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Past Performances

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Performances presented on 2020


Story Trees: a useful tool for Truth & Reconciliation?
By Don Hill
January 30, 2021, 7:00 pm to 8:30 pm

General $10, Students FREE, Online Location Issued after Advance Registration

The child of an immigrant, Don Hill was curious about northern Ontario. His mother married a Canadian in 1950. Both parents couldn’t tell him much about the Robinson-Huron Treaty territory around Sault Ste Marie, where the Hill family settled in the 19th century.

In the early 1970s, Don & Anne (Prevost) Hill recorded oral history. At the time, the young couple were unaware of Shingwauk, the Ojibwa seer-shaman, and his vision which led to the genesis of the residential school system (at Garden River First Nation); they visited placeholders of indigenous cultural memory: Shingwauk’s numinous pictographs at Agawa on Lake Superior — ‘rock art’ telling of another time and place —which was profoundly affective (as much as Don felt irrevocably altered for seeing them in 1975).

Story Trees interactive digital software tags the tone & mood of historical interviews. Sensitive to the modern listener's disposition, the dynamic software sets in motion complementary audio & visual materiel in the spirit of a Socratic dialogue; it’s in this way, the contemporary listener is perhaps drawn to different conclusions about what they hear and feel about storytelling from another era.
Don Hill Sound artist & designer, writer, broadcaster, musician and interactive media producer, Don Hill is a former national host of CBC Radio One’s Tapestry. His newest work STORY TREES is a modified ‘responsive architecture’ & interactive online exhibition. Don’s prior investigation of psychoacoustics of ‘place’ inspired his augmented reality app Edmonton Soundwalks, a 3D audio guide for mobile phones. Special Places: Writing-On- Stone is an immersive 360 video presentation that scales from full-dome screens to VR (virtual reality) headsets. In residency with the UK’s renowned Blast Theory he made WRGO (what’s really going on), a surreal 3D audio narrative.
Sonik Boom
By Janet Rogers
February 6, 2021, 7:00 pm to 8:30 pm
General $10, Students FREE, Online Location Issued after Advance Registration

Origin stories and cosmology stories are important and generational hereditary tales which root us, as Indigenous people, in our identity reaching far beyond any land based migration legends and most certainly lives outside any notion of a land bridge. We know where we come from, and we know to where we will return.

In this online presentation, Janet Rogers will be on hand to present and discuss three of her recent poetic audio works. Presentation will take place over Whereby. Admission fee is optional, but advance registration is required.

Program:
I. Stereo Ribbons by Janet Rogers
Stereo Ribbons was inspired by the announcement that NASA had released a new batch of (space) sounds for public consumption. Reading in their descriptions that some of the sounds were described/labeled as stereo ribbons, I thought this was a lovely title and produced a beautiful visual to think of this sound ribbons floating through space - in their own time, taking their own shapes and traveling or not traveling to whatever destination pleased them.
II. tsi tkaronhya ke by Janet Rogers
tsi takaronhya ke - in the sky - is a sound narrative featuring digital compositions by Haida/Cree musician Kristi Lane Sinclair and Inuit DJ Geronimo Inutiq (formerly known as madeskimo) featuring Sylvia Cloutier produced by Mohawk sound and radio artist Janet Rogers. This sound journey expresses challenges within change and transitional phases. Within Indigenous spiritual teachings and origin stories the sky and or space is where human spirit joins the physical realms and where our spirits also return. Transition almost always includes elements of chaos and confusion before understanding and acceptance is achieved. tsi tkaronhya ke is the sound journey of spiritual transitioning.
III. Sky Woman Falling by Janet Rogers
Two original poems revisiting the Haudenosaunee Creation Story, Sky Woman, with self-produced sounds and original music by Liv Wade.
Janet Rogers is a Mohawk/Tuscarora writer from Six Nations of the Grand River. She was born in Vancouver British Columbia in 1963 and raised in southern Ontario. Janet traveled throughout 2017-2019 working within numerous residencies in Vancouver BC, Santa Fe NM and Edmonton AB. Janet is based on the Six Nations territory of the Grand River where she operates the Ojistoh Publishing label. Janet works in page poetry, spoken word performance poetry, video poetry and recorded poetry with music. She is a radio broadcaster, documentary producer and media and sound artist. Her literary titles include; Splitting the Heart, Ekstasis Editions 2007, Red Erotic, Ojistah Publishing 2010, Unearthed, Leaf Press 2011 “Peace in Duress” Talonbooks 2014 and Totem Poles and Railroads ARP Books 2016, “As Long As the Sun Shines” (English edition), Bookland Press 2018 with a Mohawk language edition released in 2019. “Ego of a Nation” is Janet’s 7th poetry title which she independently produced on the Ojistoh Publishing label 2020. Janet currently serves as the McMaster University and Hamilton Public Library Writer in Residence 2020-2021. Janet and collaborator Jackson Twobears as 2Ro Media. They combine their individual talents and skills along with National Screen Institute training to produce two short documentaries; NDNs on the Airwaves about Six Nations radio (APTN 2016), Moving Voice, a Telus STORYHIVE sponsored digital broadcast 2019 featuring the travels of literary trailblazer and Mohawk poetess E. Pauline Johnson, and The Spirit of Rage a short experimental video poem about anti-racism.
Meetup #1: How to Livestream Your Soundscape (2 pm EDT)
More Info
April 15, 2020, 2:00 pm
Online host location will be released to participants after registration.
General $10, Students FREE, Advance Registration - Free or $10 CDN.
Meetup #1: How to Livestream Your Soundscape (8 pm EDT)
More Info
April 15, 2020, 8:00 pm
Online host location will be released to participants after registration.
General $10, Students FREE, Advance Registration - Free or $10 CDN.
Meetup #3: Streaming Your Soundscape on Locus Sonus (2 pm EDT)
More Info
April 22, 2020, 2:00 pm
Online host location will be released to participants after registration.
General $10, Students FREE, RSVP Required. Fee is optional.
Meetup #3: Streaming Your Soundscape on Locus Sonus (8 pm EDT)
More Info
April 22, 2020, 8:00 pm
Online host location will be released to participants after registration.
General $10, Students FREE, RSVP Required. Fee is optional.
Reveil
From May 2, 2020 at 0:00 to May 4, 2020 at 1:00 (-4 UTC)
Listen on NAISA Radio or any of the Sound Camp partner stations.
FREE

New Adventures in Sound Art is proud to be a partner in Reveil: a 24hr+ online broadcast by Soundcamp taking place May 2nd to 3rd.

REVEIL relays the sounds of live open microphones operated by streamers on the Locus Sonus Sound MapCyberforest programmeLIDO deep water hydrophone observatory,  Biom Open Microphone network, and elsewhere. It spans from formal research to domestic projects and commissioned broadcasts.

The Reveil schedule will bring together microphones from open windows, gardens and domestic spaces, as well as open microphones in remote areas, creating a day long audit of the earth in (un)common times. The broadcast works with the Locus Sonus Sound Map to share sounds, ecologies and atmospheres as part of an emerging Acoustic Commons.

Starting on the morning of Saturday 2 May just before daybreak in Rotherhithe near the Greenwich Meridian, the Reveil broadcast will pick up these feeds one by one, tracking the sunrise west from microphone to microphone, following the wave of intensified sound that loops the earth every 24 hours at first light.

New Adventures in Sound Art is participating by airing the Reveil broadcast on NAISA Radio which will happen between 12:00 am (-4 UTC) on May 2 and end 1:00 am on May 3. NAISA Artistic Director Darren Copeland will be part of the remix team during the Reveil broadcast. He will also be streaming the soundscape from his home west of South River on Locus Sonus. NAISA has been hosting online meet up workshops on live-streaming through the month of April in order to add more open microphone streams from around Ontario in the broadcast.

Reveil / Soundcamp in the UK is supported by public funds through Arts Council England and Southwark Neighbourhood Fund, and through private donations and volunteers. NAISA is supported by the Canada Council for the Arts, Ontario Arts Council and Department of Canadian Heritage.

Reveil is made possible through the creative contributions of artists, researchers, activists, ecologists and others, who set up and share the live streams.

Reveil icon by Sam Baraitser Smith
Gesture and Transformation
By David Eagle and Jordan Wyshniowsky
May 30, 2020 at 8 pm
Online site will be issued to RSVP guests.
General $10, Students FREE, RSVP required. Admission price is optional.

An online concert of interactive electroacoustic soundscape compositions by David Eagle from Calgary. The concert will feature the premiere of Tactus for solo cello and interactive soundscapes performed by North Bay cellist Jordan Wyshniowsky. It will also include the world premiere of a new piece by David Eagle that uses the LeapMotion Sensor to control the live spatialization of soundscape textures. The concert will end with Eagle’s Passages and Scenes, Reflection and Memory, a historical reflection on the soundscape of Southern Alberta. Spatialization will be produced with Ambisonic binaural processing. Headphones highly recommended.
David Eagle composes chamber, orchestral and electroacoustic music, and explores interactive computer applications in composition, improvisation, multimedia and sound spatialization. In 2013 he was named a Fellow of the Royal Society of Canada. He studied music at McGill University, at the Institut für Neue Musik, Staatliche Hochschule für Musik, Freiburg, Germany, and at the University of California, Berkeley (PhD 1992). Active as a composer and interpreter of interactive works, he has developed various approaches focusing on sonic transformation through gesture. With the aim of enhancing live expression in electroacoustic and interactive music, he performed an alternative controller called the aXiO. A major project was ‘one thousand curves, ten thousand colours’, a collaborative multimedia concert with composer Hope Lee and Ensemble Resonance, integrating live acoustic and electroacoustic music with computer-generated images. Eagle's work can be heard on New Concert Discs, Clef, UNICAL, isidorart recording, ARKTOS Recordings, MAPL, New Works Calgary and Centrediscs labels.
Jordan Wyshniowsky is principal cellist with the North Bay Symphony and is a strings instructor with the Symphony String School. He has studied with former Sudbury Symphony and North Bay Symphony conductor, Metro Kozak, and with National Arts Centre Orchestra cellists Amanda Forsyth and Margaret Munro Tobolowska. He is active in performing and recording music in the North Bay area. Recent projects have included performing with the Almaguin Strings and Hidden Roots Collective. He has recently released a recording of instrumentals called 'Jordan Music', featuring cello, guitar, and keyboards.
Gesture and Transformation: music by David Eagle with Jordan Wyshniowsky
By and
Available Online at NAISATube

On May 30, 2020 NAISA hosted its first online presentation over the Whereby web-conferencing platform. It consisted of three compositions by David Eagle from Calgary which blended instrumental music, interactive electroacoustics, fixed media and soundscape recordings. Also featured was North Bay cellist Jordan Wyshniowsky in the premiere of Tactus. David Eagle premiered a solo performance of Through Autumn Mist using the LeapMotion Sensor to control the live spatialization of soundscape textures. The concert ended with Eagle’s Passages and Scenes, Reflection and Memory, a historical reflection on the soundscape of Southern Alberta.
No artists for upcoming events programmed yet. Please check later for updates.No artists for upcoming events programmed yet. Please check later for updates.
Collective Listening Reflection: Meetup #1
June 27, 2020, 2:00 pm
General $10, Students FREE, Optional Admission Fee of $10 per meetup.

Online guided listening session and information Q&A with Tina Pearson for those wishing to participate in the World Listening Day Collective Listening Reflection initiative. Discussion of working with listening scores for participants to consider in recording within their local environments.

Online Meeting Location will be issued after Advance Registration.
Collective Listening Reflection
Community Sound Collection from June 20 to July 16, 2020. Three online Meetups on June 27 @ 2 pm, July 6 @ 2 or 7 pm, and July 18 @ 1 & 7 pm. All times -4 UTC.
Online Meeting Location will be issued after Advance Registration.
Optional Admission Fee of $10 per meetup.


New Adventures in Sound Art will host a series of online meetups that will encourage reflection, facilitate soundscape recording and share and exchange perspectives on listening. The initiative will be facilitated by Canadian composer-sound artist Tina Pearson, who will suggest a listening score for participants to consider in recording within their local environments. The resulting curated sound map will be available for listening on Radio Aporee on World Listening Day (July 18) and will continue indefinitely.

World Listening Day is an annual global event produced this year on the theme The Collective Field. The theme for World Listening Day 2020 is from Katherine Krause of Wild Sanctuary.

"Current times have asked each of us, individually and in concert, to retreat, reflect, and rethink the world we thought we knew, but how do we respond? Energizing this shared global experience holds gifts of rejuvenation. Respect this momentary silence – but glean what it yields. The Collective Field invites you to express your recent journey through what was, what is, and what will be, evoked only by wandering into new territory. Stay silent until you know. Then speak. Share. Perform. How have you been transformed? We are all in the woods of a new age, and we’re listening to the future.” - Katherine Krause
Collective Listening Reflection: Meetup #2 at 2 pm (UTC -4)
July 6, 2020, 2:00 pm
General $10, Students FREE, Optional Admission Fee of $10 per meetup.

Online Workshop facilitated by Darren Copeland for those who wish to receive guidance on recording in the field. Learn how to record your soundscape using various inexpensive devices.

Online Meeting Location will be issued after Advance Registration.

Collective Listening Reflection: Meetup #2 at 7 pm (UTC -4)
July 6, 2020, 7:00 pm
General $10, Students FREE, Optional Admission Fee of $10 per meetup.

Additional time option for Meetup #2

Online Meeting Location will be issued after Advance Registration.
Collective Listening Reflection: Meetup #3
July 18, 2020, 1:00 pm
General $10, Students FREE, Optional Admission Fee of $10 per meetup.

NAISA will host an Online Gathering to listen to the recordings made for the aporee sound map and to reflect on changes in listening through these remarkable times.

Recordings were produced in response to a listening score prepared by Tina Pearson.

Online Meeting Location will be issued after Advance Registration.
Collective Listening Reflection: Meetup #3 at 7 pm (UTC -4)
July 18, 2020, 7:00 pm
General $10, Students FREE, Optional Admission Fee of $10 per meetup.

Additional time option for Meetup #2

Online Meeting Location will be issued after Advance Registration.
Recent Transformations (Part One)
August 15, 2020 at 7 pm.
Online Meeting Location issued after Advance Registration.
General $10, Students FREE, Optional Admission Fee.

The first of two online presentations showcasing works from the Sound Travels online album with the composers and sound artists on hand to discuss their works with listeners.

The online album features fixed media works and live performance recordings on the theme of Transformation. A common thread throughout this collection is the use of the transformation of sounds through digital means to not only bend and change conceptions of reality, but to also blur distinctions for the listener between musical listening and imaginary planes of existence.

Program:
I. Quatre machines pour sauver le monde by Léa Boudreau
In January 2019, students from Jean-Baptiste-Meilleur Elementary School in Montréal took part in a little brainstorm: to imagine fantastic machines under the theme "Quatre machines pour sauver le monde" (Four machines to save the world). No limit, no other instruction, all ideas were welcomed. Based on their suggestions, I composed this piece, expressing with sound and music the devices thought out by the students but also their surrounding environment. The work is divided into four parts which respect the original titles given by the schoolchildren:

1- Une machine volante qui fonctionne à la pollution et qui la transforme en air pur (A flying machine that functions with pollution and turns it into fresh air)

2- Une machine-robot en forme d'animal pour sauver les animaux qui n'ont pas de maison et qui sont dans la rue (An animal-shaped robot-machine to save homeless animals that live on the street)

3- Une machine pour envoyer toute la neige qui tombe ici au pôle Nord pour ne plus que ça fonde (A machine to send all the snow falling here to the North Pole so it doesn't melt anymore)

4- Une machine-bateau-sous-marin pour nettoyer les océans (A machine-boat-submarine to clean the oceans)
II. Cauterize by Christopher Lock
"Cauterize" is about undergoing a traumatic experience and the process of overcoming and indeed transforming into a new person in its wake. Most of the material is based on three recordings of spoken text which have the upmost autobiographical significance to the composer but which are not disclosed in the piece. The recordings have been molded and torn apart as part of the process of overcoming and moving forward in life. An attempt at healing and starting over. The piece goes through periods of turbulence and resolve, struggle and detachment, a natural process of grief.
III. Changing One's Mind by Matheos & Georgios
"Changing One’s Mind" is an attempt to sonically portray the effects of psychosis. The intent of this auditory exploration is to immerse the listener in two different acoustic spaces that evoke notions of deception and unfamiliarity. The intent of the artists is guided by themes of duality and space which confronts the listener by fracturing his or her's sense of reality. With homage to Karlheinz Stockhausen’s directional sound in performance, the use of outdoor field and indoor multi-channel recordings are utilized in the piece in order to evoke a sense of the surreal. The artists frequently explored different forms of intervening with sound materials through the creation of this piece. They are interested in bridging human consciousness and sound art in order to bring attention to social awareness and mental health.
IV. La ville de lumière by Camille Zhang
"La ville de lumière" is inspired by the halo of street lights, and by imagining that halo growing, flying and then enveloping the entire city. The raw materials of the piece are mainly the natural sound produced by tearing, squeezing and rubbing different types of papers. By using various editing and mixing techniques and blending the paper recordings with electronic instruments, I wanted to create with sound an image of the lights that are dazzling, flashing and blurring.
V. A Landscape of Events by Juan Carlos Vasquez
“A Landscape of Events” is a piece heavily influenced by Paul Virilio’s homonymous book. The piece is a sonic reflection on how the perception of time is distorted by the pacing of life portrayed in contemporary media, always in constant acceleration. The piece, like the book, presents an amalgam of seemingly disjointed content, or “sets of contradictions in an accelerated and miniaturized world” (Moran, 2004) “A Landscape of Events” was composed at the Virginia Center for Computer Music using ambisonic microphones and Ville Pulkki’s vector-based amplitude panning for the multichannel spatialization.
Recent Transformations (Part Two)
September 11, 2020 at 7 pm.
Online Meeting Location issued after Advance Registration.
General $10, Students FREE, Optional Admission Fee

The second of two online presentations showcasing works from the Sound Travels online album with the composers and sound artists on hand to discuss their works with listeners.

The online album features fixed media works and live performance recordings on the theme of Transformation. A common thread throughout this collection is the use of the transformation of sounds through digital means to not only bend and change conceptions of reality, but to also blur distinctions for the listener between musical listening and imaginary planes of existence.

Program:
I. Et erit Lux Lunae sicut lux solis by Massimo Vito Avantaggiato
“Et erit Lux Lunae sicut lux solis” is an electronic music work which combines concrete sounds that refers to aquatic world. A microcosm of sounds becomes the hyletic universe explored through various techniques in this piece. Heterogeneous sound materials are used: sound of bottles; water dispenser noises; water droplets; electronic wind sounds; chimes; gong; Granular accumulations. Just to name a few. The sounds are here combined in well- identifiable electronic gestures.
Original sound materials are manipulated and transformed through different techniques and returned to the listener, trying to outline an ideal journey between earth and sky.
II. Whisper Bed by Sheridan Tamayo-Henderson
Audio from a multi media installation featuring field recordings from Still Creek and poetic reflections. The piece attempts to balance the so called natural world with the human presence. The creek, the big box stores that surround it and linguistic reflections are fluidly interwoven to negotiate authorship of the space.
III. The Garden of Sonic Delights by Barry Truax
"The Garden of Sonic Delights" invites the listener to enter an imaginary soundscape (one that R. Murray Schafer might describe as a “soniferous garden”) richly filled with sounds that may remind us of the actual sounds of water, wind, insects, animals and birds. Our visit will take us through the afternoon until the next morning, hopefully leaving us delighted and refreshed.
IV. Live performance August 2018 by blablaTrains (Ana Dall’Ara-Majek and Takuto Fukuda)
This recording is from a performance that was recorded in August 2018 at the NAISA North Media Arts Centre in South River, Ontario, Canada.

In this performance blablaTrains create listening paths that range from animality to a robotic society, and from heaven to hell. They strive for a dialog between nature, industrial and electronic sounds. Their performance technique is a theatrical exploration of two instruments that require a ‘choreography’ to generate sound.

To view a video of the performance by blablaTrains visit NAISAtube on Youtube - https://www.youtube.com/watch?v=4_VoGwjl2YA
Endosymbiosis
Live Electronic Music Performance with Liquid Light Imagery
By Robert Fantinatto
October 17, 2020, 7:00 pm
Online Location issued after Advance Registration.
General $10, Students FREE, Optional Admission Fee

Endosymbiosis is a video and improvised electronic music performance by Robert Fantinatto and co-presented by Charles Street Video, New Adventures in Sound Art and Toronto Media Arts Centre. Endosymbiosis utilizes a variation on the technique of Liquid Light by replacing the overhead projector with a 4K video camera. The improvised music performed by Fantinatto uses a customized modular synthesizer along with slowed down water sounds. The performance will be live-streamed over YouTube with Q&A discussion taking place afterwards on the Whereby platform.

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"Endosymbiosis” evokes the transitional time when, 2 billion years ago, early simple bacterial life forms began to evolve into complex cells with internal organs. This came about when a simple cell engulfed another, the engulfed cell becoming a nucleus for the host cell and the eventual location of the first DNA molecules. This key event marks the beginnings of complex life that would eventually lead to the diverse biology known today.

“Endosymbiosis” seeks to help viewers disengage with the information overload of today and transport the viewer back to the primal sensory landscape of our cellular origins. Much like the effect of gazing up at the night sky and contemplating the vastness of the cosmos can help one gain valuable perspective and help offset the manufactured stresses we as a species seem to burden ourselves with, “Endosymbiosis” invites the viewer to engage with the micro perspective of our primal cellular landscape.

The visual component utilizes the technique of “Liquid Light”, a popular component of live concerts during the psychedelic era of the late 1960’s, where different dyes are added to a bath of water and mineral oil which is illuminated from below. Whereas traditional Liquid Light compositions would be projected using an old fashioned “overhead projector”, Fantinatto uses a 4K video camera with a macro lens to reveal very tiny movements of bubbles merging and dyes moving that create an ever changing sea of activity.

Fantinatto will perform improvised music during the performance using a customized modular synthesizer that does not employ any computer control. This will be augmented by an aural soundscape of slowed down water sounds and white noise that will remind viewers of the experience of hearing when underwater.
Robert Fantinatto has studied Astrophysics at the University of Toronto and Film at York University. made a drastic change in career paths. In early 2011 he began to notice an explosion of interest in the world of modular synthesizers. Having been involved in electronic music during the 1980s, he was intrigued by how computers and digital keyboards were in the process of being replaced by equipment long thought to be obsolete. He bought his own modular system and was drawn into the ever-expanding group of musicians who have shunned modern technology for these reborn instruments. He made the feature documentary “I Dream of Wires” that explored this musical innovation along with producing his own music under the name of Robert Blank. He is currently directing two new feature-length documentaries on the life of synthesizer pioneer Robert Moog and composer Morton Subotnick. He spent almost 20 years working as the technical supervisor for Charles Street Video and continues to be an active member to this day.
Adeva (version000_01)
Electronic Music and Video Performance
By Debashis Sinha
October 24, 2020, 7:00 pm
Online Location issued after Advance Registration.
General $10, Students FREE, Optional Admission Fee

Sinha’s explorations of how his Bengali heritage can manifest through the toolset of contemporary electronic music continues with this livestream performance. “Adeva (version000_01)” is a project started in 2019 at the MUTEK JP AI Music Lab, where Sinha began exploring machine learning and AI and their applications in sound, and where he realized their use as a dramaturgical tool in the story-based explorations and re-imaginings of Hindu myth Sinha has been creating for nearly 2 decades. The text and sound world of the Vedas (Hindu scriptures) is subjected to machine learning algorithms and processes to create content that lies just beyond the reach of human comprehension - a piecing together of half-understood and half-perceived bits of wisdom that is reconstructed by Sinha, and the listener in the moment of performance.

The performance will be live-streamed over YouTube with Q&A discussion taking place afterwards on the Whereby platform. It is a co-presentation of New Adventures in Sound Art (NAISA), Charles Street Video and and Toronto Media Arts Centre.
Debashis Sinha A percussionist with a distinctive voice and imagination, Sinha has long been a fixture on Canada’s creative music scene as an acoustic and electronic musician, exploring the many different ways traditional and contemporary tools can inform each other. He is well known as a performer and sound artist, making many appearances nationally and internationally at ISEA, MUTEK Montreal, MUTEK Japan, the Banff Centre, Deep Wireless, Madrid Abierto, Guelph Jazz Festival, Haus der Kulturen der Welt, and other venues. He is active in the Toronto theatre community as an award winning sound designer and composer, creating audio for productions at Soulpepper, the Stratford Festival, Necessary Angel, and many other companies. Upcoming projects include a sound cycle using machine learning tools based on the Vedas and a new album on Berlin’s Establishment label.
Hand-made Muskoka Films
By Sandy McLennan
November 14, 2020, 7:00 pm
Online Location issued after Advance Registration.
General $10, Students FREE, Optional Admission Fee $10

Port Sydney filmmaker Sandy McLennan presents an online screening of his unique hand-made 8mm and 16mm films that portray life in the Muskoka region. He will be on hand to introduce the films and discuss the processes he used to make them. Featured are his films Line in the Sand, Thanksgiving Weekend to the Cottage, The Last Skate and Moving, part one and two.

Program:
I. Line in the Sand (2017, 4:50, Double 8mm hand-processed black & white, digital sound) by Sandy McLennan
Double 8mm film, with its unique line down the middle, is used to reflect on divisions in thought, purpose, practice; in the world. Shot with lenses and a pinhole while visiting nearby lake access points, multi-exposed/edited in-camera and variously hand-processed including a wash in the ice and sand of the spring-melt lake. Sound is synthesized from pictures of a depth map of the lake and of the processed film itself (the mid line like a vinyl record groove) and mixed with location recordings. There is both a private and a public experience here. Dividing lines appear and wash away, and persist.
II. Thanksgiving Weekend to the Cottage (2016, 3:20, super 8 hand-processed colour, silent) by Sandy McLennan
Cottagers dedicate hours of their experience to traffic, dashing out from the city and back again, especially on Thanksgiving weekend. Shot during such a Friday night escape and holiday-Monday-night yield, the super 8 is in-camera edited and hand-processed.
III. The Last Skate (2018, 4:50, 8mm, stereo) by Sandy McLennan
The end of a decades-rare season for skating the entirety of smoothly-frozen lakes near home: Regular 8mm Bolex cameras double-exposing, sometimes a pinhole for a lens, hand-processed with various recipes and physicalities. The cameras failed miserably/wonderfully in the cold. Sound is not looped; you could skate forever. The living lake rumbles just under foot, solid and liquid. A naturally scary and oh so temporary place on earth. Spring begins to birth itself from the deep; winter had its turn.
IV. Moving, part one (2019, 3:37, Double 8mm hand-processed black & white/colour, English) by Sandy McLennan
Same shot of my house, Double 8mm film variously hand-processed over time of thinking about moving. Sound on a cassette plucked from a box to be purged - thoughts overdubbed on an Ideas radio program from the time I moved here in the first place, about the power of women.
V. Moving, part two (Ownerous) (2020, Regular/Double 8mm, black & white/colour, English) by Sandy McLennan
Continuing to move out/move in, emptying one box at a time.

Sandy McLennan is a multidisciplinary artist thriving on reinvention. A Sheridan College Media Arts graduate (1981), he worked as Audio-Visual/Computer Technician in schools until 2014, residing near Huntsville, Ontario since 1986. Making movies on celluloid film or digital video, he is compelled to reproduce docu-drama evidence of the world around him. After decades away he is back in his home darkroom, hand-processing motion picture film. He employs both a portable darkroom and portable cinema to take film outside. Sandy has received grants from the Ontario Arts council to teach pinhole photography and has led workshops at the Liaison of Independent Filmmakers of Toronto. McLennan's experience includes performing with the Canadian Opera Company at age 7, shooting slides in Hong Kong in 1972, tape recording R.Murray Schafer’s lake opera in 1981, documenting a canoe trip on 16mm film, mounting solo and group exhibitions of photography, installation, audio and motion pictures and installation/performance collaborations with Beverley Hawksley for Nuit Blanche North.