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Toronto Artist Soirée
By John Wynne
January 12, 2013, 8:00 pm
The NAISA Space, 601 Christie #252, Toronto
General $5, Students $5
By John Wynne
January 12, 2013, 8:00 pm
The NAISA Space, 601 Christie #252, Toronto
General $5, Students $5
Join us for an evening concert and artist talk at the NAISA space with featured artist John Wynne who will present and discuss his works.
Sound artist John Wynne has a PhD from Goldsmiths College, University of London. His award-winning work, which is often research-led, is made for museums, galleries and public spaces, as well as for radio: it ranges from massive installations to delicate sculptural works and from architectural sound drawings to flying radios. Long-term research projects have included working with speakers of endangered languages in Africa and Canada and with heart and lung transplant patients in the UK. For 3 years he had his own programme called Upcountry on ResonanceFM in London, where he "invited Tammy Wynette to have tea with Pierre Henry - in a thunderstorm" (Ed Baxter). He is a Reader in Sound Arts at the University of the Arts London, and a core member of the CRiSAP research centre.
Sound artist John Wynne has a PhD from Goldsmiths College, University of London. His award-winning work, which is often research-led, is made for museums, galleries and public spaces, as well as for radio: it ranges from massive installations to delicate sculptural works and from architectural sound drawings to flying radios. Long-term research projects have included working with speakers of endangered languages in Africa and Canada and with heart and lung transplant patients in the UK. For 3 years he had his own programme called Upcountry on ResonanceFM in London, where he "invited Tammy Wynette to have tea with Pierre Henry - in a thunderstorm" (Ed Baxter). He is a Reader in Sound Arts at the University of the Arts London, and a core member of the CRiSAP research centre.
Jump Start Concert (a co-presentation with Continuum)
http://continuummusic.org/seasons/1213/jump-start.php
February 10, 2013, 8:00 pm
at the Citadel, 304 Parliament Street, Toronto
http://continuummusic.org/seasons/1213/jump-start.php
February 10, 2013, 8:00 pm
at the Citadel, 304 Parliament Street, Toronto
New Adventures in Sound Art (NAISA) joins Continuum to give an electronic boost to its already juiced ensemble. Our first concert staged at The Citadel (Parliament just south of Dundas), the evening features new works commissioned from Rose Bolton, Scott Smallwood and Scott Wilson; an existing work by Daniel Mayer from the latest international Call for Scores; and a work by Andrew Stanliand from way out there in the technological ether. All the new works are written specifically for NAISA's unique live spatialization system - a customized system for controlling sound moving between loudspeakers.
Extramuros as part of the 3rd annual New Music 101 series
Presented by NAISA
April 15, 2013, 7:00 pm to 10:00 pm
Elisabeth Beeton Auditorium, Toronto Reference Library (789, Yonge St)
Admission by donation, Students PWYC
Presented by NAISA
April 15, 2013, 7:00 pm to 10:00 pm
Elisabeth Beeton Auditorium, Toronto Reference Library (789, Yonge St)
Admission by donation, Students PWYC
http://www.facebook.com/events/149644191864454/
extramuros will perform Zero Day, a live coding improvisation that explores the data set of the Fibonacci sequence, exploring the textures, rhythms and melodies within them. extramuros is a live-coding laptop trio comprised of Ian Jarvis, David Ogborn and Kearon Roy Taylor. Active in Hamilton and Toronto, the ensemble has its roots in the larger McMaster University based ensemble the Cybernetic Orchestra. The third annual New Music 101 series is FREE and is presented by the members of the Toronto New Music Alliance (TNMA). New Music 101 is a four-part series of free interactive public education presentations that highlight new directions in music creation and performance: chamber and electronic music, sound art, video game composition, and interdisciplinary projects are just some of the areas being explored.
extramuros will perform Zero Day, a live coding improvisation that explores the data set of the Fibonacci sequence, exploring the textures, rhythms and melodies within them. extramuros is a live-coding laptop trio comprised of Ian Jarvis, David Ogborn and Kearon Roy Taylor. Active in Hamilton and Toronto, the ensemble has its roots in the larger McMaster University based ensemble the Cybernetic Orchestra. The third annual New Music 101 series is FREE and is presented by the members of the Toronto New Music Alliance (TNMA). New Music 101 is a four-part series of free interactive public education presentations that highlight new directions in music creation and performance: chamber and electronic music, sound art, video game composition, and interdisciplinary projects are just some of the areas being explored.
Trans-X Symposium Performance
By Robert Mackay, Robin Koek, Cesenge Kolozsvari and Elizabeth & Vikram
April 18, 2013, 10:00 am to 4:00 pm
Wychwood Theatre
By Robert Mackay, Robin Koek, Cesenge Kolozsvari and Elizabeth & Vikram
April 18, 2013, 10:00 am to 4:00 pm
Wychwood Theatre
Natural and Mechanical Transmissions
By Lin Culbertson, D. Burke Mahoney, Lorenzo Troiani and Anna Friz
May 4, 2013
NAISA Space
By Lin Culbertson, D. Burke Mahoney, Lorenzo Troiani and Anna Friz
May 4, 2013
NAISA Space
Program:
I. Daughter of the Wind by Lin Culbertson
Daughter of the Wind employs recordings made during the passage of Hurricane Sandy through New York City on October 29 2012. The sound of the winds layered with live television coverage were then processed to recast the event as a swirling cauldron of pulsing cyclonic energy.
Daughter of the Wind employs recordings made during the passage of Hurricane Sandy through New York City on October 29 2012. The sound of the winds layered with live television coverage were then processed to recast the event as a swirling cauldron of pulsing cyclonic energy.
II. Transmitter / Receiver & Modified Dead Air by D. Burke Mahoney
III. Fukushima's howl by Lorenzo Troiani
The piece explores the subterranean, the power of the elements in the radioactive flow of Fukushima. The deformation, distortion, the howl of nature stand out in a mute landscape.
The piece explores the subterranean, the power of the elements in the radioactive flow of Fukushima. The deformation, distortion, the howl of nature stand out in a mute landscape.
IV. What the cuckoo knows/collecting clocks and losing time by Anna Friz
In a country with deep forests and high mountains, cuckoo clocks make their home, nesting in the trees in flocks. Once upon a time, a cuckoo clock flew away on a long and perilous journey across many zones, until it found the factory where errant robotniks manufacture the time.
In a country with deep forests and high mountains, cuckoo clocks make their home, nesting in the trees in flocks. Once upon a time, a cuckoo clock flew away on a long and perilous journey across many zones, until it found the factory where errant robotniks manufacture the time.
Lorenzo Troiani was born in Rome, Italy, in 1989. He studies composition at Conservatory of S.Cecilia. He follows lessons and courses of Luis De Pablo, S.Sciarrino, B.Furrer, D.Przybylski and P.Manoury. In 2012 he follows the advanced course held by Alessandro Solbiati. His music is played by different ensembles such as Neue Vocalsolisten, Curious Chamber Players, PMCE Ensemble, Ensemble L’Arsenale, Divertimento Ensemble. He graduated in Philosophy with a thesis on ontological thinking of Paul Klee.
Anna Friz got her start in campus/community radio at CiTR Vancouver in 1993. Since then she has created audio art and radiophonic works for extensive international broadcast, installation, or performance in more than fifteen countries. She is currently an FQRSC post-doctoral fellow in the Sound department at the School of the Art Institute of Chicago (2011-2013), and holds a Ph.D. in Communication and Culture from York University, Toronto. Anna is a free103point9 transmission artist.
Ambient Transmissions
By D. Burke Mahoney, William Davison and Allison Cameron, James Bailey, Alan Bloor and Matthew Poulakakis
May 14, 2013, 8:30 pm
Supermarket
By D. Burke Mahoney, William Davison and Allison Cameron, James Bailey, Alan Bloor and Matthew Poulakakis
May 14, 2013, 8:30 pm
Supermarket
Program:
I. Transmitter / Receiver & Modified Dead Air by D. Burke Mahoney
II. Untitled by William Davison and Allison Cameron
III. Quiet Metal Trio Vibrations by James Bailey, Alan Bloor, Matthew Poulakakis
Mobile Transmissions
By Eleanor King and Sarah Boothroyd
May 18, 2013, 8:00 pm
Wychwood Theatre
By Eleanor King and Sarah Boothroyd
May 18, 2013, 8:00 pm
Wychwood Theatre
Program:
I. Rabble Rousers by Sarah Boothroyd
Touching on ethics, justice, democracy, and global citizenship, Rabble Rousers explores the notion of protest as a spontaneous installation of improvised \'music\' in public space. Supported by the Ontario Arts Council, Rabble Rousers features field recordings of protests from around the globe – including many culled from the Occupy Movement – as well as Creative Commons contributions from Random Coil, Pleq, Papercutz, Carlos Lemosh, Marcus Fischer, Upsteria, Erstlaub, Aurastore, Aos Crowley (Matt Dean), Pocka (Brad Mitchell), Matthias Kispert, and the Prelinger Archives.
Touching on ethics, justice, democracy, and global citizenship, Rabble Rousers explores the notion of protest as a spontaneous installation of improvised \'music\' in public space. Supported by the Ontario Arts Council, Rabble Rousers features field recordings of protests from around the globe – including many culled from the Occupy Movement – as well as Creative Commons contributions from Random Coil, Pleq, Papercutz, Carlos Lemosh, Marcus Fischer, Upsteria, Erstlaub, Aurastore, Aos Crowley (Matt Dean), Pocka (Brad Mitchell), Matthias Kispert, and the Prelinger Archives.
Eleanor King presents installations and performances nationally and internationally, most notably at Museum of Contemporary Canadian Art, Nuit Blanche Toronto, Southern Alberta Art Gallery, Art Gallery of Nova Scotia, Eastern Edge Gallery, and Galleri F15 in Norway. She received a BFA from NSCAD in 2001, and participated in residencies at The Banff Centre, Atlantic Centre for the Arts, New Adventures in Sound Art, and the Centre for Art Tapes. Her musical history includes bands The Got to Get Got, The Just Barelys and Wet Denim. She was shortlisted for the prestigious Sobey Art Award, and received creation grants from Arts Nova Scotia and The Canada Council for the Arts. She teaches media arts at NSCAD University and is Director at Anna Leonowens Gallery in Halifax, Nova Scotia. King is represented by Diaz Contemporary, Toronto.
Mobile Transmissions
By Sarah-Leith Izzard, Karin Senff, Stephen McCourt and Anna Friz & Kristen Roos
May 19, 2013, 8:00 pm
Wychwood Theatre
By Sarah-Leith Izzard, Karin Senff, Stephen McCourt and Anna Friz & Kristen Roos
May 19, 2013, 8:00 pm
Wychwood Theatre
Program:
I. Her Deepness by Sarah-Leith Izzard
Inspired by oceanographer Sylvia Earle’s record breaking deep-sea dive in 1979, manipulated acousmatic sounds create a ‘cinema of the mind’ without traditional verbal cues. From the surface the listener descends alone into darkness, bioluminescent creatures appear and a psychological transformation occurs as ‘she’ goes deeper.
Inspired by oceanographer Sylvia Earle’s record breaking deep-sea dive in 1979, manipulated acousmatic sounds create a ‘cinema of the mind’ without traditional verbal cues. From the surface the listener descends alone into darkness, bioluminescent creatures appear and a psychological transformation occurs as ‘she’ goes deeper.
II. XRF by Karin Senff
XRF is an electro-acoustic composition that uses recordings of an X-ray spectrometer to create a conceptual model of the sub-atomic interactions that take place during sample analysis, where the action of an electron splitting from its atom is read as a vital fracture of the most fundamental bonds of life.
XRF is an electro-acoustic composition that uses recordings of an X-ray spectrometer to create a conceptual model of the sub-atomic interactions that take place during sample analysis, where the action of an electron splitting from its atom is read as a vital fracture of the most fundamental bonds of life.
III. ac-4 by Stephen McCourt
Ac-4 features sounds that suggest vibration, fragmentation and static interference. The piece also forms a machine/human narrative and draws influence from cinematic montage, as new images are suggested through the juxtaposition of sounds in space and time.
Ac-4 features sounds that suggest vibration, fragmentation and static interference. The piece also forms a machine/human narrative and draws influence from cinematic montage, as new images are suggested through the juxtaposition of sounds in space and time.
IV. Short Horizon by Anna Friz & Kristen Roos
Performance featuring acoustic field recordings from the Toronto area and electro-magnetic instruments. Short Horizon considers the otherwise invisible interpenetration of objects and frequencies moving in urban space.
Performance featuring acoustic field recordings from the Toronto area and electro-magnetic instruments. Short Horizon considers the otherwise invisible interpenetration of objects and frequencies moving in urban space.
Sarah-Leith Izzard was born in New Zealand and is now based in Sydney, Australia. A graduate of both the Elam School of Fine Art in Auckland New Zealand, and the University of Technology Sydney, her work focuses on using spatialization and interactivity to challenge and extend perceptions of reality.
Karin Senff is an up and coming sound artist and recent graduate of Sound and Music Design at the University of Technology Sydney. Her previous projects have explored correlated microphone techniques to create immersive multichannel spatial-audio Soundscapes and the use of generative boidal-systems to create three-dimensional ambisonic sonifications.
Stephen McCourt was awarded with a PhD in Electroacoustic Composition at the University of Limerick in January 2012. During his research he developed a visually informed approach to sound composition and analysis, which is outlined in his doctoral thesis “Sonic Images and Multimedia Aesthetics in Electroacoustic Music”.
Nataliya Petkova - [x]Tensions
NXNE Art (Installation and Performance)
June 6, 2013, 8:00 pm to 12:00 am
317 Dundas Street West, Toronto M5T 1G4
Advance Tickets: $12 / $10 AGO Members At the Door: $15 / $13 AGO Members
NXNE Art (Installation and Performance)
June 6, 2013, 8:00 pm to 12:00 am
317 Dundas Street West, Toronto M5T 1G4
Advance Tickets: $12 / $10 AGO Members At the Door: $15 / $13 AGO Members
[x]Tensions is a group of two small boxes in Plexiglas with a built-in audio circuit and a mounted steel needle. Once the circuit is activated, this same needle can be applied on all surrounding surfaces in order to « read » and amplify their sound characteristics, performing a territorial sound reading. Nataliya Petkova is born in Bulgaria. She holds a bachelor degree from École de Beaux-Arts de Marseille, France, as well as a master degree in visual arts from University Laval, Canada. She has had the opportunity to present hew work in France, Canada, Bulgaria, Hungary and the United States.
Instant Places - Elastic Planets Live
NXNE Art (Performance)
June 10, 2013, 8:00 pm
NAISA Space, 601 Christie St #252, Toronto, M6G 4C7
General $5
NXNE Art (Performance)
June 10, 2013, 8:00 pm
NAISA Space, 601 Christie St #252, Toronto, M6G 4C7
General $5
This performance takes place inside the Elastic Planets multichannel sound field and deals with similar source materials and processes. The difference is that in the performance decisions about event types and timings are made by us, in the installation these decisions are made by the generating machine. Instant Places is Ian Birse & Laura Kavanaugh Through the 1990's Ian Birse made performances for altered guitars, spoken words, and analog video. He has been making tools for virtual visual sonics since the turn of the century. Laura Kavanaugh is an improvisor who works between music, noise, light, and the shapes of things. She was active in interdisciplinary circles in Edmonton and Calgary, making performance works for samplers, overhead projectors, piano and voice, before taking Instant Places on the road with Ian for five years.
World Listening Day Performance of I am sitting in a Field
By Mitchell Akiyama
July 20, 2013, 12:00 pm
NAISA Space, 601 Christie St #252
General $10
By Mitchell Akiyama
July 20, 2013, 12:00 pm
NAISA Space, 601 Christie St #252
General $10
Indoor and outdoor performances of three works with very different approaches to documenting and discussing soundscapes, including Bruno, September by Dominique Ferraton, Konstantinos Karathanasis' Trittico Med?terraneo and I am sitting in a field by Mitchell Akiyama, an outdoor adaptation of a classic Alvin Lucier work.
Program:
I. "Bruno, September" by Dominique Ferraton
"Bruno, September" was completed during a month-long residency at the Bruno Arts Bank in Saskatchewan. Wandering the streets, fields and gravel roads in and around Bruno, I collected sounds every day and spoke to residents about noises they like and dislike. Using a combination of field recordings and voice, this piece recreates and interprets the soundscape of a small agricultural town while investigating how sounds affect us and how they can change our perception of a place.
"Bruno, September" was completed during a month-long residency at the Bruno Arts Bank in Saskatchewan. Wandering the streets, fields and gravel roads in and around Bruno, I collected sounds every day and spoke to residents about noises they like and dislike. Using a combination of field recordings and voice, this piece recreates and interprets the soundscape of a small agricultural town while investigating how sounds affect us and how they can change our perception of a place.
II. "Trittico Med?terraneo" by Konstantinos Karathanasis
Trittico Med?terraneo is a three-movement piece inspired by summer themes. The opening movement, Pastorale, is based on samples of sheep bells and field recordings collected at a village. The second movement, Constitution Square at Evening uses urban recordings from Nafplion, Greece. Finally, Violins of Summer is based on cicada sounds. Trittico Mediterraneo features a bipolar relationship in sound and space. Its movements are based on the interplay and superimposition of closely recorded sounds and open field recordings. The sonic geography of the piece explores a continuum between imaginary landscapes based on processed sounds and real soundscapes with clearly identifiable soundmarks.
Trittico Med?terraneo is a three-movement piece inspired by summer themes. The opening movement, Pastorale, is based on samples of sheep bells and field recordings collected at a village. The second movement, Constitution Square at Evening uses urban recordings from Nafplion, Greece. Finally, Violins of Summer is based on cicada sounds. Trittico Mediterraneo features a bipolar relationship in sound and space. Its movements are based on the interplay and superimposition of closely recorded sounds and open field recordings. The sonic geography of the piece explores a continuum between imaginary landscapes based on processed sounds and real soundscapes with clearly identifiable soundmarks.
III. “I am Standing in a Field” by Mitchell Akiyama
“I Am Standing in a Field” is a reworking of Alvin Lucier’s iconic 1969 composition, “I Am Sitting in a Room.” In Lucier’s work, a text is recited, recorded and then played back into the room. The recording is then played back and recorded. This process is repeated. “I Am Standing in a Field” substitutes the out of doors for interior space. In this version, new sonic events insinuate themselves into each playback, each becoming a part of an aural palimpsest. This work is an investigation and exploration of the parameters of field recording, a practice fundamentally concerned with locale, space, and geography. Rather than simply capture a representation of place to be transported into other contexts, this piece treats location as both the source and the site of exhibition.
“I Am Standing in a Field” is a reworking of Alvin Lucier’s iconic 1969 composition, “I Am Sitting in a Room.” In Lucier’s work, a text is recited, recorded and then played back into the room. The recording is then played back and recorded. This process is repeated. “I Am Standing in a Field” substitutes the out of doors for interior space. In this version, new sonic events insinuate themselves into each playback, each becoming a part of an aural palimpsest. This work is an investigation and exploration of the parameters of field recording, a practice fundamentally concerned with locale, space, and geography. Rather than simply capture a representation of place to be transported into other contexts, this piece treats location as both the source and the site of exhibition.
Sound Travels in the Market
August 3, 2013, 10:00 am to 12:00 pm
Live outdoor Sound Art Performance in the Stop Farmer's Market, Barn 5 outdoor walkway, 601 Christie St
August 3, 2013, 10:00 am to 12:00 pm
Live outdoor Sound Art Performance in the Stop Farmer's Market, Barn 5 outdoor walkway, 601 Christie St
Echolocation
By Germaine Liu and Matt Miller
August 3, 2013, 10:00 am
601 Christie St. Wychwood Barns - The Farmers Market
General $Free
By Germaine Liu and Matt Miller
August 3, 2013, 10:00 am
601 Christie St. Wychwood Barns - The Farmers Market
General $Free
Echolocation is a sound art performance that invites the audience to take a virtual tour of the Wychwood Barns, using the concept of human echolocation, or the ability to detect objects in their environment by sensing echoes from those objects. Percussionist Germaine Liu performs while walking the grounds of Wychwood Barns, the sounds she creates are transmitted wirelessly in real time to Matt Miller’s laptop where they are amplified, allowing the audience to navigate through the Wychwood Barns based on the sound characteristics of the percussive objects being played.
Germaine Liu is a Toronto-based percussionist and improvisor. Liu has been privileged to work with many wonderful musicians, dancers and artists. Liu studied percussion with John Goddard and Jesse Stewart during her undergraduate degree at the University of Guelph and composition with David Mott at York University in Toronto. She performs with c_RL , Octopus and Threads Quintet.
Matt Miller is a multi-disciplinary musician, composer, sound designer, producer and engineer. He has had a consistent presence in Toronto's improvising music scene since 2007, employing his laptop as a musical instrument, live remix tool, as well as a mobile recording workstation to capture live performances. Matt has over 45 published production music and sound design compositions that have been heard on TV, and in film trailers around the world. An avid field recordist, Matt can almost always be found with a portable recording device close by. The sounds that he captures invariably end up as the raw material for new musical concepts. Matt is also the owner of the soundware company, Millertone, which develops sample libraries for computer-based music producers.
Toronto Electroacoustic Symposium Concert #1
August 14, 2013, 8:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176, $15/10
General $$15, Students $$10
August 14, 2013, 8:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176, $15/10
General $$15, Students $$10
This series of TES concerts include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Toronto Electroacoustic Symposium Concert #2
August 15, 2013, 2:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176
General $$15, Students $$10
August 15, 2013, 2:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176
General $$15, Students $$10
This series of TES concerts include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Toronto Electroacoustic Symposium Concert #3
August 15, 2013, 8:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176
General $$15, Students $$10
August 15, 2013, 8:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176
General $$15, Students $$10
This series of TES concerts include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Sound Travels Concert - Places Real & Imagined, Part 1
By Francis Dhomont, Barry Truax and more TBA
August 16, 2013, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie Street #176
General $15, Students $10
By Francis Dhomont, Barry Truax and more TBA
August 16, 2013, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie Street #176
General $15, Students $10
The first of a two night listening journey that slips in and out of reality and imagined space. Featuring works by Francis Dhomont and Barry Truax alongside artists emerging on the international scene for a thematic evening program curated on the theme of Sonic Geography.
Program:
I. ES6 by Devin Ashton-Beaucage
ES6 was conceived in 2009, in Montreal. The prime objective of the piece was to explore spatialization. Recordings of small and discrete sounding objects were made to contrast with much wider and recognizable soundscapes taken from Quebec's Charlevoix region. By trying to smoothen the transitions between these two very different sources, the piece became a sort of study of morphological comparisons. The piece attempts to associate very small sounds, recorded up close, with much wider sounding sources. ES6 is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/devin-ashton-beaucage-es6
ES6 was conceived in 2009, in Montreal. The prime objective of the piece was to explore spatialization. Recordings of small and discrete sounding objects were made to contrast with much wider and recognizable soundscapes taken from Quebec's Charlevoix region. By trying to smoothen the transitions between these two very different sources, the piece became a sort of study of morphological comparisons. The piece attempts to associate very small sounds, recorded up close, with much wider sounding sources. ES6 is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/devin-ashton-beaucage-es6
II. Velo by David Ikard
Velo is a fixed media piece composed entirely of sounds from a bicycle or sounds that might be heard while riding a bicycle in a rural setting. The calm development section represents that moment during a vigorous workout when the body’s endorphins have kicked in and the rider feels as if time has slowed down and is completely isolated from the rest of the world. Eventually the listener is transported back into reality, only to find that it is not the same reality that he departed from.
Velo is a fixed media piece composed entirely of sounds from a bicycle or sounds that might be heard while riding a bicycle in a rural setting. The calm development section represents that moment during a vigorous workout when the body’s endorphins have kicked in and the rider feels as if time has slowed down and is completely isolated from the rest of the world. Eventually the listener is transported back into reality, only to find that it is not the same reality that he departed from.
III. Annapurna-Pastoral One Hundred Springs by Iain Armstrong
Opening – Ascent – One Hundred Springs – Turning the Wheel of Dharma – Closing
‘Annapurna Pastoral’ is a meditation on the Himalayan soundscapes of Annapurna. The work, a loose narrative of a pilgrimage to Muktinath (also known as Chumig Gyatsa the site of 'One Hundred Springs'), tries to capture the peaceful, pastoral nature of these remote locations while referencing the deep-rooted spiritualism that the Himalaya inspire. Subverted references to the musical pastorale can be heard in the sound of the bansuri, sarangi and the use of drones. The field recordings were made in the Annapurna region, Nepal 2007. Annapurna - Pastoral One Hundred Springs is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/iain-armstrong-annapurna
Opening – Ascent – One Hundred Springs – Turning the Wheel of Dharma – Closing
‘Annapurna Pastoral’ is a meditation on the Himalayan soundscapes of Annapurna. The work, a loose narrative of a pilgrimage to Muktinath (also known as Chumig Gyatsa the site of 'One Hundred Springs'), tries to capture the peaceful, pastoral nature of these remote locations while referencing the deep-rooted spiritualism that the Himalaya inspire. Subverted references to the musical pastorale can be heard in the sound of the bansuri, sarangi and the use of drones. The field recordings were made in the Annapurna region, Nepal 2007. Annapurna - Pastoral One Hundred Springs is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/iain-armstrong-annapurna
IV. Poetic Cartography: Rainforest by Samuel Dunscombe
This work employs field recorded environmental sound, instrumental and vocal mimesis, and aural metaphor in a threefold process of \"mapping.\" Instrumental sounds are mapped onto environmental recordings, mimicking aspects of the natural soundscape in both a direct and metaphorical way. A fictive, hyper-real environment is thus created, the topography of which is then mapped out over time (acoustic phenomena unique to the “region” unfold over the course of the work), and physically mapped onto the performance space and the body of the performer(s) (where applicable). It is concerned with the physical and mental processes of mapping and exploring a geography.
This work employs field recorded environmental sound, instrumental and vocal mimesis, and aural metaphor in a threefold process of \"mapping.\" Instrumental sounds are mapped onto environmental recordings, mimicking aspects of the natural soundscape in both a direct and metaphorical way. A fictive, hyper-real environment is thus created, the topography of which is then mapped out over time (acoustic phenomena unique to the “region” unfold over the course of the work), and physically mapped onto the performance space and the body of the performer(s) (where applicable). It is concerned with the physical and mental processes of mapping and exploring a geography.
V. CPH Pendler Music by Francis Dhomont
This work is a commission of Skreap, a Danish musical society. The same theme was given to 12 composers : a twelve minutes music about the main train station of Copenhagen city. A lot of sounds are coming from this station. "CPH Pendler Music\" is an attempt to tame raw, almost wild sounds, and to organise them in a musical manner that preserves their origins. In this way, I hope to give those who spend much of their life in the bustle of the railroad - the pendlers at Copenhagen\'s Central Station - a release from their suffering at the hands of this environment by making them discover the sounds, rhythms and unheard-of harmonies that may have previously escaped their notice.
This work is a commission of Skreap, a Danish musical society. The same theme was given to 12 composers : a twelve minutes music about the main train station of Copenhagen city. A lot of sounds are coming from this station. "CPH Pendler Music\" is an attempt to tame raw, almost wild sounds, and to organise them in a musical manner that preserves their origins. In this way, I hope to give those who spend much of their life in the bustle of the railroad - the pendlers at Copenhagen\'s Central Station - a release from their suffering at the hands of this environment by making them discover the sounds, rhythms and unheard-of harmonies that may have previously escaped their notice.
VI. Pendlerdrøm by Barry Truax
Pendlerdrøm (or "Commuterdream") is a soundscape composition that recreates a commuter's trip home from the Central Train Station in Copenhagen. At two points, one in the station and the other on the train, the commuter lapses into a daydream in which the sounds that were only half heard in the station return to reveal their musical qualities. It is hoped that the next day the commuter will hear the musicality of the station's soundscape in a different manner as a result of the dream; the rest of us may discover the very same aspects the second time we hear the work. Pendlerdrøm is available on the Cambridge Street Records CD Islands. and the SKRAEP double CD Pendler. A complete documentation analysis of the work is also available on a DVD-ROM from Cambridge Street Records.
Pendlerdrøm (or "Commuterdream") is a soundscape composition that recreates a commuter's trip home from the Central Train Station in Copenhagen. At two points, one in the station and the other on the train, the commuter lapses into a daydream in which the sounds that were only half heard in the station return to reveal their musical qualities. It is hoped that the next day the commuter will hear the musicality of the station's soundscape in a different manner as a result of the dream; the rest of us may discover the very same aspects the second time we hear the work. Pendlerdrøm is available on the Cambridge Street Records CD Islands. and the SKRAEP double CD Pendler. A complete documentation analysis of the work is also available on a DVD-ROM from Cambridge Street Records.
VII. Chants Migratoires by Julian Hoff
Chants migratoires is inspired by surrealism. Its journey contrasts aerial views with terrestrial activity, mechanical monsters with tiny singers (witnesses to the tumult). Across the vast spaces it suggests, these elements transform, mimic, quarrel and harmonize with each other. Chants migratoires is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/jullian-hoff-chants
Chants migratoires is inspired by surrealism. Its journey contrasts aerial views with terrestrial activity, mechanical monsters with tiny singers (witnesses to the tumult). Across the vast spaces it suggests, these elements transform, mimic, quarrel and harmonize with each other. Chants migratoires is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/jullian-hoff-chants
Francis Dhomont French and Canadian composer, Francis Dhomont was born in Paris in 1926. He is a recipient of a Doc. Honoris causa at the University of Montreal. Convinced of the originality of acousmatic art, his production is, since 1960, exclusively made of tape works. From 1980 to 1996 he was teaching Electroacoustic Composition at University of Montreal. He has received numerous international distinctions and awards. During 26 years he shared his activity between France and Quebec. He is now living in Avignon (France) and pursuing an international career.
Francis Dhomont studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulanger. In the late 40’s, in Paris (France), he intuitively discovered with magnetic wire what Pierre Schaeffer would later call “musique concrète” and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition. An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for tape bearing witness to his continued interest in morphological interplay and ambiguities between sound and the images it may create.
The Conseil des arts et des lettres du Québec has awarded him a prestigious carreer grant. In 1999, he was awarded five first prizes for four of his recent works at international competition (Brazil, Spain, Italy, Hungary and Czech Republic). In 1997, as the winner of the Canada Council for the Arts’ Victor Martyn Lynch-Staunton Award, he was also supported by the DAAD for a residence in Berlin (Germany). Five-time winner at the Bourges International Electroacoustic Music Competition (France) — the Magisterium Prize in 1988 — and 2nd Prize at Prix Ars Electronica 1992 (Linz, Austria), he has received numerous other awards.
He is the editor of special issues published by Musiques & Recherches (Belgium) and of Électroacoustique Québec: l’essor (Québec Electroacoustics: The Expansion) — for Circuit (Montréal). Musical co-editor of the Dictionnaire des arts médiatiques (published by UQAM), he is also lecturer and has produced many radio programs for Radio-Canada and Radio-France. In October 2007, Université de Montréal awarded him a honoris causa doctorate. He is the president of the collective Les Acousmonautes in Marseille (France) and “Ehrenpatron” (honour patron) of the organization Klang Projekte Weimar (Germany).
Barry Truax is a Professor in the School of Communication and (formerly) the School for the Contemporary Arts at Simon Fraser University where he teaches courses in acoustic communication and electroacoustic composition, specializing in soundscape composition. He has worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication dealing with all aspects of sound and technology. As a composer, Truax is best known for his work with the PODX computer music system which he has used for tape solo works and those which combine tape with live performers or computer graphics. A selection of these pieces may be heard on his recordings publishedon the Cambridge Street Records label.
In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France, a category open only to electroacoustic composers of 20 or more years experience. He is also the recipient of one of the 1999 Awards for Teaching Excellence at Simon Fraser University.
Toronto Electroacoustic Symposium Concert #4
August 16, 2013, 2:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176
General $$15, Students $$10
August 16, 2013, 2:00 pm
Wychwood Theatre Artscape Wychwood Barns, 601 Christie Street #176
General $$15, Students $$10
This series of TES concerts include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Sound Travels Concert - Places Real & Imagined, Part 2
By Francis Dhomont, Barry Truax and more TBA
August 17, 2013, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie Street #176
General $15, Students $10
By Francis Dhomont, Barry Truax and more TBA
August 17, 2013, 8:00 pm
Wychwood Theatre, Artscape Wychwood Barns, 601 Christie Street #176
General $15, Students $10
The second of a two night listening journey that slips in and out of reality and imagined space. Featuring works by Francis Dhomont and Barry Truax alongside artists emerging on the international scene for a thematic evening program curated on the theme of Sonic Geography.
Program:
I. Bora by Vanessa Sorce-Lévesque
"Bora" is inspired by a catabatic wind of the Adriatic sea, the bora. Elaborated with many sounds from different travels around Europe, and South America in the year of 2011. «Travel is like a wind: you run off, and come home as if a squall had taken over your life». Bora is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/vanessa-sorce-l-vesque-bora
"Bora" is inspired by a catabatic wind of the Adriatic sea, the bora. Elaborated with many sounds from different travels around Europe, and South America in the year of 2011. «Travel is like a wind: you run off, and come home as if a squall had taken over your life». Bora is available on the Deep Wireless 9 online album at https://soundcloud.com/naisa/vanessa-sorce-l-vesque-bora
II. Chalice Well by Barry Truax
Chalice Well is a holy well situated at the foot of Glastonbury Tor in southwest England, thought to be originally the island of Avalon from Arthurian legend, and the site where Joseph of Arimathea placed the chalice known as the Holy Grail. According to legend, the Tor, a masculine symbol, is hollow underneath and the entrance to the underworld, guarded by the Grail. The well, on the other hand is a symbol of the feminine aspect of deity, and its waters are believed to possess healing qualities. This soundscape composition takes the listener on an imaginary journey down into the well, passing through several cavernous chambers on its descent, filled with rushing and trickling water, including the chamber of the feminine spirit. The journey continues to the glass chamber, then to the gates of the underworld, only to be confronted by the image of the Grail, and finally coming to rest in the space where wind and water, the masculine and the feminine, are combined.
Chalice Well is a holy well situated at the foot of Glastonbury Tor in southwest England, thought to be originally the island of Avalon from Arthurian legend, and the site where Joseph of Arimathea placed the chalice known as the Holy Grail. According to legend, the Tor, a masculine symbol, is hollow underneath and the entrance to the underworld, guarded by the Grail. The well, on the other hand is a symbol of the feminine aspect of deity, and its waters are believed to possess healing qualities. This soundscape composition takes the listener on an imaginary journey down into the well, passing through several cavernous chambers on its descent, filled with rushing and trickling water, including the chamber of the feminine spirit. The journey continues to the glass chamber, then to the gates of the underworld, only to be confronted by the image of the Grail, and finally coming to rest in the space where wind and water, the masculine and the feminine, are combined.
III. Givre by Monique Jean
Givre came out of the Calendar project (www.calendarproject.ca), a collaboration with choreographer Tedi Tafel. This series of 12 site-specific performances spread across one year were inspired by the passing of seasons and the cycles of nature as they are experienced in the heart of the city. Each event was intimately related to the time of the year when it was presented. The sound aspect of the whole project tries to bring forward different aspects of the act of listening. The intent was to create new contexts of perception through the transformation of what is familiar to us and to provide listeners with a new auditory experience, through actions that was at times minimal, at times immersive, and at times an unusual blend of concrete and abstract sounds — though always following an approach that focused on presence, length, and the act of listening. The artistic process consisted in stripping out and purifying, in order to get to what is essential.
Givre came out of the Calendar project (www.calendarproject.ca), a collaboration with choreographer Tedi Tafel. This series of 12 site-specific performances spread across one year were inspired by the passing of seasons and the cycles of nature as they are experienced in the heart of the city. Each event was intimately related to the time of the year when it was presented. The sound aspect of the whole project tries to bring forward different aspects of the act of listening. The intent was to create new contexts of perception through the transformation of what is familiar to us and to provide listeners with a new auditory experience, through actions that was at times minimal, at times immersive, and at times an unusual blend of concrete and abstract sounds — though always following an approach that focused on presence, length, and the act of listening. The artistic process consisted in stripping out and purifying, in order to get to what is essential.
IV. Here and There by Francis Dhomont
The title could have been “Spatial planes,” since the piece’s intention mainly presents different models of sound progression within three-dimensional space. It is therefore a study. But a very liberal study that does not try to demonstrate, nor does it rule out lyricism. Formally, it is presented like a suite of short pieces aimed at the various perceptions of spatialized sounds. The listener will be able to identify various types of spatial gestures — moving/still, punctual/plethoric, near/far — as well as acoustic images playing with localizations, trajectories, masses and sound textures. However this principle of articulation, even if it provides the focus of the piece, does not have to hinder the simple pleasure found in aural immersion.
The title could have been “Spatial planes,” since the piece’s intention mainly presents different models of sound progression within three-dimensional space. It is therefore a study. But a very liberal study that does not try to demonstrate, nor does it rule out lyricism. Formally, it is presented like a suite of short pieces aimed at the various perceptions of spatialized sounds. The listener will be able to identify various types of spatial gestures — moving/still, punctual/plethoric, near/far — as well as acoustic images playing with localizations, trajectories, masses and sound textures. However this principle of articulation, even if it provides the focus of the piece, does not have to hinder the simple pleasure found in aural immersion.
V. l’espace entre les souvenirs by Ursula Meyer-Koenig
This piece was composed for a performance in the ruins of a monastery, where swifts circle the old ruin walls. I tried to generate spaces that work well in a concert hall as well as in open air spaces. Indeed a dialogue did develop at the open air between the swifts and there recorded colleagues. Illusion became reality
I have used individual samples which are metaphors for the past and the present of the monastery. A sample from "Ave Maria", its textural and lower register sound symbolizing how time permeates the space. A sample of the alternating ricochet of a ping-pong ball, the present is represented by samples of screeching swifts.
This piece was composed for a performance in the ruins of a monastery, where swifts circle the old ruin walls. I tried to generate spaces that work well in a concert hall as well as in open air spaces. Indeed a dialogue did develop at the open air between the swifts and there recorded colleagues. Illusion became reality
I have used individual samples which are metaphors for the past and the present of the monastery. A sample from "Ave Maria", its textural and lower register sound symbolizing how time permeates the space. A sample of the alternating ricochet of a ping-pong ball, the present is represented by samples of screeching swifts.
VI. Espace / Escape by Francis Dhomont
“As soon as we become immobile, we are elsewhere; we dream in a vast world. Immensity is the movement of immobile man. Immensity is one of the dynamic aspects of peaceful daydreaming.”
— Bachelard, The Poetics of Space
Space.
Open, intimate, confused spaces. Broken spaces, whirling.
Indecisive edges of the space.
Space-refuge, enclosed, maternal, space of reminiscence and of associations.
Tumult or murmur in the space of a thousand reflections.
Escape.
The flight engenders a vertigo of multiple elsewheres.
Here… There…
Attempted encounter of heterogeneous elements related by two criteria: one is sonic and denotative (the place of sound in space), the other symbolic and connotative (referring to the theme of wandering), both alluding to movement. These criteria determine the form and are its cement. The multiplicity of materials embody the ideas of ‘space’ and ‘mobility.’ This work integrates into its structure active elements of spatialization which have a semantic value.
“As soon as we become immobile, we are elsewhere; we dream in a vast world. Immensity is the movement of immobile man. Immensity is one of the dynamic aspects of peaceful daydreaming.”
— Bachelard, The Poetics of Space
Space.
Open, intimate, confused spaces. Broken spaces, whirling.
Indecisive edges of the space.
Space-refuge, enclosed, maternal, space of reminiscence and of associations.
Tumult or murmur in the space of a thousand reflections.
Escape.
The flight engenders a vertigo of multiple elsewheres.
Here… There…
Attempted encounter of heterogeneous elements related by two criteria: one is sonic and denotative (the place of sound in space), the other symbolic and connotative (referring to the theme of wandering), both alluding to movement. These criteria determine the form and are its cement. The multiplicity of materials embody the ideas of ‘space’ and ‘mobility.’ This work integrates into its structure active elements of spatialization which have a semantic value.
Francis Dhomont French and Canadian composer, Francis Dhomont was born in Paris in 1926. He is a recipient of a Doc. Honoris causa at the University of Montreal. Convinced of the originality of acousmatic art, his production is, since 1960, exclusively made of tape works. From 1980 to 1996 he was teaching Electroacoustic Composition at University of Montreal. He has received numerous international distinctions and awards. During 26 years he shared his activity between France and Quebec. He is now living in Avignon (France) and pursuing an international career.
Francis Dhomont studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulanger. In the late 40’s, in Paris (France), he intuitively discovered with magnetic wire what Pierre Schaeffer would later call “musique concrète” and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition. An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for tape bearing witness to his continued interest in morphological interplay and ambiguities between sound and the images it may create.
The Conseil des arts et des lettres du Québec has awarded him a prestigious carreer grant. In 1999, he was awarded five first prizes for four of his recent works at international competition (Brazil, Spain, Italy, Hungary and Czech Republic). In 1997, as the winner of the Canada Council for the Arts’ Victor Martyn Lynch-Staunton Award, he was also supported by the DAAD for a residence in Berlin (Germany). Five-time winner at the Bourges International Electroacoustic Music Competition (France) — the Magisterium Prize in 1988 — and 2nd Prize at Prix Ars Electronica 1992 (Linz, Austria), he has received numerous other awards.
He is the editor of special issues published by Musiques & Recherches (Belgium) and of Électroacoustique Québec: l’essor (Québec Electroacoustics: The Expansion) — for Circuit (Montréal). Musical co-editor of the Dictionnaire des arts médiatiques (published by UQAM), he is also lecturer and has produced many radio programs for Radio-Canada and Radio-France. In October 2007, Université de Montréal awarded him a honoris causa doctorate. He is the president of the collective Les Acousmonautes in Marseille (France) and “Ehrenpatron” (honour patron) of the organization Klang Projekte Weimar (Germany).
Barry Truax is a Professor in the School of Communication and (formerly) the School for the Contemporary Arts at Simon Fraser University where he teaches courses in acoustic communication and electroacoustic composition, specializing in soundscape composition. He has worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication dealing with all aspects of sound and technology. As a composer, Truax is best known for his work with the PODX computer music system which he has used for tape solo works and those which combine tape with live performers or computer graphics. A selection of these pieces may be heard on his recordings publishedon the Cambridge Street Records label.
In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France, a category open only to electroacoustic composers of 20 or more years experience. He is also the recipient of one of the 1999 Awards for Teaching Excellence at Simon Fraser University.
Sound Travels Intensive Concert
August 24, 2013, 8:00 pm
Artscape Wychwood Barns, 601 Christie Street #252
General $10
Performance of works created by artists participating in the 5-day Sound Travels Intensive. Hear and see experimental sound art performances at the explorative stage.
August 24, 2013, 8:00 pm
Artscape Wychwood Barns, 601 Christie Street #252
General $10
Performance of works created by artists participating in the 5-day Sound Travels Intensive. Hear and see experimental sound art performances at the explorative stage.
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Meridian Artist Talk and Performance
November 7, 2013
OCADU Shooting Space (FREE)
FREE
November 7, 2013
OCADU Shooting Space (FREE)
FREE
The fluid abstract imagery of Kevin Mazutinec’s digitally generated organic projections shift and move, supported by lush ambient electroacoustic soundscapes from Robin Davies and Marian Van der Zon which play off of the emotion and the content of Justin McGrail's spoken word, which addresses concepts of home, space, geography, migration, love and the human condition.
Meridian Performances
November 8, 2013, 7:00 pm to 11:00 pm
Factory Media Centre, 228 James St North, Hamilton
FREE
November 8, 2013, 7:00 pm to 11:00 pm
Factory Media Centre, 228 James St North, Hamilton
FREE
The fluid abstract imagery of Kevin Mazutinec’s digitally generated organic projections shift and move, supported by lush ambient electroacoustic soundscapes from Robin Davies and Marian Van der Zon which play off of the emotion and the content of Justin McGrail's spoken word, which addresses concepts of home, space, geography, migration, love and the human condition.
ImageScape
Performance by Meridian & work by Michael Trommer
November 9, 2013, 8:00 pm
NAISA Space
General $10
Performance by Meridian & work by Michael Trommer
November 9, 2013, 8:00 pm
NAISA Space
General $10
ImageScape includes works by Vancouver Island collective Meridian and Toronto's Michael Trommer. The fluid abstract imagery of Kevin Mazutinec’s digitally generated organic projections shift and move, supported by lush ambient electroacoustic soundscapes from Robin Davies and Marian Van der Zon which play off of the emotion and the content of Justin McGrail's spoken word, which addresses concepts of home, space, geography, migration, love and the human condition. "The Night Swimmer" is a re-working of material from Trommer's installation Ghostwood, which was presented at Sound Travels in 2012. and will be part of a future release on the 'unfathomless' label. Like Ghostwood the work is based on field recordings made in Georgian Bay of night swims.
Program:
I. The Night Swimmer by Michael Trommer
The Night Swimmer is a re-working of material from Trommer's installation Ghostwood, which was presented at Sound Travels in 2012. The Night Swimmer will be part of a future release on the 'unfathomless' label. Like Ghostwood the work is based on field recordings made in Georgian Bay of night swims. The location is fascinating acoustically, as – although it's quite quiet - there is a time-delayed + diffused bleed from Wasaga Beach clubs, which lie about 30km away across open water.
The Night Swimmer is a re-working of material from Trommer's installation Ghostwood, which was presented at Sound Travels in 2012. The Night Swimmer will be part of a future release on the 'unfathomless' label. Like Ghostwood the work is based on field recordings made in Georgian Bay of night swims. The location is fascinating acoustically, as – although it's quite quiet - there is a time-delayed + diffused bleed from Wasaga Beach clubs, which lie about 30km away across open water.
II. Meridian by Video - Kevin Mazutinec
Laptop - Robin Davies
Vocals, instruments and looping - Marian Van der Zon
Spoken word – Justin McGrail
The fluid abstract imagery of Kevin Mazutinec’s digitally generated organic projections shift and move, supported by lush ambient electroacoustic soundscapes from Robin Davies and Marian Van der Zon which play off of the emotion and the content of Justin McGrail's spoken word, which addresses concepts of home, space, geography, migration, love and the human condition.
The fluid abstract imagery of Kevin Mazutinec’s digitally generated organic projections shift and move, supported by lush ambient electroacoustic soundscapes from Robin Davies and Marian Van der Zon which play off of the emotion and the content of Justin McGrail's spoken word, which addresses concepts of home, space, geography, migration, love and the human condition.
Mappings
By Andrew O'Connor and Thierry Gauthier
November 16, 2013, 8:00 pm
NAISA Space
By Andrew O'Connor and Thierry Gauthier
November 16, 2013, 8:00 pm
NAISA Space
Many audio mappings of places have been heard because of NAISA's theme of Sonic Geography for its 2013 programming year but this performance provides two audio-visual mappings. The first is a videomusic work "Nord/Sud" by Thierry Gauthier that takes the audience through Costa Rica, Mexico and Québec and the second "Boblo Island Soundmap" by Andrew O’Connor is a multi-media adaptation of "Boblo" a theatre work based on Boblo Island located at the mouth of the Detroit River.
Program:
I. Nord/Sud by Thierry Gauthier
HD 1080P – 16:9 | 2010
Video production and music : Thierry Gauthier
Nord/Sud is a figurative audiovisual composition representing nature and the survival instinct with anxiety, tension and nostalgia. The work evolves from micro to macro scale following the links of the food chain. The images are taken during winter in Costa Rica, Mexico and Québec. The music is made from field recordings, prepared piano, bowed cymbal and synthesis.
HD 1080P – 16:9 | 2010
Video production and music : Thierry Gauthier
Nord/Sud is a figurative audiovisual composition representing nature and the survival instinct with anxiety, tension and nostalgia. The work evolves from micro to macro scale following the links of the food chain. The images are taken during winter in Costa Rica, Mexico and Québec. The music is made from field recordings, prepared piano, bowed cymbal and synthesis.
II. Boblo Island Soundmap by Andrew O'Connor
Creation and Live Performance – Andrew O'Connor
Text - Erin Brandenburg
Music - Andrew Penner
Video - Elysha Poirier,
Sculpture - Iner Souster.
Voices - Erin Brandenburg, Andrew Penner, and Gord Bolan.
Boblo Island Soundmap is a performed multimedia installation about Boblo Island, based off the larger theatrical work BOBLO produced last year at the Theatre Centre in Toronto. Boblo Island is a piece of land in the Detroit River with an incredible history. Now the future site of an elite gated community, Boblo was one of the last stops on the Underground Railroad, used for rum running during prohibition, and the site of a once grand amusement park that now lies in ruins. The project explores these histories and the traces of memory left behind through a collage of text, music, and radio transmissions.
Creation and Live Performance – Andrew O'Connor
Text - Erin Brandenburg
Music - Andrew Penner
Video - Elysha Poirier,
Sculpture - Iner Souster.
Voices - Erin Brandenburg, Andrew Penner, and Gord Bolan.
Boblo Island Soundmap is a performed multimedia installation about Boblo Island, based off the larger theatrical work BOBLO produced last year at the Theatre Centre in Toronto. Boblo Island is a piece of land in the Detroit River with an incredible history. Now the future site of an elite gated community, Boblo was one of the last stops on the Underground Railroad, used for rum running during prohibition, and the site of a once grand amusement park that now lies in ruins. The project explores these histories and the traces of memory left behind through a collage of text, music, and radio transmissions.
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Thierry Gauthier has composed, produced and diffused music since 1986 at his base in Montreal. After studies at Université de Montréal his works have received mentions and prizes at competitions in Bourges, Musica Nova (Czech Republic, 2006), and Jeux de temps/Times Play (Canada, 2005, 2007 et 2008). His eclectic voice as a composer is demonstrated by his versatility and exploration of new media and has lead to commissions for movies, art-videos, television series, theatre plays, documentaries, multimedia and multidisciplinary performances. Thierry Gauthier produced, recorded, mixed and mastered numerous projects, bands and musicians. He is also a multidisciplinary artist, exploring painting, digital video and photography.
Ambient A/V
By Nick Kuepfer and Little Oak Animal
November 23, 2013, 8:00 pm
NAISA Space
By Nick Kuepfer and Little Oak Animal
November 23, 2013, 8:00 pm
NAISA Space
Little Oak Animal is an audio/visual collaboration between Toronto artists Rob Cruickshank and Dafydd Hughes. Their performances combine seemingly disparate elements - computer-generated sound and visuals projected from slides and Super-8 films - into an organic whole where each element in turn leads the other through a quiet narrative. The Anonymous Report by Nick Kuepfer is a collection of edited field recordings and minimalist compositions gathered in the remote terrain of Svalbard, processed and manipulated live through multiple 1/4" reel to reels.
Nick Kuepfer Montreal musician/sound artist primarily focusing on analogue technologies and minimalist composition using sounds from the environment, prepared instruments and guitar. Performed for many years at various venues and festivals including notably the Heartland music festival in Bern, Switzerland, and the Suoni Per Il Popolo music festival in Montreal, Canada.