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"Over the Edge" in Concert
By Negativland
May 1, 2005, 8:00 pm
The Drake Hotel, 1150 Queen St. W., Toronto
General $20, $20 advance.
By Negativland
May 1, 2005, 8:00 pm
The Drake Hotel, 1150 Queen St. W., Toronto
General $20, $20 advance.
Negativland, while not exactly a "band' in the normal sense, have been consistently creating a stream of audio-art in performance, on record, and on their weekly radio show for the past 25 years.
Using found sound, sampled media, and their own music, Negativland's "illegal" collage and appropriation-based audio and visual works have touched on many things -- pranks, media hoaxes, media literacy, the evolving art of collage, creative anti-corporate activism in a media saturated, multi-national world, the bizarre banality of suburban existence, file sharing, intellectual property issues, wacky surrealism, evolving notions of art and ownership and law in a digital age, artistic and humorous critiques of mass media and culture.
This show will feature a real time performance of a new "Over the Edge" radio performance piece, which will be recorded for later broadcast on their weekly KPFA (Berkeley, California) radio show.
Listen to Negativland perform The Gun and The Bible (excerpt).
Using found sound, sampled media, and their own music, Negativland's "illegal" collage and appropriation-based audio and visual works have touched on many things -- pranks, media hoaxes, media literacy, the evolving art of collage, creative anti-corporate activism in a media saturated, multi-national world, the bizarre banality of suburban existence, file sharing, intellectual property issues, wacky surrealism, evolving notions of art and ownership and law in a digital age, artistic and humorous critiques of mass media and culture.
This show will feature a real time performance of a new "Over the Edge" radio performance piece, which will be recorded for later broadcast on their weekly KPFA (Berkeley, California) radio show.
Listen to Negativland perform The Gun and The Bible (excerpt).
RADiO iN AMBiENCE
May 11, 2005, 9:00 pm
HACiENDA - 794 Bathurst Street at Bloor (directly across from the Bathurst subway station)
Admission by donation, PayWhatYouCan
May 11, 2005, 9:00 pm
HACiENDA - 794 Bathurst Street at Bloor (directly across from the Bathurst subway station)
Admission by donation, PayWhatYouCan
These special presentations by THE AMBiENT PiNG for Deep Wireless feature experimental artists making extensive use of radio as a live ambient sound source.
RADiO iN AMBiENCE Part 1
May 11, 2005, 9:00 pm
Doors open at 9pm - 1st set at 9:30
HACiENDA - 794 Bathurst Street at Bloor - Toronto (directly across from the Bathurst subway station)
Admission by donation, PayWhatYouCan
May 11, 2005, 9:00 pm
Doors open at 9pm - 1st set at 9:30
HACiENDA - 794 Bathurst Street at Bloor - Toronto (directly across from the Bathurst subway station)
Admission by donation, PayWhatYouCan
This evening features live radio as part of a freely improvising ensemble. Experimental looping cellist cheryl o is joined by the innovative Rob Piilonen with his extended flute techniques and treatments, the very funky Jennifer Gillmor on kamel n'goni and bass guitar and sound artist and Hurdy Gurdy Man Ben Grossman on short-wave radio/live sampling w/ effects. Ben will be pulling sound 'out of the air' in the moment to add to the unexpected improvisatory nature of the process.
What is radio, what is radio art?
By Anna Friz
May 14, 2005, 1:00 pm
The Drake Hotel (1150 Queen St W), Toronto
FREE
By Anna Friz
May 14, 2005, 1:00 pm
The Drake Hotel (1150 Queen St W), Toronto
FREE
What is radio, what is radio art? A bit of the nuts and bolts of radio transmission, and some central issues at stake for the art: i.e. access to airwaves, creative appropriation of a mass medium (rethinking radio), and development and celebration of sound culture. Will include audio examples and a low-watt FM transmitter show n' tell.
A tour of the Deep Wireless sound installations will follow.
Installations include works by Paul DeMarinis, Anna Friz, and
Christian Calon, Chantal Dumas and Don Sinclair.
A tour of the Deep Wireless sound installations will follow.
Installations include works by Paul DeMarinis, Anna Friz, and
Christian Calon, Chantal Dumas and Don Sinclair.
RADiO iN AMBiENCE Part 2
May 18, 2005, 9:00 pm
Doors open at 9pm - 1st set at 9:30
HACiENDA - 794 Bathurst Street at Bloor - Toronto (directly across from the Bathurst subway station)
Admission by donation, PayWhatYouCan
May 18, 2005, 9:00 pm
Doors open at 9pm - 1st set at 9:30
HACiENDA - 794 Bathurst Street at Bloor - Toronto (directly across from the Bathurst subway station)
Admission by donation, PayWhatYouCan
Montreal radio artist Anna Friz presents a radio solo for all things transmissable-- live and treated. Tactile transmissions of piezo mics and theremin, with an accompanying buzz of shortwave.
Allison Cameron uses contact mics to amplify small things. She creates textured pieces with radios, samplers, tapes, Casio Sax and various toys. She has been the artistic director of Arraymusic and has been improvising in collaboration with Martin Arnold, Éric Chenaux, the Draperies, Ryan Driver,
Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald and many others. Her compositions have been performed by the likes of Arraymusic, Eve Egoyan, Les Couscous Bénévoles, Maarten Altena Ensemble and the Bang On A Can All-Stars.
Allison will bring guests including Stephen Parkinson (electric guitar).
Allison Cameron uses contact mics to amplify small things. She creates textured pieces with radios, samplers, tapes, Casio Sax and various toys. She has been the artistic director of Arraymusic and has been improvising in collaboration with Martin Arnold, Éric Chenaux, the Draperies, Ryan Driver,
Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald and many others. Her compositions have been performed by the likes of Arraymusic, Eve Egoyan, Les Couscous Bénévoles, Maarten Altena Ensemble and the Bang On A Can All-Stars.
Allison will bring guests including Stephen Parkinson (electric guitar).
Matinee Performance
May 27, 2005, 1:00 pm
Admission by donation, PayWhatYouCan
May 27, 2005, 1:00 pm
Admission by donation, PayWhatYouCan
This matinee performance includes excerpts from the Radio Theatre 1
live performances by Chris Brookes, Anna Friz, Eric Leonardson and Evalyn Parry as well as excerpts from some of the Deep Wireless residency commissions by Yves Daoust, Milena Droumeva, Geoff Siskind and Dragan Todorovic.
live performances by Chris Brookes, Anna Friz, Eric Leonardson and Evalyn Parry as well as excerpts from some of the Deep Wireless residency commissions by Yves Daoust, Milena Droumeva, Geoff Siskind and Dragan Todorovic.
Radio Theatre performances
Re-creating the live radio of 50 years ago with a present-day twist.
May 27, 2005, 8:00 pm
General $10, $10 advance / $15 at the door
Re-creating the live radio of 50 years ago with a present-day twist.
May 27, 2005, 8:00 pm
General $10, $10 advance / $15 at the door
Two different evening performances, complete with live music and radioscapes, that bring back the spontaneity of live radio with performances by Eric Leonardson, Chris Brookes, Anna Friz, and Evalyn Parry, alongside world premieres of radio works by Yves Daoust, Milena Droumeva, Geoff Siskind, and Dragan Todorovic commissioned through the Deep Wireless commissioning programme with CBC Radio's "Out Front" and Charles Street Video as well as new works by Helen Thorington and Steve Wadhams. Directed by Darren Copeland and Mark Cassidy, "Radio Theatre" promises to keep you on the edge of your seat with all the conventions of radio (past and present) turned upside-down.
To Hell in a Handbasket
By Church of Harvey Christ Redeemer
May 27, 2005, 10:00 pm
General $10, $10 advance / $15 at the door
By Church of Harvey Christ Redeemer
May 27, 2005, 10:00 pm
General $10, $10 advance / $15 at the door
Taste the Zeal! True Tales of Triumph over Trial and Tribulation! Holy Headgear! Hymns and sermons! Barns Burnt! Fear not the Apocalypse, come and get Left Behind with the Church of Harvey Christ!
Featuring Reverend Norm, Reverend Anna Montana, Reverend Joalien and Reverend Randy Peters.
This performance will also be the Toronto launch of "The Dead Beat Scrolls: The Largely Incomprehensible Teachings of Harvey Christ" book and CD (Cumulus Press 2005).
Brought to you by the creators of the Harvey Christ Radio Hour: a live weekly radio show produced by Reverends of the Church of Harvey Christ, heard every
Tuesday night 11-12AM on CKUT 90.3FM in Montreal since October 2000. The show is loosely inspired by evangelical radio formats and features storytelling and sermons, hymns played live in studio, baptisms,exorcisms, etc. Harvey Christians satirize dogmatic beliefs - whether religious, political or pop cultural - and mix the serious with the bizarre as an antidote to mainstream radio and religion.
Featuring Reverend Norm, Reverend Anna Montana, Reverend Joalien and Reverend Randy Peters.
This performance will also be the Toronto launch of "The Dead Beat Scrolls: The Largely Incomprehensible Teachings of Harvey Christ" book and CD (Cumulus Press 2005).
Brought to you by the creators of the Harvey Christ Radio Hour: a live weekly radio show produced by Reverends of the Church of Harvey Christ, heard every
Tuesday night 11-12AM on CKUT 90.3FM in Montreal since October 2000. The show is loosely inspired by evangelical radio formats and features storytelling and sermons, hymns played live in studio, baptisms,exorcisms, etc. Harvey Christians satirize dogmatic beliefs - whether religious, political or pop cultural - and mix the serious with the bizarre as an antidote to mainstream radio and religion.
Church of Harvey Christ Redeemer The creators of the Harvey Christ Radio Hour: a live weekly radio show produced by Reverends of the Church of Harvey Christ, heard every Tuesday night 11-12AM on CKUT 90.3FM in Montreal since October 2000. The show is loosely inspired by evangelical radio formats and features storytelling and sermons, hymns played live in studio, baptisms,exorcisms, etc. Harvey Christians satirize dogmatic beliefs - whether religious, political or pop cultural - and mix the serious with the bizarre as an antidote to mainstream radio and religion.
Gregory Whitehead
O MONSTROUS VOICE LIKE MINE and other radio plays
May 28, 2005, 10:00 pm
General $10, $10 advance / $15 at the door
O MONSTROUS VOICE LIKE MINE and other radio plays
May 28, 2005, 10:00 pm
General $10, $10 advance / $15 at the door
Gregory Whitehead will present a trio of short plays in the foggy borderlands of documentary fiction: O Monstrous Voice Like Mine; On One Lost Hair and The Perfect Scream.
Stay tuned for more of the Drake's late-late night solos...
Stay tuned for more of the Drake's late-late night solos...
Deep Wireless Radioroad Mix
By Radio RoadMix
May 29, 2005, 6:00 pm
General $5, $5 cover (free for conference attendees)
By Radio RoadMix
May 29, 2005, 6:00 pm
General $5, $5 cover (free for conference attendees)
Includes a presentation of "The little man in the ear" from radio roadmovies by Chantal Dumas and Christian Calon as well as a live performance of "FREEDOM HIGHWAY" by Emmanuel Madan.
Program:
I. The little man in the ear by Chantal Dumas and Christian Calon
July 9th, 1999 - September 9th, 1999, 20000 km on Canadian roads and trails. From Montreal across the prairies the the North Western Arctic, down to the Pacific and back through the Badlands. The Mercury minivan took the road, loaded with recording equipment, tools, DAT cassettes, tent, Coleman burner, sleeping bags ad cooking apparatus, spare tires, beer and camera, boots, books and maps. In "The little man in the ear," the materials are presented with little transformation. Only to better the listening clarity did we apply some processing. On the other hand we took at times the liberty to radically transform the original sound materials.
July 9th, 1999 - September 9th, 1999, 20000 km on Canadian roads and trails. From Montreal across the prairies the the North Western Arctic, down to the Pacific and back through the Badlands. The Mercury minivan took the road, loaded with recording equipment, tools, DAT cassettes, tent, Coleman burner, sleeping bags ad cooking apparatus, spare tires, beer and camera, boots, books and maps. In "The little man in the ear," the materials are presented with little transformation. Only to better the listening clarity did we apply some processing. On the other hand we took at times the liberty to radically transform the original sound materials.
II. FREEDOM HIGHWAY by Emmanuel Madan
In September 2002, Emmanuel Madan went on a road trip through the eastern United States. The journey of 3000 miles had no precise destination; its goal was to listen to and record programming in the radio format known as talk radio. Thus began the FREEDOM HIGHWAY project, an exploration of mass media and American public discourse in the post-9/11 context. Madan has continued monitoring and intercepting talk radio broadcasts intensively since fall 2002, . The FREEDOM HIGHWAY performance draws from this material to generate a live mix which is at once musical and documentary in nature.
In September 2002, Emmanuel Madan went on a road trip through the eastern United States. The journey of 3000 miles had no precise destination; its goal was to listen to and record programming in the radio format known as talk radio. Thus began the FREEDOM HIGHWAY project, an exploration of mass media and American public discourse in the post-9/11 context. Madan has continued monitoring and intercepting talk radio broadcasts intensively since fall 2002, . The FREEDOM HIGHWAY performance draws from this material to generate a live mix which is at once musical and documentary in nature.
Sound Can Fly a performance for sound can and sound man
By Neil Cadger and Steve Heimbecker
August 5, 2005, 7:00 pm
Begins at pavilion near Centre Island ferry dock (Island side)
FREE
By Neil Cadger and Steve Heimbecker
August 5, 2005, 7:00 pm
Begins at pavilion near Centre Island ferry dock (Island side)
FREE
The site-specific performances and soundwalks of Sound Travels are just as much of a mainstay as the 8-channel concert. This year the soundwalk and site-specific performance will be combined into a single performance journey, entitled "Sound Can Fly: a performance for sound can and sound man". This performance is part of an ongoing collaboration between theatre performance artist Neil Cadger (sound can) and audio artist Steve Heimbecker (sound man). Using specially created wearable sound equipment, the two artists will create 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" is a hybrid combination: the soundcan itself is built from a portable, battery-powered amplifier, a coffee can, a car speaker and a dismantled back pack. Paired with this is 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 is a specially mixed 2 channel composition generated from state of the art computer software and environmental sound sources played on mini-discs. The experience of immersive soundscape is 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 the age of extended senses.
The technology employed in "Sound Can Fly" is a hybrid combination: the soundcan itself is built from a portable, battery-powered amplifier, a coffee can, a car speaker and a dismantled back pack. Paired with this is 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 is a specially mixed 2 channel composition generated from state of the art computer software and environmental sound sources played on mini-discs. The experience of immersive soundscape is 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 the age of extended senses.
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.
Yves Daoust: a portrait
Concert of works by Yves Daoust Yves Daoust in Conversation with Jennifer Waring
August 5, 2005, 8:00 pm
St. Andrew by-the-Lake church, Toronto Island
General $5, $5 at the door
Concert of works by Yves Daoust Yves Daoust in Conversation with Jennifer Waring
August 5, 2005, 8:00 pm
St. Andrew by-the-Lake church, Toronto Island
General $5, $5 at the door
Friday nights on the island are often quiet and permit time for reflection. This concert will trace the development of Yves Daoust’s long musical career peppered with interviews by concert host Jennifer Waring that will spark anecdotes and personal reflections by Yves. Works featured in include: “Petite musique sentimentale”, “Suite baroque”, “mi bémol”, “Water Music” and “Bruits.’
Program:
I. Suite Baroque: Toccata (1989) by Yves Daoust
Suite Baroque (Baroque Suite) was composed for the concert-performance Ni terrible, ni simple (Neither Difficult, Nor Simple) by harpsichordist/actress Catherine Perrin. Used as transitions between solo harpsichord pieces performed by the musician, each of the movements of Suite Baroque articulates a different dramatic climate which reflects various “moods” of the performer/actress. Each movement of the suite is constructed on a specific aspect of the baroque style, its rhetorical processes, its artifices—signs now almost indecipherable but for a small circle of experts. Suite Baroque was realized at the composer’s studio in 1989. It was premiered as part of the Ni terrible, ni simple performance in February, 1989, at Obscure in Québec City. This piece was commissioned by Catherine Perrin.
Suite Baroque (Baroque Suite) was composed for the concert-performance Ni terrible, ni simple (Neither Difficult, Nor Simple) by harpsichordist/actress Catherine Perrin. Used as transitions between solo harpsichord pieces performed by the musician, each of the movements of Suite Baroque articulates a different dramatic climate which reflects various “moods” of the performer/actress. Each movement of the suite is constructed on a specific aspect of the baroque style, its rhetorical processes, its artifices—signs now almost indecipherable but for a small circle of experts. Suite Baroque was realized at the composer’s studio in 1989. It was premiered as part of the Ni terrible, ni simple performance in February, 1989, at Obscure in Québec City. This piece was commissioned by Catherine Perrin.
II. Petite musique sentimentale (1984) by Yves Daoust
Street traffic, radio traffic reports, weather forecasts. Winter ambiance in Montréal. Everyday sounds, from urban banality which are sporadically confronted—during a pause in the urban rumble—by a chord on the piano, as if it had escaped though a half-opened window. Nostalgic color, a little too sweet, that seems to come from elsewhere, from another era, another city. Petite musique sentimentale (Miniature Sentimental Music) was realized at the composer’s studio in 1984 and was premiered by the pianist Anne Barteletti in January, 1985, at the Grand auditorium of Radio-France in Paris. The current version was recorded at the McGill University Recording Studio in May 1991 (engineer: Peter Cook), and mixed at the composer’s studio in June 1991. This piece was commissioned by Belgium National Radio´s producer Harry Halbreich.
Street traffic, radio traffic reports, weather forecasts. Winter ambiance in Montréal. Everyday sounds, from urban banality which are sporadically confronted—during a pause in the urban rumble—by a chord on the piano, as if it had escaped though a half-opened window. Nostalgic color, a little too sweet, that seems to come from elsewhere, from another era, another city. Petite musique sentimentale (Miniature Sentimental Music) was realized at the composer’s studio in 1984 and was premiered by the pianist Anne Barteletti in January, 1985, at the Grand auditorium of Radio-France in Paris. The current version was recorded at the McGill University Recording Studio in May 1991 (engineer: Peter Cook), and mixed at the composer’s studio in June 1991. This piece was commissioned by Belgium National Radio´s producer Harry Halbreich.
III. Mi bémol (1990) by Yves Daoust
Around a small tonal object (E flat, Mi bémol in French) developed into a drone used as a thread in this piece, I have brought together some of my ‘fetish’ sounds. A stereotypical form emerged, a hyper-condensation of my style, of my articulation and construction processes: confrontation of widely different sound elements, a preference for the anecdotal, the crossfading of textures, oscillation between the musical discourse and the documentary approach. Mixtures of levels, polyphony of sounds and of meanings. A pastiche where I attempt to imitate myself…
Around a small tonal object (E flat, Mi bémol in French) developed into a drone used as a thread in this piece, I have brought together some of my ‘fetish’ sounds. A stereotypical form emerged, a hyper-condensation of my style, of my articulation and construction processes: confrontation of widely different sound elements, a preference for the anecdotal, the crossfading of textures, oscillation between the musical discourse and the documentary approach. Mixtures of levels, polyphony of sounds and of meanings. A pastiche where I attempt to imitate myself…
IV. Water Music (1991) by Yves Daoust
The idea of Water Music came to me on a beautiful spring day as I listened in a state of wonder to the music produced by droplets falling from melting icicles. I was fascinated by the complexity of the sound, the beauty of such a mundane natural phenomenon, that we tend to overlook. A rivulet had formed. Mixing with the melting snow, it would undoubtedly end up joining the swollen stream. Everything was there: the atmosphere, the paths to be followed, the formal concept. One needs only to pay attention. Water Music was realized in 1991 at the composer’s studio. The work was commissioned by David Olds (for Toronto’s CKLN FM program Transfigured Night) with the help of the Canada Council for the Arts
The idea of Water Music came to me on a beautiful spring day as I listened in a state of wonder to the music produced by droplets falling from melting icicles. I was fascinated by the complexity of the sound, the beauty of such a mundane natural phenomenon, that we tend to overlook. A rivulet had formed. Mixing with the melting snow, it would undoubtedly end up joining the swollen stream. Everything was there: the atmosphere, the paths to be followed, the formal concept. One needs only to pay attention. Water Music was realized in 1991 at the composer’s studio. The work was commissioned by David Olds (for Toronto’s CKLN FM program Transfigured Night) with the help of the Canada Council for the Arts
V. Bruits: Children’s Corner and Nuit (1997-2001) by Yves Daoust
This project was born out of a commission from the Sonic Arts Network (United Kingdom), for the realization of an environmental tableau, a type of musical postcard depicting a place that is dear to me. Stunned by the noises of the ‘city,’ and in spite of my resistance motivated by a desire to fulfill the commission, I found myself swept along in a much different direction from that which was expected of me. The sound samples, captured for the most part in the summer of 1997 in the streets and lanes of the city of Montreal, were exploded, mutilated, in order to render them more appropriate to my memory — to my sonic impression of this city, explored in every sense. Noise (‘bruit’ in French) is the dominating feature. ‘Smooth’ noise, a constant and immutable murmur — the sum of human machines. Explosive noises, heterogeneous fragments that invade from all angles like small darts that pierce through the mass in passing, only to melt again into the sonorous ambiance of which they are par
This project was born out of a commission from the Sonic Arts Network (United Kingdom), for the realization of an environmental tableau, a type of musical postcard depicting a place that is dear to me. Stunned by the noises of the ‘city,’ and in spite of my resistance motivated by a desire to fulfill the commission, I found myself swept along in a much different direction from that which was expected of me. The sound samples, captured for the most part in the summer of 1997 in the streets and lanes of the city of Montreal, were exploded, mutilated, in order to render them more appropriate to my memory — to my sonic impression of this city, explored in every sense. Noise (‘bruit’ in French) is the dominating feature. ‘Smooth’ noise, a constant and immutable murmur — the sum of human machines. Explosive noises, heterogeneous fragments that invade from all angles like small darts that pierce through the mass in passing, only to melt again into the sonorous ambiance of which they are par
VI. Children’s Corner (1997) by Yves Daoust
A series of tableaux, each centered around a relatively homogeneous, diurnal sonic ‘world’: street festivals, markets, outside sports, machines, public gardens, lanes. The fragmentation technique used creates a generally hazy effect: a sort of sonic smog that sometimes clears to reveal the laughter or cry of a child combined with the infant-like squeals of the omnipresent swallows and of the “bip-bip” back up warnings that all types of large delivery and service vehicles with which are equipped (such strange music boxes). Children’s Corner was realized in the composer’s studio in Montréal in 1997 and premiered on May 7, 1998 at the University of Wales (Bangor, UK). Thanks to Joseph Hyde of the Sonic Arts Network (SAN) to have ‘triggered’ this work. The stereo version of Children’s Corner was commissioned by Sonic Arts Network (UK) with the assistance of The Arts Council of England; the octophonic version (realized in 1998) was commissioned by ACREQ with the assistance of the Canada C
A series of tableaux, each centered around a relatively homogeneous, diurnal sonic ‘world’: street festivals, markets, outside sports, machines, public gardens, lanes. The fragmentation technique used creates a generally hazy effect: a sort of sonic smog that sometimes clears to reveal the laughter or cry of a child combined with the infant-like squeals of the omnipresent swallows and of the “bip-bip” back up warnings that all types of large delivery and service vehicles with which are equipped (such strange music boxes). Children’s Corner was realized in the composer’s studio in Montréal in 1997 and premiered on May 7, 1998 at the University of Wales (Bangor, UK). Thanks to Joseph Hyde of the Sonic Arts Network (SAN) to have ‘triggered’ this work. The stereo version of Children’s Corner was commissioned by Sonic Arts Network (UK) with the assistance of The Arts Council of England; the octophonic version (realized in 1998) was commissioned by ACREQ with the assistance of the Canada C
VII. Nuit (1998) by Yves Daoust
(Night) A long linear form, a type of adagio that reuses part of the material from the first movement, treating it in a much more formal and abstract manner. It is as though all the noises accumulated during the day continued, flattened, in the mind of the sleeper, reduced to a tinnitus that becomes confused with the sonic activity of nocturnal insects and with the very real, though distant, hum of the sleeping city. Nuit was realized in the Charybde Studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) in 1998 and premiered in June 1999 during Synthèse, the International Festival of Electronic Music and Creation (Bourges, France, 1999). Nuit was commissioned by IMEB.
(Night) A long linear form, a type of adagio that reuses part of the material from the first movement, treating it in a much more formal and abstract manner. It is as though all the noises accumulated during the day continued, flattened, in the mind of the sleeper, reduced to a tinnitus that becomes confused with the sonic activity of nocturnal insects and with the very real, though distant, hum of the sleeping city. Nuit was realized in the Charybde Studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) in 1998 and premiered in June 1999 during Synthèse, the International Festival of Electronic Music and Creation (Bourges, France, 1999). Nuit was commissioned by IMEB.
Sound Can Fly: a performance for sound can and sound man
Site-Specific Performances by Neil Cadger and Steve Heimbecker
August 6, 2005, 7:00 pm
St. Andrew by-the-Lake church, Toronto Island
General $5, $5 at the door
Site-Specific Performances by Neil Cadger and Steve Heimbecker
August 6, 2005, 7:00 pm
St. Andrew by-the-Lake church, Toronto Island
General $5, $5 at the door
New Adventures in Sound Art will celebrate 7 years of Sound Travels events in Toronto by presenting an array of soundscape pieces. Featured works include Frances White’s "A Veil Barely Seen" for viola and tape performed by Parmela Attawiwala, Yves Daoust’s "Adagio for flute and tape" performed by Jennifer Waring, as well as a soundscape piece "...soretes de nunta" by Damián Keller. Also included will be world premieres of adventurous new soundscape pieces by Charlie Fox, David Ogborn, Lewis Kaye, Rose Bolton and Parmela Attariwala who will each have created their works using a multi-channel microphone array newly designed by Charlie Fox in this year’s Sound Travels residency, co-produced by Inter/Access and Charles Street Video and led by Charlie Fox, Darren Copeland and Yves Daoust.
Program:
I. Sixty - a multichannel soundscape for SoundTravels (2005) by Charlie Fox
The underlying motivation for the creation of the multichannel soundscape Sixty was the realisation, when asked to develop a new work for SoundTravels, that the presentation date fell on the sixtieth anniversary of the atomic bomb being dropped on the city of Hiroshima. The City of Hiroshima has devoted the sixty years following the disaster of August 6th, 1945 to working for a world free of nuclear weapons. There resides an ingenuity in the human race towards creating ever more sophisticated methods and means of destruction. Nuclear weapons are representative of our zenith in this behaviour; however, we continue in a collective state of denial, ignoring the ongoing manufacture and maintenance of huge nuclear arsenals around the world. As one artist¹s reflection, I submit this soundscape as a meditation upon the significance and beauty of Hiroshima¹s request, coupled with the prospect that the potential for nuclear war remains a world-wide reality. I must acknowledge the contribution
The underlying motivation for the creation of the multichannel soundscape Sixty was the realisation, when asked to develop a new work for SoundTravels, that the presentation date fell on the sixtieth anniversary of the atomic bomb being dropped on the city of Hiroshima. The City of Hiroshima has devoted the sixty years following the disaster of August 6th, 1945 to working for a world free of nuclear weapons. There resides an ingenuity in the human race towards creating ever more sophisticated methods and means of destruction. Nuclear weapons are representative of our zenith in this behaviour; however, we continue in a collective state of denial, ignoring the ongoing manufacture and maintenance of huge nuclear arsenals around the world. As one artist¹s reflection, I submit this soundscape as a meditation upon the significance and beauty of Hiroshima¹s request, coupled with the prospect that the potential for nuclear war remains a world-wide reality. I must acknowledge the contribution
II. A Veil barely seen (2001) by Frances White
Composed in 2001, this piece was commissioned by, and is dedicated to, violist Liuh-Wen Ting. It was premiered in New York in April of 2001, at Merkin Hall. Ms. Ting commissioned "A veil barely seen" to be one of five pieces that would each represent one of the five Chinese elements (earth, air, fire, water, and wood). A veil barely seen represents water. Its electronic part consists primarily of the recorded sound of water, which is sometimes colored by filtering, and from which lingering tones arise and decay. In the viola part, single notes and melodic fragments emerge from the tape sounds, with many subtle variations in tone color, vibrato or lack thereof, and dynamics. Chapter 6 of the Tao Te Ching is about the Valley Spirit, an eternal female element associated with water. In a poetic translation by Gia-Fu Feng and Jane English, this entity is compared to "a veil barely seen." I recorded the sound of water for this piece in the winter and early spring of 2000. Listening to the
Composed in 2001, this piece was commissioned by, and is dedicated to, violist Liuh-Wen Ting. It was premiered in New York in April of 2001, at Merkin Hall. Ms. Ting commissioned "A veil barely seen" to be one of five pieces that would each represent one of the five Chinese elements (earth, air, fire, water, and wood). A veil barely seen represents water. Its electronic part consists primarily of the recorded sound of water, which is sometimes colored by filtering, and from which lingering tones arise and decay. In the viola part, single notes and melodic fragments emerge from the tape sounds, with many subtle variations in tone color, vibrato or lack thereof, and dynamics. Chapter 6 of the Tao Te Ching is about the Valley Spirit, an eternal female element associated with water. In a poetic translation by Gia-Fu Feng and Jane English, this entity is compared to "a veil barely seen." I recorded the sound of water for this piece in the winter and early spring of 2000. Listening to the
III. Second Nature - world premiere (2005) by David Ogborn
Toronto's Tommy Thompson Park is a manmade spit that snakes its way from where Leslie Street meets Lake Ontario to a lighthouse out beyond the Toronto islands. This work is based on field recordings made in the park, a location I first discovered in 2001, sometime during my first year living in Toronto. It became a place towards which I gravitated - not just as a place to escape the bustle of the city, but as a heightened example of what one might call "second nature" - nature as a construct of mankind, as a reflection of mankind's activity.
Toronto's Tommy Thompson Park is a manmade spit that snakes its way from where Leslie Street meets Lake Ontario to a lighthouse out beyond the Toronto islands. This work is based on field recordings made in the park, a location I first discovered in 2001, sometime during my first year living in Toronto. It became a place towards which I gravitated - not just as a place to escape the bustle of the city, but as a heightened example of what one might call "second nature" - nature as a construct of mankind, as a reflection of mankind's activity.
IV. Whisper Series, Part 3 by Rose Bolton
The presence of whispers are an allusion to the inner mind and voices from the past. Bells symbolize the measurement of the passage of time. Alarm clock bells signal the mark of key moments in time. I plan to use wind sounds and whispers that move back and forth from speaker to speaker in a star like pattern. There will be five main sections in the piece, each one where a different concrète sound is coming out of a certain speaker, superimposed over various soundscapes, recorded from various significant locations in the east end of Toronto.
The presence of whispers are an allusion to the inner mind and voices from the past. Bells symbolize the measurement of the passage of time. Alarm clock bells signal the mark of key moments in time. I plan to use wind sounds and whispers that move back and forth from speaker to speaker in a star like pattern. There will be five main sections in the piece, each one where a different concrète sound is coming out of a certain speaker, superimposed over various soundscapes, recorded from various significant locations in the east end of Toronto.
V. Intersections by Lewis Kaye
There are a few intersections scattered across the city of Toronto that always seem to draw me into a rapt sense of listening. Due to myriad temporal, social and architectural idiosyncrasies they end up having a wonderful acoustic presence, a rich sound filled with people, vehicles and movement. In essence, they have a very singular aural character. Walking along Yonge St. in Toronto, I'm often struck by how acoustically distinct, yet equally rich the intersections south of Queen St. sound. A brisk walk south from Queen St. to Front St. takes about 20 minutes or so, and takes you through seven intersections. It involves a very specific spatial transformation: a complete linear movement through the entirety of the space. Could we, perhaps, find another way to listen to the differences of these spaces, one that doesn't involve this type of physical movement? What would it sound like if the aural fields of these intersections were superimposed on top of and through each other, as if your
There are a few intersections scattered across the city of Toronto that always seem to draw me into a rapt sense of listening. Due to myriad temporal, social and architectural idiosyncrasies they end up having a wonderful acoustic presence, a rich sound filled with people, vehicles and movement. In essence, they have a very singular aural character. Walking along Yonge St. in Toronto, I'm often struck by how acoustically distinct, yet equally rich the intersections south of Queen St. sound. A brisk walk south from Queen St. to Front St. takes about 20 minutes or so, and takes you through seven intersections. It involves a very specific spatial transformation: a complete linear movement through the entirety of the space. Could we, perhaps, find another way to listen to the differences of these spaces, one that doesn't involve this type of physical movement? What would it sound like if the aural fields of these intersections were superimposed on top of and through each other, as if your
VI. Adagio (1986) by Yves Daoust
The modern flute of Boehm has incited an extremely virtuosic repertoire: theatrical works with superficial musical content, special effects cataloging the instrument’s idiosyncrasies and technical possibilities, pastiches of famous romantic violin concerti. It is certainly an outdated repertoire, but remains very flattering for the performer. The instrumental part of "Adagio" was realized from 192 excerpts of virtuoso works well-known to any flutist (Boehm, Kuhlau, Tulou, Molique, Doppler, Fauré;…). These excerpts are interspersed with quotations from the Adagio of Mozart’s Quartet K 285 for flute, violin, viola and violoncello. Omnipresent both in the instrumental part and on the tape, Mozart’s Adagio is intermingled with sounds of daily life: traffic, telephone ringing, a cultural radio program (in which Lise Daoust, the performer, is interviewed), television, music lessons. The writing is fragmented, and continually interrupted. The performer desperately tries to bring together al
The modern flute of Boehm has incited an extremely virtuosic repertoire: theatrical works with superficial musical content, special effects cataloging the instrument’s idiosyncrasies and technical possibilities, pastiches of famous romantic violin concerti. It is certainly an outdated repertoire, but remains very flattering for the performer. The instrumental part of "Adagio" was realized from 192 excerpts of virtuoso works well-known to any flutist (Boehm, Kuhlau, Tulou, Molique, Doppler, Fauré;…). These excerpts are interspersed with quotations from the Adagio of Mozart’s Quartet K 285 for flute, violin, viola and violoncello. Omnipresent both in the instrumental part and on the tape, Mozart’s Adagio is intermingled with sounds of daily life: traffic, telephone ringing, a cultural radio program (in which Lise Daoust, the performer, is interviewed), television, music lessons. The writing is fragmented, and continually interrupted. The performer desperately tries to bring together al
VII. Hybrid Haze- world premiere (2005) by Parmela Attariwala
Toronto is often described as the multicultural city, a microcosm of the contemporary globalized world. Diversity and plurality are the norm, perhaps even a politically sought-after state of being. In this piece, I explore some of the different forms of sonic plurality that one finds in Toronto's cultural mélange. An authentic culture is a figment of the imagination. Toronto's authentic culture is a hybrid one.
Toronto is often described as the multicultural city, a microcosm of the contemporary globalized world. Diversity and plurality are the norm, perhaps even a politically sought-after state of being. In this piece, I explore some of the different forms of sonic plurality that one finds in Toronto's cultural mélange. An authentic culture is a figment of the imagination. Toronto's authentic culture is a hybrid one.
VIII. …soretes de punta (1998) by Damián Keller
In Argentina, when it is raining hard we say "están cayendo soretes de punta." This expression can be translated in many ways. The falling things can be cats and dogs, shoelaces, buckets of knives. Armed with two sounds and my tools for environmental sound synthesis, I went out to search for "...soretes de punta." The work is available on the Harangue II CD compilation published by earsay productions in Vancouver (www.earsay.com).
In Argentina, when it is raining hard we say "están cayendo soretes de punta." This expression can be translated in many ways. The falling things can be cats and dogs, shoelaces, buckets of knives. Armed with two sounds and my tools for environmental sound synthesis, I went out to search for "...soretes de punta." The work is available on the Harangue II CD compilation published by earsay productions in Vancouver (www.earsay.com).
tENTATIVELY, a cONVENIENCE
with special appearance by FAMEFAME
October 5, 2005, 8:00 pm
Latvian House, 491 College St
General $15, Students $10, Tickets $15 / $10 students and Pleasure Dome members Free with Festival or Weekend pass
with special appearance by FAMEFAME
October 5, 2005, 8:00 pm
Latvian House, 491 College St
General $15, Students $10, Tickets $15 / $10 students and Pleasure Dome members Free with Festival or Weekend pass
This evening will include the Audio/visual installation Silence by Iben Bentzen, the video sculpture Kaleidoscope by Lyla Rye, the premiere of FAMEFAME's "Micro Omnibus" and "Story of a Fructiferous
Society" An e-book/video from tENTATIVELY, a cONVENIENCE (In Person)
Society" An e-book/video from tENTATIVELY, a cONVENIENCE (In Person)
Videomusique screenings
October 7, 2005, 7:00 pm
Camera, 1028 Queen Street West, Toronto
General $10, Students $8, $10/$8 students free with festival pass
October 7, 2005, 7:00 pm
Camera, 1028 Queen Street West, Toronto
General $10, Students $8, $10/$8 students free with festival pass
Videomusique Works by Quebec artists will be the focus of both the 7 and 9pm shows which will include works by Nicolas Bernier/Delphine Measroch, Chantale Laplante/Inés Wickmann, Alain Pelletier/Marcelle Deschenes, Jean Piche and others.
Tuesday, Oct 11 9:30pm
Richard Crow Performance + NAW
THE AMBiENT PiNG, Hacienda Club
794 Bathurst Street at Bloor - PWYC
UK based Richard Crow is an interdisciplinary artist who uses sound & noise in a performative way, for its spatial and subjective qualities and above all for its psychological implications for the listener. The title of tonight's performance is "phantom music - an aural hallucination".
http://www.elision.org.au/collaborators/crow.html
In the second set NAW (aka Neil Wiernik) will be doing a rare live performance of some of his recent ambient material. Wiernik requested both Aidan Baker and Nathan McNinch to provide him with material played in a specific manner to be worked with in the studio as his compositional elements. NAW will perform on laptop, MIDI controlled and various software applications to manipulate and contort these sounds into cinematic works for the ears.
http://www.naw.phoniq.net http://www.noisefactoryrecords.com/naw.htm
Video projections by SelfService - Jakob Thiesen and Rebecca McLellan
http://www.theambientping.com/thiesen/home.html
Tuesday, Oct 11 9:30pm
Richard Crow Performance + NAW
THE AMBiENT PiNG, Hacienda Club
794 Bathurst Street at Bloor - PWYC
UK based Richard Crow is an interdisciplinary artist who uses sound & noise in a performative way, for its spatial and subjective qualities and above all for its psychological implications for the listener. The title of tonight's performance is "phantom music - an aural hallucination".
http://www.elision.org.au/collaborators/crow.html
In the second set NAW (aka Neil Wiernik) will be doing a rare live performance of some of his recent ambient material. Wiernik requested both Aidan Baker and Nathan McNinch to provide him with material played in a specific manner to be worked with in the studio as his compositional elements. NAW will perform on laptop, MIDI controlled and various software applications to manipulate and contort these sounds into cinematic works for the ears.
http://www.naw.phoniq.net http://www.noisefactoryrecords.com/naw.htm
Video projections by SelfService - Jakob Thiesen and Rebecca McLellan
http://www.theambientping.com/thiesen/home.html
La Cellule d'Intervention METAMKINE
October 15, 2005, 8:00 pm
Latvian House, 491 College St.
General $15, Students $10, Tickets $15 / $10 students and Pleasure Dome members Free with Festival or Weekend pass
October 15, 2005, 8:00 pm
Latvian House, 491 College St.
General $15, Students $10, Tickets $15 / $10 students and Pleasure Dome members Free with Festival or Weekend pass
This evening will include the Audio/visual installation Silence by Iben Bentzen, the video sculpture Kaleidoscope by Lyla Rye, screenings of works by Katarina Löfström and performances by La
Cellule d'Intervention METAMKINE.
Cellule d'Intervention METAMKINE.