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ART'S BIRTHDAY PERFORMANCE
By Peter Courtemanche and Anna Friz
January 17, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
also streaming live on NAISA Radio Listen Here
General $10
Following their tribute to past Art's Birthday celebrations at CITR (see the Cross Waves #3 performances at NAISA on Jan 16th Concert: 24 Hours of Radio/ART), Peter Courtemanche and Anna Friz will improvise with the noises and hubbub from Art's Birthday streams that are happening throughout the day and from around the world in this special Art's Birthday performance. For more information on the celebrations happening around the world go to http://www.artsbirthday.net
By Peter Courtemanche and Anna Friz
January 17, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
also streaming live on NAISA Radio Listen Here
General $10
Following their tribute to past Art's Birthday celebrations at CITR (see the Cross Waves #3 performances at NAISA on Jan 16th Concert: 24 Hours of Radio/ART), Peter Courtemanche and Anna Friz will improvise with the noises and hubbub from Art's Birthday streams that are happening throughout the day and from around the world in this special Art's Birthday performance. For more information on the celebrations happening around the world go to http://www.artsbirthday.net
Peter Courtemanche is a contemporary sound and installation artist from Vancouver. He creates radio, installations, network projects, performances, curatorial projects, and handmade CD editions. He likes to work with "gadgetry" - custom turntables, lamp filaments, wire coils, high voltage ionizers, magnetic transmitters and receivers.
Anna Friz (http://nicelittlestatic.com) is a Canadian sound and radio artist who specializes in multi-channel transmission systems for installation, performance, and broadcast. She also creates dynamic, atmospheric compositions for theatre, dance, film, and solo performance equally able to reflect upon public media culture or to reveal expressive interior landscapes. Anna holds a Ph.D. in Communication and Culture from York University, Toronto, and recently completed a post-doctoral fellowship in the Sound Department at the School of the Art Institute of Chicago. She has performed and exhibited widely across North America, South America, and Europe, and her radio art/works have been heard on the airwaves of more than 25 countries. She is a steering member of the artist collective Skálar | Sound Art | Experimental Music based in Iceland and Berlin. Anna was instrumental in producing the fifth edition of "24 Hours of Radio Art" on CITR FM in 1999.
NAISA Sound Bash Performance with Joe Sorbrara and Christine Duncan
March 14, 2015, 8:00 pm
The NAISA Space, 601 Christie St #252, Artscape Wychwood Barns
General $10
Percussionist Joe Sorbrara and Vocal improvisor Christine Duncan join forces in their first performance using the NAISA Sound Bash. Joe Sorbara is a highly inventive drummer and percussionist with a penchant for coaxing music out of practically anything. Christine Duncan's vocal resources are expansive including everything from Ella Fitzgerald to Diamanda Galas.
March 14, 2015, 8:00 pm
The NAISA Space, 601 Christie St #252, Artscape Wychwood Barns
General $10
Percussionist Joe Sorbrara and Vocal improvisor Christine Duncan join forces in their first performance using the NAISA Sound Bash. Joe Sorbara is a highly inventive drummer and percussionist with a penchant for coaxing music out of practically anything. Christine Duncan's vocal resources are expansive including everything from Ella Fitzgerald to Diamanda Galas.
NAISA Sound Bash Performance with Dave Gould
March 21, 2015, 8:00 pm
The NAISA Space, 601 Christie St #252, Artscape Wychwood Barns
General $10
Dave Gould is a percussionist and artist who improvises on unique instruments he makes or finds, such as antlers and animal bones. In 2013 he received the Hamilton Arts Award for Performance.
March 21, 2015, 8:00 pm
The NAISA Space, 601 Christie St #252, Artscape Wychwood Barns
General $10
Dave Gould is a percussionist and artist who improvises on unique instruments he makes or finds, such as antlers and animal bones. In 2013 he received the Hamilton Arts Award for Performance.
NAISA Sound Bash Performance with John Creson and Adam Rosen
March 28, 2015, 8:00 pm
The NAISA Space, 601 Christie St #252, Artscape Wychwood Barns
General $10
John Creson and Adam Rosen co-curate this special sound bash edition of the Audiopollination series. A diverse group of improvisors from the city will be mixed and matched through the evening for acoustic and electroacoustic sets of improvisation using the sound bash as a shared ensemble instrument. In recognition of Earth Hour, one set will be acoustic and in near darkness.
March 28, 2015, 8:00 pm
The NAISA Space, 601 Christie St #252, Artscape Wychwood Barns
General $10
John Creson and Adam Rosen co-curate this special sound bash edition of the Audiopollination series. A diverse group of improvisors from the city will be mixed and matched through the evening for acoustic and electroacoustic sets of improvisation using the sound bash as a shared ensemble instrument. In recognition of Earth Hour, one set will be acoustic and in near darkness.
"Emotive Ascension" performance
By Casey Koyczan
March 29, 2015, 8:00 pm
@ The NAISA Space, 601 Christie St, #252
General $10
Emotive Ascension uses found objects, natural materials, experimental effects and heavy modulation to explore chaos and harmony. Inspired by history, culture, and their interactions with the human world and technology, Casey Koyczan's work seeks to bridge the gap between visual and audio interpretations of art, while pushing the recognition for aboriginal values and politics.
By Casey Koyczan
March 29, 2015, 8:00 pm
@ The NAISA Space, 601 Christie St, #252
General $10
Emotive Ascension uses found objects, natural materials, experimental effects and heavy modulation to explore chaos and harmony. Inspired by history, culture, and their interactions with the human world and technology, Casey Koyczan's work seeks to bridge the gap between visual and audio interpretations of art, while pushing the recognition for aboriginal values and politics.
Casey Koyczan – Inspired by history, culture, and their interactions with the human world and technology, Casey Koyczan’s art seeks to bridge the gap between visual and audio, while subtly recognizing aboriginal values and politics. His media and music spans across an array of interests including: sound design, multi-instrument live looping, graphic design, short documentaries, 3D modeling, and visualizations. With art installation, his large-scale artworks provide compositional value and experimental techniques to achieve his unique aesthetic; previous installations take on traits of amorphous beings that are invading or reclaiming space in modern architecture.
Ditto - Cross Waves #5 performance
Curated by Christof Migone with live performance by Kelly Mark
Concert April 25, 2015, 8 PM
@the NAISA Space, 601 Christie St #252
General $10
Curated by Christof Migone with live performance by Kelly Mark
Concert April 25, 2015, 8 PM
@the NAISA Space, 601 Christie St #252
General $10
For more Information Click Here
Cross Waves is a Canadian Sound Art series that includes performances and internet radio programs curated by eight media artists representing various regional and cultural perspectives in Canada. This edition is curated by Christof Migone and features a live performance by Kelly Mark of her work “I Really Should”. Migone’s radio and performance program Ditto explores repetition in text and sound.
Program:
I. This is a sentence by Micah Lexier (00:54) (2010), recording
II. You will live by Pierre Andre Arcand (8:55) (1985), recording
III. I fall to pieces by Kim Dawn (1:26) (1996-1999), recording
IV. Get Out Of My Head, Get Out Of My Mind by Charles Stankievech (5:21) (2008), recording
V. Plongeurs by Diane Landry (6:00 excerpt from 40:06) (2007), recording
VI. I Really Should by Kelly Mark (49:16) (2002), live (first ever live performance of this piece)
Cross Waves is a Canadian Sound Art series that includes performances and internet radio programs curated by eight media artists representing various regional and cultural perspectives in Canada. This edition is curated by Christof Migone and features a live performance by Kelly Mark of her work “I Really Should”. Migone’s radio and performance program Ditto explores repetition in text and sound.
Program:
I. This is a sentence by Micah Lexier (00:54) (2010), recording
II. You will live by Pierre Andre Arcand (8:55) (1985), recording
III. I fall to pieces by Kim Dawn (1:26) (1996-1999), recording
IV. Get Out Of My Head, Get Out Of My Mind by Charles Stankievech (5:21) (2008), recording
V. Plongeurs by Diane Landry (6:00 excerpt from 40:06) (2007), recording
VI. I Really Should by Kelly Mark (49:16) (2002), live (first ever live performance of this piece)
Program:
I. This is a sentence by Micah Lexier (00:54) (2010)
This is a sentence was made for a group show at the Albright-Knox Gallery (Buffalo, New York), where participating artists were asked for a statement and Lexier turned it into a text piece for recorded audio. Courtesy Birch Contemporary, Toronto. (http://micahlexier.com/)
This is a sentence was made for a group show at the Albright-Knox Gallery (Buffalo, New York), where participating artists were asked for a statement and Lexier turned it into a text piece for recorded audio. Courtesy Birch Contemporary, Toronto. (http://micahlexier.com/)
II. You will live by Pierre Andre Arcand (8:55) (1985)
You will live piece appears on ERES +7, a CD made up of a series of sound sculptures on tape loops. All tracks were composed with the macchina ricordi, a tape recorder modified to permit simultaneous playback and overdub in open-ended looped cycles. Speaking, singing, noise, and instruments were recorded, processed, and structured through repetition and accretion. The process is one of constituting stratified sound space, multisource song, and the murmuring of multitudes—live. (http://avatarquebec.org/en/projects/eres-7/?k=Arcand)
You will live piece appears on ERES +7, a CD made up of a series of sound sculptures on tape loops. All tracks were composed with the macchina ricordi, a tape recorder modified to permit simultaneous playback and overdub in open-ended looped cycles. Speaking, singing, noise, and instruments were recorded, processed, and structured through repetition and accretion. The process is one of constituting stratified sound space, multisource song, and the murmuring of multitudes—live. (http://avatarquebec.org/en/projects/eres-7/?k=Arcand)
III. I fall to pieces by Kim Dawn (1:26) (1996-1999)
I listened to songs I have nostalgia for on headphones. I sang unabashedly, without reserve or concern for singing in tune and recorded my singing without hearing myself. I used songs from Patsy Cline, ACDC, Blondie, Joan Jett, Madonna, etc.
I listened to songs I have nostalgia for on headphones. I sang unabashedly, without reserve or concern for singing in tune and recorded my singing without hearing myself. I used songs from Patsy Cline, ACDC, Blondie, Joan Jett, Madonna, etc.
IV. Get Out Of My Head, Get Out Of My Mind by Charles Stankievech (5:21) (2008)
I have re-performed Bruce Nauman’s Get Out Of My Mind. Get Out Of This Room. (1968) and re-mixed it for wireless headphones. Unlike the original, Get Out Of My Head, Get Out Of My Mind (2008) denies architecture and explores the unique relation between virtual space and psychotopology. (http://www.stankievech.net/projects/getout/index.html)
I have re-performed Bruce Nauman’s Get Out Of My Mind. Get Out Of This Room. (1968) and re-mixed it for wireless headphones. Unlike the original, Get Out Of My Head, Get Out Of My Mind (2008) denies architecture and explores the unique relation between virtual space and psychotopology. (http://www.stankievech.net/projects/getout/index.html)
V. Plongeurs by Diane Landry (40:06) (2007)
Based on the Flying School installation, audio version released on CD by Merles. Flying School stands amidst empty space like an impenetrable island. From it sprout 24 multicoloured umbrellas attached to different rods at different heights, but always within the range of a person's stature. The umbrellas unfold and fold intermittently, slowly, like a person inhaling and exhaling. While apparently protecting themselves from an unlikely shower, they seem to chant a litany. The plaintive melody comes from little motor-driven accordions, of my making, that lie at the base of each umbrella. They further accentuate the lung effect and, often, the spectators adjust their own breathing accordingly. After a while, one also notices the silhouettes that the halogen lamps cast on the ceiling. These moving silhouettes, projected upwards, resemble a flower opening and then closing. The field of umbrellas moves unpredictably, its vagaries much like those of our climate. The motion follows an ambiguous sequence that echoes the accordion sounds, thus capturing the audience's attention and altering the way they perceive the work. To animate Flying School, each umbrella-accordion is hooked up to a controller that in turn connects to a computer. A program enables me to compose a sequence that makes the umbrella-accordions unfold or fold one after another. The umbrella-accordions are a hybrid of light and sound, infused with elements of sculpture, musical craftsmanship, and electronics. (http://dianelandry.com/flying-school-2/)
Based on the Flying School installation, audio version released on CD by Merles. Flying School stands amidst empty space like an impenetrable island. From it sprout 24 multicoloured umbrellas attached to different rods at different heights, but always within the range of a person's stature. The umbrellas unfold and fold intermittently, slowly, like a person inhaling and exhaling. While apparently protecting themselves from an unlikely shower, they seem to chant a litany. The plaintive melody comes from little motor-driven accordions, of my making, that lie at the base of each umbrella. They further accentuate the lung effect and, often, the spectators adjust their own breathing accordingly. After a while, one also notices the silhouettes that the halogen lamps cast on the ceiling. These moving silhouettes, projected upwards, resemble a flower opening and then closing. The field of umbrellas moves unpredictably, its vagaries much like those of our climate. The motion follows an ambiguous sequence that echoes the accordion sounds, thus capturing the audience's attention and altering the way they perceive the work. To animate Flying School, each umbrella-accordion is hooked up to a controller that in turn connects to a computer. A program enables me to compose a sequence that makes the umbrella-accordions unfold or fold one after another. The umbrella-accordions are a hybrid of light and sound, infused with elements of sculpture, musical craftsmanship, and electronics. (http://dianelandry.com/flying-school-2/)
VI. I Really Should by Kelly Mark (49:16) (2002)
This work utilizes text, which I had been playing with since 1996. The text is a stream of consciousness type list of things that “I really should” do such as “pay back my student loan”, “drink more water”, “take more chances”, “clean out the litter box” etc… Originally this took the form of a video monologue, and then later in 1999 it came to the surface again in my work as hand written black magic marker notes on refrigerators (view). In 2002 I reincarnated this list, which I increased to 1000 things “I really should” do, as an audio CD multiple. This latest version can be exhibited in various ways such as a minimalist wall mounted stainless steel sound box, with or without headphones; or simply playing through speakers directly in the gallery. The audio track is a monotone voice (myself) listing off all 1000 things I really should do. This work is clearly humorous and lighthearted in nature. I first began this inane list in order to poke fun at myself and to comment on my increasingly obsessive tendencies. However, this work is not limited to being simply autobiographical in nature. The tendency towards procrastination, whether it involves doing those things we have always wanted to, improving self-perceived
character flaws or the mind numbingly repetitive tasks of everyday life, surely this proclivity is universal whatever the personal circumstance. (http://kellymark.com/OTHER_IRScd1.html)
This work utilizes text, which I had been playing with since 1996. The text is a stream of consciousness type list of things that “I really should” do such as “pay back my student loan”, “drink more water”, “take more chances”, “clean out the litter box” etc… Originally this took the form of a video monologue, and then later in 1999 it came to the surface again in my work as hand written black magic marker notes on refrigerators (view). In 2002 I reincarnated this list, which I increased to 1000 things “I really should” do, as an audio CD multiple. This latest version can be exhibited in various ways such as a minimalist wall mounted stainless steel sound box, with or without headphones; or simply playing through speakers directly in the gallery. The audio track is a monotone voice (myself) listing off all 1000 things I really should do. This work is clearly humorous and lighthearted in nature. I first began this inane list in order to poke fun at myself and to comment on my increasingly obsessive tendencies. However, this work is not limited to being simply autobiographical in nature. The tendency towards procrastination, whether it involves doing those things we have always wanted to, improving self-perceived
character flaws or the mind numbingly repetitive tasks of everyday life, surely this proclivity is universal whatever the personal circumstance. (http://kellymark.com/OTHER_IRScd1.html)
H E A R N O W H E R E
performances by Allison Cameron, Dan Tapper and James Bailey
May 2, 2015, 8:00 pm
@ the NAISA Space, 601 Christie #252
General $10
The first half of this show will include three performances each using sounds captured in the electromagnetic realm and from the terrestrial soundscape: Inverness to Edinburgh: Sonic Memories and Geographies by Dan Tapper; Canadian Radio Trilogy by James Bailey; and Field Recordings by Allison Cameron. The second half will include a group improvisation using the material heard in the first half.
Program:
Inverness to Edinburgh: Sonic Memories and Geogrpahies by Dan Tapper
Canadian Radio Trilogy by James Bailey
Field Recordings by Allison Cameron
performances by Allison Cameron, Dan Tapper and James Bailey
May 2, 2015, 8:00 pm
@ the NAISA Space, 601 Christie #252
General $10
The first half of this show will include three performances each using sounds captured in the electromagnetic realm and from the terrestrial soundscape: Inverness to Edinburgh: Sonic Memories and Geographies by Dan Tapper; Canadian Radio Trilogy by James Bailey; and Field Recordings by Allison Cameron. The second half will include a group improvisation using the material heard in the first half.
Program:
Inverness to Edinburgh: Sonic Memories and Geogrpahies by Dan Tapper
Canadian Radio Trilogy by James Bailey
Field Recordings by Allison Cameron
Program:
I. Inverness to Edinburgh: Sonic Memories and Geographies by Dan Tapper
This piece is created from a series of recordings taken on a 200 mile journey by bike across Scotland, traveling over hills and wild camping. The real and imaginary space of the recordings is explored through presenting the original unaltered field recordings (Geographies) alongside sound compositions based on imagination and memory (Memories).
This piece is created from a series of recordings taken on a 200 mile journey by bike across Scotland, traveling over hills and wild camping. The real and imaginary space of the recordings is explored through presenting the original unaltered field recordings (Geographies) alongside sound compositions based on imagination and memory (Memories).
II. Canadian Radio Trilogy by James Bailey
Canadian Radio Trilogy is created from a combination of three different recordings, two of which were made within a few weeks of one another and the third made many years before. The opening and closing sections were recorded via microphone from a car radio (AM) while driving around a multi-story car park in 2011 . The pure tones that occur are completely mysterious. No post-processing was used on these sections The central segment was recorded in the late \'70s from a home unit (FM) and are, so I have ben told, a test signal used for testing a transmitter prior to a station officially going \"on the air\". This was recorded on an open-reel recorder at three different speeds and altered using panning and EQ on a small mixing board. The concept, and the punning title, were inspired by one of my favourite Gordon Lightfoot songs, Canadian Railroad Trilogy. This is a rather challenging listening experience which can be favourably rewarded with close attention to details.
Canadian Radio Trilogy is created from a combination of three different recordings, two of which were made within a few weeks of one another and the third made many years before. The opening and closing sections were recorded via microphone from a car radio (AM) while driving around a multi-story car park in 2011 . The pure tones that occur are completely mysterious. No post-processing was used on these sections The central segment was recorded in the late \'70s from a home unit (FM) and are, so I have ben told, a test signal used for testing a transmitter prior to a station officially going \"on the air\". This was recorded on an open-reel recorder at three different speeds and altered using panning and EQ on a small mixing board. The concept, and the punning title, were inspired by one of my favourite Gordon Lightfoot songs, Canadian Railroad Trilogy. This is a rather challenging listening experience which can be favourably rewarded with close attention to details.
III. Field Recordings by Allison Cameron
This work is in the form of an improvised performance on musical instruments, music playback devices, radios and found sounds amplified with small mini-amplifiers and speakers. I use these instruments to create task oriented situational music that has no intention of occurring as predictable or music making in the traditional sense.
This work is in the form of an improvised performance on musical instruments, music playback devices, radios and found sounds amplified with small mini-amplifiers and speakers. I use these instruments to create task oriented situational music that has no intention of occurring as predictable or music making in the traditional sense.
Cross Waves #6 performance
Curated by Anna Friz with live performance by Andrea-Jane Cornell
May 8, 2015, 8:00 pm
@ the NAISA Space, 601 Christie St #252
General $10
Introduction by Anna Friz
i.Quartet for dot matrix printers by [The User], 2004
ii.Barok Soundscapes (Solo de Maude) by Nancy Tobin, 2002
iii.Performance by Andrea-Jane Cornell
Curated by Anna Friz with live performance by Andrea-Jane Cornell
May 8, 2015, 8:00 pm
@ the NAISA Space, 601 Christie St #252
General $10
Introduction by Anna Friz
i.Quartet for dot matrix printers by [The User], 2004
ii.Barok Soundscapes (Solo de Maude) by Nancy Tobin, 2002
iii.Performance by Andrea-Jane Cornell
Program:
I. Barok Soundscapes (Fellini, Solo de Maude) by Nancy Tobin, 2002
Soundscapes composed with micro excerpts from orchestral Baroque recordings on vinyl. Originally composed for a choreography by Danièle Desnoyers, for the production Bataille by the Montréal-based Company Le Carré des Lombes.
Soundscapes composed with micro excerpts from orchestral Baroque recordings on vinyl. Originally composed for a choreography by Danièle Desnoyers, for the production Bataille by the Montréal-based Company Le Carré des Lombes.
II. Quartet for dot matrix printers by [The User], 2004
Quadrophonic composition recorded from the final installment in [The User]'s dot matrix printer series, where obsolete office technology become musical instruments. In the installation setting, four printers are displayed under glass, on museum plinths arranged in a square, one plinth at each corner. Each printer is equipped with microphones and miniature video cameras. The gallery visitor, sitting in an office chair at the centre of the installation, is immersed in a junk-aesthetic audiovisual environment orchestrated entirely from the composed texts that the printers reproduce. Quartet for dot matrix printer brings the Symphony for dot matrix printers project to its ultimate conclusion. Not only are the technologies obsolete but so are the people, rendered redundant in a totally automated environment, a performance without performers. For this evening, the composition will be heard as a tape piece in four channels.
Quadrophonic composition recorded from the final installment in [The User]'s dot matrix printer series, where obsolete office technology become musical instruments. In the installation setting, four printers are displayed under glass, on museum plinths arranged in a square, one plinth at each corner. Each printer is equipped with microphones and miniature video cameras. The gallery visitor, sitting in an office chair at the centre of the installation, is immersed in a junk-aesthetic audiovisual environment orchestrated entirely from the composed texts that the printers reproduce. Quartet for dot matrix printer brings the Symphony for dot matrix printers project to its ultimate conclusion. Not only are the technologies obsolete but so are the people, rendered redundant in a totally automated environment, a performance without performers. For this evening, the composition will be heard as a tape piece in four channels.
III. Objets oubliés/Objects left behind by Andrea-Jane Cornell, 2015
Andrea-Jane Cornell improvises with field recordings, radio waves, and object-instruments. For this live performance, she works mainly with objects and machines left behind and never reclaimed, coaxing out their resonant properties and squeaky parts populating a sound scape with a confluence of broken, and sometimes silent elements.
Andrea-Jane Cornell improvises with field recordings, radio waves, and object-instruments. For this live performance, she works mainly with objects and machines left behind and never reclaimed, coaxing out their resonant properties and squeaky parts populating a sound scape with a confluence of broken, and sometimes silent elements.
Introducing Leslie to the Stop Farmer’s Market
performances by Knut Aufermann & Sarah Washington
May 9, 2015, 10:00 am to 12:00 pm
@ The Stop Farmer's Market
The Covered Street, Artscape Wychwood Barns, 601 Christie Street
FREE
Leslie is the severed head of a mannequin that can transmit what it hears in surround sound quality. Sarah Washington and Knut Aufermann of Mobile Radio will take Leslie on a tour of The famous Stop’s Farmers’ Market at Wychwood Barns introducing the vendors and their wares like Joseph Beuys would have done with a dead rabbit. They bring along talking points in the form of sweet produce from their Mosel valley home in Germany. Listeners can follow their tour from stall to stall via the deep wireless radio stream - listening on headphones will unlock the binaural quality of Leslie’s transmissions.
performances by Knut Aufermann & Sarah Washington
May 9, 2015, 10:00 am to 12:00 pm
@ The Stop Farmer's Market
The Covered Street, Artscape Wychwood Barns, 601 Christie Street
FREE
Leslie is the severed head of a mannequin that can transmit what it hears in surround sound quality. Sarah Washington and Knut Aufermann of Mobile Radio will take Leslie on a tour of The famous Stop’s Farmers’ Market at Wychwood Barns introducing the vendors and their wares like Joseph Beuys would have done with a dead rabbit. They bring along talking points in the form of sweet produce from their Mosel valley home in Germany. Listeners can follow their tour from stall to stall via the deep wireless radio stream - listening on headphones will unlock the binaural quality of Leslie’s transmissions.
TransX Transmission Art Symposium performances
May 22 & 23 @ 8 PM
@ the Wychwood Theatre, 601 Christie #176
General $15, Students $10
The TransX Transmission Art Symposium opens with performances by keynote speakers Knut Aufermann and Sarah Washington who are also Deep Wireless Festival artists in residents for three weeks in May co-presented by NAISA and the Goethe-Institut Toronto. Also included will be performances by Peter Fleming using his Vibrations and Waves sculpture, which is comprised of piano strings, electromagnetic coils, glass, mouth-harp, 555 oscillator circuits, and AM radio. The second evening will include works received in the TransX call for papers, performances and workshops and will include A dispersion of elements by Doug Van Nort, Audible Conversions by Elliott Fienberg and Castles in the Air by Sarah Boothroyd.
May 22 - Tonic Train (Knut Aufermann & Sarah Washington)
& VibWav by Peter Flemming
Tonic Train is the long-standing experimental electronics duo of Sarah Washington and Knut Aufermann (aka Mobile Radio). The combination of Sarah's homemade circuit-bent instruments and Knut's feedback mixer creates a rich spectrum of fundamental electronic noises. They combine two methods of electronic music production: the appropriation of electronic circuits to make components produce otherwise unwanted sounds and the improper use of audio equipment to make it feed back. This includes a specific interest in radio technology, and micro transmission is an important part of the sound field they create.
VibWav by Peter Flemming - All materials have a natural resonant frequency. VibWav is a sound performance based on this simple but intriguing phenomenon. Heavily improvised with makeshift instrumentation, a variety of objects are brought in and out of resonance over the full range of the audible spectrum.
May 23 - A dispersion of elements by Doug Van Nort, Audible Conversions by Elliott Fienberg & Castles in the Air by Sarah Boothroyd
“A dispersion of elements” by Doug Van Nort intersects the open airwaves nature of transmission arts with the distributed potential of telematic music performance. “Audible Conversions” by Elliott Fienberg uses a wind sensor that in turn controls an AM/FM radio which is then further processed inside a computer. “Castles in the Air" by Sarah Boothroyd explores: Death and reason; Dark matter and dreams; Black holes and belief; Fear and infinity.
May 22 & 23 @ 8 PM
@ the Wychwood Theatre, 601 Christie #176
General $15, Students $10
The TransX Transmission Art Symposium opens with performances by keynote speakers Knut Aufermann and Sarah Washington who are also Deep Wireless Festival artists in residents for three weeks in May co-presented by NAISA and the Goethe-Institut Toronto. Also included will be performances by Peter Fleming using his Vibrations and Waves sculpture, which is comprised of piano strings, electromagnetic coils, glass, mouth-harp, 555 oscillator circuits, and AM radio. The second evening will include works received in the TransX call for papers, performances and workshops and will include A dispersion of elements by Doug Van Nort, Audible Conversions by Elliott Fienberg and Castles in the Air by Sarah Boothroyd.
May 22 - Tonic Train (Knut Aufermann & Sarah Washington)
& VibWav by Peter Flemming
Tonic Train is the long-standing experimental electronics duo of Sarah Washington and Knut Aufermann (aka Mobile Radio). The combination of Sarah's homemade circuit-bent instruments and Knut's feedback mixer creates a rich spectrum of fundamental electronic noises. They combine two methods of electronic music production: the appropriation of electronic circuits to make components produce otherwise unwanted sounds and the improper use of audio equipment to make it feed back. This includes a specific interest in radio technology, and micro transmission is an important part of the sound field they create.
VibWav by Peter Flemming - All materials have a natural resonant frequency. VibWav is a sound performance based on this simple but intriguing phenomenon. Heavily improvised with makeshift instrumentation, a variety of objects are brought in and out of resonance over the full range of the audible spectrum.
May 23 - A dispersion of elements by Doug Van Nort, Audible Conversions by Elliott Fienberg & Castles in the Air by Sarah Boothroyd
“A dispersion of elements” by Doug Van Nort intersects the open airwaves nature of transmission arts with the distributed potential of telematic music performance. “Audible Conversions” by Elliott Fienberg uses a wind sensor that in turn controls an AM/FM radio which is then further processed inside a computer. “Castles in the Air" by Sarah Boothroyd explores: Death and reason; Dark matter and dreams; Black holes and belief; Fear and infinity.
TransX Concert
May 23, 2015
Castle in the Air by Sarah Boothroyd
Audible Convesions by Elliott Fienberg
A Dispersion of Elements by Doug Van Nort
May 23, 2015
Castle in the Air by Sarah Boothroyd
Audible Convesions by Elliott Fienberg
A Dispersion of Elements by Doug Van Nort
Program:
I. Audible Conversions
by Elliott Fienberg
Audible Conversions is a sonification project which focuses on identifying and amplifying the signals that surround us. Environmental data is used as the source to control a radio system. The results can be considered random as they are derived from elements found in our air supply. By participating through listening, the artist aims to create thoughtful connections for the audience.
Elliott Fienberg is a musician and producer from Toronto who combines techniques from the sound art world with contemporary forms of electronic music. Through the guidance of the Sound Travels workshop at NAISA, he developed the Crowdscoring performance which let audience members participate in a piece using their mobile devices. He is currently studying at OCAD University’s Digital Futures program.
Audible Conversions is a sonification project which focuses on identifying and amplifying the signals that surround us. Environmental data is used as the source to control a radio system. The results can be considered random as they are derived from elements found in our air supply. By participating through listening, the artist aims to create thoughtful connections for the audience.
Elliott Fienberg is a musician and producer from Toronto who combines techniques from the sound art world with contemporary forms of electronic music. Through the guidance of the Sound Travels workshop at NAISA, he developed the Crowdscoring performance which let audience members participate in a piece using their mobile devices. He is currently studying at OCAD University’s Digital Futures program.
II. A Dispersion of Elements by Doug Van Nort
A Dispersion of Elements intersects the open airwaves nature of transmission arts with the distributed potential of telematic music performance.
The structure of the work is emergent, and is driven by an evolutionary algorithm. The audience helps to guide this emergence (i.e. collective modulation of a networked system), while the work is provided with an overall shape, spectral content, texture and spatial character. by the performer.
Thus a tension exists between open, democratic creative practices such as can be found in “computer network music" or laptop ensemble paradigms, and an electroacoustic improvisation paradigm where sonic content can be refined and directed musically, richly working with the performance space to create an immersive experience.
Doug Van Nort is an experimental musician and sound artist/researcher whose work is dedicated to the creation of immersive and visceral sonic experiences, and to fostering personal and collective creative expression through composition, installation, deep listening workshops, free improvisation and generally electro-acoustic means of production. His instruments are self-made and idiosyncratic systems that explore a sculptural approach to working with sound, and improvisation in partnership with machine processes. His source materials include any and all sounds discovered through attentive listening to the world. Van Nort regularly presents his work in N. America and abroad, in recent years at venues such as the Stone (NYC), Experimental Intermedia (NYC),, Casa da Musica (Porto), the New Museum (NYC), Skolska28 (Prague), Liebig12 (Berlin), Quiet Cue (Berlin), Issue Project Room (NYC), Xfest (Holyoke), the Guelph Jazz Festival, the Miller Theatre (NYC), EMPAC (Troy), Cafe OTO (London), the Red Room (Baltimore) and Eyebeam (NYC). http://www.dvntsea.com
A Dispersion of Elements intersects the open airwaves nature of transmission arts with the distributed potential of telematic music performance.
The structure of the work is emergent, and is driven by an evolutionary algorithm. The audience helps to guide this emergence (i.e. collective modulation of a networked system), while the work is provided with an overall shape, spectral content, texture and spatial character. by the performer.
Thus a tension exists between open, democratic creative practices such as can be found in “computer network music" or laptop ensemble paradigms, and an electroacoustic improvisation paradigm where sonic content can be refined and directed musically, richly working with the performance space to create an immersive experience.
Doug Van Nort is an experimental musician and sound artist/researcher whose work is dedicated to the creation of immersive and visceral sonic experiences, and to fostering personal and collective creative expression through composition, installation, deep listening workshops, free improvisation and generally electro-acoustic means of production. His instruments are self-made and idiosyncratic systems that explore a sculptural approach to working with sound, and improvisation in partnership with machine processes. His source materials include any and all sounds discovered through attentive listening to the world. Van Nort regularly presents his work in N. America and abroad, in recent years at venues such as the Stone (NYC), Experimental Intermedia (NYC),, Casa da Musica (Porto), the New Museum (NYC), Skolska28 (Prague), Liebig12 (Berlin), Quiet Cue (Berlin), Issue Project Room (NYC), Xfest (Holyoke), the Guelph Jazz Festival, the Miller Theatre (NYC), EMPAC (Troy), Cafe OTO (London), the Red Room (Baltimore) and Eyebeam (NYC). http://www.dvntsea.com
III. Castles in the Air by Sarah Boothroyd
Duration: 31 minutes 11 seconds
Format: stereo and octophonic
Death and reason. Dark matter and dreams. Black holes and belief. Fear and infinity. Generously supported by the Canada Council for the Arts, Castles in the Air explores Albert Einstein's supposition that “Reality is merely an illusion, albeit a very persistent one.” Featuring excerpts from David Eagleman’s book, “Sum: Forty Tales from the Afterlives,” as read by Steve Urquhart, Janna Graham, Paolo Pietropaolo, Dinah Bird, Erin Flynn, Roman Mars, Chris Brookes, Ed Prosser, Ian Jarvis, and Dominique Ferraton.
The audio work of Canadian Sarah Boothroyd has been featured by broadcasters, festivals and galleries in over 25 countries. She has won awards from New York Festivals, Third Coast International Audio Festival, the European Broadcasting Union, and La Muse En Circuit. Her website is http://www.sarahboothroyd.com.
Duration: 31 minutes 11 seconds
Format: stereo and octophonic
Death and reason. Dark matter and dreams. Black holes and belief. Fear and infinity. Generously supported by the Canada Council for the Arts, Castles in the Air explores Albert Einstein's supposition that “Reality is merely an illusion, albeit a very persistent one.” Featuring excerpts from David Eagleman’s book, “Sum: Forty Tales from the Afterlives,” as read by Steve Urquhart, Janna Graham, Paolo Pietropaolo, Dinah Bird, Erin Flynn, Roman Mars, Chris Brookes, Ed Prosser, Ian Jarvis, and Dominique Ferraton.
The audio work of Canadian Sarah Boothroyd has been featured by broadcasters, festivals and galleries in over 25 countries. She has won awards from New York Festivals, Third Coast International Audio Festival, the European Broadcasting Union, and La Muse En Circuit. Her website is http://www.sarahboothroyd.com.
World Listening Day performances
with Sonia Paço-Rocchia
By Hildegard Westerkamp, Darren Copeland, Sonia Paço-Rocchia and Hugh LeCaine
July 18, 2015, 8:00 pm
Warbler's Roost, 3785D Eagle Lake Rd, South River, ON
General $10
with Sonia Paço-Rocchia
By Hildegard Westerkamp, Darren Copeland, Sonia Paço-Rocchia and Hugh LeCaine
July 18, 2015, 8:00 pm
Warbler's Roost, 3785D Eagle Lake Rd, South River, ON
General $10
NAISA awakens your ears to new sounds with a World Listening Day performance with Sonia Paço-Rocchia followed by a waterfront soundwalk at sunset.
To participate in or initiate a World Listening Day event in your community visit: http://www.worldlisteningproject.org/2015/05/world-listening-day-2015-h2o/
To participate in or initiate a World Listening Day event in your community visit: http://www.worldlisteningproject.org/2015/05/world-listening-day-2015-h2o/
Program:
I. Kits Beach Soundwalk (1989) by Hildegard Westerkamp
In the 1970's Westerkamp produced and hosted a radio program on Vancouver Co-operative Radio called Soundwalking, in which she took the listener to different locations in and around the city and explored them acoustically. Kits Beach Soundwalk is a compositional extension of this original idea.
Kitsilano Beach — colloquially called Kits Beach and originally in native Indian language Khahtsahlano — is located in the heart of Vancouver. In the summer it is crowded with a display of “meat salad” and ghetto blasters, indeed light years away from the silence experienced here not so long ago by the native Indians.
The original recording on which this piece is based was made on a calm winter morning, when the quiet lapping of the water and the tiny sounds of barnacles feeding were audible before an acoustic backdrop of the throbbing city. In this soundwalk composition the listener leaves the city behind eventually and explores instead the tiny acoustic realm of barnacles, the world of high frequencies, inner space and dreams.
In the 1970's Westerkamp produced and hosted a radio program on Vancouver Co-operative Radio called Soundwalking, in which she took the listener to different locations in and around the city and explored them acoustically. Kits Beach Soundwalk is a compositional extension of this original idea.
Kitsilano Beach — colloquially called Kits Beach and originally in native Indian language Khahtsahlano — is located in the heart of Vancouver. In the summer it is crowded with a display of “meat salad” and ghetto blasters, indeed light years away from the silence experienced here not so long ago by the native Indians.
The original recording on which this piece is based was made on a calm winter morning, when the quiet lapping of the water and the tiny sounds of barnacles feeding were audible before an acoustic backdrop of the throbbing city. In this soundwalk composition the listener leaves the city behind eventually and explores instead the tiny acoustic realm of barnacles, the world of high frequencies, inner space and dreams.
II. River Valley Snapshots by Darren Copeland
River Valley Snapshots is from Sound Columns, a public art sound installation co-created with Andreas Kahre for the Queen Elizabeth Pool in Edmonton, Alberta. The sound sources for this section are recorded around the River Valley of downtown Edmonton and many of them were recorded underwater in the North Saskatchewan River. The version presented here uses the Audio Spotlight directional speaker to spatialize some of the sounds in the work. Darren Copeland and Andreas Kahre collaborate regularly on public art works and radio works under the name Copeland+Kahre.
River Valley Snapshots is from Sound Columns, a public art sound installation co-created with Andreas Kahre for the Queen Elizabeth Pool in Edmonton, Alberta. The sound sources for this section are recorded around the River Valley of downtown Edmonton and many of them were recorded underwater in the North Saskatchewan River. The version presented here uses the Audio Spotlight directional speaker to spatialize some of the sounds in the work. Darren Copeland and Andreas Kahre collaborate regularly on public art works and radio works under the name Copeland+Kahre.
III. Going Away by Sonia Paço-Rocchia
1/ Going Away was created as an improvisation for bicycle and electronics following the Bicycles and the Arts event n 2010 in Chicago. The version presented at Warbler's Roost is created from a bicycle found on location and prepared by the artist after her arrival. See a video here: http://musinou.net/note/going-away-improvisation-for-bicycle-solo
2/ Improvisation for Bassoon and Electronics by Sonia Paço-Rocchia
Sonia Paço-Rocchia regularly improvises with bassoon and electronics along with voice, a myriad of sound-makers and invented instruments. She will improvise a short piece for bassoon and electronics for this concert.
1/ Going Away was created as an improvisation for bicycle and electronics following the Bicycles and the Arts event n 2010 in Chicago. The version presented at Warbler's Roost is created from a bicycle found on location and prepared by the artist after her arrival. See a video here: http://musinou.net/note/going-away-improvisation-for-bicycle-solo
2/ Improvisation for Bassoon and Electronics by Sonia Paço-Rocchia
Sonia Paço-Rocchia regularly improvises with bassoon and electronics along with voice, a myriad of sound-makers and invented instruments. She will improvise a short piece for bassoon and electronics for this concert.
IV. Dripsody: An Étude for Variable Speed Recorder (1955) by Hugh LeCaine
Dripsody is a piece that was ahead of it's time and made by a Canadian inventor and electronic music pioneer. Dripsody was Le Caine's first project for his new Multi-track recorder (formally known as the Special Purpose Tape Recorder). It was composed in one night using a recording of a drop of water falling into a bucket, re-recorded at different speeds to produce the pitches of a pentatonic scale.
Dripsody is a piece that was ahead of it's time and made by a Canadian inventor and electronic music pioneer. Dripsody was Le Caine's first project for his new Multi-track recorder (formally known as the Special Purpose Tape Recorder). It was composed in one night using a recording of a drop of water falling into a bucket, re-recorded at different speeds to produce the pitches of a pentatonic scale.
Hildegard Westerkamp was born in Osnabrück, Germany in 1946 and emigrated to Canada in 1968. After completing her music studies in the early seventies Westerkamp joined the World Soundscape Project under the direction of Canadian composer R. Murray Schafer at Simon Fraser University (SFU) in Vancouver. Her involvement with this project not only activated deep concerns about noise and the general state of the acoustic environment in her, but it also changed her ways of thinking about music, listening and soundmaking. Her ears were drawn to the acoustic environment as another cultural context or place for intense listening. The founding of Vancouver Co-operative Radio during the same time provided an invaluable opportunity to record, experiment with and broadcast the soundscape. One could say that her career as a composer, educator, and radio artist emerged from these two pivotal experiences and focused it on environmental sound and acoustic ecology. In addition, composers such as John Cage and Pauline Oliveros have had a significant influence on her work. She taught courses in Acoustic Communication together with colleague Barry Truax in the School of Communication at SFU until 1990. Since then she has written articles and texts addressing issues of the soundscape and listening and has travelled widely, giving lectures and conducting soundscape workshops, internationally. She is a founding member of the World Forum for Acoustic Ecology (WFAE) as well as the Canadian Association for Sound Ecology (CASE). Between 1991 and 1995 she was the editor of The Soundscape Newsletter and is now on the editorial committee of Soundscape -The Journal of Acoustic Ecology, a publication of the WFAE.
Darren Copeland is a Canadian sound artist active in Toronto since 1985. He is also the founding and current Artistic Director of New Adventures in Sound Art (NAISA). Key interests of his work include multichannel spatialization for live performance, fixed media composition, soundscape studies, radio art and sound installations. He is currently working on a new interactive work for dancer Yvonne Ng and a piece for New Music Edmonton.
Sonia Paço-Rocchia is a sound artist/composer/performer/improviser who studied at Université de Montréal. Her work has been presented in North-America and Europe. She enjoys composing for non-conventional instruments, such as bus-cards, slinky or bicycle, and she readily incorporates improvisation and theatrical action into her pieces. She performs/improvises using a myriad of sound-makers, invented instruments, voice and/or bassoon, along with live electronics through interfaces which enable her to perform using her body movements. She plays solo and in various ensembles including London Improvisers Orchestra. http://musinou.net/
Hugh LeCaine Canadian scientist and composer Hugh Le Caine (1914-1977) has been called one of the "heroes" of electronic music. He was brought up in Port Arthur (now Thunder Bay) in northwestern Ontario. At an early age he began building musical instruments and experimenting with electronic devices. Le Caine joined the National Research Council of Canada (NRC) in Ottawa in 1939. There he worked on the development of the first radar systems and in atomic physics, distinguishing himself as a scientist and publishing significant papers in those fields. He established a personal studio in 1945, where he began to work independently on the design of electronic musical instruments such as the Electronic Sackbut, a sophisticated monophonic performance instrument now recognized as the first voltage-controlled synthesizer. Over the next twenty years he built over twenty-two different new instruments. He collaborated in the development of two pioneering electronic music studios at the University of Toronto (opened in 1959) and at McGill University in Montreal (opened in 1964). His 1955 composition "Dripsody," based on the sound of a single drop of water, must still rank as the most-played example of "musique concrete." http://www.hughlecaine.com/
SITE & SOUND performances
by Barry Prophet and Janice Pomer
By Barry Prophet and Janice Pomer
August 1, 2015, 8:00 pm
Warbler's Roost, 3785D Eagle Lake Rd, South River, ON
General $10
by Barry Prophet and Janice Pomer
By Barry Prophet and Janice Pomer
August 1, 2015, 8:00 pm
Warbler's Roost, 3785D Eagle Lake Rd, South River, ON
General $10
Barry Prophet & Janice Pomer perform on glass lithophones, made & found instruments. Pomer will explore the kinaesthetic subtleties of Prophet's "Bamboo Quiver" while Prophet performs the digital Theremin & Sound Art controlled by Audio Cubes. Experience sounds that can be seen and images that can be heard.
Barry Prophet is a composer, percussionist, installation artist and sculptor whose music and art works have appeared in galleries and theatres in Canada, United States and Europe. Creating unique sounds since 1979, Barry's percussion performance sculptures and micro tonally tuned glass lithophones have been featured on numerous recordings and performances. His interactive public art sound installation Synthecycletron has been exhibited annually since it was commissioned by NAISA in 2006. http://www.pomer-prophet.com/
Janice Pomer has been teaching and performing in the fields of dance, theatre and music since 1976. Since 1985 Janice has choreographed and performed in multidisciplinary productions with composer, percussionist and sculptor Barry Prophet featuring dance, percussion sculptures and micro tonally tuned glass instruments. A dedicated dance educator Janice has created hundreds of projects for movers of all ages and levels of ability. In 2001 Human Kinetics USA published Janice’s first book Perpetual Motion, Creative Movement Exercises for Dance & Dramatic Movement. http://www.pomer-prophet.com/
Toronto International Electroacoustic Symposium (TIES) Concerts
August 19, & 21 2015, 8:00 pm and August 21 & 22, 3:00 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
August 19, & 21 2015, 8:00 pm and August 21 & 22, 3:00 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
This series of TIES 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.
Schedule Summary
For more information, including all abstracts, programme notes and biographies, please refer to the TIES programme booklet.
Day 1 — Wednesday 19 August [at the Wychwood Theatre (#176)]
18:30–19:30 • Opening Reception and Installation
19:30–21:30 • Symposium Concert #1
21:30-23:30 • Symposium Dinner [ pre-payment required! ]
Day 2 — Thursday 20 August [Paper Sessions at CMC; Keynote at Wychwood Theatre]
18:30–19:30 • Installation [NAISA Space (Studio #252)]
09:15–9:45 • Coffee
09:45–11:15 • Paper Session #1: Listening
11:30–12:30 • Paper Session #2: Algorithmic Creation
14:30–16:00 • Keynote address by Nicolas Collins + Q&A
16:30–17:30 • Lecture-Recital
19:30–21:30 • Sound Travels Concert Unstable Rationality
Day 3 — Friday 21 August [Paper Sessions at CMC; Keynote & Concert at Wychwood Theatre]
18:30–19:30 • Installation
09:15–9:45 • Coffee
09:45–10:45 • Paper Session #3: Education/pedagogy
11:00–11:30 • Paper Session #4: Mirlitones
11:30–12:30 • Panel Session with Dr. Louise Harris
14:30–16:00 • Symposium Concert #2
16:30–17:30 • Lecture-Recital
19:30–21:30 • Symposium Concert #3
Day 4 — Saturday 22 August [at the Wychwood Theatre (#176)]
10:00-15:00 + 19:00–20:00 • Installation
09:15–9:45 • Coffee
09:45–10:45 • Paper Session #5: Musicking
11:00–12:30 • Lecture Recitals
14:30–16:00 • Symposium Concert #4
16:30–17:30 • CEC AGM @ NAISA space
19:30–21:30 • Sound Travels Concert Revealing Origins
Schedule Summary
For more information, including all abstracts, programme notes and biographies, please refer to the TIES programme booklet.
Day 1 — Wednesday 19 August [at the Wychwood Theatre (#176)]
18:30–19:30 • Opening Reception and Installation
19:30–21:30 • Symposium Concert #1
21:30-23:30 • Symposium Dinner [ pre-payment required! ]
Day 2 — Thursday 20 August [Paper Sessions at CMC; Keynote at Wychwood Theatre]
18:30–19:30 • Installation [NAISA Space (Studio #252)]
09:15–9:45 • Coffee
09:45–11:15 • Paper Session #1: Listening
11:30–12:30 • Paper Session #2: Algorithmic Creation
14:30–16:00 • Keynote address by Nicolas Collins + Q&A
16:30–17:30 • Lecture-Recital
19:30–21:30 • Sound Travels Concert Unstable Rationality
Day 3 — Friday 21 August [Paper Sessions at CMC; Keynote & Concert at Wychwood Theatre]
18:30–19:30 • Installation
09:15–9:45 • Coffee
09:45–10:45 • Paper Session #3: Education/pedagogy
11:00–11:30 • Paper Session #4: Mirlitones
11:30–12:30 • Panel Session with Dr. Louise Harris
14:30–16:00 • Symposium Concert #2
16:30–17:30 • Lecture-Recital
19:30–21:30 • Symposium Concert #3
Day 4 — Saturday 22 August [at the Wychwood Theatre (#176)]
10:00-15:00 + 19:00–20:00 • Installation
09:15–9:45 • Coffee
09:45–10:45 • Paper Session #5: Musicking
11:00–12:30 • Lecture Recitals
14:30–16:00 • Symposium Concert #4
16:30–17:30 • CEC AGM @ NAISA space
19:30–21:30 • Sound Travels Concert Revealing Origins
Toronto International Electroacoustic Symposium (TIES) Concerts
August 19, 2015, 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
Opening night performance of TIES symposium with 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. Concert includes works by Alexis Langevin-Tétrault, Myriam Boucher, Robin Cox, Felipe Ramirez Rodriguez, Marie-Hélène Breault/Martin Bédard, Alexandra Spence, Fernando Alexis Franco Murillo, Martin Marier and Jerod Sommerfeldt.
August 19, 2015, 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
Opening night performance of TIES symposium with 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. Concert includes works by Alexis Langevin-Tétrault, Myriam Boucher, Robin Cox, Felipe Ramirez Rodriguez, Marie-Hélène Breault/Martin Bédard, Alexandra Spence, Fernando Alexis Franco Murillo, Martin Marier and Jerod Sommerfeldt.
Toronto International Electroacoustic Symposium (TIES) Concerts
August 19, & 21 2015, 8:00 pm and August 21 & 22, 3:00 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
To register go to: https://naisa.ca/ties-registration/
New Adventures in Sound Art (NAISA), The Canadian Electroacoustic Community (CEC), and the Canadian Music Centre (CMC) are pleased to announce the 9th edition of the Toronto International Electroacoustic Symposium (TIES), and delighted to welcome composer, performer and hardware hacking pioneer Nicolas Collins as Keynote Speaker this year.
TIES is a unique point of convergence for a growing international community of diverse electroacoustic (EA) practitioners. We look forward to seeing you at TIES 2015, where you can explore and share new developments in equipment and software development, and perspectives on performance and research practices, while expanding your artistic and professional network.
More Info
August 19, & 21 2015, 8:00 pm and August 21 & 22, 3:00 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
To register go to: https://naisa.ca/ties-registration/
New Adventures in Sound Art (NAISA), The Canadian Electroacoustic Community (CEC), and the Canadian Music Centre (CMC) are pleased to announce the 9th edition of the Toronto International Electroacoustic Symposium (TIES), and delighted to welcome composer, performer and hardware hacking pioneer Nicolas Collins as Keynote Speaker this year.
TIES is a unique point of convergence for a growing international community of diverse electroacoustic (EA) practitioners. We look forward to seeing you at TIES 2015, where you can explore and share new developments in equipment and software development, and perspectives on performance and research practices, while expanding your artistic and professional network.
More Info
Sound Travels Concert: Unstable Rationality
By Nicolas Collins and Matt Rogalsky
August 20, 2015, 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
By Nicolas Collins and Matt Rogalsky
August 20, 2015, 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
Unstable Rationality refers to the tendency of both Nicolas Collins to go beyond the cutting edge in his exploration of sound and interactive systems. The performance by Nicolas Collins reflects his renewed interest in the quirky performance possibilities of unstable electronic circuits, especially damaged or misused ones, often in interaction with more rational computer software. Also, included will be a performance by Matt Rogalsky which arose through a recording made in Kingston Penitentiary (first opened in 1833), which he managed through subterfuge.
Program:
I. Navigating the Pen by Matt Rogalsky
In October 2013, Matt Rogalsky managed by subterfuge to gain entrance to the recently-closed Kingston Penitentiary (first opened in 1833) with the intention of documenting its acoustics. He was able to wander freely and record a substantial number of impulse responses (acoustic 'snapshots') in cells, corridors and stairwells, as well as the main panopticon dome, before he was discovered and escorted OUT of the prison and off the property by the last remaining corrections officer. This live performance piece entitled Navigating the Pen uses a homemade oscillator instrument to activate the prison's many different spaces as Rogalsky virtually roams a floor plan of the F and G cell blocks, and the Main Dome which joins them. The floor plan is navigated with a Wacom tablet pen, which allows fluid movement between virtual spaces.
In October 2013, Matt Rogalsky managed by subterfuge to gain entrance to the recently-closed Kingston Penitentiary (first opened in 1833) with the intention of documenting its acoustics. He was able to wander freely and record a substantial number of impulse responses (acoustic 'snapshots') in cells, corridors and stairwells, as well as the main panopticon dome, before he was discovered and escorted OUT of the prison and off the property by the last remaining corrections officer. This live performance piece entitled Navigating the Pen uses a homemade oscillator instrument to activate the prison's many different spaces as Rogalsky virtually roams a floor plan of the F and G cell blocks, and the Main Dome which joins them. The floor plan is navigated with a Wacom tablet pen, which allows fluid movement between virtual spaces.
II. Imperfekt by Nicolas Collins
In Imperfekt the sounds of a barely-functional Soviet radio trickle through a maze of his favourite signal processing routines.
In Imperfekt the sounds of a barely-functional Soviet radio trickle through a maze of his favourite signal processing routines.
III. Royal Touch by Nicolas Collins
In The Royal Touch a homemade circuit reanimates a dead circuit board to create a chaotic multi-voice oscillator; fishing weights are used to make nudgeable contacts between the two circuits.
In The Royal Touch a homemade circuit reanimates a dead circuit board to create a chaotic multi-voice oscillator; fishing weights are used to make nudgeable contacts between the two circuits.
IV. In Memoriam Michel Waisvisz by Nicolas Collins
In Memoriam Michel Waisvisz, Collins employs a candle’s flickering to control four oscillators.
In Memoriam Michel Waisvisz, Collins employs a candle’s flickering to control four oscillators.
Nicolas Collins New York born and raised, Nicolas Collins spent most of the 1990s in Europe, where he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin. An early adopter of microcomputers for live performance, Collins also makes use of homemade electronic circuitry and conventional acoustic instruments. He is editor-in-chief of the Leonardo Music Journal, and a Professor in the Department of Sound at the School of the Art Institute of Chicago. His book, Handmade Electronic Music – The Art of Hardware Hacking (Routledge), has influenced emerging electronic music worldwide. Collins’ indecisive career trajectory is reflected in his having played at both CBGB and the Concertgebouw. http://www.nicolascollins.com
Matt Rogalsky is a composer, sound artist and musicologist who since 1985 has presented work regularly in performances and gallery exhibitions across North America and Europe. Rogalsky's areas of research include histories, reconstructions and new performances of late 20th century electronic and experimental music. He has recently given performances of the music of Alvin Lucier, Phill Niblock, David Tudor, John Cage, Rhys Chatham and Terry Riley. Recent writing has been published in Leonardo Music Journal, Canadian Theatre Review, Social and Cultural Geography, Public, and Musicworks. An exhibition catalog with DVD, entitled When he was in high school in Texas, Eric Ryan Mims used a similar arrangement to detect underground nuclear tests in Nevada, was published in 2008 by the Agnes Etherington Art Centre.
Toronto International Electroacoustic Symposium (TIES) Concerts
August 21, 2015, 2:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
The second of four concerts as part of the TIES symposium with works by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world. Concert includes works by Adam Tindale, Benjamin Whiting, Steve Naylor, Adam Vidiksis, Michael Lukaszuk, Brian Connolly, Michael Drews and Jason Bolte
August 21, 2015, 2:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
The second of four concerts as part of the TIES symposium with works by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world. Concert includes works by Adam Tindale, Benjamin Whiting, Steve Naylor, Adam Vidiksis, Michael Lukaszuk, Brian Connolly, Michael Drews and Jason Bolte
Toronto International Electroacoustic Symposium (TIES) Concerts
August 21, 2015 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
The third of four concerts as part of the TIES symposium with works by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world. Concert includes works by Linda Antas, Elsa Justel, Hiromi Ishii, Louise Harris, Nick Fells, Shane Byrne and Myriam Boucher.
August 21, 2015 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
The third of four concerts as part of the TIES symposium with works by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world. Concert includes works by Linda Antas, Elsa Justel, Hiromi Ishii, Louise Harris, Nick Fells, Shane Byrne and Myriam Boucher.
Sound Travels Concert: Revealing Origins
By Wendalyn Bartley and Stephanie Moore
August 22, 2015, 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
By Wendalyn Bartley and Stephanie Moore
August 22, 2015, 7:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
A performance of new works by Stephanie Moore and Wendalyn Bartley. Bartley's work was commissioned by New Adventures in Sound Art through funding from the Ontario Arts Council and originated from exploration during last year's Sound Travels Intensive. Stephanie Moore will be presenting a trilogy of new works called Lunar Cycle which use fixed media and solo double bass performed by Adam Scime.
Program:
I. gliding slowly into the body of origin by Wendalyn Bartley
This interactive work is a sonic exploration to discover ‘who is my body before it was socialized out of its own knowledge of itself’, an inquiry posed by writer Susan Griffin. A body determined at the moment of conception by ancestral lineage and cultural history. A body born within a context in which patriarchal mind was already well set in its course of the taming of the wild. The piece becomes a rewilding of self with the interaction of voice and environmental place providing the way in. Thanks to the OAC and TAC for support in the creation of this work.
This interactive work is a sonic exploration to discover ‘who is my body before it was socialized out of its own knowledge of itself’, an inquiry posed by writer Susan Griffin. A body determined at the moment of conception by ancestral lineage and cultural history. A body born within a context in which patriarchal mind was already well set in its course of the taming of the wild. The piece becomes a rewilding of self with the interaction of voice and environmental place providing the way in. Thanks to the OAC and TAC for support in the creation of this work.
II. Lunar Cycle
by Stephanie Moore
Lunar Cycle is a set of three pieces which each explore a different aspect of our relationship as humans to the moon. It features double bass in two of its movements, and the third – a purely acousmatic movement – uses a substantial amount sound material recorded from the double bass.
The first movement of the cycle, Pleine lune for double bass and fixed media, explores the notion of transformation inspired by the full moon, and more specifically lycanthropy, or werewolfism. The bass is lead through a journey of metamorphosis by an altered version of itself (the fixed media part).
In the great green room there was a telephone and a red balloon, for double bass and fixed media, uses the text of the children’s story “Goodnight Moon” (by Margaret Wise Brown) to explore the psychological effect of nighttime, and the dual sense of security/insecurity that we first experience as children.
The final purely acousmatic movement of theLCROSS 2009-10-09 was inspired by the exploding of two rockets into the moon’s Cabeus crater by the U.S. government’s National Aeronautics and Space Administration (NASA) on October 9, 2009. It highlights our modern scientific and political attitudes towards the moon, recounting the event and imagining a sonic equivalent to the strangely poetic visual descriptions of it (http://www.nasa.gov/home/hqnews/2010/oct/HQ_10-271_LCROSS_LRO.html).
Lunar Cycle is a set of three pieces which each explore a different aspect of our relationship as humans to the moon. It features double bass in two of its movements, and the third – a purely acousmatic movement – uses a substantial amount sound material recorded from the double bass.
The first movement of the cycle, Pleine lune for double bass and fixed media, explores the notion of transformation inspired by the full moon, and more specifically lycanthropy, or werewolfism. The bass is lead through a journey of metamorphosis by an altered version of itself (the fixed media part).
In the great green room there was a telephone and a red balloon, for double bass and fixed media, uses the text of the children’s story “Goodnight Moon” (by Margaret Wise Brown) to explore the psychological effect of nighttime, and the dual sense of security/insecurity that we first experience as children.
The final purely acousmatic movement of theLCROSS 2009-10-09 was inspired by the exploding of two rockets into the moon’s Cabeus crater by the U.S. government’s National Aeronautics and Space Administration (NASA) on October 9, 2009. It highlights our modern scientific and political attitudes towards the moon, recounting the event and imagining a sonic equivalent to the strangely poetic visual descriptions of it (http://www.nasa.gov/home/hqnews/2010/oct/HQ_10-271_LCROSS_LRO.html).
Stephanie Moore is inspired by the intersection of contrasting ideas and musical materials and particularly enjoys using technology in her creative practice. In 2012, she completed a Master’s degree in composition at the Université de Montréal. Her piece Pleine lune for double bass and fixed media, was selected for the New York City Electroacoustic Music Festival in 2013.
Toronto International Electroacoustic Symposium (TIES) Concerts
August 22, 2015, 2:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
The final concert for the TIES symposium includes works by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world. Concert includes works by Thomas Rex Beverley, Jon Fielder, Louise Harris, Lucas Paris and Monique Jean.
August 22, 2015, 2:30 pm
Theatre Direct's Wychwood Theatre, 601 Christie St #176
General $15, Students $10, (or included with TIES registration)
The final concert for the TIES symposium includes works by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world. Concert includes works by Thomas Rex Beverley, Jon Fielder, Louise Harris, Lucas Paris and Monique Jean.
Playing the NAISA Space, Part I
Performance of Fluid Intentions by Lisa Conway
October 16, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
The first Playing the NAISA Space performance will be Fluid Intentions by Lisa Conway. This performance is a re-imagination of a multi-channel work from the artist's ongoing Imaginary Headscapes series, originally composed during her sonic explorations at the Sonic Arts Research Centre in Belfast. Subtle and slow-moving gestures will be folded into the hums of the Barns and surrounding urban landscape, and further embraced and distorted through live diffusion, improvisation, and digital processing. Following her performance audiences will also have the chance to Play the NAISA Space installation.
Lisa Conway is a composer, artist, and musician. Raised in the mountains of Northern British Columbia, she holds a BFA Honours, spec. Music, from York University, Toronto, and an MA in Sonic Arts from Queen’s University Belfast, Northern Ireland. She has composed for and collaborated with filmmakers, dancers, and performance artists, and has completed creative residencies from Sackville, New Brunswick, to Aubagne, France. Lisa's work both live and in studio continually garners critical acclaim. She is currently a songwriter in residence at the Canadian Film Centre.
Performance of Fluid Intentions by Lisa Conway
October 16, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
The first Playing the NAISA Space performance will be Fluid Intentions by Lisa Conway. This performance is a re-imagination of a multi-channel work from the artist's ongoing Imaginary Headscapes series, originally composed during her sonic explorations at the Sonic Arts Research Centre in Belfast. Subtle and slow-moving gestures will be folded into the hums of the Barns and surrounding urban landscape, and further embraced and distorted through live diffusion, improvisation, and digital processing. Following her performance audiences will also have the chance to Play the NAISA Space installation.
Lisa Conway is a composer, artist, and musician. Raised in the mountains of Northern British Columbia, she holds a BFA Honours, spec. Music, from York University, Toronto, and an MA in Sonic Arts from Queen’s University Belfast, Northern Ireland. She has composed for and collaborated with filmmakers, dancers, and performance artists, and has completed creative residencies from Sackville, New Brunswick, to Aubagne, France. Lisa's work both live and in studio continually garners critical acclaim. She is currently a songwriter in residence at the Canadian Film Centre.
Playing the NAISA Space, Part II
Performance by Scant Intone
October 25, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
The second Playing the NAISA Space performance features a special Sunday night performance by Scant Intone from Vancouver. Scant Intone is the solo project of Canadian artist Constantine Katsiris dedicated to experiments in modern audio. Focused on researching psychoacoustics, the perception of sound, and spatiality, his compositions are excursions in abstract electronic music with influences including ambient, lowercase, microsound, noise, glitch, and drone. Following his performance audiences will also have the chance to Play the NAISA Space installation.
Performance by Scant Intone
October 25, 2015, 8:00 pm
NAISA Space, 601 Christie Street #252
General $10
The second Playing the NAISA Space performance features a special Sunday night performance by Scant Intone from Vancouver. Scant Intone is the solo project of Canadian artist Constantine Katsiris dedicated to experiments in modern audio. Focused on researching psychoacoustics, the perception of sound, and spatiality, his compositions are excursions in abstract electronic music with influences including ambient, lowercase, microsound, noise, glitch, and drone. Following his performance audiences will also have the chance to Play the NAISA Space installation.
Trilogie d'ondes with Gilles Gobeil and Suzanne Binet-Audet
Presented by Array Music in association with New Adventures in Sound Art
October 30, 2015, 8:00 pm
The Array Space, 155 Walnut Ave, Toronto
General $20
Suzanne Binet-Audet will perform a trilogy of works composed by Gilles Gobeil on the ondes Martenot as part of her international tour. Array Artistic Director Rick Sacks will also perform a version of Gilles Gobeil's GOLEM that Sacks commissioned for the MalletKat. Gobeil will also diffuse his work Les lointains noirs et rouges.
Program of works by Gilles Gobeil:
Voix Blanche (1989 / 13:02), ondes Martenot and fixed sounds
Là où vont les nuagesŠ (1991 / 11:20), ondes Martenot, real-time processing and fixed sounds
La Perle et l'Oubli (2002 / 21:17), ondes Martenot and fixed sounds
Les lointains noirs et rouges (2008-09 / 10:44, fixed sounds
Golem (2013 / 10:35), MalletKat
Golem by Gilles Gobeil
Inspired freely by the novel The Golem by Gustav Meyrink (1868-1932). This piece is designed to be fully “played” by a percussionist on a malletKAT (a marimba-like MIDI instrument) controlling a sampler.
Golem was realized in November/December 2012 in the studio of Miso Music in Lisbon (Portugal) and in July 2013 at EMS in Stockholm (Sweden). It was premiered on March 22, 2014 by Rick Sacks as part of the concert Rick Sacks Solo Electronic Show presented at The Array Space in Toronto (Canada). This work was commissioned by Rick Sacks with support from the CCA and the CALQ. Thanks to Rick Sacks, Miguel Azguime, Mats Lindström, and jef chippewa.
Les lointains noirs et rouges by Gilles Gobeil
Part of the sound materials of this piece comes from recordings made in the apartment of Folkmar Hein, the sponsor of this work. These many and various materials (grandfather clock, sliding doors, dish noises, thumps on various pieces of furniture, coffee machine, ancient scales, food processor, heating system, gas stove, range hoods, shawm, zither, refrigerator, birds heard from the balcony, as well as the bells of the Rathaus Schöneberg) can be perceived with a very special colour for the dedicatee of this piece. I completed this list by integrating to it a multitude of concrete sounds, and I also tried to breathe poetry into this everyday universe to carry it to far-away imaginary worlds of blacks and reds.
Les lointains noirs et rouges [The Distant Blacks and Reds] was realized in 2008-09 in the studios of the Technische Universität (TU) in Berlin (Germany) and at the composer’s studio in Montréal. The work was premiered on January 25, 2009 during the Ultraschall festival at the Haus des Rundfunks (Berlin, Germany). It was commissioned by Folkmar Hein. Thanks to Folkmar Hein, and Ingrid Beirer. The work was awarded the Special mention Musiques & Recherches at the 4th Destellos electroacoustic composition competition (Mar Del Plata, Argentina, 2011). Remixed by the composer in 2015.
Trilogie d'ondes, works for ondes Martenot and fixed sounds by Gilles Gobeil
Gilles Gobeil’s body of work to date has been characterized by a rupture or break æsthetics, in which large-scale musical gestures are developed and brought to their acme before being immediately crushed into silence. It is a musical way of being, of breathing, a natural mark, a style, immediately identifiable and thus much more than a habit. The Trilogie d’ondes is testimony to this approach, so deeply rooted in the composer’s musical thought.
The ondes Martenot’s electronic timbre and acoustic resonance are perfectly suited to the musical fabric of the electroacoustic tape part, turning it into a rich and complex mixed work. In places the instrument melds almost perfectly with the tape, while in others the ondes stand out from the sonic material, due either to the expressive quality of some melodic interventions or the contrast between the ethereal quality of the timbre and the colourful complexity of the tape sounds. In this case, Gilles Gobeil has chosen to rely mostly on the musician’s expressive accuracy in addition to virtuosity.
Among the various contributions from the ondes, two themes stand out and underpin the entire structure: the “wrench theme,” which is always tightly woven into the tape and manifests itself through a long rising glissando, and the “cell theme” — or “soul theme” — a cell consisting of four neighbouring, distempered notes.
Voix blanche
The wrench theme, with its slow dramatic build-up, appears at the very beginning of this movement. Halfway through, the soul theme emerges, very legato. Following its long unfolding, it will be reintroduced in a form that is more spelled-out than linear, a form which will become definitive in the other two parts of the trilogy. Inhabited by a subtle form of poetry, this is the most lyrical movement of the cycle.
Là où vont les nuages…
This movement features a different technique. The ondes are almost always used as a trigger for prerecorded sound elements that are juxtaposed with the ondist’s playing. Through the ondes’ various interventions, the aforementioned themes are transformed into something more closely related to a sense of traveling. This movement is full of vitality and playfulness; at times, sound masses are built and taken down at vertiginous speed.
La perle et l’oubli
Inspired by an apocryphal initiatory text from the second century, this piece consists of twelve sequences, six of which are variations on the “soul theme” cell played by the ondes. In this movement, the ondes play the part of the soul in its journey of incarnation. The final coda brings back the wrench and soul themes. The latter, modified one last time, closes the work in the bass register; its missing fourth note seems to irradiate from the dark aura of the last note played.
Introduction to Trilogie d'ondes by Suzanne Binet-Audet [English translation: François Couture in electrocd.com]
Suzanne Binet-Audet studied organ at the Conservatory in Montréal, and later perfected her technique with Jean Langlais in Paris. At the same time, she became fascinated with the ondes Martenot, and enrolled at the Conservatoire where she worked with the instrument’s inventor, Maurice Martenot, eventually earning a Première Médaille. She also received instruction from Jeanne Loriod at the École Normale Supérieure de Paris, and was awarded a concert diploma from the institution. Since then, Binet-Audet has appeared in concert as a soloist, and as a member of both the Parisian Sextuor Loriod ondes Martenot ensemble, and the Ensemble d’ondes de Montréal, the latter since its foundation in 1976. She has performed with various orchestras and music ensembles in Canada, the United States, Japan, and Europe. For the past ten years, she has composed for the stage, and performed as an improviser in multimedia events.
Gilles Gobeil has completed a master’s degree in composition at Université de Montréal, after studying writing techniques. He has been focusing his work on acousmatic and mixed music since 1985. His works fall close to what is called ‘cinema for the ear.’ Many of his pieces have been inspired by literary works and attempt to let us ‘see’ through sound.
Presented by Array Music in association with New Adventures in Sound Art
October 30, 2015, 8:00 pm
The Array Space, 155 Walnut Ave, Toronto
General $20
Suzanne Binet-Audet will perform a trilogy of works composed by Gilles Gobeil on the ondes Martenot as part of her international tour. Array Artistic Director Rick Sacks will also perform a version of Gilles Gobeil's GOLEM that Sacks commissioned for the MalletKat. Gobeil will also diffuse his work Les lointains noirs et rouges.
Program of works by Gilles Gobeil:
Voix Blanche (1989 / 13:02), ondes Martenot and fixed sounds
Là où vont les nuagesŠ (1991 / 11:20), ondes Martenot, real-time processing and fixed sounds
La Perle et l'Oubli (2002 / 21:17), ondes Martenot and fixed sounds
Les lointains noirs et rouges (2008-09 / 10:44, fixed sounds
Golem (2013 / 10:35), MalletKat
Golem by Gilles Gobeil
Inspired freely by the novel The Golem by Gustav Meyrink (1868-1932). This piece is designed to be fully “played” by a percussionist on a malletKAT (a marimba-like MIDI instrument) controlling a sampler.
Golem was realized in November/December 2012 in the studio of Miso Music in Lisbon (Portugal) and in July 2013 at EMS in Stockholm (Sweden). It was premiered on March 22, 2014 by Rick Sacks as part of the concert Rick Sacks Solo Electronic Show presented at The Array Space in Toronto (Canada). This work was commissioned by Rick Sacks with support from the CCA and the CALQ. Thanks to Rick Sacks, Miguel Azguime, Mats Lindström, and jef chippewa.
Les lointains noirs et rouges by Gilles Gobeil
Part of the sound materials of this piece comes from recordings made in the apartment of Folkmar Hein, the sponsor of this work. These many and various materials (grandfather clock, sliding doors, dish noises, thumps on various pieces of furniture, coffee machine, ancient scales, food processor, heating system, gas stove, range hoods, shawm, zither, refrigerator, birds heard from the balcony, as well as the bells of the Rathaus Schöneberg) can be perceived with a very special colour for the dedicatee of this piece. I completed this list by integrating to it a multitude of concrete sounds, and I also tried to breathe poetry into this everyday universe to carry it to far-away imaginary worlds of blacks and reds.
Les lointains noirs et rouges [The Distant Blacks and Reds] was realized in 2008-09 in the studios of the Technische Universität (TU) in Berlin (Germany) and at the composer’s studio in Montréal. The work was premiered on January 25, 2009 during the Ultraschall festival at the Haus des Rundfunks (Berlin, Germany). It was commissioned by Folkmar Hein. Thanks to Folkmar Hein, and Ingrid Beirer. The work was awarded the Special mention Musiques & Recherches at the 4th Destellos electroacoustic composition competition (Mar Del Plata, Argentina, 2011). Remixed by the composer in 2015.
Trilogie d'ondes, works for ondes Martenot and fixed sounds by Gilles Gobeil
Gilles Gobeil’s body of work to date has been characterized by a rupture or break æsthetics, in which large-scale musical gestures are developed and brought to their acme before being immediately crushed into silence. It is a musical way of being, of breathing, a natural mark, a style, immediately identifiable and thus much more than a habit. The Trilogie d’ondes is testimony to this approach, so deeply rooted in the composer’s musical thought.
The ondes Martenot’s electronic timbre and acoustic resonance are perfectly suited to the musical fabric of the electroacoustic tape part, turning it into a rich and complex mixed work. In places the instrument melds almost perfectly with the tape, while in others the ondes stand out from the sonic material, due either to the expressive quality of some melodic interventions or the contrast between the ethereal quality of the timbre and the colourful complexity of the tape sounds. In this case, Gilles Gobeil has chosen to rely mostly on the musician’s expressive accuracy in addition to virtuosity.
Among the various contributions from the ondes, two themes stand out and underpin the entire structure: the “wrench theme,” which is always tightly woven into the tape and manifests itself through a long rising glissando, and the “cell theme” — or “soul theme” — a cell consisting of four neighbouring, distempered notes.
Voix blanche
The wrench theme, with its slow dramatic build-up, appears at the very beginning of this movement. Halfway through, the soul theme emerges, very legato. Following its long unfolding, it will be reintroduced in a form that is more spelled-out than linear, a form which will become definitive in the other two parts of the trilogy. Inhabited by a subtle form of poetry, this is the most lyrical movement of the cycle.
Là où vont les nuages…
This movement features a different technique. The ondes are almost always used as a trigger for prerecorded sound elements that are juxtaposed with the ondist’s playing. Through the ondes’ various interventions, the aforementioned themes are transformed into something more closely related to a sense of traveling. This movement is full of vitality and playfulness; at times, sound masses are built and taken down at vertiginous speed.
La perle et l’oubli
Inspired by an apocryphal initiatory text from the second century, this piece consists of twelve sequences, six of which are variations on the “soul theme” cell played by the ondes. In this movement, the ondes play the part of the soul in its journey of incarnation. The final coda brings back the wrench and soul themes. The latter, modified one last time, closes the work in the bass register; its missing fourth note seems to irradiate from the dark aura of the last note played.
Introduction to Trilogie d'ondes by Suzanne Binet-Audet [English translation: François Couture in electrocd.com]
Suzanne Binet-Audet studied organ at the Conservatory in Montréal, and later perfected her technique with Jean Langlais in Paris. At the same time, she became fascinated with the ondes Martenot, and enrolled at the Conservatoire where she worked with the instrument’s inventor, Maurice Martenot, eventually earning a Première Médaille. She also received instruction from Jeanne Loriod at the École Normale Supérieure de Paris, and was awarded a concert diploma from the institution. Since then, Binet-Audet has appeared in concert as a soloist, and as a member of both the Parisian Sextuor Loriod ondes Martenot ensemble, and the Ensemble d’ondes de Montréal, the latter since its foundation in 1976. She has performed with various orchestras and music ensembles in Canada, the United States, Japan, and Europe. For the past ten years, she has composed for the stage, and performed as an improviser in multimedia events.
Gilles Gobeil has completed a master’s degree in composition at Université de Montréal, after studying writing techniques. He has been focusing his work on acousmatic and mixed music since 1985. His works fall close to what is called ‘cinema for the ear.’ Many of his pieces have been inspired by literary works and attempt to let us ‘see’ through sound.
Cross Waves #7 performance "Top Songs"
curated by Eleanor King
By Dave Dyment
November 21, 2015, 8:00 pm
https://naisa.ca/festivals/cross-waves-series/
at The Box Toronto, 89 Niagara St
General $10
curated by Eleanor King
By Dave Dyment
November 21, 2015, 8:00 pm
https://naisa.ca/festivals/cross-waves-series/
at The Box Toronto, 89 Niagara St
General $10
Cross Waves is a Canadian Sound Art series that includes performances and internet radio programs curated by eight media artists representing different regional and cultural perspectives in Canada. The series is taking place between July 2014 and February 2016. The content is contextualized by the curators through commentaries and essays and draws attention to Sound Artists from across Canada. The seventh in the series, entitled “Top Songs,” is curated by Eleanor King. King’s series will begin broadcasting in November on NAISA Radio everyday at noon, 8pm and 4am on NAISA Radio (www.naisa.ca/naisa-radio). A concert featuring performances by Dave Dyment, alongside works from King’s Cross Waves #7 radio programme will be presented on Nov 21th. The remaining upcoming series - Cross Waves #8 - will be curated by Jason Ryle.
Introduction by Eleanor King
i. the love song by Andy Dowden
ii. 100 lines, version 2.015, 2015 by jake moore and Steve Bates
iii. You Don’t Bring Me Flowers (A + B), 2015 by Dave Dyment (live)
iv. Ridin’, 2015 by Lisa Lipton
v. The Burden, 2010 by Benny Nemerofsky Ramsay
vi. For Bapu (posthumous overture), 2011 by Divya Mehra
Introduction by Eleanor King
i. the love song by Andy Dowden
ii. 100 lines, version 2.015, 2015 by jake moore and Steve Bates
iii. You Don’t Bring Me Flowers (A + B), 2015 by Dave Dyment (live)
iv. Ridin’, 2015 by Lisa Lipton
v. The Burden, 2010 by Benny Nemerofsky Ramsay
vi. For Bapu (posthumous overture), 2011 by Divya Mehra
Program:
I. the love song,1982 by Andy Dowden
My earliest mash-ups were sounds recorded from television in the 1960’s using a tape recorder, and I have been fascinated with sound since that time. I am struck by the creative potential which is revealed when recorded sounds are treated as analagous to clay, plastic, rubber, or even thoughts, but in an electronic form. As a popular form of musical expression, the mash up emerges from scratch and hip hop sensibilities. The mash-up is also a form of media art because it explores audio culture in a new way. It is reflective like a mirror, inviting society to listen to itself and wonder, “is that really us?”
The Love Song a strategy for reconciling or integrating music which is popular/public with that which is personal/private. At the same time it tells a minimal story with an almost operatic flavour. Love goes out partying all night.
My earliest mash-ups were sounds recorded from television in the 1960’s using a tape recorder, and I have been fascinated with sound since that time. I am struck by the creative potential which is revealed when recorded sounds are treated as analagous to clay, plastic, rubber, or even thoughts, but in an electronic form. As a popular form of musical expression, the mash up emerges from scratch and hip hop sensibilities. The mash-up is also a form of media art because it explores audio culture in a new way. It is reflective like a mirror, inviting society to listen to itself and wonder, “is that really us?”
The Love Song a strategy for reconciling or integrating music which is popular/public with that which is personal/private. At the same time it tells a minimal story with an almost operatic flavour. Love goes out partying all night.
II. 100 lines, version 2.015, 2015 by jake moore and Steve Bates
100 lines is a call out in the dark.
Punk rock is our shared history and often a touchstone between us. We grew up in parallel and performed in bands in the same city long before we came to know one another directly. Song titles, bands and specific events associated with punk and post punk illustrate kinship and shared knowledge between us (and others). The musics are emblematic of dischord and resistance, desiring of different, evidence of difference yet often carried a quest for the commons as a way to challenge the then contemporaneous socio-economics of Thatcher and Reagan that have continued to lead us downwards into the neoliberalist now.
We challenged each other to come up with 50 lines each, in no particular order, of lyrics that have stayed with us. Words or utterances that actively reside within; the sort of thing that one hears internally while in the non-places of contemporary society. We recorded without knowing what the other had selected. We began each line at the same time so we could not always hear what the other was saying, one of us in Montreal and the other in Stockholm, Sweden. The sonic effects and delays are indexical of the distance technologies yet suggest a more affected production. This interference of distance manifested troubles the communication through the very tools that allow it, and asserts again the sonic as our shared space. There were some expected crossovers, beautiful actions of simultaneity of the same lyric in the same order, and near misses of the same song but different section. The intention was not comprehension of the lyric or the creation of a chorus but a volley to the other, the lover, to seek resonances and visit oscillation, to communicate.
100 lines is a call out in the dark.
Punk rock is our shared history and often a touchstone between us. We grew up in parallel and performed in bands in the same city long before we came to know one another directly. Song titles, bands and specific events associated with punk and post punk illustrate kinship and shared knowledge between us (and others). The musics are emblematic of dischord and resistance, desiring of different, evidence of difference yet often carried a quest for the commons as a way to challenge the then contemporaneous socio-economics of Thatcher and Reagan that have continued to lead us downwards into the neoliberalist now.
We challenged each other to come up with 50 lines each, in no particular order, of lyrics that have stayed with us. Words or utterances that actively reside within; the sort of thing that one hears internally while in the non-places of contemporary society. We recorded without knowing what the other had selected. We began each line at the same time so we could not always hear what the other was saying, one of us in Montreal and the other in Stockholm, Sweden. The sonic effects and delays are indexical of the distance technologies yet suggest a more affected production. This interference of distance manifested troubles the communication through the very tools that allow it, and asserts again the sonic as our shared space. There were some expected crossovers, beautiful actions of simultaneity of the same lyric in the same order, and near misses of the same song but different section. The intention was not comprehension of the lyric or the creation of a chorus but a volley to the other, the lover, to seek resonances and visit oscillation, to communicate.
III. You Don't Bring Me Flowers (A + B), 2015 by Dave Dyment
Live Performance
A case-study of the circuitous path of the first hit 'mash-up' or 'bastard pop' song. The work takes the form of a brief presentation (lecture as sound work) followed by a turntable duet.
Live Performance
A case-study of the circuitous path of the first hit 'mash-up' or 'bastard pop' song. The work takes the form of a brief presentation (lecture as sound work) followed by a turntable duet.
IV. Ridin', 2015 by Lisa Lipton (a.k.a. FRANKIE)
This audio piece was developed during an audio residency program titled: Secret Selfie Residency, in the Summer of 2015 in Halifax, NS. Here, I created an experimental sound // noise recording that explored an alternative narration and voice for myself as drummer. The bed track for the sound piece was sourced through recorded drum practices, that became distorted and accentuated with additional dialogue, beats, songs and sound samples. Ridin’ acted as an emotional, present response to what was being felt and found throughout the residency week.
This audio piece was developed during an audio residency program titled: Secret Selfie Residency, in the Summer of 2015 in Halifax, NS. Here, I created an experimental sound // noise recording that explored an alternative narration and voice for myself as drummer. The bed track for the sound piece was sourced through recorded drum practices, that became distorted and accentuated with additional dialogue, beats, songs and sound samples. Ridin’ acted as an emotional, present response to what was being felt and found throughout the residency week.
V. The Burden, 2010 by Benny Nemerofsky Ramsay
The listener heard an individual trapped at the threshold of making an I-statement, caught in the infinite complexities of this world, traveling through vast pleasures, lamentations and solitudes of the ego. The “I” is sustained, uninterrupted over seven minutes, and as it stretches, a constantly shiftng musical score emerges, transforming the colour of this vowel through a spectrum of wordless emotions. Designed for an audience of one, when installed in a gallery, The Burden is accompanied by an arrangement of mirrors and a silkscreened concertina bookwork.
The listener heard an individual trapped at the threshold of making an I-statement, caught in the infinite complexities of this world, traveling through vast pleasures, lamentations and solitudes of the ego. The “I” is sustained, uninterrupted over seven minutes, and as it stretches, a constantly shiftng musical score emerges, transforming the colour of this vowel through a spectrum of wordless emotions. Designed for an audience of one, when installed in a gallery, The Burden is accompanied by an arrangement of mirrors and a silkscreened concertina bookwork.
VI. For Bapu (posthumous overture), 2011 by Divya Mehra
Documentation of a live performance by a cellist of Tupac Shakur’s Ain’t Mad at Cha’. Artspeak, Vancouver, Canada 2011. Installed with speakers on a mahogany British parlour table circa 1890, dimensions variable.
Documentation of a live performance by a cellist of Tupac Shakur’s Ain’t Mad at Cha’. Artspeak, Vancouver, Canada 2011. Installed with speakers on a mahogany British parlour table circa 1890, dimensions variable.