Performances Presented in 2018

I. Ravenspeak by Andrew O'Connor
A performance for live multi-channel audio and two performers, based off adaptations of two traditional Inuit stories about the Raven. Using field recordings of multiple Ravens and their extensive vocalizations, along with the soundscapes they inhabit, Ravenspeak creates an immersive setting for two ancient Inuit stories, the Raven Creation Myth and the story of the Raven and the Whale.

II. Caught Between Two Worlds (Seen Off Scarborough) by Sarah Dew
‘Caught Between Two Worlds (Seen Off Scarborough)’ is a new take on the myth of the ‘selkies’: the seal people. The work combines the artist’s narrative with field recordings of the sea (at Scarborough, North Yorkshire, UK); recordings of family members discussing the selkie myth; original music and sound art.

III. Conversations with Billy Proctor by Jenni Schine
An intimate audio work based on conversations between Billy Proctor, a lifelong resident of the Broughton Archipelago area in BC, and Jenni Schine, a sound artist based on Vancouver Island. As an elder who has witness the transformation of B.C.’s coast, Billy is known as an important knowledge keeper and “the heart" of his settler community called Echo Bay.

I. Hyvät matkustajat by James Andean
'Hyvät matkustajat' began as a "sonic postcard from Finland", using soundscape field recordings from around the country. The original material was later further developed as material for sonic exploration and spectral transformations. Everything in 'Hyvät matkustajat' is made from the original field recordings that first gave birth to the piece.

II. o perioadä de cincizeci de ani by Stefana Fratila
"o perioadä de cincizeci de ani", translated from Romanian as “a period of fifty years", interrogates the relationship between memory across distance (space/time) and between generations (collective/individual). Earlier this year, my entire family returned to Romania to celebrate my grandparents’ 50th wedding anniversary. It was our family’s first reunion since my parents and I immigrated to Canada in 1995. Through a sonic interplay of field recordings, I ask the listener to consider how emigration from our place of birth impacts our understanding of intergenerational memory and our ability to receive/pass down stories. For this project, I collected recordings of my family during our two weeks together, collaged amidst the sounds that have surrounded me each summer that I’ve returned alone: church bells, crickets, dogs barking, wedding parties passing by, or building a fire to the sound of the local station playing off a radio my grandpa built under communism using a spare car battery. The recordings act as testimonies assembled in the shape of a ‘sonic’ photo album, denoting the consequences of immigration, namely the sensation of continuously missing loved ones and feeling perpetually uprooted and isolated, while also drawing on the paradoxical nostalgia for communism experienced across Eastern European states.

III. Babble Streams and Cicada Routes by Daniel Linn-Pearl
Audio samples collected on a journey in and around Toronto as well as trips south by train to Raleigh, have been composed in this work. The audience is invited to move around the space, manipulating the sonic narrative. Within its unfolding structure is the story of a family in transit.

IV. Projet Archipel by Guillaume Côté and Guillaume Campion
Projet Archipel is a cross-media work comprised of a 29-minute sound documentary (Archipel, 2016), an interactive website (www.projetarchipel.com) and a mobile soundwalk app, available on iPhone and Android devices. Driven by a desire to address concrete informative facts through the poetry of electroacoustic music, composers Guillaume Côté and Guillaume Campion tackle the complex relationship between the archipelago of Montréal and its surrounding waters, mainly focusing on the St.Lawrence River, a majestuous stream strongly symbolic of the history and identity of Québec’s metropolis.

Interviewees for the sound documentary (in order of appearance) : Richard Bergeron, Alexandre Joly, Claude Cormier, Simon Lebrun, Jean-François Parenteau, anonymous fisherman, Jean Desjardins, Denis Coderre, Chantal Rouleau.

Thanks to the Conseil des arts et des lettres du Québec, the Canada Council for the arts, Code d’accès, Montreal Contemporary Music Lab (LMCML) and the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT).

I. Crystal Music by Stéphane Roy
"Material substances and sound substance have never been so closely associated as in the acousmatic genre. Crystal Music, which originates in this genre, is a music of forms, colors and materials shaped by kinetic energies and perspectives in the inner space of the work. Like glasswork, the material has been expanded, moulded, transmuted in the fiery furnaces of experimentation. Like crystal, it has been worked upon by the imagination which imbues its transparency with the power of illusion.

Beyond pure matter, there still remain certain sham voices lost in factual collages, but also rhetorical phenomena of ruptures and antagonistic relationships between musical characters, strained nodes, suddenly subjugated by the whimsicality of an arabesque. The work is permeated by a bountiful style employing sound material as others use flat areas of color which they scratch with a nervous, angular graphism: it thus reveals a desire for plasticity which soon enough betrays a dramatic expression.

This work, composed largely with Bill Schottstaedt’s Common Lisp Music program, could not have been realized without the technical support and exceptional conditions I enjoyed at CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University (California, USA) during the year 1992-93, as well as in the studios at the Faculty of Music of the Université de Montréal in 1994. The work was premiered on March 3, 1994 at the Chapelle historique du Bon-Pasteur in Montréal during the 15th anniversary concert of ACREQ (Association pour la création et la recherche électroacoustiques du Québec). Crystal Music was commissioned by ACREQ with support from the Canada Council [for the Arts] (CCA). I wish to thank the Faculty of Music of the Université de Montréal for having lent me its studios in order to complete the piece. Crystal Music was awarded the First Prize at the 3rd Prix international Noroit-Léonce Petitot (Arras, France, 1994). Crystal Music previously appeared on the compact disc Prix international Noroit-Léonce Petitot 1993 (NOR 3)."

II. Crystal by Maggie Payne
I composed Crystal in 1982 using a Moog IIIP synthesizer with extensive multi-tracking. Spatial location and modulation are important aspects of this work as is delicate timbral manipulation, with the harmonic spectrum in constant flux. Spatialization was created by carefully dovetailing the envelope of each sound to the sound that followed. Individual tracks were recorded to a four track Ampex 440, with the inherent spatialization retained through multiple generations of layering to and from a 12-track Scully 280, resulting in the equivalent of 26 tracks. For the video I shot crystals forming in real time using my father’s medical school microscope.

III. Crystal World by Michael Obst
The composition of the cycle of works "Kristallwelt" (crystal world) started in 1983, and with that, my investigation of the wide range of acoustic manifestations of traditional Asian percussion instruments. The compositional process and the many electronic transformations of the instrumental sounds and their overtone-spectra led to very unusual musical structures. The resulting unique sounds were comparable to various manifestations of light - such as reflections and prism-spectra - and reminded me of a novel by J. G. Ballard titled “The Crystal World". The author describes how nature's plants, animals and also humans gradually change into a crystal world. Everything "freezes" into crystals and precious stones, which, in turn, transform sunlight into an environment of countless fantastic light-spectra. The unusual paradox is the perfect harmony of the millions of refractions of light, which is at the same time responsible for the destruction of life, absolute paralysis and coldness.

The central idea of "Kristallwelt 1" is anchored in the contrast between sound-points ("Klangpunkte") and sound-planes ("Klangflächen") and is derived from recordings of the Asian percussion instruments Rîn, Keysu, Mokusho, Glissando-Gong and a Javanese Rotating Sound-plate. The original instrumental attacks were almost never used in "Kristallwelt 1", thus nearly all sounds originate from the resonance of the instruments. In the sense of an "overture", it introduces the harmonic structure and motivic concept of the entire cycle, which are the connecting links between all three parts of "Kristallwelt". The harmonic progression of this part becomes brighter and richer in overtone, supporting the analogy to crystals, or the dispersion of light, and therefore, a sort of musical coldness.

"Kristallwelt 2 (Choral)" draws its sound material entirely from synthetic computer-generated sounds imitating Asian percussion instruments and a female voice. The motives, which dominated in Part 1, are now reduced and seem to be improvised. The darker "Klangfarben", and the primarily calm musical development contribute to a somewhat meditative and - due to the manipulation of the synthetic voice - surreal impression.

The composition "Interméde" (Interlude) returns to the bright, overtone-rich sound world of first part, although the musical impression of Part 2 remains. Three "Klangfarben" determine the musical development of "Kristallwelt 3" and point to the central importance of this composition within the cycle: the sound-spectra of the Asian instruments; the original attacks of the instruments; and the human voice.

Kristallwelt 1 and the Interméde were realized at Studio for electronic music of the conservatory of Cologne (Germany), Kristallwelt 2 at EMS Stockholm and Kristallwelt 3 at IRCAM.

I. Psychoactive Music by Aaron Labbé
"Psychoactive Music" is an interactive music composition that results in a completely binaural/three dimensional auditory experience that infuses various personalized neurological triggers within carefully constructed music in order to evoke a "dream-like" meditative experience. In performance, users wear noise-cancelling headphones and an EEG reader and audio content is live-mixed/outputted in real-time. Live composition decisions are made algorithmically based on the user's real-time EEG data and are rendered in a carefully engineered method, designed to provide what each user needs in order to reach the targeted mental state.

I. No Time For Silence by Victoria Fenner & Stefan Rose
No Time for Silence is an illustrated documentary poem about rhythms of life. The gentle rhythms of nature contrasted to the militaristic lock step marches of urban life. The audio portion was commissioned by CBC Radio Ottawa's program "Out of the Blue" in 2000. Video created with support from the Ontario Arts Council.

Concept: Victoria Fenner Sound composer: Victoria Fenner Editing - Victoria Fenner and Stefan Rose Voices: Victoria Fenner, Andy Posthumus Images: Victoria Fenner, Stefan Rose, Edward Moll, Sean McGauhey

II. The Queen of Bees by Victoria Fenner & Stefan Rose
The Queen of Bees is a dark fantasy where shadow puppet bees compete for dominance, inspired by Penn Kemp at an audio poetry workshop that took place at Western University in London, Ontario in 2003 and that was organized by Victoria Fenner. Visual concept (shadow bees) by Edward Moll, with Fenner and Rose as shadow puppeteers. The Queen of Bees is dedicated to Penn Kemp, who inspired the title for the piece and provided the opening voice and phrase. Video created with support from the Ontario Arts Council.

Additional Voices: Tony Sloan, Jennifer Pittet, beekeepers Shadow Bee Concept: Edward Moll Bee Construction: Edward Moll Bee Wranglers: Stefan Rose, Victoria Fenner and Edward Moll Sound composer: Victoria Fenner Audio Re-mastering: Darren Copeland Video camera, editing and production: Stefan Rose

III. Looking for Light by Victoria Fenner & Stefan Rose
Looking for Light is based on a 2006 composition, which was one of Fenner's most musical compositions. The audio version of Looking for Light uses rain, thunder, and unconventional ways of playing the piano and was a quest to find light in dark places. When Stefan Rose was thinking of images for the video, he thought of the flower as a symbol, because flowers are always looking for light. Fenner thinks that this work is evocative of J.E.H. Macdonald's series of works "The Tangled Garden" and likes this identification with the Group of Seven. Video created with support from the Ontario Arts Council.

Sound Composer: Victoria Fenner Video Composer: Stefan Rose Audio remastering: Darren Copeland

IV. 9 Simplesoundscapes by Claude Schryer
simplesoundscapes is a series of audio-visual and audio works derived from recording and sharing soundscapes that were experienced by Claude Schryer through mindful listening. The version presented in this show is a 27-minute video compilation of iteration 2 of simplesoundscapes featuring episodes e74 sky, e20 rumeurs, e38 meter, e09 propelled, e57 ducks, e78 wind, e11 arrival, e77 drum and e01 rumble. Thanks to NAISA for premiering this work in concert.

I. Akheta’s Blues by Ana Dall'Ara Majek
The title of this piece refers to the cyclical and repetitive song of the Acheta domesticus, better-known as the house cricket. Its song served as a model for the construction of the piece. Akheta’s Blues is one of my most tonal acousmatic pieces. I deliberately searched for precise harmonic relationships between its sonic layers and used characteristic melodies as leitmotifs. The spatial arrangement of its sounds reflects the layout of desks in an orchestra, where each sound family has its own distinctive location. Finally, the piece explores a whole world of particles inside of renewing minimalist gestures. English translation: Stephanie Moore.

II. Diaphanous Acarina by Ana Dall'Ara Majek
An observation of the world of mites under a musical microscope as they evolve on flat surfaces. The Typhlodromus pyri are semi-transparent mites which live along the veins of vine leaves. These veins are represented sonically by long, homogenous drones and the mites are portrayed by composite objects derived from granular synthesis. The musical discourse evokes the behaviour of mites and their various methods of proliferation: swarms fluctuate between various types of invasive proliferation (in the form of aquatic textures) and destructive proliferation (distorted materials created by DC offset excess). Extreme dynamic contrasts call to mind the effect of zooming in and out with a microscope, with abrupt mechanical adjustments and characteristic focus drift. And every so often, when the field of vision is expanded, the distinctive voice of the Typhlodromus pyri can be heard. English translation: Stephanie Moore.

III. Bacillus Chorus by Ana Dall'Ara Majek
For this piece I was interested in bacteria — particularly their ability to multiply and modify their environment by working together. This led me to the idea of considering musical polyphony as a bacterial colonization in which sounds duplicate by binary fission processes, contaminate each other, form bacterial chains, and slowly alter the properties of the entire work. English translation: Stephanie Moore.

IV. Xylocopa Ransbecka by Ana Dall'Ara Majek
I had left for Place de Ransbeck in search of Rumeurs’s thirteen doors when I encountered an angry hymenopteran who fled my microphone by hiding in the cracks of a wooden beam. This is how my piece was first conceived. It features a carpenter bee and twenty doors recorded at Musiques & Recherches (Ohain, Belgium). In it, I continue my exploration of changes of scale, from a passage in human proportions featuring familiar sounds to the more abstract world of microfauna, where bacteria found in wood form wriggling masses. Between these two sizes of scale, the carpenter bee carves out wood shavings and comes buzzing around our ears. The piece is dedicated to To Annette Vande Gorne. English translation: Stephanie Moore.

V. blablaImprovisation by blablaTrains
This performance creates paths from animality to a robotic society, from heaven to hell. It seeks a dialog between nature, industrial and electronic sounds. It is also a theatrical exploration of two instruments that require a ‘choreography’ to generate sound. Click here to watch a performance they did at CIRMMT, Café résonance, Montreal.

I. Still by Sherry Ostapovitch & Anita Castelino
Still is an audio-visual document of living on the canals in London, UK in a narrowboat in 2014. Widely used for shipping and transport throughout the 18th and 19th centuries, early narrowboats were horse-drawn and the lock system that is still in operation today, allows boats to travel up and down steep inclines. At present the canals are no longer major transportation routes but homes and recreation for many. Life is much different on the water; narrowboats travel at an average speed of 5km/h and life aboard mirrors this pace.

Still reflects some of our impressions of boat life: the frequent shift from the enclosed space of the narrowboat to the open air of the canal, fosters awareness of surroundings that this work creatively reveals. The close presence of animal and plant life to the living space allows one to become more attuned to both the rhythms of nature and the encroachment and gentrification of the city, which the canals cannot escape. The soundscapes and visuals of Still are personal anecdotes of the routines of daily life on the canal, a quiet resistance to the frenetic pace of life in London City.

II. Still Voices by Pete Stollery
Still Voices is part of a larger project called Gordon Soundscape, which is an attempt to map the sonic diversity of the former Gordon District in Aberdeenshire, Scotland. The project comprises acousmatic/soundscape concert pieces Still Voices and Fields of Silence, an interactive website (www.gordonsoundscape.net) and a sound documentary/installation (Resound).

I have become fascinated by the potential power that I have as a composer working with technology and fixed media to conserve sounds which will soon no longer exist. Workers at the Glendronach Distillery in North-East Scotland were told in 2004 that the plant was to move from coal-fired processes to a more ecological method of heating. They began to realise that the sounds they had become used to as part of their daily work – raking out the kilns, kiln doors closing, coal pouring from the back of delivery lorries – were soon to disappear for ever.

Originally, I had intended to make a few recordings of these “disappearing sounds” and use them in the sound documentary/installation part of the project. However, it became clear to me, during the visits I made to the distillery, that there were many more interesting sounds which were crying out to be used and so I decided to make an entire piece using sounds recorded from both inside and out, including rolling whisky barrels along the ground, grain milling machines and the Glendronach Burn which runs through the distillery grounds.

Still Voices was commissioned by Gordon Forum for the Arts, with funds provided by Aberdeenshire Council and the Scottish Arts Council. It received its first performance in one of the auction rings at the Thainstone Centre, Inverurie in November 2005. It reached the finals of the Sounds Electric '07 Electroacoustic
Music Competition in Ireland and won an Honourable Mention at Musica Nova 2007, Czech Republic.

III. Song for the Brewery by DinahBird & Jean-Philippe Renoult
Song for the Brewery is a radio art piece inspired by the Beamish and Crawford brewery, Cork, Ireland. Using the built environment of the brewery as both the set and the inspiration for the installation, the piece sought to offer the public a subjective sonic portrait of the plant.

IV. Earth and Steel by Barry Truax
This soundscape composition takes the listener back to a time a century ago when large steel ships were built in enclosed slips, and rich metallic resonances rang out. These larger than life sounds reflected the sheer volume of the ships themselves that dwarfed those who were building them. However, just as the piece progresses and ends, these soundscapes now have become increasingly distant memories, only to be re-imagined in museums.

Original recordings from the World Soundscape Project Tape Collection, recorded at a shipyard in Caraquet, New Brunswick in 1973. Sound processing realized with Soundhack convolution and Chris Rolfe’s MacPod software, with spatialization created by Harmonic Functions’ TiMax2 matrix mixer, marketed by Outboard Inc (UK).

Earth and Steel was premiered at the 2013 Acoustic Ecology Symposium at the University of Kent, Chatham, UK, on the grounds of the Royal Naval Dockyards where ships and submarines were built and repaired for many centuries.

Earth and Steel is available on the Cambridge Street Records CD, The Elements and Beyond.

V. In a Queer Time and Space by Sherry Ostapovitch
This work is an audio meditation on queer space; it makes present the horizons and fringes of aural perspective. It reflects on how certain bodies and communities inhabit space and how we come to understand this via sound; it asks what makes space queer and examines the necessities of forging queer social and political space.

Conversations with members of London’s queer community were played and re-recorded into the cavernous buildings of a still operational cement factory now art center in East Germany, taking on the resonant and reverberant layers of the industrial architecture. This occurred during a sound arts residency for women and LGBTQI people during which these and many other recordings were made using surround and extended techniques, recording the walls and surfaces of the cement factory, art centre, as well as the queer collective living and creative activities being produced.

In a Queer Time and Space is the collective sonic embodiment of communities; individuals; and the work’s composer, rejecting the hierarchies of objective observer and distanced subject. It is also an embodiment for the listener, who participates in this queer space by entering the sites of recording through the work’s playback in ambisonic technology, offering a 360 degree three dimensional sound experience.

I. The Song of Songs by Karen Tanaka
The title comes from the Song of Solomon of the Old Testament, which is a beautiful song of love. It begins as follows:

The song of songs, which is Solomon's.
Let him kiss me with the kisses of his mouth: for thy love is better than wine.
Because of the savour of thy good ointments thy name is as ointment poured forth,
therefore do the virgins love thee.

I have attempted to project this sensual song of love onto the sound of cello and computer. My intention was to weave color and scent into the sound while blending the ancient story and today's technology. The sound of cello is consistently gentle and tender.

This work was commissioned by Yutaka Fujishima and the Xebec Hall. It was first performed by Ryoichi Fujimori in Mito, Japan, on 10th November 1996.

II. StrinGDberg by Robert Normandeau
StrinDberg. Adapted from the music composed for the play Miss Julie by August Strindberg (Stockholm, Sweden, January 22, 1849 - Stockholm, Sweden, May 14, 1912), staged by Brigitte Haentjens at Espace GO (Montréal) in May 2001.

StrinG. The only sound sources of the piece come from two string instruments, a hurdy-gurdy and a cello. Two instruments representing two eras in the history of instrument factory: the first one belongs to a period where sonorities were rude, closer to the people, and the second one evokes the refinement of the aristocracy.

Actually, the piece is made of two superimposed layers. The first one comes from a single recording of a hurdy-gurdy improvisation about a minute long. Stretched out, filtered, layered, the sound of the hurdy-gurdy, distributed in a multiphonic space, is revealed, layer by layer, throughout the duration of the piece. A second layer, made from the cello, gives the work its rhythm and brings, at the end, a more dramatic quality. It is a deep listening work that penetrates into the sound.

III. Physics of Seduction. Invocation #3 by Paul Dolden
What compositional strategy can the contemporary artist use in order to produce a subversive charge in the face of a world drained of substance, meaning, value and difference? One approach is to use the materials of repression and extend their logic to such an extreme or excess that they implode from within. By using an extreme amount of ‘ordinary’ musical sounds and gestures, their reality becomes more real than real. In other words, the sounds escape the networks of meaning and association which have built up the reality of our world. In addition, with an extreme or excess of sounds, it is possible for speed to become faster than fast and thus for everything to become instantaneous. In this condition linear time and temporal reality are transcended. This compositional strategy, involving an escalation to extremes, means that the materials themselves disappear as they implode inward and take on new appearances. The realm of seduction involves the strategies of appearances. As a contemporary composer, all that I can hope for is that I have provided the physics, or the interaction of motion and energy, for your own seduction.

I. Live Improvisation by ACCRETION.of.PLANETESIMALS
Writing short songs from a small room, ACCRETION.of.PLANETESIMALS tells the same transitory story as the universe: of floating bits smashed together, of objects formed in isolation, only to break apart again and drift as dust.

II. Oraison by Olivier Messiaen (performed by Richard Lainhart)
From the time I first touched the Haken Continuum, I'd wanted to use it to play a composition by Olivier Messiaen called Oraison. I first heard Oraison years ago as a student of electronic music, and had fallen in love with its simple, beautiful harmonies and profound sense of mystery.

Oraison is not only a lovely piece of music, but has historical interest too - it may be the first piece of purely electronic music written expressly for live performance. Also of note is that Messiaen re-arranged Oraison for cello and piano and used it for the fifth movement of Quartet for the End of Time, which he composed in a German prisoner-of-war camp in 1941; the "Quartet" is one of the great classics of 20th-century music.

Oraison ("prayer") is from a suite of pieces for six Ondes Martenot called Fete des Belles Eaux (Celebration of the Beautiful Waters), composed for the Paris International Exposition in 1937. The Ondes Martenot was among the first electronic instruments, and is still among the most expressive. The Continuum's own expressive qualities seemed at least the equal of the Ondes Martenot's, while allowing for polyphony and the possibility of performance of the work by a single player. I transcribed Oraison for my Buchla 200e/Continuum system, programmed the modern system in homage to the sound of the Ondes Martenot, and now offer this performance to you. - RL

Click here to watch a video of Lainhart's performance.

III. No Other Time - A Clouded Lens by Richard Lainhart
"A Clouded Lens" is one of four films that comprise "No Other Time," a project for which I was awarded a New York State Council on the Arts Film and Media grant in 2009. "No Other Time" is a full-length intermedia performance designed for a large reverberant space, combining live analog electronics with four-channel playback and high-definition computer-animated film projection. "A Clouded Lens" was animated in Adobe After Effects. The soundtrack was performed and recorded in realtime with a Buchla 200e analog modular synthesizer controlled by a Haken Continuum Fingerboard.

I. Rehearsing Silence by Richard C. Windeyer
Rehearsing Silence” is part audio essay, part medical portraiture, part data sonification, part prosthetic design sketch. It proposes a binaurally-encoded, audio-based approach to portraiture that frames and compresses the gradual and inevitable diminishment of auditory perception as a consequence of aging and neurologically collapsing bodies. This design sketch stems, in part, from ongoing research focused on developing instruments and tools to support multi-sensory (non-visual) data analytics, and a continuing interest in how the effects of aging and sensory impairment manifest themselves as perceptual artifacts within an artistic practice (Claude Monet painted through cataracts, Beethoven composed through tinnitus, etc.)

**NOTE: This audio portrait contains simulations of high frequency tinnitus tones and frequency-based hearing loss which are different in each ear. If you currently suffer from tinnitus, listening to this portrait may exacerbate your symptoms if listened to at high volume levels.**

II. Hulaboom by Richard C.Windeyer
In Hulaboom the audio signal is fed through digital processing software via binaural microphones worn by the drummer. This enables the drummer to influence the mix of acoustic kit instruments to be processed – including the degree of sonic detail and relative strength of the signal as it enters the processing chains – by adjusting their physical proximity to the kit (i.e., head related transfer functions).

A collection of household ‘foley’ sounds (stored in a granular synthesis engine) are activated by an acoustic MIDI trigger mounted on the kick drum. This offers the possibility of using drum velocity values to trigger looped and often unmetered textures which the drummer can then play in counterpoint with.

The current ‘soundscape’ of this kit borrows from traditional ‘dub’ processing techniques (echo, feedback, band-pass filters coupled with envelope followers, ‘spring’ reverbs), yet also attempts to infuse each instance of a dub echo with different sonic information, such as discreet ‘foley’ sounds, voices or harmonic ‘augmentations’ generated by a vocoder.

Gated ‘ghost tracks’ are also revealed through changes in the drummer’s loudness levels. In this demonstration, the ‘ghost track’ is an archival interview recording of early jazz drummer Warren ‘Baby’ Dodds for the Folkways album “Baby Dodds – Talking And Drum Solos” (Folkways Records – FJ 2290, 1951)

III. In Silent Time by Richard C. Windeyer
In Silent Time is a sonic portrait of two contrasting personalities – an extroverted Uncle who played drums in a 1920’s silent movie house, and a shy nephew who used drumming as a means of escape. In this family portrait, drumming and silence become an unspoken inheritance. Composed in loving memory of Margaret and John (‘Pete’) Windeyer. In Silent Time was jointly commissioned by CBC Out Front and New Adventures in Sound Art and premiered in 2004.

IV. Ecstatic figures, persistent ground by Richard C. Windeyer & Cameron McKittrick
Windeyer and McKittrick have a long collaboration history through a variety of projects in Guelph, Kitchener and Toronto including the multi-disciplinary collective Finger. In this performance they explore improvisation with music technology as a form of conversation.

I. WAVES Playground by Petra Dubach and Mario van Horrik
WAVES Playground is an interactive work exploring standing waves through a double feedback system. The physical presence of the audience and the performers in the space creates standing waves and interfearance patterns, which through the feedback process produces sounds heard from the spiraling sculptures that are suspended in the air. In this work, as audience members shift around the space, the sounds also change.

II. Table Piece by Petra Dubach and Mario van Horrik
Table Piece is an improvised performance performed by Dubach and van Horrik using one of NAISA's cafe tables amplified with a contact microphone to become a resonating chamber for sounds triggered by found objects, kitchen tools, their voices and small instruments.

I. Operation Deep Pockets by Chris Malloy
Operation Deep Pockets contemplates the decisionmaking of a curiously loud, arrogant President of the United States. In August of 1964, President Lyndon Baines Johnson made a series of phone calls to direct airstrikes in Vietnam, and to order trousers. In Operation Deep Pockets, we hear audio derived from those phone calls, while wartime images punctuate the president’s dialogue with Secretary of Defense Robert McNamara.

II. these apples by Geronimo Inutiq and Taqralik Partridge
'these apples' is a video by geronimo inutiq that combines digitally treated film of a navajo household - courtesy of the prelinger archives - and a spoken word piece with taqralik partridge, and ambient music.

III. a recurrent dream while driving west near Sand Creek by Chris Malloy and Leanna Kirchoff
On November 29, 1864, when the sun came up over a Cheyenne and Arapaho camp at Sand Creek (in present-day southeastern Colorado), most of the men were away for a hunt. United States Army Colonel John Chivington ordered five battalions — with more than six hundred soldiers — to attack the camp. Over two hundred victims were slaughtered as they desperately sought cover in the vegetation near the creek. Most were women and children.

Captain Silas Soule ordered his men not to fire. Soule later contributed eyewitness testimony to the subsequent Army investigation, which led to Chivington’s resignation. Five months after the Sand Creek Massacre, Soule was assassinated in Denver.

In November 2014, on the 150th anniversary of the Sand Creek Massacre, Colorado Governor John Hickenlooper issued a formal apology to the victims’ descendants.

A recurrent dream while driving west near Sand Creek juxtaposes images from the massacre site with scenes from modern Denver. The sounds are derived from Sand Creek wildlife; a rifle from the period of the massacre; Governor Hickenlooper’s apology; Chippewa teenager Matene Strikes First reading “from Sand Creek,” by Pueblo Acoma poet and ASU professor Simon Ortiz; and California College of the Arts Professor Caroline Goodwin reading “i will not say,” her poem about the role of her great-great-grandfather, John Evans (Colorado’s governor at the time of the massacre).

IV. Fukishima Days by Christine Webster
Fukushima Days is an experimental audio-video project created after the Fukushima nuclear disaster on March 11, 2011 in Japan. Footages have been manipulated with Rutt Etra and Super 8 FX effects by graphic artist Kantoh and edited to fit with the sound work previously created in 2011 by Christine Webster. The whole project confines to a dark and oppressive feeling but not without a sense of tragic beauty. This project is in support of Fukushima’s ongoing list of victims and a warning about the worldwide permanent nuclear threat we have to cope with.

V. cyber.hate.machine - In(side).Your.Face by Pierre-Luc Senécal
In this video, a blend between the aesthetics of heavy metal and the craftsmanship of electronic music, I have explored the powerful appeal of a screaming face, especially the one of three friendly death metal singers. The scream, a cornerstone of the death metal genre, is an excessive gesture, which, far from being an advocacy from hatred, somehow echoes the surreal reality in which we live. Thus, In(side).Your.Face is a very loud joke, a shout of celebration and gratefulness for being alive.

Special thanks goes out to Etienne Roy-Bourque (Nephilim), Laurent Bellemare (Basalte, Tribunal), Yann "Stormblood" Saint-Pierre (Distoriam) and Jean Piché.

I. The Empty Room by Christine Webster
Empty Room is a project dedicated to the exploration of new musical composition and spatialization methods in virtual 3D spaces. The user moves freely trough a virtual plateau in the middle of a giant hypercube orbiting over the earth. All around and inside the plateau a genuine 64-channel audio spatializer is combined to create an abstract and ever changing organic visual environment. Empty Room is a real VR experience – not a 360° film.

II. Dark Game by Eddo Stern
Darkgame is a sensory deprivation computer game. The game plays on physical manipulation of the player’s senses as the central focus of game strategy. The gameplay is based upon the experience of communication and conflict under stress of sensory deprivation and sense isolation. During the game the player is equipped with custom made head gear, applying different sensations to the head that allow for non visual and auditory navigation the virtual world and interaction with other players over the internet. Darkgame is designed to include both vision and hearing impaired players, and was developed and play-tested in part with the Los Angeles Braille Institute. There are four discreet versions of the game (v1 2006, v2 2007, v3 2012, v4 2014).