explores the complexity of the natural world, as it plays out beyond limited human sensory perception. The work uses data collected during the summer of 2022 from a tree at the rare Charitable Reserve in Cambridge ON, as a driver for nearly all aspects of the visual, acoustic and olfactory elements in the work. The work is part of a two part distributed project: Foresta Inclusive – sculptural sensor pods installed at rare that transmitted forest data to the Internet of Things (IoT) prototyping platform Shiftr, and (ex)tending towards – the multi-sensory interactive installation created from this data stream. The in-gallery installation visualizes the more-than-human experience of the tree in real time and expresses this complexity through a combination of light, sound, and scent.

Production Credits for the artwork:
Hrysovlanti Maheras: Max 8 and collaborative sound design
Faadhi Fauzi: Three.js programming
Ilze (Kavi) Briede: 3D modelling and Touch Designer programming
Marius Kintel: Firmware support An Vu: Pod hardware duplication
Grace Grothaus: Photogrammetry

Jane Tingley is an artist, curator, and Assistant Professor at York University in Toronto (CA). She is interested in how interactivity combined with art objects and installation can be used to explore contemporary experience. She received the Kenneth Finkelstein Prize in Sculpture and the first prize in the iNTERFACES – Interactive Art Competition in Porto (PT). She has participated in exhibitions and festivals in the Americas, Middle East, Asia, and Europe.

How can video games be a tool for exploring machine hums and drones? That is one of the subjects explored in this special video edition of Making Waves produced by New Adventures in Sound Art (NAISA).

NAISA Artistic Director Darren Copeland interviews Canadian percussionist, composer and media artist Colin Frank. In his installation Soundmap of Sherbrooke’s Machine Songs the gallery visitor uses a joystick and track ball in order to remix field recordings of back alley machine drones from Sherbrooke Quebec.

The sounds of machine drones also feature in Colin Frank’s solo percussion improvisations. Click on this link – • Noise Fields – in order to experience the full performance of his piece Noise Fields from the Huddersfield Contemporary Music Festival in November 2023.

The audio of this podcast is available online at Wavefarm.org – https://wavefarm.org/radio/wgxc/sched…. Making Waves is aired on the second Saturday of every month on WGXC 90.7 FM in New York’s Upper Hudson Valley.

Colin Frank is a percussionist, field recordist, installation artist, improviser, and multimedia composer. He is a founding member of Brutalust and Drift Ensemble, and has worked notably with the International Contemporary Ensemble, the Moscow Contemporary Music Ensemble, and TAK Ensemble. His installations have appeared at Salem Art Works, Dai Hall, and Analix Forever. His PhD dissertation at the University of Huddersfield considered how unconventional instruments and objects influence his creative process. He teaches percussion, improvisation, and experimental music.

In this interactive artwork there are 16 chime bars. Each one is controlled electronically by a custom-made circuit. By placing the chimes in different parts of the gallery, the installation emphasizes the spatial nature of sound, and its interaction with distinct acoustic spaces. The generative aspect of the piece is determined by the irregular beats that each chime makes, repeating every 1 to 25 seconds, which can be modified by exhibition visitors from a knob located with each chime. The result is an ever-changing composition that is affected by the audience’s interaction with the piece. Sixteen Chimes was created with the support of the Canada Council for the Arts.

Alexandre Klinke is a composer and media artist from Sao Paulo, Brazil, based in Vancouver, BC. His work encompasses different fields such as video, multimedia art, music for film, sound design and live music performance. The appreciation of sound is at the core of his practice. He releases music under his own name, as well as using the alias Playback Head, an experimental project that ranges from jazz to electronic and ambient, merging traditional instruments with field recordings, sound-making objects and electronic devices.

Helios 2024 is a celebration of the sun in its phase of solar maximum. The exhibition gathers solar data from space organizations, as well as utilizing Tapper’s DIY devices that encode solar data into lo-fi playable records and reveal radio spectrum from the earth’s ionosphere and space.

Helios 2024, moves between directly representational sound and imagery of the sun and more abstract experimentation, this interplay lets us sit in a transient space, imaging and imagining the sun through meditative static.

Dan Tapper is an artist and creative technologist interested in the intersection between information and experience. His work focuses on the unseen and unheard, using radio and imaging technologies to capture the sounds of the earth’s ionosphere, map supernovas, and capture microscopic worlds. By utilizing elements of conceptual art and science in his work, Tapper draws attention to the unperceived wonders that surround us and the poetry that can be found in data.

Grounding electronic and technological materials in nature, the EMF Turntable is an interactive sound sculpture by Shaughn Martel that amplifies the electromagnetic fields generated by mobile phones and other small electronic devices. It is on exhibit at the NAISA North Media Arts Festival in South River, Ontario until April 25, 2022. EMF Turntable was part of the Deep Wireless Festival of Radio and Transmission Art in 2022 and can be heard on The Deep Wireless 16 Album.

James Bailey explains his use of micro-FM radio transmission, prepared piano and distorted fuzz from guitar pick ups. Piano Travels is on exhibit during the Deep Wireless Festival of Radio and Transmission Art at the NAISA North Media Arts Centre in South River until April 25, 2022. Electronic kits to build your own transmitters, contact microphones and NAISAtrons are available for sale on site. Click Here for Details about the exhibit

The August 12, 2023 episode of Making Waves featured an interview with Kristine Diekman and Ben Pagac about the sound making and sound reception of insects along with recordings of their installation Secret Reception. Later in the show we play Creatures of the Ice by Eldad Tsabary from the Deep Wireless 5 double CD produced in 2008. The show ends with a short interview with Mitchell Akiyama and Brady Peters on their installation Sensation of Distribution, which uses resonant plumbing tubes to create confusion between what is building infrastructure and what is artistic creation.

Host Darren Copeland talks with Canadian interactive media artist Don Ritter for this October 14, 2023 episode of Making Waves. Don Ritter’s sound installation O telephone is currently being shown at the NAISA North Media Arts Centre in South River Canada. Ritter and Copeland discuss the use of sound in Ritter’s interactive media works since the 1990’s and how O telephone is a much different piece than his other works. The installation was originally made in 2007 for six telephones and eight speakers. The version at NAISA uses just one telephone along with the 8 speakers.

It is almost rare to see the traditional waterwheel now in Minangkabau, because of new technology and from the lack of current in the springs and rivers resulting from climate change in the area. The purpose of the instrument is to recall ancestral wisdom and creativity and to raise awareness about the current climate conditions.

Jambak’s music is influenced by the many traditions and musical cultures that can be found in Minangkabau and her birthplace in Medan, Indonesia. Medan is a unique city as it has 8 original ethnic groups which makes it very rich in sound diversity. In the last 5 years her main focus has been to re-interpret in musical form Minangkabau philosophy and ancestral knowledge. Starting from learning the culture and history through its sounds, to creating instruments like the Kincia Aia, and from understanding history through Tambo Alam Minangkabau, a manuscript about the origin of Minangkabau from the early 19th century.

The performance took place on September 20, 2025 at the NAISA North Media Arts Centre in South River, Ontario, Canada. Jambak’s performance was part of a tour that included performances at the Guelph Jazz Festival, VenusFest in Toronto, Pop! Montreal, Debaser in Ottawa and Ferguson Station in Hamilton.

She used live looping, voice, water, gongs and xylophones in her intuitive response to the environment. This piece explores connection between breath and bird call, silence and song, artist and audience. At its heart, it’s an invitation to remember that the land is always speaking, if we learn to listen. The concert is the first event in a weekend long celebration of World Listening Day presented in South River, Ontario by New Adventures in Sound Art.

Corinne Alice In Wonderland is an interdisciplinary artist based in the Almaguin Highlands. Her work blends movement, music, and mindfulness. With a background in expressive arts therapy, yoga, and vocal performance, she creates immersive experiences that invite presence and transformation. She’s the founder of http://www.YogaArtMusic.com and leads community-based offerings that explore the connection between the inner and outer landscape. Her performances are often improvised and ritual-like, using voice, sound, and stillness to invite a sense of wonder and deep listening.

Tree Frog Radio in the Northern Gulf Islands is an unique underground FM radio initiative in British Columbia that uses trees as antenna masts for localized radio broadcasts – expanding a rural island community’s boundaries of the possible. In this radio art performance interviews and field recordings about Tree Frog Radio were mixed together using loopers and feedback systems in order to blur the space between audio documentary, drone and noise.

Online listeners experienced a special video feed of the performance while in-person audiences got to wander the NAISA North Media Arts Centre in South River and both listen to the audio on a localized radio broadcast and visit Ben Donoghue in a small studio performing on a modular synthesizer. Following the performance the two audiences joined together in a discussion about the performance and to learn more about Tree Frog Radio from its founders and members who were in attendance.

This presentation is available in audio form through the Making Waves podcast and radio show on WGXC Wave Farm.

Ben Donoghue is a Toronto based cultural worker and artist working with film and sound. Working primarily in analog media, his practice explores histories of political and cultural resistance, the effects of macro-economic forces on the landscape, and ruptures in the built environment. His films and performances have been exhibited at galleries, festivals, and museums internationally. Donoghue has been a leading advocate for artist-run collectives and media arts organizations in Canada for over two decades, serving as Executive Director of the Liaison of Independent Filmmakers of Toronto (2007-2013), and the Media Arts Network of Ontario (2013-2022). He is currently working on a number of projects in Newfoundland, British Columbia, Ireland, Colombia and Peru.

From the world of Electroacoustic Music and Musique Concrète, Christine Charette explores the profound influence of forest biomes and the symbiotic enchanted world it hides underground. Charette uses recorded sounds from life, distilled through a sampler, and weaves them with the sounds of piano, synth. Drawing her sounds intuitively, she allows the forest and its underground networks to inhale and exhale through her, resonating in their vibration, and translating their Affect. Charette creates a space that transports the listener to where worlds of microbial seed banks exist, stardust and roots that braid themselves into stories, where the belly of the Earth speaks.

Christine Charette is a multi-disciplinary French-Métis artist who works intuitively and metaphorically. Originally from North Bay, Charette has lived in Vancouver, London, Toronto and Montréal, and now resides in the forest near Algonquin park. Since 1991, Christine’s professional practice includes explorations in painting, textiles, print-making, drawing, recycled object sculpture, photography, installation, video, poetry, and sound. Through an eco-feminist lens, Charette explores themes such as women’s work, nesting, isolation, mothering, identity, the environment, natural cycles, and the ancient, through metaphor and affect theory.

In her performance “Threads of an Unwritten Future” Kelly Ruth performed live at NAISA using a weaving loom manipulated by electronics effects pedals. She integrated those sounds into a customized virtual installation environment in Second Life hosted at the Morris Code Studio. The installation is accessible until January 8, 2024 at the NAISA North Media Arts Centre in South River and at the Morris Code studio site Second Life.

The performance in this video features Kelly Ruth’s avatar Poppy Morris and is captured from the point of view of audience members in Second Life through the virtual camera work of Bounce Greggan. The video feed from NAISA was streamed to Second Life by Darren Copeland where it was projected with technical assistance from Zap Pontoppidan.

Having explored virtual worlds intermittently over the past 20 years or so, Kelly Ruth returned to Second Life during the COVID pandemic after nearly a decade of absence. With a renewed fascination she has found hope in a future that integrates virtual worlds into the fabric of life. This interest has reinvigorated her practice with a playful curiosity and an excitement for the emerging reinvention of many things that are currently taken for granted.

Kelly Ruth describes the installation environment in Second Life as follows:

“Working with both a weaving loom and a spinning wheel in my sound practice has led me to explore the personification of destiny in the form of the archetypical Three Fates. The three women—Clothos who spins the thread, Lachesis who measures the allotted length, and Atropos who cuts the thread with shears—seem to exist in another dimension responsible for the human experience of linear time. This exhibit reflects on the word “allotment” and its relationship to the fragilities and transitory nature of life, economy, society, and imagined futures.

Kelly Ruth is a new media artist currently living in Treaty 6, Edmonton, Canada. In performance she uses contact microphones and effects pedals on her weaving loom and other fibre related tools. Most recently she has been researching and creating art in the virtual world of Second Life. Issue 130 of Musicworks Magazine profiled Kelly Ruth.

This piece is part of Centeno’s ongoing Space_ series of media art works. The works in the series are derived directly from the attentive and phenomenological exploration of a specific geographical/physical location. The majority of the visual and acoustic elements present in these pieces come from processing photogrammetry, spatial audio (ambisonic) and still images captured during a period of attentive immersion and observation that Centeno conducts while being physically present at the recording location. This observation and recording technique follows mindfulness processes among others.

This new piece in the cycle was commissioned by New Adventures in Sound Art in honour of its 20th anniversary. The recording process for the piece was facilitated by a residency at Warbler’s Roost in South River, Ontario. The recordings made at Warbler’s Roost are used to create a photorealistic virtual place composed of 3D geometry and reactive spatial audio. Centeno navigates a real-time virtual exploration of this content which determines the final recorded audiovisual sequence presented in the performance of this piece.

Hector Centeno is a digital media creator, developer and instructor with over two decades of experience as an independent artist, interactive systems programmer and designer, and digital media technician. His work focuses on immersive digital sound, visual and interactive experiences that seek to engage the audience into a reflection of existence, place relationship and perception of reality. Among his artistic activities are national and international presentations of multi-channel sound art, interactive installation art, live sound and video performances, and virtual reality experiences.

Ellen Waterman performing an outdoor musical improvisation interpreting her Instructional Score “Bodily Listening in Place” using amplified #flute , electronic pedals and a maple syrup barrel.

New Adventures in Sound Art invites persons of all sensory abilities to realize their own interpretation of the instructional score for presentation on July 17 in honour of World Listening Day. The score “Bodily Listening in Place” invites the public to improvise music across sensory boundaries in response to sonic, kinetic, visual, and haptic stimuli. Any combination of movement, image, and/or sound in attentive response to an environment is a valid interpretation of the score.

Ellen Waterman’s distinctive musical practice seamlessly blends flutes and vocalization. She has performed at national and international festivals and venues including Open Ears Festival of Music and Sound, the Guelph Jazz Festival, the Suoni Per Il Popolo, and the Onassis Stegi in Athens. Ellen has also been artist-in-residence for several festivals, including The Art of Immersive Soundscapes (U. Regina), Sound Travels Festival (Toronto), and the Chicago Creative Music Workshop (Chicago Jazz Festival). In 2014 and 2018 she participated in the Koumaria Residency in Sellasia, Greece. In the 1980s and ‘90s she performed in a number of R. Murray Schafer’s Patria series of environmental music theatre works and he composed the solo flute pieces Aubade and Nocturne (1996) for her. Ellen is represented on premiere recordings of works by Brian Ferneyhough (CRICD 652), R. Murray Schafer (CMCCD 8902, MW72) and ~spin~ duo with James Harley (ADAPPS 15001). Her current projects include the improvisation duo Pama with Michael Waterman (theremin and invented instruments). Ellen holds the Helmut Kallmann Chair for Music in Canada at Carleton University where she directs the research centre for Music, Sound, and Society in Canada.

New Adventures in Sound Art invites persons of all sensory abilities to realize their own interpretation of the instructional score for presentation on July 17 in honour of World Listening Day. The score “Bodily Listening in Place” invites the public to improvise music across sensory boundaries in response to sonic, kinetic, visual, and haptic stimuli. Any combination of movement, image, and/or sound in attentive response to an environment is a valid interpretation of the score.

Ellen Waterman’s distinctive musical practice seamlessly blends flutes and vocalization. She has performed at national and international festivals and venues including Open Ears Festival of Music and Sound, the Guelph Jazz Festival, the Suoni Per Il Popolo, and the Onassis Stegi in Athens. Ellen has also been artist-in-residence for several festivals, including The Art of Immersive Soundscapes (U. Regina), Sound Travels Festival (Toronto), and the Chicago Creative Music Workshop (Chicago Jazz Festival). In 2014 and 2018 she participated in the Koumaria Residency in Sellasia, Greece. In the 1980s and ‘90s she performed in a number of R. Murray Schafer’s Patria series of environmental music theatre works and he composed the solo flute pieces Aubade and Nocturne (1996) for her. Ellen is represented on premiere recordings of works by Brian Ferneyhough (CRICD 652), R. Murray Schafer (CMCCD 8902, MW72) and ~spin~ duo with James Harley (ADAPPS 15001). Her current projects include the improvisation duo Pama with Michael Waterman (theremin and invented instruments). Ellen holds the Helmut Kallmann Chair for Music in Canada at Carleton University where she directs the research centre for Music, Sound, and Society in Canada.

The libretti of “The Garden of Earthly Delights” is by Katrina Porteous, Martin Riley and Trevor Wishart. Recordings were made at the Royal Conservatory, Den Haag, and at Leeds and Durham Universities, and the project received support from the Konrad Boehmer Foundation. Featured performers include Lore Lixenberg and First Year Choir of the Royal Conservatory, Den Haag along with the voices of Marie Guilleray, Áslákur Ingvarsson, Martin Riley, Jacqueline Wishart, Luke Dickson, John Mee, Rebecca Riley, Maggi Stratford. Additional music was composed by Ben Eyes and Brass music was performed by Honor Hornsby, Martha Dean and Samuel Gibb. The binaural adaptation from Trevor Wishart’s 8-channel Surround version is by Darren Copeland.

“I Eat the Stars” by Laurel MacDonald. In this online performance from 2021 she has set several poems from “A Responsibility to Awe,” a book of poetry by Montreal-born astronomer and poet Rebecca Elson (1960–1999). MacDonald says: “Rebecca Elson had an extraordinary power of intellectual and creative imagination in each of the dipolar realms of science and poetry. She recognized the intrinsic link between these realms – that each is essential to and inseparable from the other, as together they define and celebrate the entirety of the human psyche. With “I Eat the Stars” I am very honoured to be working with this exquisite poetry, endeavouring to express its complex and joyful ideas through my music and visuals.”

“I Eat the Stars” is the first solo production from Laurel MacDonald in over eight years, and is created with support from the Canada Council for the Arts and is part of a collection of new works honouring NAISA’s 20th anniversary of media art and sound art presentation. Rebecca Elson’s poems have been used by kind permission of Carcanet Press, Manchester, UK.

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.
Véro Marengère is an audiovisual artist that lives and works in Montreal/Tiohtià:ke. Evolving between 3D video art and experimental music, her practice reflects on storytelling and the relation we have with the virtual aspect of life. Her colourful and sensitive style recalls contemplation, hybridity and fragmentation. She has presented her work at PHI Center, MUTEK, OFF Festival Jazz, AKOUSMA, POP Montréal, Cafe OTO and many more.

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.

Edgardo Moreno is a Hamilton based composer that has been commissioned for projects in Canada, Venezuela, Colombia, Mexico, Sweden, Argentina, England and USA. He has worked extensively with contemporary dance choreographers creating sound design and musical scores. He is presently working in creating video and live sound pieces that are part of his Fireflyproject.

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.

Herménégilde Chiasson is an Acadian visual artist, poet, playwright, filmmaker, and former New Brunswick Lieutenant Governor. Many of his books have been translated into English, including the pivotal 1974 publication Mourir à Scoudouc, and the 1999 Governor General’s Literary Award winner for poetry, Conversations. He lives in Grand Barachois, NB.

Laura De Decker is an artist who writes her own computer programs to create abstract images, video, and virtual 3D environments. She was artist-in-residence for CAFKA (Contemporary Art Forum for Kitchener + Area)/Christie Digital and at the Institute for Quantum Computing, University of Waterloo. She lives in Dorchester, NB.

Stefan A. Rose is a poet, photographer, and multimedia artist. He was 2010 City of Kitchener Artist-In-Residence, his video collaborations with Penderecki String Quartet were presented in concert internationally, and his 2008 poetry chapbook won the Alcuin Society Canadian Book Design Award, poetry category. He lives in Dorchester, NB.

Lake Composition 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.

April Martin is a process-based sculptor working in ceramics, textiles and metal. In 2016 she completed her MFA in Sculpture at The School of the Art Institute of Chicago. For her, making is the gesture that most reflects the energy of living things; this includes weather, wind and water.

Ben McCarthy’s practice plays out a dichotomy between embodied and intellectual pleasure in the context of precarity and polycrisis. Through experiments in emerging technology, he addresses the perceptual and subjective affordances of increasingly networked and enclosed media. With sound, text, and documentary he thinks through the social and economic conditions that produce the listening subject.

Videovoce’s Laurel MacDonald (vocals and video) and Phil Strong (sound design) have a nearly two-decade long history of musical collaboration.

Their most recent is in the Videovoce performance project, integrating MacDonald’s live vocals with electronics and video. Videovoce features Strong’s distinctive sonic signature and MacDonald’s otherworldly vocals as together they create lilting, pulsing, multi-layered sight and sound environments.

Videovoce was presented by New Adventures in Sound Art for the SOUNDplay Festival on November 10, 2012 at the NAISA Space, Wychwood Barns, Toronto. It is included in a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/

Artistic Direction: Darren Copeland
Video Camera: Stefan Rose
Video Editing: David Arthur

The SOUNDplay Festival in 2012 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, The Department of Canadian Heritage and The SOCAN Foundation.

“Power Play” was created and performed by Anna Friz, Christine Duncan, Richard Windeyer and Richard Lee with contributions from Gregory Whitehead. The performance was directed by Mark Cassidy and was produced by New Adventures in Sound Art (NAISA) for the Deep Wireless Festival.

The performance was recorded at The Drake Hotel in Toronto, Canada by Stefan Rose (video) and John Magyar (audio). The video was edited by David Arthur and directed by Darren Copeland.

The Deep Wireless Festival of Radio and Transmission Art in 2006 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, The Department of Canadian Heritage and The SOCAN Foundation.

“Hear Now Here” is an excerpt of an improvised performance by James Bailey, Allison Cameron and Dan Tapper that happened on May 2, 2015. The performance was produced by New Adventures in Sound Art (NAISA) for the Deep Wireless Festival. The full audio of the performance can be heard at FIX THIS HERE

James Bailey is an improvising sound artist living in Toronto. His main practice involves found objects and/or electronics as well as standard instruments played in unconventional ways. He is, and has been, involved with several small performance groups during the last twenty years but had been recording solo works for nearly twenty years before that.

Allison Cameron is a composer and improvising musician. Her music has been performed nationally and internationally and, celebrated in Musicworks Magazine, The Wire (UK), I Care if You Listen, and Exclaim! among other publications. She is part of the improv trio c_RL (curl) with Germaine Liu and Nicole Rampersaud and, since 2013 has been an avid field recordist. (www.allisoncameron.com)

Dan Tapper explores the sonic and visual properties of the unheard and invisible. From revealing electromagnetic sounds produced by the earth’s ionosphere, to exploring hidden micro worlds and creating imaginary nebulas made from code. His explorations use scientific methods alongside thought experiments resulting in rich sonic and visual worlds.

The video of this performance is part of a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/

The performance was recorded at NAISA Space, Artscape Wychwood Barns, Toronto, Canada by Stefan Rose (video) and Matt Miller (audio). The video was edited by David Arthur and directed by Darren Copeland.

The Deep Wireless Festival of Radio and Transmission Art in 2015 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, The Department of Canadian Heritage and The SOCAN Foundation.

“Scies” is a composition for saw blades and electronics by Sonia Paço-Rocchia. It was part of the Sound Travels Festival in August 2017 in Toronto.

“Scies” was part of a performance entitled “Object Response” where Paço-Rocchia and also Alan Bloor performed solo works exploring the resonant properties of saw blades and other industrial metals that cut.

This video is part of a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/

Composition and Performance: Sonia Paço-Rocchia
Artistic Direction: Darren Copeland
Video Camera: Stefan Rose
Video Editing: David Arthur
Audio Recording: Ryan Clark
Lighting/Stage Technician: Kai Masaoka

Recorded August 2017 at the Ernest Balmer Studio at Tapestry Opera, Toronto for the Sound Travels Festival of Sound Art.

Special Thanks to the Canadian Electroacoustic Community and Canadian Music Centre.

The Sound Travels Festival of Sound Art in 2017 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Department of Canadian Heritage and the SOCAN Foundation.

“The Ghettoblaster Ensemble is a mobile sound unit designed to perform sound art wherever they find it necessary. TGE consists of 8 musicians and a conductor. The compositions are made especially for the ghetto blaster and for this constellation. This unique ensemble is a development of both the classical electroacoustic loudspeaker orchestra, and the idea of works for multi speaker setup .

This outdoor performance from the lawns outside St. Andrew-by-the-Lake Church on Toronto Island took place on August 8, 2004.

The program of works include “”Tonerain”” by Tobias Kirstein, “”Falling Drones”” by Jørgen Teller, “”How do you Like Your Noise ? vs. 2.2″” by Søren Raagaard and the world premiere of “”Balsteroid Convection”” by John Oswald, created especially for and performed by the Ghettoblaster Ensemble with funding from the Ontario Arts Council.

The video of this performance is part of a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/​

Direction – Darren Copeland.
Camera – Stefan Rose
Editing – David Arthur

The Sound Travels Festival of Sound Art in 2004 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, and The SOCAN Foundation.”

Jocelyn Robert performed this work at the Wychwood Theatre in May 2011 during the Deep Wireless Festival of Radio and Transmission Art.

“Philosophie Zoologique is a typical 21st century product : a bit of this and that, hard to decide, trying to do it all but unable to choose. It is the result of a human being’s attempt to be friends with the world and ending up waiting at one end of the line while at the other one a soft machine voice whispers press 9. I would hope it could be some sort of a melting pot homage to Jean-Baptiste Lamarck (1744-1829).” – Jocelyn Robert

Jocelyn Robert lives in Quebec City. He works in audio art, performance art, installation, video and writing. He published about fifteen solo cds, and participed in over twenty others. His visual arts work has been shown in Canada and around the world. He is the founder of the art centre Avatar, in Quebec City. He teaches at l’École des arts visuels et médiatiques de l’Université Laval, Quebec.”

The video of this performance is part of a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/ It is also included in the Deep Wireless 12 Online Album of Radio Art performances – https://soundcloud.com/naisa/jocelyn-robert-philosophie-zoologique?in=naisa/sets/deep-wireless-12″

The performance was recorded in May 2011 at Theatre Direct’s Wychwood Theatre in the Artscape Wychwood Barns, Toronto, Canada by Stefan Rose (video) and Hector Centeno (audio). The video was edited by David Arthur and directed by Darren Copeland.

The Deep Wireless Festival of Radio and Transmission Art in 2011 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, The Department of Canadian Heritage and The SOCAN Foundation.

“With the junctQín keyboard collective having explored the expansion of keyboard playing in the realm of electroacoustic music, Emilie Cecilia LeBel extended that interest in her composition by having the three keyboard players consider the role of their breath in their playing. In the context of this piece being performed in their ‘un-piano’ recital, which occured at the Sound Travels Festival of Sound Art in 2014, she adapted a Palestrina 5-part motet for 3 melodicas, 3 air mattress pumps, live electronics and 16-channel spatialization. The creation of this work was supported by the Ontario Arts Council, Music Commissioning program. In creating this work, LeBel was inspired by the book from which the piece takes its title.

“Mesmerized by the movement that repeats itself endlessly, I fix my gaze on the waves gently breaking against the dock. Fifty years seem compressed into this moment of sweet spring afternoon, and the notion of linear time seems artificial, invented to explain the passing of life. After all, the seasons are cyclical, and life is Now…” – from Kindness in the Ashes, Üstün B. Reinart”

The video of this performance is part of a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/​

“The performance was recorded August 15, 2014 at Theatre Direct’s Wychwood Theatre in Toronto, Canada by Stefan Rose. The video was edited by David Arthur and directed by Darren Copeland.

The Sound Travels Festival of Sound Art in 2014 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, The Department of Canadian Heritage and The SOCAN Foundation.”

“Lunar Cycle” is a set of three pieces by Stephanie Moore which each explore a different aspect of our relationship as humans to the moon. It features Adam Scime on double bass in two of its movements, and the third – a purely acousmatic movement – uses a substantial amount of sound material recorded from the double bass.

It was part of the Sound Travels Festival in August 2015 in Toronto. “Lunar Cycle” was part of a performance entitled “Revealing Origins” that also included a new work Wendalyn Bartley. Both pieces are included in this 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/

The first movement of the cycle, Pleine lune for double bass and fixed media, explores the notion of transformation inspired by the full moon, and more specifically lycanthropy, or werewolfism. The bass is lead through a journey of metamorphosis by an altered version of itself (the fixed media part).

In the great green room there was a telephone and a red balloon, for double bass and fixed media, uses the text of the children’s story “Goodnight Moon” (by Margaret Wise Brown) to explore the psychological effect of nighttime, and the dual sense of security/insecurity that we first experience as children.

The final purely acousmatic movement of theLCROSS 2009-10-09 was inspired by the exploding of two rockets into the moon’s Cabeus crater by the U.S. government’s National Aeronautics and Space Administration (NASA) on October 9, 2009. It highlights our modern scientific and political attitudes towards the moon, recounting the event and imagining a sonic equivalent to the strangely poetic visual descriptions of it (http://www.nasa.gov/home/hqnews/2010/oct/HQ_10-271_LCROSS_LRO.html).”

The Sound Travels Festival of Sound Art in 2015 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, The Department of Canadian Heritage and The SOCAN Foundation.

Composition and Spatialization Performance: Stephanie Moore
Artistic Direction: Darren Copeland
Video Camera: Stefan Rose
Video Editing: David Arthur
Audio Recording: Darren Copeland and Stephanie Moore
Lighting/Stage Technician: Kai Masaoka

Recorded August 22, 2015 at Theatre Direct’s Wychwood Studio, Toronto for the Sound Travels Festival of Sound Art.

Special Thanks to the Canadian Electroacoustic Community and Canadian Music Centre.

“Sound Can Fly” is a performance for sound can and sound man” created by theatre performance artist Neil Cadger (sound can) and audio artist Steve Heimbecker (sound man). Using specially created wearable sound equipment, the two artists created a dynamic exchange of sound “”in situ”” as they lead audiences from the Centre Island Ferry Dock to St. Andrew by-the-Lake Church.

The technology employed in “”Sound Can Fly”” was a hybrid combination: the soundcan itself was built from a portable, battery-powered amplifier, a coffee can, a car speaker and a dismantled back pack. Paired with this was Heimbecker’s whimsical “”Acoustic Field Intensifier (1994)””, a head device made from 18 metal funnels, also fitted with a portable, battery powered amplifier and speaker. Heimbecker’s composition for this performance was a specially mixed 2 channel composition generated from computer software and environmental sound sources played on mini-discs. The experience of immersive soundscape was created within the relationship between the 2 moving performers, and from the Doppler Effect created by the sound can, combining to produce a playful exploration of human behaviour in an age of extended senses.

Neil Cadger is a founding member of Wissel Theatre (a Belgian performance group) and teaches at the University of Saskatchewan in Saskatoon. He has performed extensively in Europe for the past 20 years, most recently with Co. Mossoux-Bonté, a theatre/dance company based in Brussels.

Steve Heimbecker is a Saskatchewan native now living in Montreal. He studied fine arts at the Alberta College of Art and Design (Calgary, Canada). Though he hasn’t abandoned his interest in the visual or, more precisely, spatial dimension, he has focused his career mainly on sound, He is intrigued by sound’s sculptural effect and even defines himself as a sound sculptor. Recognized for his work in audio art and electroacoustic music, he is also recognized for his sonic sculptures and installations integrating sound components and devices of his on making. In 2005 his installation “”POD”” won an Honourable Mention in Interactive Media at the 2005 Prix Ars Electronica 2005 in Linz, Austria.”

The video of this performance is part of a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/​

“Direction – Darren Copeland.
Camera – Stefan Rose
Editing – David Arthur

The Sound Travels Festival of Sound Art in 2004 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, and The SOCAN Foundation.”

Performance/sound artist Kathy Kennedy led the audience gathered at the Pavillion on Centre Island to follow her sounds and enter into the “Singing Maze”, a sonic treasure hunt. The answers to questions lie in the trees and in the water. Birds give messages that only the most attentive listeners can decipher.

Kathy Kennedy is a sound artist with a background in classical singing. Her art practise generally involves the voice and issues of interface with technology, often using telephony or radio. She is also involved in community art, and is a founder of the digital media center for women in Canada, Studio XX, as well as the innovative choral group for women Choeur Maha. Her large scale sonic installation/performances for up to 100 singers and radio, called “”sonic choreographies,”” have been performed internationally including the inauguration of the Vancouver New Public Library and at the Lincoln Center’s Out of Doors Series. Her solo performances include a high level of improvisation over lush soundtracks of painstakingly mixed vocals and other sounds to create an immersive world of different voices.

The video of this performance is part of a 20th anniversary video collection of performances and other events produced by New Adventures in Sound Art – https://www.naisa.ca/​

Direction – Darren Copeland.
Camera – Stefan Rose
Editing – David Arthur

The Sound Travels Festival of Sound Art in 2003 was supported in part by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, and The SOCAN Foundation.