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OPENING DAY EVENT
NAISA Radio opening day show in the market
May 1, 2011
continues to May 31
Art Scape Wychwood Barns, 601 Christie St. Toronto
FREE, Students FREE
NAISA Radio opening day show in the market
May 1, 2011
continues to May 31
Art Scape Wychwood Barns, 601 Christie St. Toronto
FREE, Students FREE
NAISA Radio is an on-line radio station at https://www.naisa.ca/webcast broadcasting from the NAISA space at the Artscape Wychwood Barns, 601 Christie Street, to celebrate Radio Art. Broadcasting for the entire month are curated programs of radio art and interviews with radio artists and artists from the Artscape Wychwood Barns and local community.
Jane's Walk Soundscape Concert, a Translocal Performance
May 7, 2011, 2:00 pm
The NAISA Space #252
FREE
May 7, 2011, 2:00 pm
The NAISA Space #252
FREE
This special Jane's Walk concert at the NAISA Space features soundscape recordings and compositions using mobile devices by Mitchell Akiyama, Adam Basanta and the duo Rui Chaves/Paul Stapleton.
Program:
I. Thankfully, we now know all by Mitchell Akiyama
A group of volunteers equipped with sound recorders set out earlier in the day to document the soundscape of the neighbouhoods surrounding the Artscape Wychwood Barns. Installed, each recording is played back from a speaker arrayed in correspondence with the relative positions from which each sound was captured.
A group of volunteers equipped with sound recorders set out earlier in the day to document the soundscape of the neighbouhoods surrounding the Artscape Wychwood Barns. Installed, each recording is played back from a speaker arrayed in correspondence with the relative positions from which each sound was captured.
II. Montreal, Part I by Adam Basanta
In august 2008, I spent a week in Montréal, occasionally recording my activities as I explored the city for the first time. This work is an attempt at approaching the memories of my time there.
In august 2008, I spent a week in Montréal, occasionally recording my activities as I explored the city for the first time. This work is an attempt at approaching the memories of my time there.
III. Left and Right by Rui Chaves and Paul Stapleton
Left+Right has been devised for two performers who simultaneously broadcast audio from Belfast and Toronto. Using transmission art as a source for relational dialogue between performers, place and listener. Each performer, "Left" and "Right", supply part of the stereo chain. This app was developed with support of a European Union project called CO-ME-DIA. (http://www.comedia.eu.org/co/comedia-home.html).
Left+Right has been devised for two performers who simultaneously broadcast audio from Belfast and Toronto. Using transmission art as a source for relational dialogue between performers, place and listener. Each performer, "Left" and "Right", supply part of the stereo chain. This app was developed with support of a European Union project called CO-ME-DIA. (http://www.comedia.eu.org/co/comedia-home.html).
Deep Wireless Ensemble performances
+ Philosophie Zoologique by Jocelyn Robert
May 27, 2011, 1:00 pm
The Wychwood Theatre, #176
Admission by donation, Students FREE
+ Philosophie Zoologique by Jocelyn Robert
May 27, 2011, 1:00 pm
The Wychwood Theatre, #176
Admission by donation, Students FREE
Join Erin Gee and Jocelyn Robert as your hosts for a matinee featuring performances by the Deep Wireless Ensemble as well as Philosophie Zoologique by Jocelyn Robert - a 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.
Deep Wireless Ensemble performances # 1
+ Bacterial Orchestra
May 27, 2011, 8:00 pm
The Wychwood Theatre, #176
General $15, Students $10, (free for conference registrants)
+ Bacterial Orchestra
May 27, 2011, 8:00 pm
The Wychwood Theatre, #176
General $15, Students $10, (free for conference registrants)
This year's Deep Wireless Ensemble includes Hank Bull, Erin Gee, Darsha Hewitt and Christopher Stanton who will present two different sets of performances (one each on the 27th and 28th) that each explore the nature of transmission and communication in a live performance context. Also included will be performances of Bacterial Orchestra by Olle Cornéer/MartinLübcke as well as All in Time by Sarah Boothroyd and works commissioned by CBC radio’s Living Out Loud by Victoria Fenner, Mieke Anderson, Julia Krolik/Owen Fernley and Carma Jolly + more.
Program:
I. Bacterial Orchestra: Public Epidemic No. 1 by Olle Cornéer and Martin Lübcke
Olle Cornéer and Martin Lübcke - Bacterial Orchestra: Public Epidemic No. 1 First came Bacterial Orchestra. Now the idea is even escaping the hardware. Enter the new generation: Public Epidemic No 1 (2009). Bacterial Orchestra (2006) is a self-organizing evolutionary musical organism. Public Epidemic No 1 (2009) is a generation of the installation where each cell lives on an Apple iPhone. That way hundreds of people can gather with their iPhones and together create a musical organism. It will evolve organically in the same way as Bacterial Orchestra, but it will also be much more infectious. Go here for a video http://vimeo.com/950292
Olle Cornéer and Martin Lübcke - Bacterial Orchestra: Public Epidemic No. 1 First came Bacterial Orchestra. Now the idea is even escaping the hardware. Enter the new generation: Public Epidemic No 1 (2009). Bacterial Orchestra (2006) is a self-organizing evolutionary musical organism. Public Epidemic No 1 (2009) is a generation of the installation where each cell lives on an Apple iPhone. That way hundreds of people can gather with their iPhones and together create a musical organism. It will evolve organically in the same way as Bacterial Orchestra, but it will also be much more infectious. Go here for a video http://vimeo.com/950292
II. All in Time by Sarah Boothroyd
Guided by science and science fiction, All In Time traverses the timeless mystery of time itself. This 25-minute work was commissioned by La Muse En Circuit as part of the Luc Ferrari International Broadcast Arts Competition. Special thanks to physics maven Peter Watson; to antique clock collector Georges Royer; to Morgantj and Dokashiteru for providing Creative Commons samples; and to Himan and Melina Brown for permitting the use of CBS Radio Mystery Theatre clips.
Guided by science and science fiction, All In Time traverses the timeless mystery of time itself. This 25-minute work was commissioned by La Muse En Circuit as part of the Luc Ferrari International Broadcast Arts Competition. Special thanks to physics maven Peter Watson; to antique clock collector Georges Royer; to Morgantj and Dokashiteru for providing Creative Commons samples; and to Himan and Melina Brown for permitting the use of CBS Radio Mystery Theatre clips.
Deep Wireless Ensemble performances #2
+ Philosophie Zoologique by Jocelyn Robert
May 28, 2011, 8:00 pm
The Wychwood Theatre, #176
General $15, Students $10, (free for conference registrants)
+ Philosophie Zoologique by Jocelyn Robert
May 28, 2011, 8:00 pm
The Wychwood Theatre, #176
General $15, Students $10, (free for conference registrants)
This year's Deep Wireless Ensemble includes Hank Bull, Erin Gee, Darsha Hewitt and Christopher Stanton who will present two different sets of performances (one each on the 27th and 28th) that each explore the nature of transmission and communication in a live performance context. Also included will be performances of Philosophie Zoologique by Jocelyn Robert as well as A Disembodied Voice by Colin Black and works commissioned by CBC radio’s Living Out Loud by Victoria Fenner, Mieke Anderson, Julia Krolik/Owen Fernley and Carma Jolly + more.
Program:
I. A Disembodied Voice by Colin Black
The theme of radio and the voices of the dead - or spirits - have emerged time and time again within radio works, but very little radio art work has been developed that utilises 5.1 surround sound production and broadcast techniques. With this work I artistically explore the idea of “A Disembodied Voice In Space,” within the added space or dimension of 5.1 surround sound, as opposed to the monophonic or stereophonic “acoustic frame” that has been chiefly used to date. The work creates an immersive sonic environment that takes the listener inside its constructed sonic world, where the disembodied voice thematically develops the notion of the formless body and instantaneous travel via thought and desire. The voice heard in the work is that of Yanna Black
The theme of radio and the voices of the dead - or spirits - have emerged time and time again within radio works, but very little radio art work has been developed that utilises 5.1 surround sound production and broadcast techniques. With this work I artistically explore the idea of “A Disembodied Voice In Space,” within the added space or dimension of 5.1 surround sound, as opposed to the monophonic or stereophonic “acoustic frame” that has been chiefly used to date. The work creates an immersive sonic environment that takes the listener inside its constructed sonic world, where the disembodied voice thematically develops the notion of the formless body and instantaneous travel via thought and desire. The voice heard in the work is that of Yanna Black
II. Philosophie Zoologique by Jocelyn Robert
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 metling pot hommage to Jean-Baptiste Lamarckw (1744-1829).
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 metling pot hommage to Jean-Baptiste Lamarckw (1744-1829).
13th Sound Travels Festival of Sound Art
Toronto Electroacoustic Symposium $70/35 Sound Travels Intensive $175
July 16, 2011
Artcape Wychwood Barns and other locations
Toronto Electroacoustic Symposium $70/35 Sound Travels Intensive $175
July 16, 2011
Artcape Wychwood Barns and other locations
New Adventures in Sound Art (NAISA) is pleased to present the 13th edition of the Sound Travels Festival of Sound Art - an opening day SOUNDwalk is schedule for July 16th to celebrate world listening day on Juy 18th. As part of a summer-long celebration of sound art, NAISA presents indoor and outdoor performances, sound installations, SOUNDwalks, a 5-day intensive for emerging artists - the Sound Travels Intensive - and the fifth annual Toronto Electroacoustic Symposium at various venues at the Artscape Wychwood Barns (601 Christie Street) as well as an outdoor sound sculpture - Synthecycletron - on Centre Island. This year's artist-in-residence is internationally renowned UK artist Jonty Harrison. "In a world that often focuses too much on the visual, Sound Travels brings about a refreshing change as it presents works by sound artists that extract compelling musicality and wordless dramas from everyday sounds often taken for granted. From this lush auditory experience, audiences author their own imaginary world in their mind’s eye." – Darren Copeland, Artistic Director, New Adventures in Sound Art.
World Listening Day Concert and SOUNDwalk
July 16, 2011, 1:00 pm
NAISA Space, Artscape Wychwood Barns,601 Christie #252, Toronto
Admission by donation
July 16, 2011, 1:00 pm
NAISA Space, Artscape Wychwood Barns,601 Christie #252, Toronto
Admission by donation
To commemorate the birthday of R. Murray Schafer, NAISA will take you on a SOUNDwalk through the local neighbourhood around the Barns. Following the SOUNDwalk will be a soundscape concert that will feature a number of interesting sounds: nightingale floors in Japanese temples, fish burps in the North Saskatchewan River, and special ambisonic soundscape recordings of Toronto.
Program:
I. Haiku by Rohan De Livera
Haiku takes as a primary sound source, a recitation of the epic Japanese poem ‘Oku no Hosomichi’ (The narrow road to the interior) by Matsuo Basho (1644 – 1694). The work was penned as he made an epic journey of around 1200 miles on foot through feudal Japan. In one of its most memorable passages, Basho suggests that “the journey itself is home”.
Haiku takes as a primary sound source, a recitation of the epic Japanese poem ‘Oku no Hosomichi’ (The narrow road to the interior) by Matsuo Basho (1644 – 1694). The work was penned as he made an epic journey of around 1200 miles on foot through feudal Japan. In one of its most memorable passages, Basho suggests that “the journey itself is home”.
II. Nij? by Berezan
Nightingale floors are floors found in Japan that are designed to make a chirping sound when walked upon. They were used in the hallways of some temples and palaces, including Nij? Castle in Kyoto. Dry boards naturally creak under pressure, but these floors were designed so that the flooring nails rubbed against a jacket or clamp, causing chirping noises. The squeaking floors were used as a security device, assuring that none could sneak through the corridors undetected. For a composer that explores, collects and "uncovers" sounds as part of the creative process, this is a powerful concept both literally (sonically), and metaphorically. Developing further the idea that underneath and within the floorboards reside nightingales, Nij? delves deeper into, and within, the floorboards, revealing not only birds but many voices and sounds of traditional and contemporary Japan. Sound recordings for Nij? were completed during a period of research residency in 2007 with the kind support of Tamaga
Nightingale floors are floors found in Japan that are designed to make a chirping sound when walked upon. They were used in the hallways of some temples and palaces, including Nij? Castle in Kyoto. Dry boards naturally creak under pressure, but these floors were designed so that the flooring nails rubbed against a jacket or clamp, causing chirping noises. The squeaking floors were used as a security device, assuring that none could sneak through the corridors undetected. For a composer that explores, collects and "uncovers" sounds as part of the creative process, this is a powerful concept both literally (sonically), and metaphorically. Developing further the idea that underneath and within the floorboards reside nightingales, Nij? delves deeper into, and within, the floorboards, revealing not only birds but many voices and sounds of traditional and contemporary Japan. Sound recordings for Nij? were completed during a period of research residency in 2007 with the kind support of Tamaga
III. Inside The Music of Murray Schafer by Andrew O'Connor
Inside The Music of Murray Schafer is a rare look at the groundbreaking work composer Murray Schafer has done in the field of acoustic ecology. Starting with his research at Simon Fraser University right up to his pieces of environmental music in such works as Princess of the Stars, Murray in a rare interview takes us through his four plus decades of work in the field of sound study, from its inception to what is now an international movement. The full documentary will be aired in September on the new season of CBC Radio's Inside The Music heard every Sunday at 3pm on Radio2 and 9pm on Radio1. Check http://www.cbc.ca/insidethemusic for more details.
Inside The Music of Murray Schafer is a rare look at the groundbreaking work composer Murray Schafer has done in the field of acoustic ecology. Starting with his research at Simon Fraser University right up to his pieces of environmental music in such works as Princess of the Stars, Murray in a rare interview takes us through his four plus decades of work in the field of sound study, from its inception to what is now an international movement. The full documentary will be aired in September on the new season of CBC Radio's Inside The Music heard every Sunday at 3pm on Radio2 and 9pm on Radio1. Check http://www.cbc.ca/insidethemusic for more details.
IV. new phonography work using Ambisonic field recordings of Toronto by Hector Centeno
Breakfast – a morning ritual
By Matt Miller, Rob Piilonen and Sam Morgenstein
August 6, 2011, 10:00 am to 12:00 pm
Outdoor Farmer's Market, Artscape Wychwood Barns,601 Christie, Toronto
FREE
By Matt Miller, Rob Piilonen and Sam Morgenstein
August 6, 2011, 10:00 am to 12:00 pm
Outdoor Farmer's Market, Artscape Wychwood Barns,601 Christie, Toronto
FREE
An homage to the morning ritual of preparing breakfast, featuring Rob Piilonen (flute), Samuel Morgenstein (various kitchen appliances / utensils) and Matt Miller (laptop). The piece will be subdivided by a series of timed devices found in the kitchen: 3 Minute Egg Timer, Toaster Oven, Coffee Maker, Microwave Oven.
Matt Miller is an electro-acoustic musician, composer and soundware developer. He is an active performer in Toronto's new music scene. His latest release, the vinyl album “MiMo Presents: No Exit”, is a compilation of 96 locked-grooves, co-produced with Samuel Morgenstein and featuring performances by members of AIMToronto.
Rob Piilonen is a flute player, composer, and producer who has been active in the Toronto improvising scene since 1996. He has scored music for films and dance projects, works with a number of Toronto's leaders in the arts, and is a member of the Board of Directors of AIMToronto. He currently leads the chamber-improv ensemble Rob's Collision.
Welcome to My Parlour
a special one-on-one performance with Chan Ka Nin
August 10, 2011, 6:00 pm to 8:00 pm
NAISA Space, Artscape Wychwood Barns, 601 Christie #252, Toronto
FREE, (as part of the TES symposium reception)
a special one-on-one performance with Chan Ka Nin
August 10, 2011, 6:00 pm to 8:00 pm
NAISA Space, Artscape Wychwood Barns, 601 Christie #252, Toronto
FREE, (as part of the TES symposium reception)
This is your chance to hear the stringed sound sculpture performed by its creator, Toronto composer Chan Ka Nin. In this encounter you are welcome to ask questions and try out the sculpture with the guidance of its creator. See the installations section of the Sound Travels web page for more information about Welcome to My Parlour.
Toronto Electroacoustic Symposium Concerts
August 10, 2011, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie #176, Toronto
General $15, Students $10, FREE for TES symposium participants
August 10, 2011, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie #176, Toronto
General $15, Students $10, FREE for TES symposium participants
NAISA and the Canadian Electroacoustic Community host two concerts with works chosen by an international jury of electroacoustic practitioners, snapshot of the latest research and exploration in sound art.
Sound Travels concert #1 - Places for our ears to go...
August 12, 2011, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie #176, Toronto
General $15, Students $10, FREE for TES symposium participants
August 12, 2011, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie #176, Toronto
General $15, Students $10, FREE for TES symposium participants
Featured in this sonic journey is recent work by Jonty Harrison, artist in residence for Sound Travels and the keynote speaker for the Toronto Electroacoustic Symposium. Harrison has been a mentor for the development of many UK and Canadian sound artists that also have since gone on to teach sound art to the next generation. One of these is Canadian sound artist David Berezan now teaching at University of Manchester who will be presenting a new work in this concert. Also featured is a new work by Toronto sound artist Nick Storring from his album Rift released in the UK on the Entr’acte label. The film in this cinema for the ears happens inside the mind during an adventurous sonic journey through many other worlds real and imagined.
Program:
I. Thumb by David Berezan
Thumb uses sounds from a Balinese thumb piano as its primary sound source, subjected to transformations of pitch and grain, and mapped onto 8-channel space. I aimed to reduce the variety of sound-types and materials used in the work as much as possible, while still creating an engaging and evolving soundworld. A number of spoken expressions that include 'thumb' came to mind during the composition of the piece (rule-of-thumb, all-thumbs, thumbing-through, thumbs-up/down, under-thumb) which acted, at some level, as informers upon the work. The work was completed in 2011 in the studios of CMMAS (Morelia, Mexico), University of Calgary and University of Montreal, with thanks to New Adventures in Sound Art/Sound Travels (Toronto).
Thumb uses sounds from a Balinese thumb piano as its primary sound source, subjected to transformations of pitch and grain, and mapped onto 8-channel space. I aimed to reduce the variety of sound-types and materials used in the work as much as possible, while still creating an engaging and evolving soundworld. A number of spoken expressions that include 'thumb' came to mind during the composition of the piece (rule-of-thumb, all-thumbs, thumbing-through, thumbs-up/down, under-thumb) which acted, at some level, as informers upon the work. The work was completed in 2011 in the studios of CMMAS (Morelia, Mexico), University of Calgary and University of Montreal, with thanks to New Adventures in Sound Art/Sound Travels (Toronto).
II. Understatements [i] by Ilya Rostovtsev
Understatements is a five-movement electroacoustic study of acoustic instruments. The first movement of the work relies on the persistent recycling of through-composed and computer-assisted improvisation of musical and control data. The narrative is derived from temporal observations of sounds reflecting the faktura (material essence) of the source instrument.
Understatements is a five-movement electroacoustic study of acoustic instruments. The first movement of the work relies on the persistent recycling of through-composed and computer-assisted improvisation of musical and control data. The narrative is derived from temporal observations of sounds reflecting the faktura (material essence) of the source instrument.
III. Indeces of Refraction by Nick Storring
Indices of Refraction was created in fits and starts from autumn 2005- to early 2011. It appears on his debut album Rife out now on UK imprint Entr’acte. The piece employs a wide range of acoustic instruments, alongside analog synthesizers, voice and field recordings as a foundation for eclectic electronic manipulations. Mapping a frenetically luminous trajectory, ebbing and flowing through dense energetic waves of sound, it culminates in a long ruminative release. The work is motivated by feelings of awe and wonder, and probes their relationship to foreboding and mystery.
Indices of Refraction was created in fits and starts from autumn 2005- to early 2011. It appears on his debut album Rife out now on UK imprint Entr’acte. The piece employs a wide range of acoustic instruments, alongside analog synthesizers, voice and field recordings as a foundation for eclectic electronic manipulations. Mapping a frenetically luminous trajectory, ebbing and flowing through dense energetic waves of sound, it culminates in a long ruminative release. The work is motivated by feelings of awe and wonder, and probes their relationship to foreboding and mystery.
IV. Phantom Power by Jonty Harrison
In 2002, my friend and then colleague at Birmingham, Dr Erik Oña, invited me to compose a piece for the Cologne-based Thürmchen Ensemble which he conducted. At first I was hesitant as, since about 1992, I had written only two pieces involving instruments. Erik countered my scepticism by stressing that he and the group specifically wanted me to compose ‘in my normal way’ – i.e. starting from the sonic properties of sound material itself, just as I do in my acousmatic work. On this basis I agreed, and made two trips to Cologne to meet and record the players. During the recording sessions I made notes on the extended techniques they demonstrated and how the resulting sounds might be notated. Work on the piece was delayed by illness and other factors and, when I finally started to explore the sound materials I had recorded, I discovered that I had lost my notes on the sounds’ production and notation. This meant that I really did have to work acousmatically (in my normal way), composing fro
In 2002, my friend and then colleague at Birmingham, Dr Erik Oña, invited me to compose a piece for the Cologne-based Thürmchen Ensemble which he conducted. At first I was hesitant as, since about 1992, I had written only two pieces involving instruments. Erik countered my scepticism by stressing that he and the group specifically wanted me to compose ‘in my normal way’ – i.e. starting from the sonic properties of sound material itself, just as I do in my acousmatic work. On this basis I agreed, and made two trips to Cologne to meet and record the players. During the recording sessions I made notes on the extended techniques they demonstrated and how the resulting sounds might be notated. Work on the piece was delayed by illness and other factors and, when I finally started to explore the sound materials I had recorded, I discovered that I had lost my notes on the sounds’ production and notation. This meant that I really did have to work acousmatically (in my normal way), composing fro
V. Undertow by Jonty Harrison
Plunging beneath the waves we discover a world teaming with life and pulsing with energy. But we cannot hold our breath forever. (And not only that, there seem to be cars down here, masquerading as breaking waves!) Undertow was composed in 2007 in the composer’s studio and was premiered on 2 June 2007 as part of Océan-Cité, a civil spectacle by La Compagnie Pierre Deloche Danse, Lyon, France. It was commissioned by La Compagnie Pierre Deloche Danse. Thanks to Martin Clarke for additional sea recordings made in Shetland.
Plunging beneath the waves we discover a world teaming with life and pulsing with energy. But we cannot hold our breath forever. (And not only that, there seem to be cars down here, masquerading as breaking waves!) Undertow was composed in 2007 in the composer’s studio and was premiered on 2 June 2007 as part of Océan-Cité, a civil spectacle by La Compagnie Pierre Deloche Danse, Lyon, France. It was commissioned by La Compagnie Pierre Deloche Danse. Thanks to Martin Clarke for additional sea recordings made in Shetland.
VI. Internal Combustion by Jonty Harrison
Internal Combustion is the second piece of ReCycle, a series of four works based loosely on ‘the elements’: Rock’n’Roll (2004 – earth), Internal Combustion (2005-06 – fire), Free Fall (2006 – air) and Streams (1999 – water). Each piece in the cycle uses a slightly different configuration of 8 audio channels and explores different aspects and types of motion, trajectory and spatial organisation. As its title suggests, ReCycle revisits many themes and sound types I have used in earlier works and listeners may also detect a sub-text of environmental concern running through much of my work since the 1980s. In Internal Combustion, I would like to think that the overt use of the sounds of car engines is an ironic underlining of this theme, but I must also confess to a dilemma here. The fact is I like cars, even though I fully acknowledge the increasingly devastating effect they are having on the environment. In addition to recordings of car engines (many made using accelerometers as well as
Internal Combustion is the second piece of ReCycle, a series of four works based loosely on ‘the elements’: Rock’n’Roll (2004 – earth), Internal Combustion (2005-06 – fire), Free Fall (2006 – air) and Streams (1999 – water). Each piece in the cycle uses a slightly different configuration of 8 audio channels and explores different aspects and types of motion, trajectory and spatial organisation. As its title suggests, ReCycle revisits many themes and sound types I have used in earlier works and listeners may also detect a sub-text of environmental concern running through much of my work since the 1980s. In Internal Combustion, I would like to think that the overt use of the sounds of car engines is an ironic underlining of this theme, but I must also confess to a dilemma here. The fact is I like cars, even though I fully acknowledge the increasingly devastating effect they are having on the environment. In addition to recordings of car engines (many made using accelerometers as well as
Sound Travels concert #2 - About Time
August 13, 2011, 8:00 pm
Theatre Direct's Wychwood Theatre, Artscape Wychwood Barns, 601 Christie #176, Toronto
General $15, Students $10, FREE for TES symposium participants
August 13, 2011, 8:00 pm
Theatre Direct's Wychwood Theatre, Artscape Wychwood Barns, 601 Christie #176, Toronto
General $15, Students $10, FREE for TES symposium participants
Sound is expressed in time so it is no accident that there is a wide diversity of ways to reflect on time in sound art. In this concert, NAISA is featuring a number of younger generation artists such as Ana Dall'Ara-Majek, Dominic Thibault, and Georges Forget while also including a work by Chiyoko Slavnics that uses graphic notation and pure sine tones, a work by Yves Daoust whose title was the inspiration behind the “About Time” programming theme for NAISA in 2010 and a performance using various small alarm clocks by Montreal percussionist and sound artist Martin Messier.
Program:
I. Lucilio Magus by Ana Dall'Ara-Majek
Here’s a sound, a little tune that imitates a clock. It is yours. Shrink it, extend it, freeze it. Don’t hesitate to pummel it in all directions and you’ll find out that the more you work on this sound, the more thousands of others sounds will come out of it.
Here’s a sound, a little tune that imitates a clock. It is yours. Shrink it, extend it, freeze it. Don’t hesitate to pummel it in all directions and you’ll find out that the more you work on this sound, the more thousands of others sounds will come out of it.
II. For Eva Hesse by Chiyoko Szlavnics
III. L'instant en vain by Dominic Thibault
Time is dust. A handful of sand that runs out of my grip. That grain that falls is already part of our memory. The present moment instantly becoming past. Why are we obsessed by time?
Time is dust. A handful of sand that runs out of my grip. That grain that falls is already part of our memory. The present moment instantly becoming past. Why are we obsessed by time?
IV. Requiem by Georges Forget
V. About Time by Yves Daoust
I put together this self-portrait with an old tape recorder, which seemed only natural for this project, considering how crucial this machinery had proven to be in my musical evolution. Made from overlaps of different layers of times and situations, it goes from working on the piece, to the abstract resulting from transformations of my voice. The work was created for the Deep Wireless festival and CBC Radio One's program Outfront.
I put together this self-portrait with an old tape recorder, which seemed only natural for this project, considering how crucial this machinery had proven to be in my musical evolution. Made from overlaps of different layers of times and situations, it goes from working on the piece, to the abstract resulting from transformations of my voice. The work was created for the Deep Wireless festival and CBC Radio One's program Outfront.
VI. L'horloger by Martin Messier
Toronto New Music Marathon
September 3, 2011, 2:00 pm to 9:00 pm
Yonge-Dundas Square – corner of Yonge and Dundas, Toronto
FREE
September 3, 2011, 2:00 pm to 9:00 pm
Yonge-Dundas Square – corner of Yonge and Dundas, Toronto
FREE
NAISA will once again be participating in the day long Toronto New Music Marathon organized by Contact contemporary music. Come out to hear the wide spectrum of new music and sound art going on in Toronto.
The Flight of Birds and Sacred Spirits Live Videomusic Performances
Co-presented by the Toronto Animated Image Society
By Freida Abtan and Zazalie Z.
November 12, 2011, 8:00 pm to 10:00 pm
Theatre Direct's Christie Studio, 601 Christie #170
General $15, Students $10
Co-presented by the Toronto Animated Image Society
By Freida Abtan and Zazalie Z.
November 12, 2011, 8:00 pm to 10:00 pm
Theatre Direct's Christie Studio, 601 Christie #170
General $15, Students $10
Included are videomusic performance-screenings by two Montreal artists: Freida Abtan combines electroacoustic sound art with evocative HD animation realized in Max/MSP and After Effects and Zazalie Z, a dynamic vocal performer, combines her experimental vocal practice with video art. Flight of Birds by Freida Abtan is a mytho-poetic look at the realm of the spirit. Sacred Spirit «Sur le territoire des esprits sacré» by Zazalie Z. is a remembrance piece in honour of First Nation Peoples. Beliefs, myths, rituals, and cultural genocide are the various themes Zazalie Z. interweaves in this poetic and rebellious live performance.
Program:
I. Flight of Birds by Freida Abtan
The flight of birds is a mytho-poetic look at the realm of the spirit. Women draped in peacock feathers release invisible birds from their cages. Movements of the body are abstracted to fill the empty space. There, they seem to harden into wings, extending the body towards flight.
The flight of birds is a mytho-poetic look at the realm of the spirit. Women draped in peacock feathers release invisible birds from their cages. Movements of the body are abstracted to fill the empty space. There, they seem to harden into wings, extending the body towards flight.
II. acred Spirit «Sur le territoire des esprits sacré» by Zazalie Z.
Zazalie Z. loves to explore the boundaries of vocal art, strum on expérimental strings, and navigate between contemporary, traditional, and avant-garde music. Inspired by the cultures of First Nation, Métis, and Inuit people, she spent the last three years touring reserves and indigenous centres to record images at Pow Wows and spiritual gatherings. She created the text, the soundtrack, and the videos for the show Sacred Spirit «Sur le territoire des esprits sacré » based on the stories she gathered and her own experience and memories during these events. Sacred Spirit is a remembrance piece in honour of First Nation Peoples. Beliefs, myths, rituals, and cultural genocide are the various themes Zazalie Z. interweaves in this poetic and rebellious live performance.
Zazalie Z. loves to explore the boundaries of vocal art, strum on expérimental strings, and navigate between contemporary, traditional, and avant-garde music. Inspired by the cultures of First Nation, Métis, and Inuit people, she spent the last three years touring reserves and indigenous centres to record images at Pow Wows and spiritual gatherings. She created the text, the soundtrack, and the videos for the show Sacred Spirit «Sur le territoire des esprits sacré » based on the stories she gathered and her own experience and memories during these events. Sacred Spirit is a remembrance piece in honour of First Nation Peoples. Beliefs, myths, rituals, and cultural genocide are the various themes Zazalie Z. interweaves in this poetic and rebellious live performance.
Fast-Forward
By Kaiser Nietzsche, Benjamin Thigpen and Diego Garro
November 25, 2011, 8:00 pm to 10:00 pm
Theatre Direct's Christie Studio, 601 Christie #170
General $15, Students $10
By Kaiser Nietzsche, Benjamin Thigpen and Diego Garro
November 25, 2011, 8:00 pm to 10:00 pm
Theatre Direct's Christie Studio, 601 Christie #170
General $15, Students $10
Fast forward to the future – the future of NAISA's next spatialization system and the future of noises and images previously unseen and unheard. This screening/performance features a new work by Toronto's Kaiser Nietzsche and an improv work by the designer of NAISA's spatialization software, Benjamin Thigpen. Included are >> by Kaiser Nietzsche, Improv by Benjamin Thigpen and a screening of Patah by Diego Garro.
>> by Kaiser Nietzsche
Improv by Benjamin Thigpen
Patah by Diego Garro
>> by Kaiser Nietzsche
Improv by Benjamin Thigpen
Patah by Diego Garro
Program:
I. >> by Kaiser Nietzsche
>> is a suite in 9 six minute movements, whose play order is determined randomly for each presentation. The sound components of the work are a continuation of the noise aesthetic of the original Kaiser Nietzsche project in the late '80s - "musique concrete"/synthesis. The videos are largely homogeneous - formally thematic with continuous variation. There is no "motivated" relationship between sound and image; they were created separately.
>> is a suite in 9 six minute movements, whose play order is determined randomly for each presentation. The sound components of the work are a continuation of the noise aesthetic of the original Kaiser Nietzsche project in the late '80s - "musique concrete"/synthesis. The videos are largely homogeneous - formally thematic with continuous variation. There is no "motivated" relationship between sound and image; they were created separately.
II. Improv by Benjamin Thigpen
Benjamin Thigpen performs a live laptop improvisation using the new NAISA spatialization system. The latest addition to the NAISA spatialization system is the Holosonics Audio Spotlight speaker. The audio spotlights are a unique speaker design that allows sound to be distributed in a focused beam, not unlike a flashlight. When these beams of sound hit hard surfaces they bounce and create echoes and other effects. Read more about the audio spotlights at http://www.holosonics.com/
Benjamin Thigpen performs a live laptop improvisation using the new NAISA spatialization system. The latest addition to the NAISA spatialization system is the Holosonics Audio Spotlight speaker. The audio spotlights are a unique speaker design that allows sound to be distributed in a focused beam, not unlike a flashlight. When these beams of sound hit hard surfaces they bounce and create echoes and other effects. Read more about the audio spotlights at http://www.holosonics.com/
III. Patah by Diego Garro
Stylistically, this composition is rooted in the tradition of Electroacoustic Music but articulates spectro-morphologies in both the audio and the visual domains. A viewing strategy may consider the role of sonic materials in permeating the ‘fractures’ (‘patah’ in Indonesian) of streaked coloured textures and the dramatic resulting audiovisual effect. Patah articulates time through methods typical of music composition. Processes of accumulation create temporal surmises resolved at key, climatic moments. The perceived time-axis is thus continuously warped. Audio and video material contribute equally to the compressions/expansions that sever the chronometric from the artistic timeline.
Stylistically, this composition is rooted in the tradition of Electroacoustic Music but articulates spectro-morphologies in both the audio and the visual domains. A viewing strategy may consider the role of sonic materials in permeating the ‘fractures’ (‘patah’ in Indonesian) of streaked coloured textures and the dramatic resulting audiovisual effect. Patah articulates time through methods typical of music composition. Processes of accumulation create temporal surmises resolved at key, climatic moments. The perceived time-axis is thus continuously warped. Audio and video material contribute equally to the compressions/expansions that sever the chronometric from the artistic timeline.
Time and Space
co-presented with the Canadian Electroacoustic Community
November 26, 2011, 8:00 pm to 10:00 pm
Theatre Direct's Christie Studio, 601 Christie #170
General $15, Students $10
co-presented with the Canadian Electroacoustic Community
November 26, 2011, 8:00 pm to 10:00 pm
Theatre Direct's Christie Studio, 601 Christie #170
General $15, Students $10
Works from the Jeu de Temps / Times Play Competition
Fragments by Maxime Corbeil-Perron (10:00 / 2011)
Effervescence/Somnolence by Marc-André Perron (10:24 / 2010)
Canción de Otraparte (Chanson d'ailleurs) by David Arango Valencia (12:04 / 2011)
Scratch by Jullian Hoff (12:06 / 2011)
Parasite by Guillaume Barrette (10:00 / 2011)
eige cendre by Guillaume Campion (11:22 / 2011)
Elephants, Bats and Birds by Darren Copeland
This concert features works by Canadian sound artists selected from the Jeu de Temps competition as part of a cross-Canada celebration of the 25th anniversary of the Canadian Electroacoustic Community. The concert program also features a new work by Darren Copeland on the sound-making of elephants, birds and bats.
Fragments by Maxime Corbeil-Perron (10:00 / 2011)
Effervescence/Somnolence by Marc-André Perron (10:24 / 2010)
Canción de Otraparte (Chanson d'ailleurs) by David Arango Valencia (12:04 / 2011)
Scratch by Jullian Hoff (12:06 / 2011)
Parasite by Guillaume Barrette (10:00 / 2011)
eige cendre by Guillaume Campion (11:22 / 2011)
Elephants, Bats and Birds by Darren Copeland
This concert features works by Canadian sound artists selected from the Jeu de Temps competition as part of a cross-Canada celebration of the 25th anniversary of the Canadian Electroacoustic Community. The concert program also features a new work by Darren Copeland on the sound-making of elephants, birds and bats.
Program:
I. Fragments by Maxime Corbeil-Perron
Fragments was inspired by the lines and colours of Wassily Kandinsky’s Komposition no. 8, with the intention to create a fragmented vision of time and space. In composing this piece I also tried to achieve transparency between the respective nature of its sound materials, using as much from the synthetic as the acoustic universe.
Fragments was inspired by the lines and colours of Wassily Kandinsky’s Komposition no. 8, with the intention to create a fragmented vision of time and space. In composing this piece I also tried to achieve transparency between the respective nature of its sound materials, using as much from the synthetic as the acoustic universe.
II. Effervescence/Somnolence by Marc-André Perron
The first of a set of three pieces born of the composer’s reflections on the principle of acoustic ecology, Effervescence / Somnolence (E.S.), an excursion that at once explores a surrealist universe and our own, and is in fact conceived of this duality. The piece is constructed using recordings of sound objects and of recognizable, unknown and forgotten soundscapes.
The first of a set of three pieces born of the composer’s reflections on the principle of acoustic ecology, Effervescence / Somnolence (E.S.), an excursion that at once explores a surrealist universe and our own, and is in fact conceived of this duality. The piece is constructed using recordings of sound objects and of recognizable, unknown and forgotten soundscapes.
III. Canción de Otraparte (Chanson d'ailleurs) by David Arango Valencia
Canción de Otraparte, the Spanish equivalent of “Elsewhere Song” was inspired by Viaje à pie (Journey on Foot), a book written by Colombian philosopher Fernando González. In this book, González is in search of innovation and decides to set off on a journey. Throughout his journey, his ideas become influenced by that which surrounds him and as a result, his initial ideas are transformed. Paralleling this book, Canción de Otraparte is a search for innovation. Exploring the city in which I live, I wanted to capture the sounds of Montréal and allow them to direct the piece, both influencing and transforming it. Some of the sounds used are street traffic, subways and the Symphonie portuaire, an outdoor concert held in Montréal’s old port, in which boat horns, trains, helicopters and church bells are showcased. Some of the sounds recorded indoors include crystal glasses, tunnels in the underground city, the shattering of glass and broken ceramic.
Canción de Otraparte, the Spanish equivalent of “Elsewhere Song” was inspired by Viaje à pie (Journey on Foot), a book written by Colombian philosopher Fernando González. In this book, González is in search of innovation and decides to set off on a journey. Throughout his journey, his ideas become influenced by that which surrounds him and as a result, his initial ideas are transformed. Paralleling this book, Canción de Otraparte is a search for innovation. Exploring the city in which I live, I wanted to capture the sounds of Montréal and allow them to direct the piece, both influencing and transforming it. Some of the sounds used are street traffic, subways and the Symphonie portuaire, an outdoor concert held in Montréal’s old port, in which boat horns, trains, helicopters and church bells are showcased. Some of the sounds recorded indoors include crystal glasses, tunnels in the underground city, the shattering of glass and broken ceramic.
IV. Scratch by Jullian Hoff
Scratch is a trip along a 45-second “pick slide”, an abrasive “pick slide”, the wild ride of a drummer on the crest of a drumfill…
Scratch is a trip along a 45-second “pick slide”, an abrasive “pick slide”, the wild ride of a drummer on the crest of a drumfill…
V. Parasite by Guillaume Barrette
Parasite is an acousmatic work that uses the sounds of my daily life in recent years. My interest in the guitar and instruments used in traditional music is apparent in the work, as is my appreciation of sounds created synthetically, electronically. During a trip to England in Fall 2010 I learned how to build small analogue synthesizers and discovered that by using the resistance of the human body as a controller, striking and unexpected sounds can be generated. I explored with enthusiasm the potential for this interface to create sounds having a quasi aleatoric character and decided to record a number of excerpts to play with and incorporate in this piece.
Parasite is an acousmatic work that uses the sounds of my daily life in recent years. My interest in the guitar and instruments used in traditional music is apparent in the work, as is my appreciation of sounds created synthetically, electronically. During a trip to England in Fall 2010 I learned how to build small analogue synthesizers and discovered that by using the resistance of the human body as a controller, striking and unexpected sounds can be generated. I explored with enthusiasm the potential for this interface to create sounds having a quasi aleatoric character and decided to record a number of excerpts to play with and incorporate in this piece.
VI. Neige cendre by Guillaume Campion
With the exception of a few forest sounds and piano samples, all sonic material heard in Neige cendre comes from quartz crystal vessels. These instruments, commonly used for meditation or music therapy, produce a sound which is very close to sine waves. However, when listening closely, one notices a number of parasite sounds produced when the instrument is played — frictions, faint whistling and other imperfections without which the vessel's sound would be of little acousmatic interest. Neige cendre is thus a sort of narrative between the two sides of a single reality, the “pure” and “impure” sides of it, all tending towards their ultimate poetic fusion. I wish to thank Philippe-Guy Robichaud for the use of his crystal vessels
With the exception of a few forest sounds and piano samples, all sonic material heard in Neige cendre comes from quartz crystal vessels. These instruments, commonly used for meditation or music therapy, produce a sound which is very close to sine waves. However, when listening closely, one notices a number of parasite sounds produced when the instrument is played — frictions, faint whistling and other imperfections without which the vessel's sound would be of little acousmatic interest. Neige cendre is thus a sort of narrative between the two sides of a single reality, the “pure” and “impure” sides of it, all tending towards their ultimate poetic fusion. I wish to thank Philippe-Guy Robichaud for the use of his crystal vessels
VII. Elephants, Bats and Birds by Darren Copeland
Darren Copeland's new work Elephants, Bats and Birds explores the extended frequency range enjoyed by these creatures as the basis for musical abstraction and spatial composition. The creation of this piece and the enhancements to the spatialization system used in this work is supported with funding from the Media Arts Section of the Canada Council. The spatialization research is also supported by a research fellowship from the Chalmers Foundation, administrated by the Ontaro Arts Council.
Darren Copeland's new work Elephants, Bats and Birds explores the extended frequency range enjoyed by these creatures as the basis for musical abstraction and spatial composition. The creation of this piece and the enhancements to the spatialization system used in this work is supported with funding from the Media Arts Section of the Canada Council. The spatialization research is also supported by a research fellowship from the Chalmers Foundation, administrated by the Ontaro Arts Council.