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( 65 EMMAX 2003 733 images/works/Emmax-Silencing.jpg Silencing Critical Art Benefit for Prof Steven Kurtz. See Critical Art Ensemble and Emmax Site - 2005 Canada audio/emmax-localective2-2006.mp3 119 Gilles Gobeil 1954 1966 images/spacer.jpg La Mécanique Des Ruptures Tracklisting: 1 Le Vertige Inconnu (8:23) 2 Voix Blanche (12:58) Ondes Martenots - Suzanne Binet-Audet 3 Associations Libres (3:00) Electric Guitar - René Lussier 4 La Ville Machine (14:45) Text and Scenario - Lyette Limoges Vocals - François Godin , Hélène Mondoux 5 Rivage (8:44) 6 Nous Sommes Sommes Heureux De... (00:57) 7 Là Où Vont Les Nuages... (11:20) Ondes Martenots - Suzanne Binet-Audet 8 Traces (6:31) - 1994 Canada audio/Gobeil-1990-Associations_Libres.mp3 119 Gilles Gobeil 1954 1980 images/spacer.jpg Le Vertige inconnu This piece won the Stockholm Electronic Arts Award prize in 1994 and was presented at ICMC94 in Denmark as well as at the World Music Days 1994 in Sweden. - 1994 Canada audio/Gobeil-1994-Le_Vertige_Inconnu.mp3 119 Gilles Gobeil 1954 1981 images/spacer.jpg La ville machine When fact abolishes deed, when threat becomes expectation, thought compels the impossible. They believed in it. All of them. An electroacoustic drama. With the voices of François Godin and Hélène Mondoux. Thanks to the students of Nouvelles Querbes School. La ville machine was commissioned by ACREQ for the 7e Printemps électroacoustique with support from the Canada Council. La ville machine was composed in collaboration with writer Lyette Limoges. - 1992 Canada audio/Gobeil-xxxx-La_ville_machine.mp3 89 Tilman Kuntzel 1959 1553 images/works/Kuntzel-1998-einklein.jpg EIN KLEINER ROSENGARTEN 72 silk roses with integrated lamps switching themselves on and off via a heat-sensitive mechanism. Electronic device which renders audible the individual intervals of lighting via piezo-electrical transducer (aleatoric rhythm). - 1998 Canada audio/Kuntzel-1998-klienerosen.mp3 89 Tilman Kuntzel 1959 1538 images/works/Kuntzel-1998-windsocks.gif THE SONIC WINDSOCKS I wanted to transmit the intensity of wind - that should not lack there - into acoustic incidents with it. As it should be as easy to realize as possible, I used egg-slicers that should ‘take the role’ of a ‘wind harp’ in the wind canal of the windsocks. The vibration of the fine strings should be caught with a contact microphone and made audible through an amplifier. The festival suggested the most suitable place for it: “Signal Hill”. Signal Hill owes its name to the towering position high above the natural harbour entrance that seems to be cut through the rocks; even in the Middle Ages flags gave signal when ships had been sighted. Different flags marked different goods that had been carried by the ships. Through this, all necessary preparations for the ships entering the harbour could be made in good time. Maybe this name was the reason that the place caught Guiseppe Marconi’s attention. But it is morelikely that the young physicist marked this point on the map because it is the easternmost point of Canada. His ambitious aim was to send radio signals from England across the ocean. He was the first person to manage this in December 1901. Signal Hill is also the place that honours the supposed discoverer of Canada1 - the seafarer John Carbot - with the “Carbot Tower”. In the year .... he declared Canada a British colony on behalf of the British Crown in St. John’s harbour. Soundscape through wind intensity. 1998 Canada audio/Kuntzel-1998-windsox1.mp3 3 Dan Lander 1953 692 images/spacer.jpg I’m looking at my hand This music was made at home - 1990 Canada audio/Lander-1990-Im_looking_at_my_hand.mp3 3 Dan Lander 1953 1976 images/spacer.jpg Virtual Reality: The First Swim My first experience of (or in) virtual reality was Robert Mc Faddens Picture Yourself in Fiction which was produced as part of The Banff Centres Art and Virtual Environments project. Speaking into a microphone as I worked my way through the program, I later gained access to my verbal responses via digital audio editing. Virtual Reality: The First Swim was produced at EARS Studio, The Banff Centre, utilizing the Soundtools digital editing program. - 2000 Canada audio/Lander-2000-Virtual_Reality.mp3 60 Christof Migone 1974 1000 images/spacer.jpg Danger in Paradise This radio program began on November 17, 1987. It was neither spoken word nor music. Through its seven years,techniques and approaches continually changed, both in theory and practice. Danger in Paradise included live interventions by Bruire (Michel F. Côté and Martin Tétreault), Caboose of Fear, Claude Lamothe, les Pois zont Rouges, Yximalloo, Festival of the Swamps, Lisle Ellis/John Heward/Lloyd Garber, Sue Ann Harkey and Sylvain Côté, and Roughage. In 1990 several special live to air programs were devised utilizing the telephones. Invitations to participate were sent out in the form of post cards and one appeared in the Montréal Mirror classified section. This program, aired in November of 1990, was entitled Describe Yourself and was concerned with defining the radiophonic through descriptions that callers gave of themselves. Counting Meaning was a two-hour program for numbers only and included an (ac)count of Erik Saties Vexations. Deliberate Inhaling was a program scored for tones, test records, elastics, awkward breathes, whistles and you. In 1991 several special live to air programs were devised utilizing the telephones. They were Answer me (November) which constructed a normal mode of conversation via telephone answering machine recordings; What is it? (September), where the callers descriptions of objects (can I touch it?) proved that seeing did not necessarily imply an ability to name it; Dangerous Spelling (February), a work simultaneously (mis)spelling words and casting spells; and Body Map, with Julia Loktev, in which a reclining body was transposed onto a map of Montréal. People phoned in to discover on which part of the body they resided, setting up a starting point for the unexpected. They were asked to make a noise with it, how they moved around the body, if they had any out-of-body experiences ... 1987 - 1994 1987 Canada audio/Migone-1987-paradise.mp3 60 Christof Migone 1974 2432 images/spacer.jpg Headholes - 1990 Canada audio/Migone-1990-HeadHoles.mp3 60 Christof Migone 1974 987 images/works/Migone-1995-open.jpg The Technology of Entrapment: Open Your Mouth For all of radios broad and far reaching casts, the radio booth rather resembles an implosion. A foreboding cubicle at its point of production in antithesis to its expansive space of diffusion. Wired, convoluted and cramped, the radio booth resembles an inaminate brain rather than a great communicator. Radio is not only constrained by commercial interests and governmental regulations but by itself. The obfuscation of its apparatus is endemic. Radio naked, stripped of its hardware becomes radiophony, becomes metaphor. Radiophonic sites are numerous and refer not to radios technology but to its character. The confessional is one such radio phony, a radio without transmitter. As with radio the confessionals claustral architecture exists in paradox of its far reaching impact. In the installation for Radio Rethink entitled Open Your Mouth and Let The Air Out, the radio booth Ðcranium cockpitÐ was transformed into a computerized and personalized confessional. A call-in radio program becoming a call-within program; a site where obsessions, absurdities, non-sequitors, and frustrations find a home. Radio does not knock at your door, it lets itself in. Once in, it hunts you down with game calls, calling to air your confession. Bound tightly in the radio confessional we –a call-in guest and me, the host– amalgamate via mimicry. Roles confuse themselves: I find myself ousted from my radio booth chair by my desire to wander in the rough terrain of conversation, controlling not even mouth and feet. Trapped into a confession, we can unravel ourselves by stumbling noisily into thousands of ears.Naked, radio becomes the in-between separating one from another. In the case of the confessional, the partition traditionally transmit sins and absolutions. The airwaves are the ideal playground for two strangers to have an intimate conversation. You can perform a pas de deux, you can step on each other s toes in the imaginary confines of the radio confessional. The conversation does not have to go anywhere, like a dance, it can twirl and twine. I bored her, You bore me ! she said. I said: I think your voice became mine as soon as you called. Trapped into a radio, we sink our teeth into its electricity and find our speech running away without us. - 1992 Canada audio/Migone-1992-OpenYourMouth.mp3 60 Christof Migone 1974 977 images/works/Migone-1996-761-4841jpg.jpg SeptSixUn-QuatreHuit QuatreUn for this piece I called everybody in the world with my telephone number (but different area/country codes). sometimes the number was not activated, sometimes the person answering and I had no language in common, sometimes people insulted me and hung up once I told them the reason for my call. an exploration of the tenuous connection people with the same phone number but different area codes might have. a mapping of identity via coincidence. - 1996 Canada audio/Migone-1996-761-4841excerpt.mp3 60 Christof Migone 1974 976 images/works/Migone-1996-jemeteparle.gif je me te parle a voice speaks through anothers voice. of nothing in particular, everything and nothing. it is unscripted. the voice speaks to the headphones of the other voice. the public only hears the second voice. the second voice is instructed to say and repeat only what the first voice says. but of course that doesnt always quite work, the ventriloquism is not perfect. the second voice reacts to what it hears at the same time as it repeats it. sometimes it loses track of the words, sometimes it starts laughing, sometimes it doesnt understand. - 1996 Canada audio/Migone-1996-je_me_te.mp3 60 Christof Migone 1974 972 images/works/Migone-1998-jeudi.jpg un jeudi téléphonique hello, hello, hello, hello, hello, hello, hello, um... hello, hello, hello, hello, hello, hello, hello, um... hello, hello, hello, hello, hello, hello, hello, um... hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, um... hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello,hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello, hello. - 1998 Canada audio/Migone-1998-un_jeudi_telephonique-.mp3 60 Christof Migone 1974 983 images/spacer.jpg Solar Plexus Audio piece consisting of microphone intrusions, bad singing, sporadic moaning and half-hearted humming. Concentrating on the minute, the hereto insignificant, those tiny moments. On the surface Solar Plexus accomplishes nothing. Once submerged, though, all youll need to breathe are ear plugs. In and out of claustral spaces. The inside of a boiling pot, of a fire out of control, of a sleeping bag in the summer heat, of a mother in an elevator reciting poetry, of an ear plug in fear of an alarm, of a loud headphone forest walk, of a ... The insound of an inside. These soundscapes of internal spaces are connected by blinks. Blinks coming from your ears. Solar Plexus is composed of three sections: Blinks, Thresholds, and Crawls. It is further divided into boils, fires, fountains, suffocations, swallows, descents, and pain directives (amongst others). BLINKS boil fire fountain suffocation lac maman ear plugs nose and rings towards descent THRESHOLDS boil melodies pain directives identikit saut avec imaginaire jesus de montréal te amo CRAWLS boil hair lost loudspeak rien lost again land count recordings from Montréal, Geneva, Bay of Fundy, Laurentians, Innsbruck. voices: Tammy, Gen, Martha, Ed, Sarah, Becky, Stewart, Bruce, Liam, Pierre, cab driver, singing group on safely landed plane. thanks to Bryan, Martha, Bruce. produced at PRIM Studios in Montréal, 1993-1994. - 1994 Canada audio/Migone-2003-solar_plexus_(2003_edit)(2).mp3 60 Christof Migone 1974 967 images/spacer.jpg Ni (ni vu, ni su, ni connu) The CD project consisted of pairing up audio artists with the work of photographers who had exhibited at Galerie VU. Each audio artist would produce a piece inspired by the photographs. I picked Jack Burman, whos work I hadnt seen, and I asked the Gallery to send me digitized images of his work. Without looking at the images, I converted the images files to sound files (with the software program SoundHack ) and constructed a piece from there. Once the piece was finished, I looked at the images and heard the result. - 1999 Canada audio/Migone-ni_vu_ni_su_ni_connu.mp3 1 Barry Truax 1947 2446 images/spacer.jpg The Blind Man - 1979 Canada audio/Traux-1979-the_blind_man.mp3 1 Barry Truax 1947 2447 images/spacer.jpg Wave Edge - 1983 Canada audio/Traux-1983-wave_edge.mp3 1 Barry Truax 1947 2448 images/spacer.jpg Solar Ellipse - 1984 Canada audio/Traux-1984to5-solar_eclipse.wav 1 Barry Truax 1947 1996 images/spacer.jpg Song of Songs: (Evening - Third Movement) Evening is the third movement of Song of Songs which is based on texts from the Song of Solomon. Readings of these texts by Norbert Ruebsaat and Thecla Schiphorst are heard along with the voice of a monk from SS. Annunziata, a monastery in Amelia, Italy, plus recordings of a crackling fire made by Robert MacNevin for the World Soundscape Project tape collection. All sounds are processed with techniques of granulation to stretch and harmonize them such that their lyrical content is brought out. The full performance version of the work will include Lawrence Cherney playing English horn and oboe d’amore and computer graphic images by Theo Goldberg.Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) If you have any interest at all in granular synthesis, get this disc and see how it is used by a master. (Warren Burt, Computer Music Journal, 23(4), 106) Song of Songs presents both the state of the art in electronic sound production and the expressive power that a mature composer can bring to the medium... All the pieces on this CD will reward repeated listening but Song of Songs moves beyond being merely interesting: it challenges listeners both to immerse themselves in the soundscape and to step back and decipher it. (Paul Hertz, Leonardo ) Accessed 27.04.2008 from - 1992 Canada audio/Truax-1992-Song_of_Songs-Evening.wav 1 Barry Truax 1947 1997 images/spacer.jpg Bamboo, Silk And Stone (Excerpt) This piece was created with Randy Raine-Reusch. Most of the sounds are derived from the Chinese guzheng, a stringed instrument. The title refers to three of the natural elements of the world according to Chinese philosophy.Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) - 1994 Canada audio/Truax-xxxx-Bamboo_Silk_And_Stone.wav 5 Hildegard Westerkamp 1946 2001 images/spacer.jpg Lighthouse Park Soundwalk Lighthouse Park Soundwalk was one in a long series of soundwalks produced as part of my radio programme Soundwalking on Vancouver Co-operative Radio between 1977 and 1979. Lighthouse Park is a forested park on the rocky shoreline outside of Vancouver, where much of the old growth forest has been preserved. The sounds in this piece consist of the parks soundscape as I walked through it and my own voice. As was done in all soundwalking programmes, the spoken voice was recorded live, on location, during the recording of the soundwalk. It is my own voice and most of the spoken words are quotes from Westcoast painter Emily Carrs writings about the sounds of forest. Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) 1977 Canada audio/Westerkamp-1977-Lighthouse.wav 5 Hildegard Westerkamp 1946 1998 images/spacer.jpg convergence radio Excerpts fromFour Radio Report on the 1989 CEC Electroacoustic Days, convergence at The Banff Centre for the Arts, Alberta. These radio programs were realized with the assistance of the Media Arts Service of the Canada Council, the Music Gallery (Toronto) and The Banff Centre for the Arts. Claude Schryer was artistic coordinator of convergence. The four part radio series (2 in French, 2 in English) is available on cassette from the Canadian Electroacoustic Community (CEC).Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) - 1989 Canada audio/Westerkamp-1989-Convergence_Rad1.wav 142 John Wynne 1965 1919 images/spacer.jpg $75 CDN This piece consists of fleeting windows on other pieces and recordings made by the composer. The most tangible sounds are those of the equipment in the very studio in which the piece was created, their microscopic claustrophobia contrasting starkly with snatches of a Canada Day parade. Appeared on compilation Présence I 1996 Canada audio/Wynne-1996-75_CDN.mp3 5 Hildegard Westerkamp 1946 2488 images/works/Westerkamp-xxxx-Attending.jpg Attending to Sacred Matters What do we consider to be sacred in our lives and how do we attend to it? This question, my travels in India and my long-standing environmental concerns formed the impetus for this composition and are somehow brought together here. The sacred is deeply meaningful in Indian culture and, on a daily basis, people visit temples or other holy places of the many different religions. The piece is working on two levels: on the one hand it tries to grapple with the almost chaotic multitude of religions in this country and on the other hand it wants to create a place of inner stillness, a sacred place of energy, attention and creativity, of deeper listening. Regular religious practice is very much a part of people's lives in India and exists on a much wider scale than in North America and Europe. Consequently, the sounds of religion are also abundantly present in the Indian soundscape - from their most prominent and raucous form of distorted loudspeakers broadcasting religious chants into the environment for hours at a time, to their more intimate, quiet form of a group of people, for example, participating in a dawn ritual in a local park. Attending to Sacred Matters is based on the sounds of the many religious and spiritual practices that I encountered and recorded in India - such as the chanting from the Sikh Golden Temple in Amritsar, bells and ritual sounds from various Hindu temples, sounds from an Ashram in Rishikesh and the voice of Swami Brahmananda, Muezzins calling for prayer from various mosques, chanting at dusk on the Ganges in Rishikesh, voices of people naming Hindu Gods and Godesses, bells from a Jain temple, the chanting of OM, and so on. In addition, there are the sounds of water and the voice of environmental activist Vandana Shiva. People in India often speak proudly about the fact that many religions can co-exist peacefully in their country. And then deep disappointment is expressed when one violent incident, such as the destruction of the mosque in Ayodhya in 1992 by politically extreme Hindus, causes once again the eruption of hate between religious groups. When I started to work on this piece, it was precisely with the idea of celebrating, through the "language" of sound, the peaceful co-existence of different religious and spiritual belief systems. Now, in the face of the many voices of hate, violence, aggression, war and sensational journalism, I have felt an urgency to create a listening experience, a "tone", a place of listening, that allows the more hidden voices in us of peace and human compassion to emerge and to speak out with conviction. A shorter version of Attending to Sacred Matters was commissioned by the Association of Canadian Women Composers with the assistance of the Canada Council. Attending to Sacred Matters is dedicated to my friend Veena Sharma who took me to many holy places in India, including the Ganges in Rishikesh. SOUND SOURCES Voices: Swami Brahmananda, Rishikesh Pracharya Padmanabha Sharma, Delhi Vandana Shiva, speaking at the International Water Conference in Vancouver, Canada, July 2001 Situ Singh-Bühler, Delhi Hindu chanting in Rishikesh and Pushkar Muezzins in Nizamuddin, Delhi and Kollam, Kerala OM singer during morning ceremony in Janakpuri District Park, Delhi Sikh chant: Golden Temple, Amritsar Single child at the Ganges in Rishikesh Women chanting in Brahma Temple in Pushkar Bells: Temple bells in Delhi, Pushkar and Rishikesh Accessed 12.06.2009 from - 2000 Canada audio/Westerkamp-2000-Attending.mp3 119 Gilles Gobeil 1954 1955 images/spacer.jpg Behind the Remotest Door À Oscar et Janine Wiggli (Behind the Remotest Door…) A few images from a travel in Italy: the trickling of the “pozzo etrusco” in Perugia, the hum of the “vaporetto” in Venice, a guided visit of the cathedral in Torcello, children cries echoed under the dome of Santa Maria della Salute…. A deep murmur opens the piece, harboring sounds as of a deep, slow breath. Jingle jangle wrenchings are inhaled, exhaled, as if you were deep inside the belly of the monster, or maybe hid away on an old wooden bench in a dark corner of a cathedral or age-old church… The liberating sound of running, trickling water refreshes for a while… but suddenly the echo of the sounds indicates a much smaller space, and you hurry in flight down stinking sewers. A sound as of an elevator maybe means that you’re reaching safety, but an enormous, dense factory wall of noise holds you back… A richness of timbre and of millions of grains of sound suddenly halts, as a distant propeller airplane sound is detected from a distance, in the sudden silence. Once again the sounds hit head on, like someone just pushed a button or pulled a lever, but then again this music could be an illustration to the travels after death, through the bewildering landscapes of Karma that are described in the Tibetan Book of the Dead… so just aim for the Light, and fear not these grim faces staring at you from the walls, these murky hands reaching out at you from the slimy corners, because they’re just remnants of bad deeds, manifestations of ill thoughts… so hold on to the best within yourself and aim fearlessly ahead. Accessed 15.11.06 from - 1998 Canada audio/Gobeil-1998-Derrière_la_porte.mp3 142 John Wynne 1965 3953 images/spacer.jpg Someone else has died Created during a year long residency at Harefields transplant hospital 2008 Canada audio/wynne-someone_else_has_died_(edit).wav 27 R. Murray Schafer 1933 188 images/spacer.jpg World Soundscape Project 1973 Canada audio/SchaferandTruax_1973-What_is_soundscape_Soundscapes_of_Canada.wav 164 Gordon Monahan 1956 3036 images/works/Monahan-1982-speaker.jpg Speaker Swinging Speaker Swinging is an experiment for three or more swinging loudspeakers and nine audio oscillators in an enclosed space. The idea comes from hearing such things as Leslie speakers, moving vehicles with broadcasting sound systems, airplanes, and other moving sound sources, both industrial and organic. The subsequent acoustical processes of phasing, vibrato, and tremolo are fundamental to the work, as are the elements of sweat, struggle, fear, and seduction. Speaker Swinging grew out of a desire to animate the typical electronic music concert and in effect, to realise the loudspeaker as a valid electronic music instrument in itself. The rotary speaker motion and the corresponding Doppler shifts can become metaphors for the molecular movements of electrons that occur within solid state tremolo and vibrato circuits. It mimics these miniature processes that not long ago were modeled on human-scale mechanical-acoustic systems. By making reference to the atomic, it necessarily acknowledges the celestial. Speaker Swinging was first inspired by hearing Trans Am automobiles cruising on a hot summer night with Heavy Metal blaring out of the windows. As the cars cruised by, there was that fleeting moment of wet, fluid music, when one tonality melts into another. ©Gordon Monahan 1982 Accessed 02.07.2007 from - 1982 Canada audio/Monahan-SpeakerSwinging1.wav 164 Gordon Monahan 1956 3111 images/works/Monahan-2003-when_it_rains.jpg When It Rains When It Rains is an interactive-automated-sound-sculpture-environment, consisting of a set of home-made sound-making instruments. Pre-programmed musical sequences play on an ensemble of kinetic sound sculptures. These sequences are triggered by data input from viewers. The data is processed through a computerized-random-decision-making-process that determines which sequences are played and how many sequences are layered upon each other. At the centre of the kinetic instruments are two ‘Tilting Instruments’ that consist of metal tubes in which ball bearings roll up and down, as in a ‘rainstick’ (a traditional South American instrument). The tubes are balanced at their fulcrum point and will tilt back and forth intermittently as weights (bags of water), suspended from each end of the tubes, fluctuate. The rolling of ball bearings inside the metal tubes is indeterminately-controlled by the dripping of water out of the water-bags that are in balanced suspension from the end of each tube. The drips fall on amplified percussive instruments (metal and wood based objects) in rhythmic patterns; the choice of patterns is determined by the interactive midi-data received by the computer. An element of suspense arises as we await the tilting actions, and as with a scale, the tilting instruments symbolise comparative processes. These tilting instruments, combined with metal sheets and amplified piano strings, will produce a montage of sound imagery that stimulates the listener to examine the question of ‘opposites’ and ‘contradictions’ in sound and musical phenomena. The central compositional concern is to use the ‘primitive sounds’ (e.g. water dropping on amplified metal, etc.) to imitate ‘technological sounds’ (e.g. electronic samplers imitating natural sounds) that are not present in the installation but whose acoustic images reside in the perceptual memory of the modern listener. Accessed 05.01.2008 from - 2003 Canada audio/Monahan-WhenItRains.wav video/Monahan-2005-When_it Rains.mpg 269 J. Milo Taylor 1972 4142 images/works/EH_myspace_bg.jpg Empire Hotel Radio Scan Arriving 2 days early for masterclass series ‘The Art of Immersive Soundscapes’ in July 2007 Regina, Saskatchewan, Canada, I found myself in the cheapest place in town; The Empire Hotel. 8 hours by Greyhound bus from Winnipeg airport across flat, rolling endless prairie. The room was $25 a night and it hadn’t been changed in 25 years. Everything was run down and battered. A Friday night. alone in the prairies. I locked myself into my room and scanned the FM radio frequency band searching for company. 2 hours of recordings were made and this material was shaped into an 8 minute sound composition. 2007 Canada audio/Taylor-2008-Empire.wav 1 Barry Truax 1947 4245 images/spacer.jpg Pacific Fanfare Pacific Fanfare was composed to mark the 25th anniversary of both the Vancouver New Music Society and the World Soundscape Project at Simon Fraser University. It is comprised of ten soundmarks recorded by the WSP in the Vancouver area either from the early 1970s or more recently, and thus reflects the changing soundscape of the city. The various sound signals are heard both in their original state, and digitally resonated and time-stretched in order to let them "resonate" in our own memories. Pacific Fanfare is available on the Cambridge Street Records double CD Soundscape Vancouver 96 and the Cambridge Street Records CD Islands. Accessed 09.06.2009 from for two digital soundtracks (3') 1996 Canada audio/Truax-xxxx-pacificfanfare2.wav 1 Barry Truax 1947 1 images/spacer.jpg Islands 2001 Canada audio/Truax-xxxx-Island.wav 1 Barry Truax 1947 4246 images/spacer.jpg Vancouver Soundscapes This project is a double-CD and booklet "Soundscape Vancouver" which includes most of the original recordings published in 1973 by the World Soundscape Project at Simon Fraser University in its landmark study of the acoustic environment of Vancouver, plus new digital recordings and compositions made in the 1990s by Robert MacNevin that show the changes in Vancouver's soundscape in the intervening years. The CD production is the final stage in a larger project called Soundscape Vancouver '96, which occurred during May/June of that year. On the accompanying page you will find a detailed description of the project, its historical background and its significance to Vancouver. Soundscape Vancouver '96 was organized by the World Forum for Acoustic Ecology (WFAE) (Vancouver) in close collaboration with the Goethe Institut (Vancouver), the School of Communication at Simon Fraser University, the Vancouver New Music Society, and the CBC. The CD includes: * excerpts from The Vancouver Soundscape records, produced in 1973 by the World Soundscape Project, including Vancouver's signals and soundmarks, natural and urban ambiences, and an illustrated talk by R. Murray Schafer on Acoustic Design; * a short documentary comparing recordings of soundscapes in the City between 1973 and 1993; * five soundscape compositions about Vancouver using the new digital recordings from the 1990s, created by Darren Copeland, Claude Schryer, Sabine Breitsameter, Hans-Ulrich Werner and Barry Truax. Vancouver's growth and enormous changes within the last 20 years are reflected in its soundscape. This CD production wants to place soundscapes from today and the 70s side by side precisely to make these changes audible. The accompanying booklets contain texts addressing some of these issues, program notes for the new compositions, and selected sections reprinted from the original two-record set. Soundscape Studies is a field that was born in Vancouver through the World Soundscape Project under the direction of R. Murray Schafer in the early seventies. It was at that time that The Vancouver Soundscape was produced. It was probably the first comprehensive study and aural presentation of the soundscape of a city, and as such established a precedent that has been influential around the world. Recently various new CD's have appeared presenting the soundscapes of other cities (e.g. Amsterdam, Madrid, Brasilia, Lisbon and others). However, The Vancouver Soundscape has been long out of print and essentially become a collector's item. Barry Truax, Hildegard Westerkamp, and recently Susan Frykberg, have continued the legacy of the World Soundscape Project at Simon Fraser University through a program of courses in Acoustic Communication. This work is now known throughout the world by many educators, composers, musicians, architects and people in other disciplines, and much consciousness has been raised towards the quality of the acoustic environment. In fact, in international circles Vancouver is recognized as the original centre for soundscape studies. For this reason it is particularly timely to publish this double CD and booklet now which listens back into the seventies and "revisits" the Vancouver Soundscape 20 years later. Not only has there been an enormous change in the soundscape itself but also in the way the soundscape is documented and thought about. Audio technology and recording equipment can now be used in similarly portable ways as a camera and as a result the soundscape can be recorded, reproduced, composed and processed by more people than ever before. This was not possible 20 years ago. The CD and booklet is not only meant to expand listeners' horizon towards Vancouver's soundscape and raise consciousness about its quality, but it also wants to raise questions such as: how do we listen and behave acoustically in everyday life; how can we acquire a "sense of place" and belonging from our soundscapes; are there ways to design liveable soundscapes in urban environments? At the same time it offers an artistic interpretation of the acoustic environment of Vancouver and presents the city as a "sounding" place. Background to the CD Project Soundscape Vancouver '96, a four week Composition Workshop with Symposium and concluding Concert May 6 - June 8, 1996. Two German and two Canadian radio artists/composers were invited during the month of May to create sound works about Vancouver, utilizing the extensive environmental sound archive at Simon Fraser University as well as their own recordings. The artists (from Germany: Sabine Breitsameter and Hans-Ulrich Werner; from Canada: Darren Copeland and Claude Schryer) offered to us personal sound portraits of our city, musical glimpses into their experience of listening to Vancouver. Coincidentally this project occurred at the same time as the Urban Noise Task Force (UNTF) at City Hall is applying a critical ear to the quality of Vancouver's sound environment. One of the first attempts at creating a sonic portrait of a city was made right here in Vancouver in the early seventies by the World Soundscape Project under the direction of R. Murray Schafer. The result was an unusual and at that time experimental, adventurous publication of a two-record set and book called The Vancouver Soundscape. Since then, the activity of "sketching" a city's acoustic image with the use of recorded sounds has fascinated many composers and audio artists around the world. It has become a new forum for speaking about place and environment, in particular in countries where radio is perceived as an artistic medium and radiophonic experimentation is understood as part of cultural life. Places like Madrid, Brasilia, Lisbon, Amsterdam, Tokyo and Buenos Aires have been "portrayed" on the radio airwaves and on CDs. Now, twenty years later, four artists have explored the acoustic environment of Vancouver again and have given us their sonic impressions of this city in the Nineties. A final concert (June 7, 1996) presented these works to the public, as well as short excerpts from the original Vancouver Soundscape recordings, created twenty five years ago. An 8-channel computerized diffusion system, developed by Barry Truax at Simon Fraser University, transformed the conventional concert hall environment into an electroacoustically enhanced place for soundscape listening. This concert was part of the International New Music Festival, organized by Vancouver New Music and the CBC. It was also part of a one-day symposium (June 8, 1996) organized by the Goethe Institut Vancouver in conjunction with members of the WFAE, and with the Sonic Studio at the School of Communication at SFU. The two German composer's travel and residence were made possible with the support of the Goethe Institut Vancouver, the two Canadian's travel and residence by the Media Arts Section of the Canada Council. The successful completion of the compositions, their presentation in the concert, as well as the symposium, has led us to the next and obvious step: to document the pieces and make them available on CD. It not only provides an example of the type of work done in the area of soundscape and acoustic ecology, but also puts into perspective the growing awareness of and concern for the quality of the acoustic environment. The CD is designed to function as an "ear-opener" to the environment and alert Vancouverites and others to issues of noise pollution and acoustic ecology at a time when the city's sound environment is in danger of growing out of control as the city expands rapidly. Accessed 09.06.2009 from 1973 Canada audio/Truax-xxxx-Vanscape6.wav 1 Barry Truax 1947 4244 images/works/Truax-2009-Chalice_Well Chalice Well Chalice Well is a holy well situated at the foot of Glastonbury Tor in southwest England, thought to be originally the island of Avalon from Arthurian legend, and the site where Joseph of Arimathea placed the chalice known as the Holy Grail. According to legend, the Tor, a masculine symbol, is hollow underneath and the entrance to the underworld, guarded by the Grail. The well, on the other hand, is a symbol of the feminine aspect of deity, and its waters are believed to possess healing qualities. This soundscape composition takes the listener on an imaginary journey down into the well, passing through several cavernous chambers on its descent, filled with rushing and trickling water, including the chamber of the feminine spirit. The journey continues to the glass chamber, then to the gates of the underworld, only to be confronted by the image of the Grail, and finally coming to rest in the space where wind and water, the masculine and the feminine, are combined. Chalice Well was premiered in the Sonic Lab of the Sonic Arts Research Centre (SARC) in Belfast, in March, 2009 on their 32-speaker rig positioned on four different vertical levels, above and below the audience. Accessed 09.06.2009 from for eight digital soundtracks 2009 Canada audio/Truax-xxxx-Chalice2.wav 1 Barry Truax 1947 3817 images/spacer.jpg Prospero's Voyage Prosperos Voyage returns to the mythical island of the piece Island (2000), except that this time it is Prosperos island from Shakespeares The Tempest. The work begins with a Shakespearean actor, Christopher Gaze, intoning Prospero s final speech from the play, Now are my charms all o erthrown …, which culminates with the phrase Let your indulgence set me free. Hence the premise of the piece is what happens when Prospero leaves the island? Before he leaves, however, there is a rainstorm and a scene where Prospero is circling the listener intoning a fragment of the speech from the play. In the next scene, he walks towards the beach, and with a final incantation enters the water and is submerged by it. His underwater voyage is interrupted by several surfacings, but eventually this underwater dreamworld leads to a very distant place where the piece concludes with Macbeth s speech that ends with to the last syllable of recorded time. In other words, the work may be interpreted as a theatre piece that takes place in the future where such magical effects could be possible, e.g. a perfect recreation of a soundscape that interacts with the performer and transforms his sounds. Or, it can be understood as a voyage of the imagination where Prospero, symbolizing the creative powers of the artist, leads us through the depths of the imagination to its furthest point. Original sound recordings by the World Soundscape Project and the composer. Prospero s Voyage is available on the Cambridge Street Records CD, Spirit Journies. Note: the 16- and 8-channel versions of this work were created with Richmond Sound Design s AudioBox computer-controlled diffusion system. Accessed 27.04.2008 from 2004 Canada audio/Truax-xxxx-Prospero.wav 1 Barry Truax 1947 4243 images/spacer.jpg Androgyny a spatial environment for four computer-synthesized soundtracks (17') 1978 Canada audio/Truax-xxxx-Androgyny.wav 5 Hildegard Westerkamp 1946 4247 images/spacer.jpg Whisper Study composed 1975-9 Length: 11:30 Whisper Studyis based on the sentence "When there is no sound, hearing is most alert" (a quote from the Indian mystic Kirphal Singh in Naam or Word).Except for the distant horns, all sounds were derived from my own voice, whispering the above sentence and the word "silence". Whisper Studystarted out as an exercise in exploring basic tape techniques in the studio and using the whispered voice as sound material. Eventually, it became a piece about silence, aural perception and acoustic imagination. Whisper Studyexplores the place or moment where sound ends and its image begins. The poem "When There is No Sound" by Norbert Ruebsaat was written in direct response to Whisper Study. The poem in this version is spoken by myself inside a soundscape of icicles and footsteps in snow, which originally was created for my radio series Soundwalkingon Vancouver Co-operative Radio in 1978/79. Eventually this section was mixed with the last part of the original version of Whisper Study. Available on cassette! Accessed 12.06.2009 from 1975 Canada audio/Westerkamp-1975-Whisper_Study.wav 1 Barry Truax 1947 3818 images/spacer.jpg Temple 2002 Canada audio/Truax-xxxx-Temple.wav 1 Barry Truax 1947 4242 images/spacer.jpg Steam Steam is a homage to the unique Canadian whistles and foghorns that populate the nations's soundscape from coast to coast. Some are actual steam whistles, but most are the air horns designed by Robert Swanson to imitate their earlier counterparts, the most famous being the E-flat minor triad of the transcontinental Canadian Pacific Railway and the O Canada horn in Vancouver. Other horns that are heard in the piece are a shift whistle in Prince Edward Island, a steam foghorn in New Brunswick, the Royal Hudson steam train, the West Coast Express, the CPR and Chemainus mill shift whistles, all from the West Coast. The rich timbres of these horns provide a set of pitches that are elaborated in the live part. The work is dedicated to the memory of Robert Swanson, one of the most significant designers of the Canadian soundscape. Steam was commissioned by Kathryn Cernauskas. Original sound recordings by the World Soundscape Project and the composer. Steam is available on the CD, Big Flutes, published by Chenoa Anderson, and the Cambridge Street Records CD, Spirit Journies. Accessed 09.06.2009 from for alto flute and two digital soundtracks (8.5') 2001 Canada audio/Truax-2001-Steam.wav 5 Hildegard Westerkamp 1946 4254 images/spacer.jpg MotherVoiceTalk Premiere: February 20, 2008, Vancouver East Cultural Centre. The making of MotherVoiceTalk was a journey in search of resonance with the work and life of Roy Kiyooka. My task as I perceived it, was to ‘listen’ to Kiyooka’s artistic and personal voices on all possible levels and bring them into dialogue with the musical, sonic tools of my own compositional and personal voices. The final piece emerged out of this process of listening and was, to say the least, a bit of a surprise to me! Perhaps I could call it a ‘thought piece in sounds and words’. It was created within the context of Marginalia, re-visioning Roy Kiyooka, a project by Vancouver New Music. Three other B.C. composers—Jocelyn Morlock, Stefan Smulovitz, Stefan Udell— and I were commissioned to compose works that would emerge out of a process of researching, getting-to-know, grappling with, and creating an inner dialogue with Kiyooka’s divers artistic output. From the start I was curious about the relationship between Kiyooka’s Japanese-Canadian past—his coming of age during WWII and thus inside Canada’s so-called enemy-alien culture and language—and his strong position inside the contemporary English-Canadian cultural scene during his adult life. Like so many other Canadians, myself included, he carried within himself another language and culture and learnt to integrate it into the cultural environment of the Canadian world around him. This makes for a unique inner dialogue and is bound to find its expression in any artistic work, however conscious or subconscious it may be. Kiyooka’s book Mothertalk, created from interviews with his mother, accompanied me throughout the making of MotherVoiceTalk. Roy seemed to connect frequently and strongly with his mother in her old age, just as I have been connecting with mine for many years now—connecting in other words, with their powerful female presence in us, their stories and thus the language of our childhoods. Listening to some of the tapes that Roy Kiyooka had made himself or that were made of his readings, musical improvisations and presentations, I was struck by the multitude of moods and expressions in his speaking and sound making. Short excerpts of these became the sonic/musical materials for this piece, e.g. sounds from his zither, or ‘harp’ as he would call it, from a whistle, and his spoken voice. The Japanese voice of his mother Mary Kiyoshi Kiyooka, and the German voice of my own mother, Agnes Westerkamp, both found their way into the composition. Many thanks go to Giorgio Magnanensi and Vancouver New Music for setting up this impossible challenge and to Matsuki Masutani and Fumiko Kiyooka for unearthing some of Roy’s recordings. And my special thanks go to Peter Grant, Margaret and Tom Taylor, Agnes Westerkamp with Renate Buck and Jolanta Penrak. They provided me with the places and times for retreat that I needed in order for this meeting between two artistic/personal languages to occur and MotherVoiceTalk to emerge! Accessed 12.06.2009 from For two digital soundtrack 2008 Canada audio/Westrkamp-2008-mothervoiceexcerpt2.wav 5 Hildegard Westerkamp 1946 2490 images/works/Westerkamp-xxxx-Breaking.jpg Breaking News for Caleb These are not so much programme notes but rather a series of thoughts that occurred while working on Breaking News. My grandson was born two and a half months after September 11, 2001. Many children have been born since, breaking the news to us, like he did, of birth and new life and thereby tipping the balance in our lives in favour of love and joy, rather than hate and terror. And still, the news of life in that sense is relegated to personal life and does not carry the same weight and importance in political and public life. It seems to have no bearing on the war actions of those in power or those vying for attention and power through crime and terror, whether they are politicians, terrorists or large corporations forcing their economic visions onto the world. Most broadcasting media play along with this view of what is important news: breaking news in the media tend to be preoccupied with death, war, crime, disaster, terror, not with birth and new life. And the loss of human life in these contexts becomes "collateral damage" in the language of those who cause the deaths. This piece, Breaking News is an attempt at a tiny balancing act by bringing into the forefront the sounds of new life-an embryo's heartbeat, breathing, breastfeeding, a young baby's voice, etc. These are sounds that we rarely hear in the media and yet they represent a most important driving force in our lives. They speak with energy and resilience, they tell us of vulnerability and how fragile life really is, they make us happy and sad, they speak with urgency, immediacy, with desperation, with joy, with need and desire. Every moment brings new information, every sound brings dramatic news of how this new life is growing into this world. The sounds tell us what is at any one moment. September 11, 2001 had terrible news of death and destruction for us. Within less than 24 hours of the terror attacks in New York, many TV stations had created a visual logo, a headline and theme music to announce the breaking news with additional drama. Suddenly the terror attacks were being produced for TV, as if they were a movie. What was beginning to terrorise TV audiences in addition to the actual events was their fictionalisation in the media. In this context I recall the story of a young child who asked her teacher why the air planes were crashing into the high rises again and again and again... Breaking News attempts to comment on all of this and at the same time carries irony in its very core. The sounds of new life are produced into a radio event, framed by sounds that seek attention, and that dramatize-not unlike the way in which CNN produces the war in Afghanistan, supplied by George Bush with various misleading titles and headlines such as "Enduring Freedom." Breaking News also is a media production, with a title and a dramatised soundscape-but this time around the sounds of new life. It also wants to stir and unsettle the listener with its sounds, change the pace of regular radio broadcasting. It also wants to surprise. In other words it tries to do the same as the regular media. But it refuses to transmit feelings of helplessness and powerlessness. Instead it wants to energise, revitalise. It celebrates new life, love, human warmth and energy in the media framework of "breaking news." Many thanks to Sonja Ruebsaat and Luke Martin for recording their son Caleb and for generously allowing me to include his sound makings in this piece-such as breastfeeding on his first day of life, breathing, crying, gurgling, making first vocal sounds, and laughing. I hope, Caleb can forgive me in his later life for using his voice in the framework of this important media event, the first anniversary of the September 11 events. Breaking News was commissioned by CBC Radio for its September 11 special programming. Hildegard Westerkamp Length: 3:18 Accessed 12.06.2009 from - 2002 Canada audio/Westerkamp-2002-breakingnews.wav 5 Hildegard Westerkamp 1946 2704 images/works/Westerkamp-1988-Harbour.gif Harbour Symphony This piece was commissioned by the Canada Pavilion for its Expo opening. It is probably the largest environmental music event ever to be mounted in Vancouver. On May 2, 1986, 150 boats of all sizes and shapes gathered in Vancouver Harbour around Canada Place to perform the premier of the Vancouver Harbour Symphony for boathorns. The sound was like that of a herd of happy elephants cought in a traffic jam. Globe and Mail Mere words are inadequate to describe what took place when the Symphony began. Harbour and Shipping Magazine - 1986 Canada audio/Westerkamp-xxxx-harboursymph.wav 5 Hildegard Westerkamp 1946 1345 images/spacer.jpg Under the Flightpath A Sound Document About Life Near the Airport Length: 19:00 The initial recordings for this sound document were made in 1978 for my radio program Soundwalkingon Vancouver Co-operative Radio. During that time a citizen's group in Vancouver, the Community Forum on Airport Development, had just been successful in slowing down the Ministry of Transport's process towards the expansion of Vancouver International Airport. The plan had been to construct a third runway, one mile nearer to Vancouver. Feasibility studies and environmental impact studies had not been successful in establishing the need for a third runway. This sound document leads the listener into one residential area of Richmond, a suburb of Vancouver, which is most affected by airplane traffic. It is located directly under the flightpath as the planes approach for landing at and taking off from Vancouver International Airport. I also visited a school located directly under the flightpath and interviewed teachers and children about the experience. Mostly however, I concentrated on one street corner in the neighbourhood which I visited several times between July and Oct. 1978 in order to record different times of day and night as well as the different airplane movements. The noise was considerable as the planes were flying very low across the roof tops of the houses. I stood in the same spot and people from the neighbourhood approached me and asked me what I was doing. They seemed to be used to somebody with equipment, assuming that I was monitoring and measuring the noise from the airplanes. During my four or five visits I made acquaintance with one resident in particular, an elderly gentleman by the name of Bill. As I was standing across from his house on my first visit he approached me and joined me as I was recording. He continued to join me every time I returned. One time when it was dark, he invited me to stand in his driveway while recording. It was safe there, he said, as safe as standing on the Rock of Gibraltar! He brought me coffee and offered me a chair to sit on. His resonant voice accompanies the listener throughout this piece and welcomes us into his life under the flightpath. He has lived in this neighbourhood for a long time and would never want to move. He loves the community, knows everybody and shows a lot of affection toward the people. For him and his wife to move, would mean to tear out their roots and leave something very precious. The contradictions of living under the flightpath are expressed powerfully in his voice: his love for the neighbourhood on the one hand and his ways of putting up with the airplane noise on the other. During the 80s-after this piece was created-Vancouver could not resist the forceful trends towards globalization and progress and has been growing rapidly since then into a major urban centre of the Pacific Rim. As a result airport development could no longer be prevented. The third runway was built in the 90s, exactly like it had been planned in the 70s: one mile closer to the city! More neighbourhoods now suffer from airplane noise and in addition have to deal with many more airplanes landing and taking off at Vancouver International Airport. - 1981 Canada audio/Westerkamp-1981-under_flightpath.wav 5 Hildegard Westerkamp 1946 2002 images/works/Westerkamp-xxxx-cordillera2s.jpg Cordillera Cordillera is a compositional working of Norbert Ruebsaats reading of the long title poem from his book Cordillera. The piece combines the voice with environmental sound from the landscape - the Western Canadian mountain wilderness - which first inspired the poems, and thus places them back into their correct context. Cordillera means a ridge or chain of mountains. It is also used generically to describe the continuous range stretching from Tierra Del Fuego to Alaska. The poem describes an ascent and movement through the high country. It is composed of 17 shorter poems orsnapshotsof specific locations, and these are each given their own acoustic shape as the composition proceeds. Cordillera is about landscape, about wilderness, about the human presence and voice in places that are still considered by many to be barren and silent. It attempts to bring back to the city listener the sense of space, time and acoustic identity we experience when we manage to tear ourselves from the noise that clutters most of our daily lives. Audio accessed 15.11.06 from (Canadian Electroacoustic Community Achive) An acoustic environment. 1980 Canada audio/Westerkamp-xxxx-cordilleragreenpools.wav 62 Ken Gregory 1964 1526 images/works/Gregory-xxxx-ether.jpg under the influence of ether The body as beach with millions of radio frequency carrier waves washing up on shore carrying the debris of thousands of transmissions.. This audio installation considers the body as a beach(receiver) with an ocean of sound(data) washing up on it. The software is a wave generator(weather) and the hardware the water(carrier). This radio/audio program is produced by autonomous generative software running on the Macintosh computer. Sounds used in the composition of the program are stored on hard disk and on a digital audio sampler. An outboard sound processing device is used to process and modify the sound in real time as part of the composition. This installation is transmitted continuously 24 hours a day for the entire period of the exhibition. 1995 Canada audio/Gregory-xxxx-ether.wav 62 Ken Gregory 1964 1531 images/spacer.jpg for those about to dream Imaginary soundtrack for the moment before the sleepers dream. Time and space are suspended on beams of light, manipulated with shadowy hands and placed into our subconscious. Performed with The Board, a piece of found wood with light sensors and electronics screwed to it. These sensors and electronics capture physical motion and transfer them in real time to a computer with custom software. The software does an analysis of the performers gestures and maps the motions to sound performance and sonic manipulation software. - 1998 Canada audio/Gregory-xxxx-dream.wav 62 Ken Gregory 1964 1525 images/works/Gregory-xxxx-12_Motor_Bells_All.jpg 12 MotorBells Microprocessor technology, machines, intimacy and the human body collide in this exploration. 12 motor bells is an audio installation consisting of 12 fire alarm motor bells with their original ringers removed and suspended from the ceiling on long wires. Small AC motors with soft brush wheels attached to the drive shaft are suspended beside each bell. A computer activates AC relays attached to each motor which when current is applied, start spinning the brushes. The brush mechanism rubs the bell edge causing the bell to shimmer; vibrating acoustically at a low volume. Over time, the computer switches the motors off and on in with various combinations, creating a performance of layered bell vibrations radiating through out the space. The motor bells sway and pulse creating movement physically in the form of ryhthmns and modulating timbres. Temperature sensors and infrared heat detectors installed in various places in the room monitor the ambient temperature and the movement of heat in the space. The computer monitors the status of sensors and influences the performance of the motor bell system. As the sound of the bells emanates into the room, the room dimensions and material makeup affect the way the sound emenates throughout. Harmonic resonances and standing waves build up at different frequencies as the waves of sound from the motor bells reflect off the walls, ceiling, and floor. The motor bells resonate harmonically with each other. As bodies move through the room, the sound is subtly modulated by their presence as the human body absorbs sound and radiates heat. As the temperature rises in the viscinity of the sensors, the computer responds with more alarming activations of the motor bells. 2001 Canada audio/Gregory-xxxx-12MotorBells.wav 19 Janet Cardiff and George Bures Miller 1957 858 images/works/Cardiff-1995-darkpool_2.jpg In The Dark Pool Materials: Mixed media, audio-video-installation,Dimensions: approx. 10m x 7m 1995 Canada video/Cardiff-DarkPool.mpg 19 Janet Cardiff and George Bures Miller 1957 4080 images/works/Cardiff-2008-killing_machine The Killing Machine Partly inspired by Franz Kafka's 'In the Penal Colony' and partly by the American system of capital punishment as well as the current political situation, the piece is an ironic approach to killing and torture machines. A moving megaphone speaker encircles an electric dental chair. The chair is covered in pink fun fur with leather straps and spikes. In the installation are two robotic arms that hover and move- sometimes like a ballet, and sometimes attacking the invisible prisoner in the chair with pneumonic pistons. A disco ball turns above the mechanism reflecting an array of coloured lights while a guitar hit by a robotic wand wails and a wall of old TV’s turns on and off creating an eerie glow. In our culture right now there is a strange deliberate and indifferent approach to killing. I think that our interest in creating this piece comes from a response to that. Credits: Robot arm design: Carlo Crovato Music: “Heartstrings” by Frieda Abtan Percussion assistance: Titus Maderlechner Accessed 4.11.2008 from Mixed media, sound, pneumatics, robotics 2007 Canada video/Cardiff-KillingMachineMovie.mpg 89 Tilman Kuntzel 1959 1550 images/works/Kuntzel-1990-lights_and_sounds.jpg LIGHTS and SOUNDS BY TILMAN KÜNTZEL Transmission from the intervals to relays, which activate sound-making devices, releasing the sounds of various instruments (static loop) Lightbox with light diodes and electric interval control 1999 Canada video/lights-n-sounds.mp4 1 Barry Truax 1947 2 images/spacer.jpg Electroacoustic Music: The Inner and Outer World 1992 Canada 1 Barry Truax 1947 3 images/spacer.jpg Genres and techniques of soundscape composition 2002 Canada 1 Barry Truax 1947 4 images/spacer.jpg Handbook for Acoustic Ecology re-published as a CD-ROM in 1999, (the 1978 print volume isn't available) 1978 Canada 3 Dan Lander 1953 10 images/spacer.jpg Radio rethink: art, sound and transmission 1994 Canada 5 Hildegard Westerkamp 1946 11 images/spacer.jpg Soundwalking This work in collaberation with Co-operative Radio, Vancouver (Westerkamp founded this). A broadcast of recordings from various local sites. sonic mirroring. The broadcast is opportunity for inhabitants to hear their own noise, so often unheard. field recording, radio 1978 Canada 5 Hildegard Westerkamp 1946 12 images/spacer.jpg Transformations Fantasie For Horns II,Kits Beach Soundwalk, Cricket Voice ,Beneath The Forest Floor field recording 1996 Canada 6 Janek Schaefer 1970 27 images/works/janek_schaefer_concert_300.jpg untitled 2002 Canada 15 Ros Bandt 1950 91 images/spacer.jpg Dangerous Choices 1994 Canada 22 Christian Marclay 1955 134 images/spacer.jpg Christian Marclay: Cinema Marclays show breaks the spell of the movie theater or television by inverting the behavior of communication devices and upsetting our customary responses 2000 Canada 22 Christian Marclay 1955 135 images/spacer.jpg Blind Television a television with a chrome-plated face and a disembodied soundtrack of startling random dispatches Television 2000 Canada 22 Christian Marclay 1955 136 images/spacer.jpg Up and Out the soundtrack of Brian De Palmas Blow out is married to the visuals of Michelangelo Antonionis film Blow Up. Soundtrack, Film 2000 Canada 26 William Furlong 1944 161 images/spacer.jpg Audio by Artists 1982 Canada 27 R. Murray Schafer 1933 187 images/spacer.jpg The Tuning of the World 1977 Canada 27 R. Murray Schafer 1933 189 images/spacer.jpg The New Soundscape 1968 Canada 27 R. Murray Schafer 1933 192 images/spacer.jpg The Thinking Ear 1986 Canada 27 R. Murray Schafer 1933 194 images/spacer.jpg Voices of Tyranny, Temples of Silence 1993 Canada 29 Christina Kubisch 1948 236 images/spacer.jpg Landscape / Landschaft 1989 Canada 31 Francisco Lopez 1964 342 images/spacer.jpg unknown 2004 Canada 31 Francisco Lopez 1964 357 images/spacer.jpg Sense of the City 2005 Canada 31 Francisco Lopez 1964 364 images/spacer.jpg unknown 2005 Canada 40 Zbigniew Karkowski 1958 617 images/spacer.jpg Coalescence (with Sensorband) compilation 1998 Canada 45 Jonah Brucker-Cohen 1976 684 images/works/Brucker-Cohen_2003-police.jpg PoliceState Projects in the exhibition include: “Alerting Infrastructure!,” a website hit counter that destroys a building; PoliceState, a fleet of radio-controlled police cars whose movements are dictated by “suspicious” keywords scanned on a local network; Wifi-Hog, a tactical tool to liberate public wireless nodes; SpeakerPhone, a sequence of individually addressable speakers that expose the hidden pathways of data networks; Crank The Web, a browser that allows the user to physically “crank” their bandwidth to download a website; and IPO Madness, a slot machine that generates domain names in the quest for an eventual IPO. The exhibition will also feature a one-night performance of SimpleTEXT, an audio-visual project that is controlled by audience members texting messages from their cellphones Radio Controlled Toy Cars, Local Network 2003 Canada 3 Dan Lander 1953 693 images/spacer.jpg unknown A short sound works compilation. How is it that the shortest sound pieces are almost always over 60 seconds long? That there are nearly none under 30 seconds? That nothing happens under 15 seconds except for jingles? Isn’t it an occasion for an attempt, a risk, an exploration, a sound search? AVATAR invited some artists to submit projects that dare enter the forgotten sound territory hidden between the instant and the brief. - 1996 Canada 3 Dan Lander 1953 694 images/works/lander_dan-zoo.gif Zoo Dan Lander is mischievous with his tools, you can hear him grin at several points throughout these recordings. His approach has a sense of play and naturalness that one rarely hears. These are works sans woosh, bare, sometimes painful and always passionate, as in works with intelligence, precision and guts. Lander has had several lives—photojournalist, truck driver, video maker, gorillagramme, drummer, performance artist, amongst others—all of which instill his audio work with a maturity of content, an economy of form, an immediacy of bareness. This release follows Lander chronologically, begining with a treatment of the mass, or lack thereof, of radio in the work Talking to a Loudspeaker. The calling of ‘Mister Speaker,’ the variations on broadcast quality and the snicker at our phobia with dead air, are classic moments in the freshly inaugurated pantheon of radio art classics. With a keen ear for the incision, Lander takes your radio, sets it on its back and takes its components apart. When you get it back in one piece, you end up not sure if you want it to work anymore. The writing in sound that Lander performs is deceptively simple, and yet, it does not lack in subtlety. In Destroy: Information Only, Lander rewrites—at the time of his back injury—his body as it writhed in pain through the anecdotes of those who knew him then. The listener, when confronted with this body in sound, a body without embellishment, can sometimes react uncomfortably. These aural bodies are naked, complete with their everyday banalities and gaseous emissions. There is a mirror effect at work here which allows for a peak at yourself in the mirror, right at the crack of dawn, with a night you may want to forget written all over your face. However, there is a beauty in this brutality, an immediacy you are unlikely to forget. Hunters and gatherers of sound have to kill before they chew. The disembodied voices of Failed Suicide are crudités, removed from their origin but still alive. These are willing participants in the games of recording and editing. They are the living dead of audio art, which makes the next question inevitable: How do they taste? City Zoo/Zoo City resides in the digital realm, the technology at play strangely merging with the idea that “technology, again substitutes for nature.” With digital editing there is an exponential increase in the possibilities of the artist to manipulate the original. In City Zoo/Zoo City animality becomes a digital concept, animal sounds are transformed into horrifying mechanical sounds. The nature of the zooscape here points clearly to the inherent paradoxes of such a site and, by extension, to such a technology. The space the listener can occupy in these works is expansive, the narrative threads just hanging there, up for grabs. Lander refers to the notion that his work constitutes a kind of writing in sound, primarily to differentiate the work from music. However, as writing, it is of a particular kind, written with radio in mind and, as such, contrasts explicitly with the hegemony of existing radio. This is a radio rendered vulnerable for it retains as much of the body as may be possible in this, the thinnest of air. It is in these inscriptions that radio art finds its tenuous home. Guide by by Christof Migone - 1995 Canada 3 Dan Lander 1953 695 images/spacer.jpg Talking to a Loudspeaker Although radio has been cited as a warm medium due to its relative openness for interpretation when compared to television—it is nonetheless a one way medium. The listener is compelled, via the loudspeaker, to construct meaning without the benefit of a mechanism for re-address. In addition, radio as we have come to know it is limited by a host of predetermined factors: broadcast quality, balanced programming, congruent appeal, marketing research, the trained voice, restrictions to access, music distribution slavery, uniform time allocations, technical specifications, licensing regulations and so on. Talking to a Loudspeaker plays with some of these considerations. - 1988 Canada 3 Dan Lander 1953 696 images/spacer.jpg Destroy: Information Only The title Destroy: Information Only comes from a rubber stamp that the Workers’ Compensation Board uses on copies of microfilm pertaining to an individual’s claim. In 1976, while living in Vancouver, I experienced an occurrence with my back, thought to be the result of several years of employment as an industrial labourer. These recordings were made while visiting friends who knew me at the time of the subsequent surgery. As in the failed myelogram—a procedure in which spinal fluid is removed from the spine and replaced with a dye in order to add detail to an X-ray image—the search did not reveal what might have been expected, or even desired. The details of memory are specific to each individual and may, or may not, coincide with my own recollections of the events in question. Synopsis •• This work begins with Employment, with its drone as metaphor for the tedium of the job, a song for hope—We Shall Overcome—and the sound of objects crashing together as an indicator of industrial violence and, in this case, injury. As a prelude to the larger work, Employment serves to provide a quasi musical setting for the digestion of what is to come. •• Marvin, in the privacy of his own apartment, makes coffee before reminiscing on the time following the accident. His primary memory appears to be linked to the acknowledgment of pain. However, he quickly digresses to involve himself with a video game, a diversion perhaps, from both the past and the present. •• Yvonne (mother) speaks of memories linked to her maternal intuition and also of her own back operation. She relates the story of feeling shivers up her spine at the exact moment the surgeon’s knife is inserted into the back of her son. •• In Loon, flatulence becomes a metaphor for the loss of control of bodily function in general. As each wind passes, a new relationship to it is developed through the conversation of fellow campers. •• Dave does not remember much. He speaks of the importance of rock and roll, complains about the price of concert tickets for Yes and describes a Hollywood film set, all while making popcorn. •• In the following section a creaking door, equipped with bells, triggers a spasmodic utterance of the word Spasm, drawing a relationship between the mechanical and the emotional. •• Memory is consciously activated by Darlene (sister) as she and her brother drive through and discuss an area they grew up in. However, when it comes to the events in question she freely admits her lapses, stating “it is fuzzy.” •• Raising and butchering chickens is a topic that Ann discusses before elaborating on a car accident in which she herself suffered no small amount of pain, prompting her to conclude, “I wish I could forget.” •• Finally we have Dan, who, while traveling on a bus, relates a story concerning eagles who eat the afterbirth of cows until they can no longer function and need the attention of a veterinarian. He concludes with a series of statements about a face and his own unwillingness to recognize the passage of time and his immanent old age. Destroy: Information Only was made possible by a grant from the Media Arts Section of the Canada Council [for the Arts]. Excerpts of this piece were premiered during the Radio Contortions festival in Montréal in 1991. It was produced at the artist’s home recording studio and was constructed via razor blade and analog 1/4 magnetic tape. Thanks to Darlene Blair, Janice Carbert, Dan Dornan, Eva Ennist, Ann Kitto, Yvonne Louden, Marvin Maylor, Danita Noyes, Dave Paisley, Lindsay Rodgers and the WCB of British Columbia. - 1991 Canada 3 Dan Lander 1953 697 images/spacer.jpg Failed Suicide One evening six people gathered at my apartment, each with microphone and tape recorder in hand. What emerged is a corporeal tale conveyed through the mastication of thought and subjectivity. The sense of loss that accompanies the disembodiment of the recorded voice becomes a metaphor for loss in general. We are left with a vehicle for the reconstruction of meaning and object-hood: the residue that is recorded sound. Synopsis The text of Failed Suicide concerns itself with notions of disappearance and meaning (we have to say something we can remember). A statement about a suicide prompts a question about near death experience. A phenomenological question is raised about how we know the difference between a dog and a cat. The answer to this question is provided by both a kitten and a human. Towards the end, a conversation develops on a difficulty in speaking. One of the speakers concludes with the following statement: “you have to decide if it’s in the morning or at night; or if you slept good; or ate good, or bad, or too much… or not enough.” Failed Suicide was produced at the artist’s home recording studio and was constructed via razor blade and analog 1/4 magnetic tape. It was premiered on March 14th, 1991 during Radio Possibilities at the Forest City Gallery and simultaneously broadcast on CHRW FM Radio Western in London (Ontario). Thanks to Benoît Fauteux, Geneviève Heistek, Julia Loktev, Christof Migone, Diane Obomsawîn, Paik and Rosa. - 1991 Canada 3 Dan Lander 1953 698 images/spacer.jpg City Zoo / Zoo City This polyphony of contradictions contemplates the zoo as an urban environment which houses not only the various species of ‘wildlife’ but also the technological apparatus necessary for the maintenance and presentation of such a construct. ‘Wild’ sounds coexist with mechanical sounds, the human voice ‘sings’ in consort with the animals, parrots chatter to the beat of a promotional video tape soundtrack. Through this convergence of aural information I wish to evoke in the listener a sense of wonderment at the beauty of the ‘lawless’ region, while alluding to a human condition which demands order, confinement and control. Synopsis This work relies much more on an ambient sound environment than the previous works, whose meanings are constructed primarily through human speech. The work begins with the statement “at the zoo, once again, technology substitutes for nature.” As the work proceeds we hear a father speaking with his son about the eye of an eagle, instructions to “leave the snake alone,” and a conversation between a small, irate child and his parents in which they suggest visiting the on-site MacDonald’s in order to calm him. The final section includes shoppers in the gift store making various comments on what objects it is they desire to purchase as memoirs of the zoo. City Zoo/Zoo City was commissioned by the radio program Sons d’esprit (CKUT FM, Montréal) and made possible by a grant from the Canada Council [for the Arts]. It was premiered on CKUT FM during the 7e Printemps électroacoustique festival in June, 1992. All of the source recordings were made at the Metro Toronto Zoo. It was produced in the EARS Studio of The Banff Centre for the Arts using a digital sound editing workstation. - 1992 Canada 65 EMMAX 2003 730 images/works/Emmax-projectxmass.jpg Caroling With Emmax Multi-user soundscape created through improvisation Laptops, Pocket Radios 2003 Canada 65 EMMAX 2003 731 images/works/Emmax-ledgefest.jpg LedgeFest Sampled live conversation then mixed live - Performance at Festival of Ambient Music for Theatre Lobbies Wireless Mic, Laptops 2004 Canada 70 Nihilist Spasm Band 1945 764 images/works/Nihilist_Spasm_Band-2000-noborders.jpg No Borders Review Right when the Nihilist Spasm Band was beginning to repeat itself, transforming into a caricature, the group released No Borders, a fresh, stunning two-CD set with guest Joe McPhee. Disc one was recorded live on October 27, 2000; disc two culls studio recordings from the day before and after. Only four of the 18 tracks feature all seven musicians playing at the same time. On the other ones, subgroups explore exciting new directions. Vocalist Bill Exley and McPhees Duet is a disquieting drone piece. Trio puts together the booming bass of Hugh McIntyre, John Clements drum pounding, and the saxophonists free jazz train of thought. That last element is the source of a number of surprises. McPhee can play abstract free improv, but here he often falls back to instant head lines. On Meateater, he develops a melody, something unheard in the group s repertoire. Exley screams to disrupt him, Art Pratten bursts into a violin frenzy to drag him into flaming dialogues, but McPhee insists. The resulting tug of war is a lot of fun and ends with the jazzman screaming his lungs out. Other highlights include Unlikely, a duet between Murray Favro and Pratten, Boing, and Going Too Far. Exley brought in new texts, true to the group s nihilist ideas, which he delivers in his usual declamatory style. The NSB s level of musicianship has rarely been so high and McPhee, as unlikely as it may sound, turns out to be a perfect partner, heartiliy contributing to the music while motivating the other players to give their best. The only negative point is the fact that Exley s voice was recorded with an awful microphone during the live session. Still, No Borders comes strongly recommended to both fans and newcomers. -- François Couture (from - 2001 Canada 70 Nihilist Spasm Band 1945 765 images/works/Nihilist_Spasm_Band-1999-everymondaynight.jpg Every Monday Night Review When The Nihilist Spasm Band recorded their previous studio album What About Me in 1992, they were still, after 25 years of existence, a local underground curiosity. Going in the studio on October 4, 1998, they had attained international cult status: all but one of their old records had been reissued, they had toured Japan in 1996, had played the high-profile Festival International de Musique Actuelle de Victoriaville in 1998, and were getting regular invitations from the United States. And yet, they chose to title the album with regard to their local activity, their 25-year old Monday night residency at the Forest City Gallery in London, Ontario. This is the same lineup featured on Live in Japan (with Murray Favro physically present this time). The music itself is typical Nihilist Spasm Band: Bill Exley shouting nihilistic poems and clanging his cooking pot while the other band members make noise. Short songs alternate with longer jams. The NSB shows bigger interest in textures than usual, something most obvious on Its Not My Fault, where Art Pratten lays down some beautiful violin work. Im a Real Nice Fellow is the quintessential NSB performance. It starts with a funny, no-nonsense poem going through every possible humanitarian cause. The noise slowly builds up, enough so that Exley needs to shout the last few lines in order to be heard. Thats when hell breaks loose, beginning with a heavily-processed kazoo solo, followed by ten minutes of total mayhem. The closing number Slow Dance mirrors What About Me s Dance/Slow, an ethereal space-noise improv. -- François Couture (from - 1999 Canada 70 Nihilist Spasm Band 1945 766 images/works/Nihilist_Spasm_Band-1985-7x.jpg 7x~x=x Rereleased as CD in 1996 by Alchemy Records (Japan) - 1985 Canada 70 Nihilist Spasm Band 1945 767 images/works/Nihilist_Spasm_Band-1984.jpg 1984 When the cassette 1984 was released on Chimik Communications in 1984, the Nihilist Spasm Bands last record was the 1978 Vol. 2. Although the band was very active at the time, playing every Monday night at Forest City Gallery in London, Ontario, since the mid-70s, it very seldom recorded. 1984 was an attempt at documenting these weekly sessions. Tracks were edited from domestic recording tapes, therefore the sound quality is poor, bootleg-like at times (like on Are You OK Bill? July 30 1984). 1984 was originally marketed as a 90-minute cassette. For the CD reissue, Alchemy Records dropped two tracks in order to fit the album on one CD. In 1984, some band members (particularly John Clement, John Boyle, and Bill Exley) couldnt make it every night, therefore the lineup varies from one track to another. Two major differences stand out from the usual Nihilist Spasm Band sound. First, Bill Exley s vocals are only heard on one track, buried in the mix, undecipherable: exit the nihilist rants. Second, the band rocks heavier than it ever will. March 20 1984 showcases a stripped-down version of the NSB in an energy-packed 18-minute number. Greg Curnoe hits the drums with fierce determination, keeping a steady rhythm, while Murray Favro and Art Pratten play hypnotic guitar drones (a rarity for violinist Pratten). Sept. 10 1984 goes in the same direction, but this time with an almost complete lineup (only Exley is missing). The closing Oct. 16 1984 is more typical NSB, ending on quiet guitar ramblings. Still, because of the alienating sound quality, 1984 remains a for-fans-only item. -- François Couture (from Rereleased as CD in 1999 by Alchemy Records (Japan) - 1984 Canada 70 Nihilist Spasm Band 1945 768 images/works/Nihilist_Spasm_Band-1979-vol2.jpg Vol. 2 Vol. 2 was the Nihilist Spasm Bands second album. Recorded live at the Toronto Music Gallery on February 4, 1978, it was released on the venues own small imprint, Music Gallery Editions, the same year, a decade after the bands first LP No Record. Vol. 2 had quickly become a rarity until the Japanese label Alchemy Records reissued it on CD in 1996. The album opens on what would become the Nihilist Spasm Band s anthem, No Canada. One must understands the NSB doesn t play songs, each improvisation being unique, but vocalist Bill Exley does reuse his best texts, anchoring the improv into something already known to the seasoned fan. That s how the verse No Canada/Home of the beaver/Home of the maple leaf/Animals and vegetables will become a highlight of their show for decades to come. Stupidity, another favorite is also found on this record. Sound quality is fine, although the reissue has been mastered at very low volume. ol. 2 is most valuable for being the only album where Bill Exley makes extensive use of (or abuses) the theremin. The band produces a lot of noise and the whole thing ends abruptly with Elsinore, which sounds truncated at the end. The Alchemy reissue reproduces the original packaging (the musicians homemade instruments are pictured on the cover) including the 1960s jazz-style back cover with bassist Hugh McIntyre s liner notes. A Japanese-only interview with guitarist John Clement is also included. -- François Couture (from as CD in 1996 by Alchemy Records (Japan) - 1979 Canada 70 Nihilist Spasm Band 1945 769 images/works/Nihilist_Spasm_Band-1968-norecord.jpg No Record I have given the album a good few listens now and I just have to say it blows me away. Absolutely incredible. I listen to a lot of Sonic Youth, Sun Ra, Captain Beefheart, etc. and I must say Ive rarely heard music of the Spasm Bands intensity. The instrumentation is fantastic--the prattavarius stands out expecially. I m a big fan of the crest and valley, ebb and flow approach. My favourite aspect is the wholly organic nature of the tracks--nothing forced--just pure improvised expression. There is so much love and violence seething in every sound. The Byron Bog is the stand-out for me--it goes everywhere (no)music should go. On the whole, I d say there is far too much art in this album to reduce it to mere rock, but I was far too rocked to just call it art. Primal fury and sonic exploration at its pinnacle. - Steve McCready Rereleased as CD in 1996 by Alchemy Records (Japan) - 1968 Canada 70 Nihilist Spasm Band 1945 770 images/spacer.jpg The Sweetest Country This Side of Heaven - 1967 Canada 58 Bernhard Gal 1971 835 images/spacer.jpg Reinstallation - 2006 Canada 19 Janet Cardiff and George Bures Miller 1957 856 images/works/Cardiff-20001-paradise_institute_2b.jpg Paradise Institute Mixed media 2001 Canada 19 Janet Cardiff and George Bures Miller 1957 857 images/works/Cardiff-1999-muriellake_3.jpg The Muriel Lake Incident The visitor stands in front of a large wooden box looking through a rectangular opening to see a miniature model of a cinema with grey, empty rows of seats, and a small projection screen onto which a film is being projected. Listening on a pair of headphones they hear the 3-dimentional (binaural) sounds of the film, a woman next to them talking and eating popcorn and a surprise ending including a gunshot and a frightened audience. Actors: Jim Manis, George Bures Miller, Janet Cardiff Singer: Andonio Dalgas Accessed 4.11.2008 from Multimedia construction with video projection and binaural audio 1999 Canada 60 Christof Migone 1974 938 images/works/Migone-2006-agir25_250.jpg Agir Agir is part of Interval, a project in progress, where one representative from each age year (between 10 and 60) repeats their age for a period in minutes equal to their age (for example, a 50 year old repeats the number 50 for 50 minutes).A 25-second segment from a 25-minute video showing a 25-year old’s face, isolated and stretched so that it is slowed down to 250 seconds. The stretched image is constituted through successive layering.A 23-second segment from a 23-minute video showing a 23-year old’s face, isolated and stretched so that it is slowed down to 230 seconds. The stretched image is constituted through successive layering. - 2006 Canada 60 Christof Migone 1974 939 images/works/Migone-2006-Microfall.jpg Microfall A microphone is dropped repeatedly from the ceiling until the microphone no longer works. - Number of falls until destruction of microphone: 87 - Duration: 22 min 19 s. - 2006 Canada 60 Christof Migone 1974 940 images/spacer.jpg Microhole The artist hits a gallery wall with a microphone until the wall yields under the pressure of this repeated action. In the exhibit, the recorded action is played back through the hole in the wall. - 2006 Canada 60 Christof Migone 1974 941 images/spacer.jpg Millefeuille One thousand blank pages torn from books in my personal library. On each page I wrote the title and author of the mutilated book. - 2006 Canada 60 Christof Migone 1974 942 images/works/Migone-2006-Pee.jpg P Starting January 18 2005 everytime I went to urinate I said ‘Pee’ at the same time into a tape recorder. P is a study in redundancy. One might say it is also a study in incontinence. I did this until I reached one thousand (149 days later, on June 15 2005). The playback sequence of the Ps is determined by the original date and time of urination. The 60 minute-version follows the 60-second version. This was made possible by using a max/msp patch programmed by Mériol Lehmann at Avatar. , audio, video, textRecording 2006 Canada 60 Christof Migone 1974 943 images/works/Migone-2006-Interval_Pastime_27_57.jpg Pastime Pastime is part of Interval, a project in progress, where one representative from each year (between 10 and 60) repeats their age for a period in minutes equal to their age (for example, a 50 year old repeats the number 50 for 50 minutes). Pastime features pairs that rhyme (eg. twenty-seven and fifty-seven) and have a significant age gap. For the image component, the younger is slowed down to the length of the older, and the older is sped up to the length of the younger. The audio is kept as is, thus the image and sound are out of sync. video 2006 Canada 60 Christof Migone 1974 944 images/works/Migone-2005-disgustdisplayFart.jpg Disgust Display Series - The Fart Museum (untitled) 45rpm 7single. Christian Marclay Published by Robert Shiffler Collection and Archive in Greenville Ohio in 1996. Used by permission of the artist. Statement from Marclay: This vinyl record was done using the original recording made for a sound installation which I first installed in 1992 in Paris at the Jennifer Flay gallery. In 1994 it was installed at Fri-Art Centre dart contemporain Kunsthalle, Fribourg. In Paris it was part of my solo show titled The Wind Section, including sculptures made with stools and wind instrument. The show had several a scatological references. But the piece was meant to be installed in an empty space with an hidden sound system, such as in Fribourg. The farts are recorded on a CD and played on a random setting. The farts are very intermittent with long silences in between, as opposed to the record which is a condensed version. South Winds (2003) CD cover. Christof Migone Cover design by Christof Migone and Eric Mattson. The inside image is of the port of Marseilles (where Joseph Pujol, aka Le Petomane, came from). Record Label: Oral (Montréal). South Winds (2003) CD audio. Christof Migone Recorded: 2002 in Brooklyn. Mixed: 2002 in Montréal. South Winds presents the results of a recording session Christof Migone undertook with Le Petomane (Joseph Pujol 1857-1945). Le Petomane performed his fart fantasia at the Moulin Rouge in Paris where, to much acclaim, he would imitate musical instruments and with his ‘second mouth’ hum recognisable tunes. For South Winds, Le Petomane and Migone to explore these somatic winds as a response to Artaud’s ontological formulation: “the depth of my being is the volume of my body.” Both Artaud and Pujol were brought up in Marseilles, city in the path of the infamous Mistral, a wind which “has the ill-natured habit of scattering roof tiles about, knocking down chimneys, blowing small children into canals, tumbling walls onto the unsuspecting natives.” South Winds has the same impetuous effect, it confirms that the body is a noisy place. The body emits and transmits, it cannot contain itself. South Winds is an essay on the flatulent and the incontinent. Le Petomane stills From a film originally done by Edison and included in the Petomane documentary by Igor Vamos. Caption used in the Aural Cultures book where these images where used to accompany my essay on farts: Joseph Pujol performing for Edison’s “kinetophonolfactograph” during the 1900 Paris World Fair. From Igor Vamos documentary film “Le Petomane: Fin de siècle fartiste”. New York: The Cinema Guild, 1998. Courtesy of The Cinema Guild. Le Petomane: Fin-de-siècle Fartiste (1998) (56:00). Igor Vamos Video. Used by permission of the director. Film distributed by the Cinema Guild (New York). - 2006 Canada 60 Christof Migone 1974 945 images/works/Migone-2005-disgustdisplayCrack.jpg Disgust Display Series - The Crack Museum Crackers (1997) text. Christof Migone Crackers began in 1997 as residency project for Gallery 101 in Ottawa. Participants were solicited through the radio, classified ads in the weekly paper, and via the Gallery’s membership. The recording sessions consisted of an interview succeeded by a cracking session. Participants: Germaine Koh, Justine Akman, Marguerite Dehler, Tony Daye, Sarah Dobbin, Vera Greenwood, Louise Levergneux, Michael Sutton. Letters to Milena. Franz Kafka Excerpt from the book: [...] “nechápu” — “I don’t understand” A peculiar word in Czech and even more so in your mouth, it’s so severe, callous, cold-eyed, parsimonious, and above all nutcracker-like; three times in the word the jaws crack upon one another, or more correctly : the first syllable makes an attempt to seize the nut, it wont work, then the second syllable tears the mouth wide open, now the nut fits into it, and the third syllable cracks, d’you hear the teeth. [...] Crackers (2001) CD cover. Christof Migone CD Design: Dawson Prater. Drawings: Onya Hogan-Finlay. Record label: Locust (Chicago). Crackers (2001) CD audio. Christof Migone Recorded: 1997 in Ottawa. Edited: 1998 in Québec City. Mixed: 2000 in Montréal. Record label: Locust (Chicago). Exclusive source: source: sounds of cracking knuckles, knees, wrists, jaws, toes, ankles, backs, necks, wrists, elbows, hips. Do you crack your fingers? your neck? your back? your knees? your elbows? your ankles? your hips? your jaws? your toes? your…? A joint is the locale where bones articulate a tension. Crackers are compulsive about the release of that tension. A crack is incontinent. A cracker too. As the sound of the cracks echo, some wince, others feel relief. A crack is a body nonsequitur, a bone edit, a broken break. Cinecrackers (2005) (work in progress) (1:06). Christof Migone Scenes from films where someone (or something) cracks. Excerpts so far (more are being sought, contact the artist at if you know of any others): Woyzeck (Werner Herzog 1978), Kung Fu Hustle (Stephen Chow 2005), Dodgeball (Rawson M. Turber 2004), Blade Runner (Ridley Scott 1982), Once Upon A Time In The West (Sergio Leone 1968), Repulsion (Roman Polanski 1965). - 2006 Canada 60 Christof Migone 1974 946 images/works/Migone-2005-disgustdisplayPiss.jpg Disgust Display Series - The Piss Museum P (text)(2005.) Christof Migone On January 18 2005, I began to record myself saying P everytime I went to pee, I did this until I reached 1000 (June 15 2005). P (audio)(2005) (60:00). Christof Migone On January 18 2005, I began to record myself saying P everytime I went to pee, I did this until I reached 1000 (June 15 2005). The 3576 hours (149 days) it took are reduced here to 1 hour. The spacing between each P you hear is proportional to the original span between each time I went to the bathroom. The max/msp programming to produce the proportional playback was done by Meriol Lehmann at Avatar, Québec City. P (video/audio)(2005) (1:08) Christof Migone On January 18 2005, I began to record myself saying P everytime I went to pee, I did this until I reached 1000 (June 15 2005). The 214560 minutes (149 days) it took are reduced here to 1 minute. The spacing between each P you hear is proportional to the original span between each time I went to the bathroom. The max/msp programming to produce the proportional playback was done by Meriol Lehmann at Avatar, Québec City. The 1000 visual Ps where done by Christof Migone in Final Cut Pro. Piss Duet (1974). Michael Snow Excerpt from Michael Snow’s film “Rameau s Nephew By Diderot (Thanx to Dennis Young) By Wilma Schoen.” Used by permissionn of the artist. - 2006 Canada 60 Christof Migone 1974 947 images/works/Migone-2005-disgustdisplaySpit.jpg Disgust Display Series - The Spit Museum Spit (1998) text. Christof Migone Spit (1997-1998) bottle. Christof Migone Waterways: Four Saliva Studies (2001) CD cover. Vito Acconci/undo CD in custom cardboard box with video stills of each Acconci study covered by hand in silver paint + dried spit on inside cover. Design by Christof Migone and Alexandre St-Onge. Waterways: Four Saliva Studies (2001) CD audio. Vito Acconci/undo This release includes the soundtrack to Acconci’s 1971 video “Waterways: Four Saliva Studies” + a remix by undo (Christof Migone and Alexandre St-Onge) entitled “Vito Acconci’s undoing.” Waterways: Four Saliva Studies (1971) (22:27) Vito Acconci Description of the video from EAI: Waterways comprises four minimalist exercises in which Acconci explores the formal, visual and dynamic properties of saliva in a controlled performance situation. Using extreme close-ups and amplified sound to force the viewer into the space of his body, he experiments with his mouth as a container for saliva, holding it in as long as possible, trying to catch it in his hands. By using a bodily fluid as art-making material, Acconci pushes the anti-aesthetic of body art to its radical extreme. - 2006 Canada 60 Christof Migone 1974 948 images/works/Migone-2006-Surround360objects.jpg Surround (360 objects) (360 objects) is the first in a series of works investigating the redundancy of the circle Three hundred and sixty revolutions of 360 degrees, each with a different household object. - 2006 Canada 60 Christof Migone 1974 949 images/works/Migone-2005-interval.jpg Interval Every creature is a specific rhythm. (St. Augustine) Interval sounds the space between moments, times, spaces, lives. It poses oddly phrased questions: How many times old are you? How divided is your time? How old is your rhythm? How does your age rhythm space? Interval depicts the space in between us, as a rhythm, as a timeline, a pastime, a divided place. The numbers punctuate the space, they constantly reiterate the person’s presence in the here and now, a sort of counting in place. At a standstill, not 1,2,3, ... but x, x, x, .... What interests me here is how each participant, given this mundane task, adopts a unique rhythm —some are constant, others erratic; some have a rapid-fire anxious delivery, others have a slow and relaxed output. Each person’s presence permeates the repetitive act, they temporarily become the number—hence the peculiar phrasing of the epigraph: “Every creature is a specific rhythm”. Augustine viewed the alternation of sound and silence in music as a manifestation of the alternation of nonbeing and coming into being. audio, video, drawing, text. 2005 Canada 60 Christof Migone 1974 950 images/works/Migone-2004-escapebacklarge.jpg Escape Songs Escape Songs. Made at home between 2000 and 2004. Small sounds, tiny war machines, mistakes, hair, spit, lucky licks and yes, songs. The very songs we wish to escape from. Songs escaping from themselves, escaping to an escape. Veda and Christof wrote little songs, recorded them, and then fussed around until they became other. An organization of those little voices that distract, that you listen for, that you attempt to cultivate or bat away. Songs escaped. digipak with a line of dots in clear varnish 2004 Canada 60 Christof Migone 1974 951 images/works/Migone-2004-Fingering.jpg Fingering Des essais. Du touche tout. Du mouvement sur place. Du naïf. Des bruits bruts. Des Doublures. Des doigts. Du Doigter. Des ambidextres ambigus. Des hommages. Du ratage. Du bête. Des riens. Dommage. De rien. Part I: Snow Storm (le corps-bête): scalp, dandruff, microphone. Part II: The Real/The Reel (le corps-machin): gutted reel to reel, camera in mouth, cat hair, contact mics. - 2004 Canada 60 Christof Migone 1974 952 images/works/Migone-2003-coverwrecord.jpg Cover without a Record In Sink (for Justin Timberlake). 17 cd jewel cases left in bathroom and kitchen sinks for variable durations (10, 20, 30 days). Jewel Cases 2003 Canada 60 Christof Migone 1974 953 images/works/Migone-2003-I.jpg << I >> Audio piece composed entirely of sounds produced by the eyes of Aleksandr P. Thibaudeau as manipulated by himself. The sounds from this recording session were then manipulated by myself. - 2003 Canada 60 Christof Migone 1974 954 images/works/Migone-2003-MC.jpg MC attempts at translating hip hop and dancehall tracks through two translators: (1) using the Audi-Oh vibrator ( which translates rhythm, and especially bass thumps, into vibrations. it was used with its soft rubber butterfly attachment over the bullet and left jiggling on the floor. and (2) performer hears the tracks in his headphones and tries to sing the lyrics as best as possible. the audience never hears the original, they only hear the vibrator on the floor and the pathetic mumbles of the performer. each song was on cd repeat over the course of an hour: 18h-19h Beenie Man Miss Angela 19h-20h Sean Paul Gimme the Light 20h-21h Nelly Hot in Here 21h-22h 50 Cent In Da Club - 2003 Canada 60 Christof Migone 1974 955 images/works/Migone-2000-undo.jpg des tournages performance of des tournages. undo is a duo which, since its inception in 1997, explores the barely perceptible, the unacceptable and the forgettable. undo. delete. efface. do not. - 2000 Canada 60 Christof Migone 1974 962 images/works/Migone-2001-poker.jpg Poker Poker begins with idle faces. Then a pair of hands appear and sound them. At the end the faces return to idle. Poker explores the relation between. It explores specifically the import of the face in framing relationships. The relation is performed at a number of levels, the performers hands activate the taciturn faces, they explore and sound them; the surface of the face is inscribed with the depth of the relation between the two involved in the performance—a depth measured by awkwardness. The viewer, in turn, is faced by this configured yet disfigured, alienated yet intimate exchange. to face -face as a verb, a facing in touch, in sound... ocular proximity, closeupsoclose, playing the face, testing the haptic... loudyourface, loudface... noise facials... fissures in the relation—no longer face to face, but somewhere in between being caressed and prodded... poker face—no longer site of expression but site of being expressed... poker, wrinkler, scratcher, prickler, tickler... to hear the face (to make the face), wrinkle the face in sound... touching the loud gaze... scratch, slide, prick, tickle, rub... rhythm the face, loudlooks, noisylooks... louding the face... 2 video projections of pre-recorded material 2001 Canada 60 Christof Migone 1974 963 images/works/Migone-2001-setfire.jpg Set Fire to Flame Sings Reign Rebuilder set fire to flames are a collective of thirteen musicians from the musical community of Montreal. Brooding and beautiful, haunted and haunting, sings reign rebuilder is so stunningly / lovingly played and skillfully assembled, infused throughout with a massive sense of slow-burning tension and periods of weighty, rousing release. Initially the idea was to gather a group of folks together in a members montreal apartment and record as much as they could over a five day period. As set fire to flames explains, ”...[we wanted] to conduct the whole five day recording session like a series of experiments… to get lost in the sound as it was actually happening… to make the whole recording an exploded intense event… to push tolerance levels and limitations with a group of people sonically… to become shut-ins… to operate on no sleep/confinement/ intoxication… some of us were interested in seeing what would actually happen if we attempted to record improvised drones and textures under those conditions… and what impact that might have on yr. head… how individual/collective tension would play out… and what the end result would sound like… so a lot of experimentation with tolerance, repetition and duration… drones…” “And so these set fire to flames recordings happened… we piled all of the gear into the first floor (kitchen/living room) of this old, falling down apartment in montreal (the place has a crazy history to it…built in 1878…used to be a 10¢ shoe shine parlour and a brothel in the forties)... the control/mixing room was in a bedroom on the second floor (up a rickety wooden staircase)... you can hear the house all over the recording… (the staircase/ groaning floorboards/creaking chairs/traffic and police cars outside/men coming out of the mosque downstairs)... all of these sounds became an important part of the final recording…” “Five days of continuous recording netted us roughly twelve hours of raw sound… all of it was hacked apart and later rebuilt… and the final document of that five day period (which was magic and the fucking house was levitating…..) now makes up ‘sings reign rebuilder’... the record is about 60% improvised and 40% composed… the five-day recording stint turned into something more than originally intended… it wasn’t just thirteen people droning aimlessly to infinity… things worked out somehow and we got lucky…” Packaged in beautiful full-colour gate-fold heavy paper jacket, including a 24 page booklet. Available as a single compact disc or a double vinyl. - 2001 Canada 60 Christof Migone 1974 964 images/spacer.jpg Joints for Novarina The in-betweens of the performed text are occupied byaudio miniatures, sonic joints. Compact fragments made for another ear theater, these are for the in-between of the ears, the ear-betweens. They are meant to be misunderstood. These are Novarinas characters all passing through, emitting a cry, a whimper, a silence and then scurrying past. Once one is past you wont hear it again, another one is work for Theater of the Ears, a play for recorded voice and electronic marionette by Allen S. Weiss. Text and visage : Valère Novarina Direction : Zaven Paré and Allen S. Weiss Set Design and Puppet : Zaven Paré Translation and adaptation : Allen S. Weiss Sound design : voice/montage : Gregory Whitehead joints : Christof Migone backbeat/mastering : Scott Konzelmann at the Chop Shop Puppeteer : Mark Sussman Co-producer : Carol Bixler - 2000 Canada 60 Christof Migone 1974 965 images/works/Migone-1998-seperate.jpg Metal God Metal God was originally a performance created by Tammy Forsythe and Christof Migone and presented at Espace Tangente in Montréal, February 25-28, 1992. The elements seen and heard on the cdrom are culled from the original performance and from a series of audio and video recordings done by Tammy Forsythe and Christof Migone in the summer of 1997.Metal God disintegrates a story of disintegration. Story of a trapped body which hallucinates an escape. Ultimately, only the imagination is free to wander and the body remains stuck. Beth Greenspans text is animated throughout, and loosely interpreted in sound and image. The text was originally entitled Praying To The Gods Of Office Ceiling Sprinklers On Juniper Street and originally published in the book In the Realms of the Unreal: Insane Writings, ed John G.H. Oakes (Four Walls Eight Windows, New York, 1991). it is here used by permission of the author. CREDITS concept, dance, sound, video: christof migone choreography: tammy forsythe text: beth greenspan assemblage and streaming: yves labelle typography: fabrizio gilardino special thanks to the media arts section of the canada council and the western front thanks to henry see, sarah toy, rebecca scott, geneviève heistek, richard cyr, all beta testers. - 1999 Canada 60 Christof Migone 1974 966 images/spacer.jpg Quieting In 1996 I recorded the cannon that is fired every day at noon from the Citadel in Halifax, Nova Scotia (Track 18), all pieces on the cd are based on that recording or inspired by the shock of the shot. In my preparations for this project, I made several recordings from different positions in the city, but I only used one for the cd. I initially intended to do a piece combining the various recordings, but I was stuck on one in particular. To this day, I am startled every time I hear this particular firing. In between the recording in 1996 and working on the cd in the Summer of 2000, I had periodically tried to use it, but I could never find the right form, everytime it was placed beside or alongside something, it would annihilate itself along with anything surrounding it. I finally realized that it had to stand on its own. And so in thinking of how one would create that possibility in the listening experience, I thought of putting just that brief recording in the middle of the cd, preceded and followed by nothing, just silence, so as to further amplify the sound of the shot. And that point I felt I had found the right form, the cd got a bit more complex, but that is the basic premise. The initial reason I did the recordings is autobiographical and banal. I lived in Halifax from 1994 to 1996 to do a master in fine arts at the nova scotia college of art and design. One hears the cannon blast every day at noon from anywhere in the city, it is jolting at first, but one quickly gets used to it. In my last couple of months in the city I wanted to do some kind of sound portrait of the city, this punctual sound blast seemed like an obvious choice. Afterwards, and especially after viewing the documentary film by Bob Connolly and Robin Anderson First Contact (1982) in the Fall of 1998, I became interested in the moments of trauma which might be incredibly loud in and of themselves but also impose a silence (silencing/quieting) in their aftermath. The only tracks that are not directly related to the one cannon recording are track #22 which uses the audio from a video recording of Chris Burdens infamous performance Shoot and track #36 which uses audio fromFirst Contact, film which recounts the story of Australian gold diggers entering the interior of New Guinea in the 1930s and using guns to subjugate the aborigines who had never seen white men before. - 2000 Canada 60 Christof Migone 1974 968 images/works/Migone-1998-blisters.jpg Blisters in the Sun he disasterdelicate Christof Migones Blisters in the Sun by kim dawn the day is marked, the moment stilled. distilled: explosion. the place is a domestic one, repetition of the couch, the wallpaper, the window, the fridge and the cereal scorched bowls. these signs play background to the intimate everyday holocaust spilled. this is no longer an ordinary day. burning, through the manipulation and magnification of the photos. he has plagued these bodies with disasterdelicate burning. he has lovingly given these bodies a disease. through the precise burning he tried to re enter/discover. the burning is a tactile intervention into memory. memory is never lost. nothing is ever forgotten.<1> embalment he tries to get back in, to larvae relive, the photo album burns, silent. he (re)enters memory/excavation under. he dives under upon the surface. the photographs in relation iridescent to the card characters in alice s trip through the looking glass. they are surface. the surface is depth to go in the surface is to go around.<2> glowing. [the burnt limbs the lit innards] fervency. the individuals are closed off. only their bodies remember these moments. there are only ever bodies present/absent. the body and the camera meet in a fraction of a burning distillation. voices stay long after words spoken. through the burning=cleansing of the photographs the inner suffering is magnified upon the surface. skin with no but to suffer. suffer (in) stillness, <3> there is never stillness. trembling frozen. <4> (my your skin comes undone.) (i forget today) (togentlyscour (i your face has faded and i, i) ( burnt. (desire) nothingness) _____________________________ 1. suffering : it means not so much what we undergo, as that which goes under. Maurice Blanchot, The Writing Of The Disaster, trans. Ann Smock. Lincoln and London: University of Nebraska Press, 1986. 2. ...its outer surface is continuous with its inner surface: it envelops the entire world, and makes that which is inside be on the outside and vice versa... by skirting the surface, or the border, that one passes to the other side. Gilles Deleuze, The Logic Of Sense. trans. Mark Lester. Columbia University Press, New York, 1990. 3. yes, my mouth, but there it is, i won t open it, i have no mouth, and what about it, i ll grow one, a little hole at first, then wider and wider, deeper and deeper, the air will gush into me, and out a second later, howling. Samuel Beckett, The Unnameable. trans. Samuel Beckett and Patrick Bowles. Grove Press, New York, 1958. 4. the bridge where one feels like plunging one s finger into the water, in a gesture of violent regression to a state of childhood... Antonin Artaud, Artaud Anthology, ed. Jack Hirschman, City Lights Books, San Francisco, 1965. - 1998 Canada 60 Christof Migone 1974 969 images/works/Migone-1998-crackersad.jpg Crackers Do you crack your fingers? your neck? your back? your knees? your elbows? your ankles? your hips? your jaws? your toes? your...? ... ahhhh... ok and now in order to do my elbows I will have to make a quick motion like this, so Ill make sure I dont bust into the mic but I usually have to be standing to do it... so you keep it in one place... thats as close I can go there... now the jaw which is usually on this side... it s not one that a lot of people like to hear.... now... neck, if you can put the mic back in here, tell me when you re ready... ok... I was hoping for a better one than that... not much no... toes, of course... alright so you re going to have to be right on the floor for this... no, just a second, I can do it here... ok, the other one, mine as well exhaust all of the areas and then get to my back... ok.... now when I do my back I have to swing it as well... so stay in one place... the best sounds usually come out of about right there... (transcript from recordings done during the Gallery 101 residency) A joint is the locale where bones articulate a tension. Crackers are compulsive about the release of that tension. A crack is incontinent. A cracker too. As the sound of the cracks echo, some wince, others feel relief. A crack is a body nonsequitur, a crack is a bone edit, a crack is a broken break. ____________________________ This material for Crackers was recorded during a residency at Gallery 101 in Ottawa, Canada, in October 1997. Crackers were solicited through the radio, classified ads in the weekly paper, and via the Gallery s membership. The recording sessions consisted of an interview succeeded by a cracking session. Crackers: Justine Akman, Tony Daye, Marguerite Dehler, Sarah Dobbin, Vera Greenwood, Germaine Koh, Louise Levergneux, Christof Migone, Michael Sutton. The tapes were edited at Avatar in Québec City. Crackers was then first presented as an installation in a group show curated by Emmanuel Madan entitled Incredibly Soft Sounds at Gallery 101, in January 1998. This show was documented with an exhibition catalogue and limited cdr. Documentation of Crackers was also featured in Site of Sound: Of Architecture and The Ear, a book with CD edited by Brandon LaBelle and Steve Roden (Los Angeles: Errant Bodies Press, 1999) and presented the following year as a solo installation curated by Michael J. Schumacher and Ursula Scherrer at Studio 5 Beekman in New York City, January 2000. The installation version also features a video of my right ankle cracking repeatedly for twenty minutes (presented as a projection at ankle level). The cd for Locust was done in Montréal in the Summer of 2000. The CD booklet features drawings by Onya Hogan-Finlay. ____________________________ In live performance, the prerecorded visual (but also containing sound) material features 2 different recordings of my bare feet where I repeatedly crack my right ankle (the only joint I can crack at will). This is projected on one screen while I repeat the same action live and this is projected on another screen. The sound of the live ankle cracking is not only heard but is also sent to make (via Max/MSP software on a laptop) the image and sound of the prerecorded version stutter. In addition, the treated sounds of the initial recordings done in Ottawa are added. - 1998 Canada 60 Christof Migone 1974 970 images/spacer.jpg Gridpubliclock Gridpubliclock utilizes as instruments a radio station, an audience and telephones. The host welcomes the audience from the studio and then leaves the studio. The host calls from every public phone he runs cross and asks the audience to tell him where to go next. An silent operator at the radio station fields the calls coming in and puts them on the air without any screening. The fact that there is no host (no central voice managing the calls) created, in the two instances the piece was performed, a human soundscape that turned radio and performance inside out. Even with low levels of participation (where just the performer participates for example) the empty space between calls and the ambience of the city leaking through each telephone booth creates a portrait of the city. Gridpubliclock is a sounding of a city through its inhabitants, mediated by an electrocuted radio-phone system. - 1998 Canada 60 Christof Migone 1974 971 images/spacer.jpg Separate lights bare, ready to electrocute. lights fadein fadeout. lights breathe. break. she counted in her head, seconds, minutes. she watched the lights reflect in the milk bubbles. she watched the honey pour down his face, sicken, thick, gooey, shimmery. she worried about his eyes, offered her shit napkins to wipe his honey eyes. honeymilk. honeymitts. lights flickered. rose. fell. like them. fell. fell. fell. blackout. swimming in their shit. the sticky. motor for the homemade light dimmer motor hums slightly in the background. weaklight, brighlight, weaklight... breathe into balloons. trembling in stillness. i have no age, no time, all the time in the world. sacred punishment time. it’s the only thing i know how to do. sound of plum meat flowing, diarrhetic. pile of plums turns inside out, turns vile and bile. swallow. choke. putrid. juice. spit. chew. snickers bars. stop looking at me. opening the skin’s surface pull apart the openings. peer. i don’t know if she’ll ever eat plums again. i am no longer hungry. famished. honey bucketful. turning in from the inside out. either or none. all surface simultaneously. no openings left. all taken, plugged. dip head into. inside iam. enveloped. smell overwhelms. nauseates. pretty plum throwings upon his face. my vomit cools his steaming honey eyes. i am a slow moving still. a slow river moving still. am nowhere. i feel eyes on me, i cant see. the honey stings my eyes. i become viscous and keep going into the bucket, can fit more and more of myself inside. head, hands, arms, elbows, shoulders. more plums more plums. hold mouth closed with sticky fingertips. gag. try to stay present. we’re merging with our materials, flowleak, leaking bodies. our bodies are stains. bleached. broken. dripping. chewing. red up red down. redin redout. our body stains. honey condom. rationirrational. a still swallow persists. a slow fear leaks. separate. scared baby hands. scared baby mitts. we squish, we stick. children jerking off playing can’t keep their handsouttatheirpants. feeding off their own. disgust turning pleasurable then back againagain. fearcomfort. desirerepulsiondesire. dissociation. blowing bubbles through a straw in milk. thick. clotted. spoiled. recite the abc’s in head. count to a thousandthousand. i’m gone. i’m there. saturation. chew. chew. chew. ouch. spit. spit. spit. save spit. precious vile. sexy deceptive honey. molasses. thicker. darker. sweeter. gag. chill running throughveins. sickness. breathe. rhythm. white. white. robbers. raccoons. she bubbles a bowl of milk for hours, we smoulder. we swell. we soak. she’s in the world. where air becomes liquid. she’s lost it. looseconsciousness. blow. blow. blow. breath. sickening beautiful honey man. giving ourselves permission for. punishment. playing with our own shit. work mouth into spit. then buildup spit it into a longthinbottle. by now there are more fluids on us than inside us. the juice oozing from the pile of prune meat has seeped everywhere, it stains our white meat. bloody plums. clothes drenched. damaged goods. goodwill pure. never pure. white is dirty. dirtiest. pretend pure. purity, only to announce its absence. it exists in loss, to announce its impossibility. honey decomposition. choke. nauseate. drowning in our own vomit. piss. saliva. menstrual blood. wipe tongue dry. perversion clinic. clinical perversion. present shit to audience on a silver tray. damagedgoods. ‘o sweet puppy. her tongue weapon. save spit. spoiling. going. going. gone. the hospital has lots of jigsaw puzzles. it’s important to wash wash wash your hands. i have become viscous unspeakable. this screams louder than words. it pierces through with no need for language. it devours your intestines, colon, stomach and anus. you are no longer with organs or organic. you are about to leave disgusted, then you turn around, look again, and leave for good, this time with wound. - 1998 Canada 60 Christof Migone 1974 975 images/spacer.jpg the roof of the mouth is anxious i am endangered. i am shut. i am shut up. i am inanimate. i will never open my mouth wide again. ive spilled all over and inside. instructions on how to peel a narrow escape. i open the door slightly for a peek. for a second that seems forever. and i shut it up again. i burrow into the cavity of my mouth. i am louder than words. i scream into you. you are inside my mouth. mouth closed. (i am a claustrophile) - 1997 Canada 60 Christof Migone 1974 978 images/works/Migone-1996-death.jpg The Death of Analogies Analogies have been supplanted by the certitudes of the digits. Similarities and resemblances are no longer currency. The digital fingers their way to you. The technology is ingested. Utilizing a mixture of hi and lo tech in simple set-up situations, the ingestion of the technology is rendered almost edible. Materials : stethoscopes, amplified slide projectors and mechanical cows, minuscule TV monitors, ashtray speakers, intercoms, vinyl pellets and wired philosophical texts. stethoscopes, amplified slide projectors and 1996 Canada 60 Christof Migone 1974 979 images/works/Migone-1995-extended.jpg Extended and Amplified - 1995 Canada 60 Christof Migone 1974 981 images/spacer.jpg Present A performance study in long distance ventriloquism. Having your voice possessed by another ... speaking words youve never thought ... conversing with the thin air ... translating for the sake of it ... remote control. a study in long-distance ventriloquism: phone rings, performer picks up and she (in this instance Jan Peacock) says what I say, becoming the conduit/the translator between the audience and I; at the same time a peculiar relationship is created between the one speaking and the one repeating. what I say is unscripted and meanders between various tones. I hang up a couple of times and call back. Telephone 1995 Canada 60 Christof Migone 1974 982 images/works/Migone-1995-recordrelease.jpg Record Release Vinyl Pellets 1995 Canada 60 Christof Migone 1974 984 images/works/Migone-1995-vex.jpg vex Performance based on Erik Saties Vexations of 1893. Saties instructions for the piece are: to be repeated 840 times, you must prepare yourself beforehand in the utmost silence, by some serious immobilities. This version of this piece included emptying tea bags (Kim Dawn), reel to reel tape splicing (Christof Migone) and filling and lining up bottles (Lukas Pearse). The reel to reel tape splicing was done 840 times with 840 razor blades for 840 minutes (14 hours). There were two reel to reel players and two identical recordings of a voice counting to 840 along with a closed groove version of Saties Vexations which repeated the last note of the composition. The recording had been done live on Danger in Paradise at CKUT-FM in Montréal in 1993. On one player, the recording was being taken out 840 sections (once a minute), on the other the recording was being spliced in the 840 sections from the other. - 1995 Canada 60 Christof Migone 1974 985 images/works/Migone-1995-xplural.jpg xPLURAL A radio transmission without a transmitter. Radiophonic communications without transmitter are not an impossibility. Tactics of diffusion that bypass the hardware can enable one to transgress the authoritative imperatives one usually attributes to telecommunications. A participatory exercise at communication which incites multiplication through breakdown. basic setup: audience and performer sit in a circle, performer starts passing around standard size pages of paper (see script below). the pages never have more than one written line, sometimes they have just a letter, sometimes nothing. the rhythm of the passing varies, sometimes the pace fosters readability of the text, sometimes it hampers it. sometimes objects and images are added to the circulation. - 1995 Canada 60 Christof Migone 1974 986 images/spacer.jpg Rappel An event connecting artists creating for the telephone space. ... compressed telephonics, the Bell noise gating of distance, anonymity as safe intimacy, chats and gossip, calling card frauds, forgotten messages, answering machines with only questions... Rappel, little known branch of Bell, concerns itself with the compressed sound of telephony, the static of far away discourse, the telephone breaths of a familiar overseas, of anonymity as tactic towards intimacy, of gossip nets, of phone cards without phones, of messages without messengers. Rappel supports all numbers with no address, all addresses with no numbers, persisent eavesdroppers, answering machines who can think up lies. Rappel has offices almost everywhere, just call the wrong number, or place a quarter in the ear of a stranger. All our agents will be glad to help you hang up. participants: Daniel Leduc, Pierre-André Arcand, Algojo) (Algojo, Sylvia Wang, Doyon/Demers, Jean Routhier, Christof Migone, Chantal Dumas, Kathy Kennedy, Gregory Whitehead. - 1994 Canada 60 Christof Migone 1974 990 images/works/Migone-1993-sniff.jpg Sniff Sniff takes the audience on a leash, exploring at dog ears level a building. 4001 Berri St. (the home of Oboro, Articule etc and at the time of Espace ACREQ and the CEC) is miked and the dog with a performer on leash explore its scented and creaky corners. The live sniffing is then mixed with material on tape which combines narrative and sound of the present, past and future stories of the building. In this performance the physicality of the building is rendered/reconstructed in sound as the dog sniffs his way through the building. The audience is both live on the radio and live in one of the spaces of the building, the photograph below shows the end of the performance after the dog has finished his sniff tour of the building and enters the space where the audience is seated. - 1993 Canada 60 Christof Migone 1974 992 images/spacer.jpg Squeaky Clean Squeaky Clean began as two artcarts (short audio art works on cart) by Christof Migone and Sarah Toy during Radio Contortions, an international radio art festival hosted by CKUT-FM in Montréal in the summer of 1991. Christof Migone and Sarah Toy produced the series along with 3 guest producers: Geneviève Heistek, Joost Ouwerkerk and Hani Habashi. Squeaky Clean includes threads or threats of a narrative but follows no script, the episodes arose out of improvisations sessions in the studio which each producer would take as raw material and give it a form. Squeaky Clean, in contrast to conventional narratives, focuses on incidental characters, improbable events and imaginary spaces. Words and dialogue are used for their sonic as well as semantic qualities. Squeaky Clean is an ear-in-cheek romp through the conventions of television soap operas and radio dramas. The myriad voices of Squeaky Clean came from volunteers at CKUT-FM. For their contribution they were coaxed, trapped, bribed, and in the end hopefully, enticed. They gave us not only their voice but their interpretation of the setting we would create around them. Simple techniques such as, for example, turning off all lights in the studio, or giving them random noises over their headphones, would help in fostering a certain degree of unpredictability in the recording. - 1993 Canada 60 Christof Migone 1974 993 images/spacer.jpg Surveillance In a pitch black space (the context setup by John Oswald for this series), the performance consisted of walking –following tape on the floor with my bare feet— around the seated audience. While circling the audience I spoke through a 1-watt radio transmitter, and this was received and amplified through a speaker by a radio I was dragging on the floor behind me. - 1988 Canada 60 Christof Migone 1974 994 images/spacer.jpg Body Map live radio performance where we superimposed a reclining body on the island of Montréal and people called to find out where they lived in this city-body. Excerpts from the Body Map radio program: Caller 1: Im calling from a pinched nerve just below the left shoulder blade. I think Montréals muscles are a bit stiff. Caller 2: Im calling from a lymph node. Actually, it s kinda embarrassing, lymph nodes are boring. Caller 3: As I see it, the center of gravity for this body is right smack at the corner of St.Laurent and Crémazie. Caller 4: Montréal has more than one mouth. Caller 5: I don t travel like one of the bloodcells I travel more like one of the parasites. And I m thinking that s probably not good so I should maybe work my way down to the intestines and become an intestinal parasite. So I m realizing that, and deciding that I should migrate towards the center of the body. Would the commuter train be blood? Cos it does come out of the orange artery and I do take it down to the feet every day. Caller 6: s an IV line, maybe we re all in chronic care somewhere. Caller 7: Montréal is a photograph of a body doing a belly flop. Caller 8: The appendix of Montréal is St. Joseph s Oratory, because it s useless. That is my proposal: to take it away in a big helicopter (the one having an out of body experience). Caller 9: We ve transferred textual activity to the groin. Caller 10: The nervous system is in the electrical and telephone wires, the brain of the city. One is necessary for the body, the other one is metaphysical. The body can harm you, it can dispense with you. Caller 11: Hello, I d like to know if the Olympic Stadium is the head, secretly? Caller 12: s a cough, It s a permanent cough. Caller 13: I find the whole thing kind of fetal. - 1991 Canada 60 Christof Migone 1974 995 images/spacer.jpg Horror Radia Vacui Horror Radia Vacui is the second annual report from the Center for Radio-telecommunication Contortions (CRTC). The report travels from the drone produced by the pearl divers of the Persian Gulf to the hems and haws of the radiophonic body. From the horror of the void to the deadness of the air. The performance gropes at radios invisible articulations and at the viscosity of its language. - 1991 Canada 60 Christof Migone 1974 996 images/spacer.jpg One Watt of Truth The story of WTRA (a one-watt radio station in Illinois) vs. the FCC (the regulatory body of the U.S. government). - 1990 Canada 60 Christof Migone 1974 997 images/works/Migone-1990-identification.jpg Identification An international compilation cassette featuring Jim Andrews Bruire Esruk Festival of the Swamps Bruce Gottlieb Sue Ann Harkey and Sylvian Côté Mark Hosler (Negativland) In Solitary Confinement Claude Lamothe Dan Lander matú le paradis Pépé les Pois zont Rouges PoMoCoMo Radio Free Banff Radio Zones Knut Remond Roughage Michel Smith Myra Sohappy Sucking Chest Wound Jack Wright Margo cassette (C-60) compiled and produced by Christof Migone. cassette cover of sandpaper with titled stamped on flap.published by 1990 Canada 60 Christof Migone 1974 998 images/spacer.jpg Touch That Dial The exhibition included the installations Sputniks by Nicolas Collins, Lespace voulu by Marguerite Dehler, Theres a Mirror/Ear at the End of My Bed by Nell Tenhaaf and Kim Sawchuk, and a video tape by Dewayne Readus entitled One Watt of Truth. In addition, the following works were available for listening by the gallery visitors: Jacki Apple and Keith Antar Mason, Frenzy in the Night; LACRIQ inc., J aurais pu l écraser; blackhumor, no lust for the wicked; D. Morris, Flag Air Base; Andrew Herman and P. Cheevers, The Skull Bubble; and Hildegard Westerkamp, Kits Beach Soundwalk. On the evening of August 10 there were the following performances: John Oswald, Plunderphonology: A Polystomatic Dissertation; Gregory Whitehead, Terror Glottis; and Bruire (Michel F. Côté/Robert M. Lepage/Martin Tétreault), Muss Muss Hic! Dan Lander conducted a workshop over three nights entitled The Referential in Sound. The symposium, Radio as Art: Issues of Creation, Issues of Regulation, was conducted by Paul Cheevers, Chantal Dumas, Andrew Herman, David Moulden, John Oswald, Patrick Ready, Kim Sawchuck, Claude Schryer, Phillp Szporer, Dot Tuer and Gregory Whitehead. Moderated by Jody Berland. - 1990 Canada 60 Christof Migone 1974 999 images/works/Migone-1990-foutre.jpg Foutre en lair / Perpendicular Types of Moti An international compilation cassette featuring Babouches Folles !Bang Elektronika Hakim Bey Caboose of Feae Cancerous Growth chainsaw Black Citron Sylvain Côté Crime O Nautix Flag Air Base Sue Ann Harkey/Andy Stochansky/David Life Idle Reels Nitroglycerine PoMoCoMo Red and Bouddha Roughage cover spray-painted silver and wrapped with wire from the cassette inside to the cover.published by see///.saw tapes (now defunct). compiled and produced by Christof Migone. 1988 Canada 1 Barry Truax 1947 1268 images/spacer.jpg Ascendance Held at El Sonoscop archivo de arte sonoro, Barcelona - 1979 Canada 1 Barry Truax 1947 1269 images/spacer.jpg Pendlerdrom Pendlerdrøm (or Commuterdream) is a soundscape composition that recreates a commuters trip home from the Central Train Station in Copenhagen. At two points, one in the station and the other on the train, the commuter lapses into a daydream in which the sounds that were only half heard in the station return to reveal their musical qualities. It is hoped that the next day the commuter will hear the musicality of the stations soundscape in a different manner as a result of the dream; the rest of us may discover the very same aspects the second time we hear the work. Accessed 15.11.06 from - 1997 Canada 116 Brian Eno 1948 1377 images/spacer.jpg White Fence (for three or four monitors) - 1980 Canada 116 Brian Eno 1948 1380 images/spacer.jpg Thursday Afternoon seven video paintings for one monitor. released by Sony, First Prize best non-narrative video, Canada - 1984 Canada 116 Brian Eno 1948 1388 images/spacer.jpg The Quiet Room Audio, Video and Light 1990 Canada 5 Hildegard Westerkamp 1946 1414 images/works/Westerkamp-xxxx-City.jpg A Walk Through the City Length: 16:05 A Walk through the City is an urban environmental composition based on Norbert Ruebsaat's poem of the same name (see below). It takes the listener into a specific urban location - Vancouver B.C.'s Skid Row area - with its sounds and languages. Traffic, carhorns, brakes, sirens, aircraft, construction, pinball machines, the throb of trains, human voices, a poem, are its "musical instruments." These sounds are used partly as they occur in reality and partly as sound objects altered in the studio. A continuous flux is created between the real and imaginary soundscapes, between recognizable and transformed places, between reality and composition. The poem is spoken by the author and appears throughout the piece, symbolizing the human presence in the urban soundscape. Its voice interacts with, comments on, dramatizes, struggles with the sounds and other voices it encounters in the piece. A Walk Through the Citywas composed at the Sonic Research Studio at Simon Fraser University and, in its final stage, at the CBC studios in Vancouver, with the technical assistance of Gary Heald. Many of the sounds were taken from the World Soundscape Project's environmental tape collection at Simon Fraser University in Vancouver, including two of the street oldtimers, recorded by my friend and colleague, the late Howard Broomfield. Some were recorded by myself. The piece was commissioned by and first broadcast on CBC Radio's "Two New Hours." Available on CD! See Discography. A Walk Through the City by Norbert Ruebsaat a walk through the city, sunlight edge and the cymbal crash follow the burning signs, the trail of bullets, the embers dying discarded shoe like an open mouth, a burn on the pavement a house containing three children flashes once and is gone a single robbery somewhere a man is carving himself to death for food day like an open wound in the instant of the newsflash, in the terror of the merchant, in the gleam of the coin, the child's eye it occurs at gunpoint, the barrel laid across the heart murder, the judgement, assault with a lethal instrument the whole city staked out with eyes like a giant crystal catching the angles of light the city borders the skin Accessed 12.06.2009 from - 1981 Canada 5 Hildegard Westerkamp 1946 1415 images/spacer.jpg Fantasie for Horns II Length:12:50 Fantasie for Horns IIwas composed in two stages: the tape part was completed first, in 1978, and was conceived as a composition in its own right (Fantasie for Horns I,which received honourable mention at the 1979 International Competition of Electroacoustic Music in Bourges, France). After the completion of the tape, it seemed natural to add a live horn part. Besides being environmental in its choice of sounds, the tape could now become the acoustic environment for the horn - an instrument which, in turn, has had a long history as sound signal in many parts of the world. The sound sources of the tape part are Canadian trainhorns, foghorns from both the Pacific and the Atlantic coasts of Canada, factory and boathorns from Vancouver and surroundings. Additional sound sources are an alphorn and a creek. Most of the material was taken from the World Soundscape Project'senvironmental tape collection at Simon Fraser University, Vancouver; some of it was recorded by myself. Listening to the various horns in the collection was fascinating because of the way their sounds were shaped and modulated by the surrounding landscape. Some horns would echo only once, others many times, their sounds slowly fading into the distance. A trainhorn's echo was half a tone lower as the train approached, but the same pitch as it passed. Each horn acquires its unique sound from the landscape it inhabits. This strong interaction between these sounds and their environment gave the inspiration to work with this material. Horn sounds are interesting for another reason - they rise above any ambience, even that of large cities. They are soundmarks that give a place its character and give us, often subliminally, a "sense of place". The tape part of the piece was composed at the Sonic Research Studio at Simon Fraser University. Available on CD! Score for performance available from: Canadian Music Centre: Accessed 12.06.2009 from - 1979 Canada 5 Hildegard Westerkamp 1946 1416 images/works/Westerkamp-1989-Kits.jpg Kits Beach Soundwalk Length: 9:32 In the late seventies I produced and hosted a radio program on Vancouver Co-operative Radio called Soundwalking,in which I 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 we leave the city behind eventually and explore instead the tiny acoustic realm of barnacles, the world of high frequencies, inner space and dreams. Available on CD! Accessed 12.06.2009 from - 1989 Canada 5 Hildegard Westerkamp 1946 2321 images/works/Westerkamp-xxxx-Breathing.jpg Breathing Room Length: 3:00 This is the second in a series of Breathing Roompieces. Music as breath-like nourishment. Breathing as nourishing musical space. The breath - my breath - is heard throughout the three minutes. All sorts of musical/acoustic things happen as I breathe in and out. Each breath makes its own, unique statement, creates a specific place in time. Meanwhile the heart beats on, propelling time from one breath to the next. Available on CD! Accessed 12.06.2009 from - 1991 Canada 62 Ken Gregory 1964 1524 images/works/Gregory-xxxx-sunsucker.jpg Gregorys Sun Sucker Sun Suckers are machines. They are classified in the order Real Artificial Life. Sun Suckers have stout flat bodies. The skin is a large photovoltaic cell and usually shiny although in a few species they are dull and opaque. Sun Suckers have one large compound eye (photoresistor) situated on the top of the body. This large eye can read how bright the sun is during the day and detect when night falls. Beside the eye is a thick whisker. This sensor (thermistor) measures the ambient temperature in close proximity of the Sun Sucker. Sun Suckers feed by sitting in the sun light and sucking up rays of light with their skin out stretched to get the maximum amount of the suns rays caught by the photovoltaic surface. The skin sucks up the photons and converts them into electric energy . This energy flows from the skin into the body (microprocessor) and is processed to make sound and communicate with each other. Sun Suckers do not demonstrate any aggressive behavior. They dont bite. They are considered harmless to people, despite the fact that their high-pitched call may annoy some people. Sun Suckers can be found basking in the sun on logs or stumps in summer. They are very passive and dont move when approached. Smaller kinds often live in short grasses, or even on smooth rocks. Sun Suckers if eaten by birds or animals are poisonous. Their bodies are made up of toxic plastic and metal components. This means that the Sun Sucker has no place in the evolutionary chain as they have no natural predator and could be considered a pest. Sun Suckers are notorious singers. The song is a call produced by sensing the current light conditions and temperature. Each species has its own distinctive call and if you listen closely and get to know the calls you can find out what the weather conditions are. Sun Suckers are the only Real Artificial Life species to have developed such an effective and specialized means of producing sound. Some large species such as the Northern Sun Bomber and the Woolly Screecher produce a noise intensity in excess of 120 dB at close range (this is approaching the pain threshold of the human ear). In contrast, some small species have songs so high in pitch that the noise is beyond the range of our hearing. The call is a repeated chik, chik, chik, chik heard throughout the year only in bright sunlight. The apparatus used by Sun Suckers for singing is complex and research is still continuing on the mechanisms involved. The organ which produces sound is a small, flat piezo transducer at the front of the body. Modulating the internally produced AC voltage in pulses causes the transducer to buckle inwards and outwards producing a pulse of sound. Many species of Sun Suckers sing all day. The loud noise produced by some Sun Suckers can annoy and confound humans and animals alike, probably because the noise is produced by an electronic circuit with very little obvious variations and a small palette of sounds. Sun Suckers communicate with other Sun Suckers using a sort of complex telepathy that uses high frequency sound waves which humans can not hear to carry their message. Each Sun Sucker has a transmitter/receiver and together as a group share their informations which are used in the composition of the groups song . Not much is known about this and research continues into this mysterious method of communication The Sun Sucker was introduced to the Canadian environment on the banks ot the Red River by audio artist Ken Gregory. This research follows a long tradition of outsiders meddling with the environment by introducing non-native species in the hopes of improving on what nature has provided. In this case Gregory was interested in improving the local soundscape with artificially produced digital noise. 2004 Canada 62 Ken Gregory 1964 1527 images/works/Gregory-xxxx-cranking.jpg Cranking Out Paradigms thesis written by Lori D. Weidenhammer in collaboration with Ken Gregory Today, the computer is a utilitarian tool which usually comes with an interface which is based on the business office model. The human input is primarily typing on the keyboard, (which is modeled after a typewriter), and shifting iconic symbols around an imaginary office environment with a pointer. The monitor displays icons which are symbols of a standard office environment: documents; folders; filing cabinets, (floppy discs, hard drives); trashcans, pens, telephones, desktops, etc. These symbolic icons guide the operator of the system in the manipulation of stored information. Software, (the instructions which mediate the operation of the internal components of the computer hardware), is the defining element of what can be done with computers. It is usually designed with business applications in mind. Computer technology is maturing as a significant medium for artistic creation. Software creatively applied can be the defining element for artistic work. This takes the computer away from being simply a tool. Through software, it becomes a partner in the creative process. Our interface and software will link the body and personal memory to words and images stored in the computers memory without the trappings of the business interface model. Our installation will link the body and personal memory to words and images stored in the computers memory. Working Definitions (The Concise Oxford Dictionary) interface: 1. surface forming common boundary between two regions. 2. place, or piece of equipment, where interaction occurs between two systems or processes. 3. connect with interface. record: 1. register, set down for remembrance or reference , put in writing or other legible shape, represent in some permanent form. 2. convert to permanent form for later reproduction. 3. trace made by recording instrument on disc or cylinder for subsequent reproduction by gramophone crank: 1. part of axle or shaft bent at right angles for converting reciprocal into circular motion, or vice versa, or (slang) to increase (speed, etc.) by intensive effort. The Viewer as Activator When one enters a gallery, the first sign you probably see is please do not touch the display. If a visitor to a gallery is to interact with an installation or object, they must be given clues that they have permission to touch the art. Our installation relies on the active participation of the viewer. The message to interact with our object is implicit in the design of the interface. The viewer will see a video screen embedded in a piece of beautifully finished wooden furniture. Its shape suggests a gramophone. The crank attached to its side suggests a possible cause and effect relationship: If I turn the crank, the image of the record on the video screen will turn, and the sound of a record will play. This is exactly what happens, but after this action, the installation starts to work in a way that is not predictable. For example, the software in the computer will read four factors of variability. Turning the crank will provide kinetic input to the computer software which reads the speed of rotation, the direction of rotation, number of revolutions, and whether or not the crank is in motion at all. The reading of physical/mechanical motion into data is achieved through a sensing device using optical electronic technology. Then, custom-designed computer software uses that data in real time to present the audio and video clips. The Grammophone as Interface The gramophone is a seductive invention that has nostalgic connotations of a time when our relationship to technology was not as complex as it is now. It is one of the first inventions, along with the telephone, that successfully disembodied the voice. By placing a record on the turntable, placing the needle on the record, and turning the crank, (a very simple series of actions), the music of your choice would stimulate your senses. The invention of the record is still echoed in the design of round spinning data storage devices, such as CDs, floppy discs, and hard discs. Records as Stored Memories When you listen to a specific musical record your mind may naturally be flooded with certain memories and associative images. You may repeat certain songs to revel in the feelings those memories evoke. The physical act of choosing a record and turning a crank suggests a possible interface. A Rolodex file card system is another interesting model. A simple records storage system of singular file cards; each card recording a name, address, phone number and related information of a person. The cards are attached to a rotating shaft with a round knobby handle on the side which when spun by hand flip the cards around so we can view them. When we approach the Rolodex the current card in view is the last card viewed by the person before us. When we spin the wheel, random chance, weighted by the A to Z order of indexing, guides which cards we see before the card we want can be viewed. Speed of rotation, direction of rotation, and no rotation all affect which cards we see. We might make interesting memory associations based on the names we see during the search for the information we want. This interface links the body to data as fixed memory which in turn stimulates imaginative memory. The Installation as Active Tool The computers sound responses are not totally predictable so it becomes a partner in the creative process. On a musical instrument, C sharp is always C sharp and the musician is always in control and making the choices. Although Gregory has programmed his computer, he cannot predict exactly what sounds it will access. It is an active tool, whereas an instrument is a passive tool. When humans learn language, the person teaching them is not endowed with the ability to know what they are going to say... The same applies to Gregory and his computer. Jack Lauder, Critical Distance Vol 1#2A, April 94 The interactive spectator cannot predict exactly how actions will affect the images and sound bytes presented to decipher. In this way the spectator is having a conversation with an unpredictable speaker, not simply cranking a gramophone to let it play its singular fixed message over and over. In this installation the number of possibilities has a high rate of variability. There is a large enough number of possible juxtapositions of sound bytes and video images to create an experience that is unique to every viewer. Coping with Randomness For example agent K9 types out a page of random impressions from whatever is presented to him at the moment : : [sic] street sounds, phrases from newspapers or magazine, objects in the room etc. He then folds the page down the middle and places it on another page of tyupewriter [sic] messages and where the shift from one text to another / marks the spot. William S. Burroughs, The Burroughs File In his book, The Secular Grail, Christopher Dewdney discusses the relationship of chance to meaning: [The] ability to simulate intelligence parallels the results obtained by aleatoric literary compositions such as William Burroughs s cut-ups, where meaning is generated through unexpected combinations of words and ideas. When presented with seemingly random images and fragments of text we automatically search for patterns and associations to make the information useful. An active spectator projects their subjective interpretations and self-generated narratives and fragments of narratives onto the images and fragments of text as he or she cranks out the information. In his book The Burroughs File, William S. Burroughs describes his cut-up writing process. A simple set of rules which generates new text. Computer software is simple rule systems multiplied into various degrees of complexity. Raw information, that is any recordable sound or image, is manipulated by software through various processes and reconstituted into patterns of pure sound and image or in a manner which plays upon new meanings when the original information is fragmented, counterpointed against itself, repeated, duplicated, distorted, etc. Computers are perfectly suited to these processes. The Text as Audio Clips in the Information Bank Executioner of the Self comes from a dream about a murderer who is to help construct the device of his own punishment and destruction. The theme is about self-fulfilling prophesy that turns self-destructive. The story is a nightmare version about how an individual s survival instincts conflicts with the survival of the community he acts within. Photographs of the Mind-Body Chasm is a series of speculations on how the disjunctive relationship between the mind and the body of the artist affects her personal relationships. The text is a repetitive and obsessive examination of the relationship between evolution and physical attraction. The Video Images in the Information Bank The images we chose to put in the information bank come from our associations with the themes and images within the text. The dream of the Executioner of Self contains references to broken shards of porcelain, which have a parallel image of the broken shards of the record. The text called Photographs of the Mind-Body Chasm contains references to the pitfalls the body presents to the mind, hence the choice of the image of a steel trap clamping shut, or being welded. We choose images that echo the repetitive, obsessional paradigms within the text. The image of a cat licking itself is an act of self-cleaning, that if repeated can represent an act of self obsession, licking a wound so obsessively that it never gets a chance to heal. The Structure and Function of the Text The text is composed to suit a cut-up method, juxtaposing fragments of 4 different voices, (2 from each poem). The repetitive structure of the poetry allows for the active listener to draw connections between key words and phrases we have emphasized in the software program. These sound bytes will occur more often than others, and in a particular order that contrasts with the randomness contained within our communicative model. The phrases and key words we give more emphasis to can be compared to the patterns which are contrived to show up more often in a pair of weighted die. Snake Eyes will come up more often if a piece of lead offsets the roll of the die. This type of weighted randomness can be used as a simple decision making rule embedded in the software. To relate to the computer I am typing on right now, I am hunching over a keyboard, pecking at the keys, and grasping at the mouse. I resent the numbing effect that using this form of interface has on my body. To create a device that changes my physical relationship to the software brain of the computer would affect the relationship of my body to the text I am writing. I would begin to think about the relationship of my intellect to my body in a new way. That is what this project is meant to do. Therefore the text I am creating for the sound bytes is designed to stimulate emotions, memories, and thoughts on the relationships we have to our bodies, as well as the bodies of others. The body of others may be lovers, friends, strangers, or murderers we read about in the paper. The dream of the murderer who makes the device to destroy himself is a nightmare through which the more positive text breaks through like shards of hope. In Photos of the Mind/Body Chasm, the voice who obsesses over physical attractiveness is juxtaposed next to the voice who obsesses over the problem of a mind detached from body. Both texts explore fear of a body, (i.e., the strong body of the murderer, or the unattractive body in Photos of the Mind/Body Chasm). The poetic structure of the texts is designed to present the viewer with evocative images to activate the imaginative process. The voice fragments are cut up and made into units of meaning. The viewer manipulates these units of meaning when he or she turns the crank. From that point on, they have manual control of the fragments of language. They will create patterns of meaning unique to themselves by comparing my dreams to their own, and forming visual analogies to their personal iconography. Structure and Function of the Video Images The images in the video aid the communicative process described above. The stills and repetitive moving images help the viewer to focus on interpreting the sound bites. The image seduces the viewer s visual sense, and encourages the viewer to actively scan their memories and imaginations for comparisons to their personal imagery. Our installation will link the body and personal memory to words and images stored in the computer s memory. We can not predict how the software will present the information as we are experimenting with non-linear, random access, real time editing processes. The sound and images will be presented in a non-linear way that mimics the structure of memory and is linked to the spectator s active role. Executioner of the Self He had the weapons I hope to kill the criminal he turned a shard of white porcelain in his hands And that s where hope starts. deep into his neck These are the materials he had to make the device: A white porcelain plate. whimper A rubber collar. bang I was playing with the shadows of my fears This is the plan he had to make the device: One: to break the plate into sharp, chunky shards Two: to attach the shards to the collar Three: to wind the collar around the killer s neck Four: to kill the criminal by forcing the shards deep into his neck 1994 Canada 62 Ken Gregory 1964 1528 images/works/Gregory-xxxx-hyperball.jpg Hyperball System A pendulum/windchime sort of thing. Balls with electronic transducers inside them are set into motion by a member of the public. The transducers respond to the collision of the balls in motion. Instant of collision, impact velocity, time between collisions, and number of balls in motion are monitored in real time by software created with Max running on an Macintosh computer. The ball activity is then converted into performance data used by the sound producing modules 1993 Canada 62 Ken Gregory 1964 1529 images/spacer.jpg acceleration + position = Dream Divination by Oscillation Performed with The Sphere, a 4 metal bulb attached to a short tether with a pressure sensor encased inside. As the Sphere is swung around, the sensor and electronics capture physical motion and transfer them in real time to a computer with custom software. The software does an analysis of the performers gestures and maps the motions to sound performance and sonic manipulation software/hardware. This work is performed with an electronic interface device (instrument) which operates similar to a Bullroarer. The Bullroarer is an ancient Aboriginal instrument/toy that is built by attaching an 8 to 15 rhombus shaped piece of wood to a long piece of twine or animal sinew. When the Bullroarer is swung at arms length around the users head, an eerie whirring sound can be heard. The pitch and amplitude of the sound is dependent on the speed and force of the swing. My intention is to reference the physical action of playing and manipulating sounds with a Bullroarer by building a custom motion capture device and composing an audio performance using actions captured with this device. My device will be a spherical metal bulb approximately 4 in diameter fastened on the end of a long wire or light chain. Encased inside of the sphere is a small flat Force Sensing Resister with a small weight attached to it. When the sphere is swung around, the small weight will, under the influence of centrifugal force press against the FSR. The FSR will continuously measure the pressure and transfer that measurement to the computer running custom software which will construct the arrangement of sounds performed. Divination by Oscillation Divining is an Alchemical art that in its generally known form is concerned more closely with the knowledge of hidden things. Finding of lost things, determining the truth of a matter, location of a water source, etc. By looking into someones future, the diviner or medium can assess the particular situation and in the form of rituals evoke positive forces which can result in a positive change in the situation. An instrument of sorts is usually used to visually and symbolically assist in the focusing of energies towards achieving the goal. To divine in its truer and deeper sense is to discover by inspiration and intuition, and to stimulate imagination within and out. This is the leaping off point of reference that brings my instrument into play. - 2000 Canada 62 Ken Gregory 1964 1530 images/works/Gregory-xxxx-12Stations.jpg 12 Stations of the Cross A Mattel PowerGlove NES game controller is turned into a sound manipulation device using motion tracking and processing software created using Max , an object orientated interactive programming enviroment for the MacIntosh computer. Ultra- sonic sonar tracking of the Glove movements in 3 dimensions are processed into performance data for the granular synthesis of sound in real time. Pitch , time expansion, and ampitude are modified in real time by gestures of the performer. An additional hand controller is used to modify sound selection, parameters of reverb and harmonics. Discarding the music history and baggage of traditional electronic music MIDI controllers such as keyboards, computer keyboards, MIDI guitars, and drum pads, the combined Glove, software/hardware and sound system become a new sound performance instrument. 2001 Canada 142 John Wynne 1965 1766 images/spacer.jpg Response Time - 2000 Canada 120 Jonty Harrison 1952 1911 images/spacer.jpg Unsound Objects One of the main criteria in Pierre Schaeffers definition of the sound object was that, through the process of reduced listening, one should hear sound material purely as sound, divorced from any associations with its physical origins - in other words, what is significant about a recorded violin sound (for example) is that particular sound, its unique identity, and not its violin-ness. Despite this ideal, a rich repertoire of music has been created since the 1950s which plays precisely on the ambiguities evoked when recognition and contextualisation of sound material rub shoulders with more abstracted (and abstract) musical structures. But as these structures should themselves be organically related to the peculiarities of individual sound objects within them, the ambiguity is compounded: interconnections and multiple levels of meaning proliferate. The known becomes strange and the unknown familiar in a continuum of reality, unreality and surreality, where boundaries shift and continually renewed definitions are the only constant... - 1995 Canada 119 Gilles Gobeil 1954 1954 images/spacer.jpg Contract with guitar improvisor Rene Lussier. A work that uses elements from classical music, contemporary electronic music and sampling techniques. Gobeil and Lussier present a CD filled with spooky and often distant soundcapes that are interluded with samples of spoken work, sudden bursts of orchestral music and recurring hints of rock music and noise. This almost punky combination is very strange but somehow works quite well, although I must add that this makes this CD not very suitable for a classification such as easy listening . Accessed 15.11.06 from - 2003 Canada 119 Gilles Gobeil 1954 1956 images/spacer.jpg Projet Proust is “a personal reading” of the first pages of “Du côté de chez Swann” (“Swann’s Way”) (1913) by Marcel Proust. The narrator is Marc Béland. In a classical electroacoustic manner, the voice of the narrator is heard as from inside soothing spheres of bliss, whereas the sound web in which those spheres of French morphemes are expressed is ominous, spatial, dark, threatening, as from a furnace of destruction or the core of energy on the verge of exploding into a supernova of the intellect, spreading your desperate identity in a dissipation of fragmented thoughts and remnants of words throughout the abyss within… Like in the first piece on the CD the sounds at times start behaving in an inhaling/exhaling manner, indicating Time through Breath, Life through moving Oxygen and Carbon Dioxide. Chanting of angelic choruses are hallucinated through the whining of bee swarm timbres and the occasional occurrences of grinding machines in a large, smoky hall of a steelworks on the Baltic coast, into which diagonal rays of sunlight through semi-transparent windows on high cut through the rising smoke and hovering dust of iron particles, producing rhombs and squares of light on the dirty brick walls and the littered floor, and on the hell-like machinery of industrialization… Minuscule binary progressions of grains of sand wisp back and forth in the panning of the artisan’s tools, as cut up blisters of cries and hollers are ground down to oblivion, until one short second of a real-life scream plummets into water and relative silence… and the softness of speech continues… Nocturnal atmospheres are introduced, from silent Mediterranean nights of dark heat, wherein insects talk to themselves… but is this also a regression of evolution, back to dinosaur pastures of plenty, where the grass is green and where the giants of the earth rule…? … because I hear growlings of primeval forests and plains… or is it just the Unconscious in fast reverse, down the branchery of evolution inside the halls of mirrors of my mind…? Accessed 15.11.06 from - 1995 Canada 119 Gilles Gobeil 1954 1957 images/spacer.jpg Point de passage” (“Crossing Point”) is, says Gobeil, “a free adaptation of ‘The Time Machine’ (1895) by H. G. Wells (1866 – 1946)”. It begins in a furious speed, accelerating in volume, but dissipates into – once again – a “breathing” state of relative silence… Anyone who has read the book by Wells knows and remembers the story, so this is supposed, then, to be programmatic music, re-enacting the story of the British scientist who invented a time machine and went to a distant future - 800 000 years ahead! - where humanity was divided into a naïve and innocent breed (the Eloi) living on the surface of the planet like we do, and a dark, evil and intelligent breed (the Morlochs) residing beneath the ground, in tunnels and halls deep inside the earth, appearing on the surface only to abduct the fair and gentle ones, tearing them apart for the sake of their flesh. Of course, the plot is inspired by the findings of Sigmund Freud and his concept of the Subconscious and the Unconscious, and particularly the sexual and creative implications for the individual, who has to balance the surge and might of millions of years of evolution – tucked away in his unconscious – on a razor’s edge of civil varnish. There is a lot of movement in this piece; rushing sounds as from haywire subway trains, and I can feel the cold steel of the evil subterraneans’ machinery, and the smell of oil and fuel… A cold rain is falling over the steel dome into which the scientist has pulled his time machine… These sounds from Gobeil’s fantasy are immensely lonely, as from a god who has given up his supremacy… A slow breath, on the verge of snoring, pictures this god asleep in his loneliness. Accessed 15.11.06 from - 1997 Canada 119 Gilles Gobeil 1954 1958 images/spacer.jpg Nuit cendre Again Gilles Gobeil has turned to a classical science fiction novel; “Voyage a centre de la terre” (“A Journey to the Center of the Earth”) (1864) by Jules Verne (1828 – 1905), the originator of modern science fiction. Initial sounds are abrupt indeed, but soon you are taken into watery, descending swoops of motion, apparently inside some hollow place or craft, and the grinding force of a landslide or dark matter being shoved aside grows into a relentless noise of lithophonic qualities. Lighter metallic rings of timbres sooth for a while… Unusually withheld nuances of sound lurk in the crevasses of the passage… There is an ominous apprehension inside this music… and the tubular rhythms of machinery once again grows in intensity, albeit in softer, brownish timbres of clay and wet slices of soil, seeping down the outside of your listening sphere like venomous honey… It is undoubtedly a crude environment, dark with clay, granite and bedrock strata. The music moves in this environment with diamond edge and boring vibrations… but the sounds of air through vents or steam through pipes transform the event into a softer impression, and suddenly it feels as though the space opens up, perhaps into a giant subterranean hall, so large and extended that you cannot see the roof up there in the dark, even though you point your torchlight upwards… and then you see it; a low-intensity, bluish light that sort of hovers inside the giant subterranean cathedral… Later on sounds of what appears to be thousands of winged creatures flapping about – maybe giant bats – sends fear down your spine, or are these sounds the stumbling feet of shadowy beings skipping towards you in your vulnerability, towards the core of the planet…? Accessed 15.11.06 from - 1995 Canada 119 Gilles Gobeil 1954 1959 images/spacer.jpg Voix blanche The beginning is pastoral, fresh with green plants and densely wooded forests, hiding many a secret existence: those specks of light dancing over the rocks in the meadow! The music wakes up in this natural bliss, its heart thumping, the score suddenly fresh with oxygen and dew! The very first bar of the music makes a wide gesture, opening our eyes to the scenery, which is half real, half myth: enchanted! The electronic music bends slightly downwards from its upward beginning, leveling out, short and well-marked bird chirps measuring time, while the Ondes Martenot – thin and elastic – rises slowly in a glissando, upwards, slowly upwards, as the electronic motion down under begins to circle like the current of water that disappears down the drain. Gobeil’s music grows granular, like the surface of the sun throw sooty glasses; that boiling motion of prickly elements – but in Gobeil’s world this property is cold, icy – more like myriads of distant stars… and in the following development I can no longer distinguish Martenot from Gobeil, so to say. It all comes together in a vibrant, soaring elasticity of audio, venomously beautiful, dangerously pleasant! I hear surfaces tilting, I see the dust sounds of gold, I piggyback off on the circumstances! I feel ballets in here, see motions around the premises, hands making signs, feet circling over a wooden floor; I hear the intermittent friction of ballet shoes and planks; a wheezing grayness, gravity focused through an act of utter equilibrium, all the way into the central star, gathering momentum way out from the most distant planets: the gyro of the solar system; the ultimate prayer wheel! Gobeil and Suzanne Binet-Audet shape the moment wonderfully, at times merging so crazily that they become one and indistinguishable from each other, only to pry lapsing durations open in disparate tendencies, torque and pull straining space and perception ominously, only a distant murmur rising under the horizon like the wasted songs of renounced gods as time runs towards the vanishing point…. Accessed 15.11.06 from - 1988 Canada 119 Gilles Gobeil 1954 1960 images/spacer.jpg Là où vont les nuages the Ondes Martenot is linked to a MIDI converter, opening the utilization of synthesizer, sampler and a sound processing unit to Binet-Audet. This work has been released on an earlier Empreintes DIGITALes CD, but as was the case with Voix blanche is the case with Là où vont les nuages; a contemporary makeover by the composer, who had it overhauled in 2004 and re-recorded in early 2005, collaboratively mixed by Gilles Gobeil and Suzanne Binet-Audet. Here is the result, for our ears only. It staggers and winds through its beginnings, through a sonic deliverance that could have been filtered out of a steel factory havoc, reduced and radicalized into a swelling motion that reminds me some of the shaman realms of Rolf Enström’s Tjidtjag and Tjidtjaggaise; a mysterious widening of space and time – and I can’t refrain, either, from making an analogy to Stockhausen’s Sirius space ships gearing up! The sound is rich an sort of waiting – but there are audible footsteps in there, and a panting breath, for a while – so the human touch is there! There is lots of motion about this music; nothing stands still or stops, or if it does, something else moves on; you’re not completely left motionless at any time – but the sounds thin out drastically here and there; breaks that are slapped in the face by singular gold-crusted percussion beats. Several percussive layers are strewn about, achieving tearing, bent-away sensations – until water factory echoes put you right back into Tarkovskij’s Stalker, entering the Zone… Lone and distantly howling sounds are broken up by close and loud alarm clocks. A blind motion forces itself through the vicinity like a train without an engineer, These violent sounds are relieved by distant, meditative foghorns, and then you’re back with Stalker again… with Edward Artemiev. Là où vont les nuages consists of a complex mix of impressions, but it never gets out of hand. It’s a merger of musique concrète and electronic music, perhaps a little too much on the wild side for my taste, but damn interesting and often surprising. Accessed 15.11.06 from - 1990 Canada 119 Gilles Gobeil 1954 1961 images/spacer.jpg La perle et l’oubli Gobeil says that this is “a personal interpretation of a Gnostic text from the 2nd century, entitled Hymn on the Soul, attributed to Bardesanes”, who lived 152 – 222 Anno Domini. A high-pitch swirl, a motion deep inside a blue sky – and a shower of gravel passing a barrel of steel, barely touching it, but making enough of a contact to raise a whisper out of gravel and steel, a passing shadow out of matter… The flapping of dark wings or the tails of a coat flying in the wind; an anatomy flexing by, a densification of matter on the move: a person out of the 18th century gliding by in a flash, gone like the improbability of its manifestation… Sudden showers of meteorites pass in silence; not a ripple… A murmur in the night; an ocean turning over in a dream, grunting. The idea of something lighting up inside a brain and dying away… and then: a stirring motion, a vibrating trill, a sound too organized not to be a sign of intelligent life: a message passing from brain to brain, from world to world… as the subway train blows by in a gush of warm air, screeching for help! A choir of wide open mouths behind the barricades are sensed more than heard; a tolling of silent bells, teeth slowly closing the only escape, swallowing the words which were so cleverly lined-up, drowning the messages in saliva and crushing them in intestinal crunches… Gobeil and Binet-Audet play hide-and-seek amongst colored silences, soft walls of under-the-breath timbres that are scratched by all but imperceptible razor sharp Martenot incisions… blood gushing out of inaudible openings in the night… An explosion! … and crowds stirring inside an oil painting: maroon melodies tenderly brought about: John Dunstable’s Masses and Motets out of the 15th century moving like black balcony curtains with figures sewn in silver threads… infants dying in the cold Medieval winters of Europe, while the living have to go on breathing, prisoners harnessed by this relentless in- and exhaling; this curse of life in the flesh. Accessed 15.11.06 from Composed between 1999-2002 1999 Canada 119 Gilles Gobeil 1954 1962 images/spacer.jpg Traces The impression of an expression, the faint trail left upon passing. The shards of reality emerge here and there, furtively, at the center of an abstract universe, concise and articulate, to be immediately absorbed and transformed in sudden, erratic swinging movements. Traces was produced in the studios of the Université de Montréal in 1985. It was awarded the 1st Mention at the Brock University Tape Music Competition (St Catharines, Ontario, 1985) and the 2nd Prize at the 10th Luigi Russolo International Competition (Varese, Italy, 1988). Accessed 15.11.06 from - 1985 Canada 5 Hildegard Westerkamp 1946 1999 images/works/Westerkamp-1993-India.jpg From the India Sound Journal Length: 36:44 From the India Sound Journalconsists of a series of sonic portraits or snapshots of places and situations experienced during my travels in India. It is a work in progress and consists of the following sections so far: Dhvani-Sound Camelvoice Undercurrents Rivetted Temple Bells Silent Night The Village Goa Trance Hello! Where From? The work is being completed with the financial assistance of the Canada Council. Accessed 12.06.2009 from - 1993 Canada 5 Hildegard Westerkamp 1946 2098 images/works/Westerkamp-1987-Cricket.jpg Cricket Voice Length: 10:55 Cricket Voiceis a musical exploration of a cricket, whose song I recorded in the stillness of a Mexican desert region called the "Zone of Silence". The quiet of the desert allowed for such acoustic clarity that this cricket's night song - sung coincidentally very near my microphone - became the ideal "sound object" for this tape composition. Slowed down, it sounds like the heartbeat of the desert, in its original speed it sings of the stars. The quiet of the desert also encouraged soundmaking. The percussive sounds in Cricket Voicewere created by "playing" on desert plants: on the spikes of various cacti, on dried up roots and palm leaves, and by exploring the resonances in the ruins of an old water reservoir. Cricket Voicewas completed with the financial assistance of the Canada Council. The composition is dedicated to Norbert Ruebsaat, who wrote: It's hard to be a night in the desert without the crickets. You make it with stars. You make it with the skin of the desert night. You stitch those two together sky and earth. You find it with your cricket voice. Accessed 12.06.2009 from - 1987 Canada 121 Dan Senn 1953 2164 images/works/Senn-1994-teletyre.gif Telelyre: Teleliar Nylon lines continuously threaded between the chassis bar (pvc) and video monitor (amber) with weight of monitor determining string pitches. Line alternate between pendulum lines and pitched lines threading a piezo microphone (mic is adjustable creating pitch on either side). Pendulums with sails are activated by oscillating fan or manually during live performances. Accessed 7.12.06 from Monochrome video is an animation of stills taken off television sreen in 1985 during Oliver Norths Senate testimony. Mirror image of video over both monitors. Instruments sounds (harpsichord-like) amplified within stereo field. Oscillating fan continuous or foot-switched by patrons. (Nicholas Senn in photo) Cross between a pendulum-based and shmoos-like instrument. 1994 Canada 134 Ed Osborn 1930 2167 images/works/Osbourne-1998-nightsea.jpg Night-Sea Music In Night-Sea Music, many small music boxes are driven by slow electric motors attached to them via rubber cables which curl and release intermittently. The piece is titled after a John Barth story, Night-Sea Journey, which is narrated by a confused and not altogether enthusiastic single spermatozoa on its journey in search of...well, something (the narrator is not very clear on the concept). The twisting and spasmodic movements of the piece alludes to those tiny twitching travelers whose brief existence is a suicidal mission to carry information through a difficult environment. The music boxes all play the old folk tune The Merry Widow, which serves as a wink and a nod towards the overwhelmingly futile energies expended by all those determined sperm. The motors run at slightly different speeds depending on the amount of slack between them and the music boxes to which they are attached, so there is no way to synchronize the content of music boxes. While the flavor of the melody is heard, the overall contour of its progress is diffuse and meandering. This diffusion is both temporal and spatial since individual notes or clusters of them are heard randomly from various points across the wall where the piece is mounted. The factors causing the different rates of playback - the amount of slack on the rubber cable and the angle of that cable on the wall - are clearly visible and intuitive. The rubber cables make a mark of their motion against the wall, thus emphasizing the pieces tactile presence and leaving a physical trace of the amount of its efforts. Accessed 7.12.06 from Mixed media, electronics, sound (dimensions variable). 1998 Canada 134 Ed Osborn 1930 2198 images/works/Osbourne-1993-state.jpg State of Grace Some thoroughbred cars are described as being at rest only when fully at speed. This notion of an entity achieving maximum consonance only when completely exhibiting an extreme capacity is the principle idea that guides the development of this piece. State of Grace explores some of the limits of the Disklavier in order to articulate a few of these capacities.Accessed 7.12.06 from - 1993 Canada 60 Christof Migone 1974 2433 images/spacer.jpg fado - 2002 Canada 1 Barry Truax 1947 2445 images/spacer.jpg Aerial - 1979 Canada 1 Barry Truax 1947 2449 images/spacer.jpg Riverrun - 1986 Canada 19 Janet Cardiff and George Bures Miller 1957 2630 images/works/Cardiff-1997-latour_1.jpg La Tour The crowds surrounds you. Voices booing and hissing. The Carnie yells over the sound of the organ music: Ladies and Gentlemen, ...never before seen, part human, part creature, an animal that knows no bounds, that shouldn’t exist in our world. ...come watch her, touch her if you’re brave enough... Inside the tent it’s dark and warm. Candlesticks, a table set for dinner, old worn out rugs, draperies, a bed in the corner. Overlaid cyberpunk. Cold steel pipes, wires running everywhere, video cameras moving, scanning, constantly watching. Watching what? The past. The future. In the monitor you glimpse the dogheaded boy serving dinner; the man with his long hair tied to the ceiling; an elderly woman stares back at you from where she rests on the bed. Time is just another kind of space. You can step into a dimension like a closet and come out in another room or another century. Accessed 04.11.2008 from Materials: Mixed Media with video projection and binaural audio 1997 Canada 19 Janet Cardiff and George Bures Miller 1957 2637 images/works/cardiff-2001-housefire.jpg House Fire Cardiff and Miller have been working collaboratively and individually for two decades. Together the pair achieved international renown with their collaborative works The Dark Pool (1995/96) and Muriel Lake Incident (1999). House Fire is a four and half-minute clip derived from their multimedia installation The Paradise Institute that was presented at the 2001 Venice Biennale. The work is a voyeuristic study of a two-story house fire in rural Ontario. Like The Paradise Institute the work employs the binaural, surround-sound audio track that the pair have come to be celebrated for. The result is a life-like three-dimensional reproduction of sound. The couple have been experimenting with sound in their art since moving to Lethbridge in the early 1990s. Critics have heralded their multimedia art practice as one of the most important breakthroughs in conceptual art. Accessed 22.03.2007 from Q5 amplifier, headphones colour, 2001 Canada 3 Dan Lander 1953 2638 images/spacer.jpg Room Its always hard to reprimand somebody if theres nothin on paper. Its always hard to reprimand somebody if theres nothin. In the air that comprises the psychological spaces constructed through broadcast sound, meaning is in flux, ephemeral and up to you. His compositions for radio and loudspeaker are dependent on recordings gathered from real life situations, organized with an ear to the ways in which meaning circulates through sounding and reception and have been widely aired in North America and Europe. A CD of his works, entitled Zoo was published by empreintes DIGITALes in 1995. He is currently Media Arts Officer at the Ontario Arts Council. Accessed 22.03.2007 from - 1993 Canada 127 Pauline Oliveros 1932 2820 images/spacer.jpg I of IV Fixed duration: 20:03 Tape 1966 Canada 23 John Oswald 1953 2841 images/spacer.jpg Bell Speeds tape 1990 Canada 23 John Oswald 1953 2843 images/spacer.jpg Homonymy chamber music and cinema 1998 Canada 23 John Oswald 1953 2847 images/spacer.jpg Hustler White - 2003 Canada 152 James Tenney 1934 2906 images/spacer.jpg Three Indigenous Songs 2 picc, alto fl, tuba or bsn, 2 perc 1979 Canada 154 Jean Tinguely 1925 2920 images/works/Tinguely-1970-cyclop.jpg Works for the World Fair creates “Requiem pour une feuille morte” for the Swiss pavilion, and “Le Paradis fantastique” together with Niki de Saint Phalle for the French pavilion. - 1967 Canada 163 Steve Heimbecker 1959 3019 images/works/Heimbecker-1996-soundpool.jpg Soundpool: The Manufacturing of Silence It is a whimsical interactive installation which consists of 8 giant paintings that also function as audio speakers. When activated, the installation surrounds the audience in a silent but physical 3 hertz vibration within a mechanical cacophony of electric motors and machinery. Subsequently this installation was exhibited in Montreal (2001), Quebec City (1996), and Edmonton (1996). Accessed 02.07.2007 from - 1996 Canada 163 Steve Heimbecker 1959 3020 images/works/Heimbecker-1993-acousticline.jpg The Acoustic Line as the Crow Listens This work explored the acoustic qualities of very vast outdoor spaces. To carry it out, the artist recorded eight points simultaneously over a linear distance of 1.5 kilometres. His aim was to craft sound mappings which, in this scenario, explored a spacially rich auditory experiment using the speed of sound in the natural environment as a recordable and playable sonic event. Accessed 02.07.2007 from - 1993 Canada 163 Steve Heimbecker 1959 3021 images/works/Heimbecker-2004-SOP.jpg Songs of Place Songs of Place is a series of experimental audio art portraits of places which use innovative surround sound production and split screen video techniques to create immersive audio and video portraits of places that range in length from 30 to 50 minutes. Begun in 2000 by artist / composer Steve Heimbecker, Songs of Place is an ongoing worldwide portrait series, and is based upon Heimbecker’s audio research dating back to 1992. The first European portrait, Songs of Place: Vienna, was completed in 2005. The compositional and conceptual structure of Songs of Place freely uses a combination of time / space / relativity theory, cartographical mapping architecture, and a system of proportion refered to by the alchemists of the 16th and 17th centuries as the squaring of the circle. The first 4 productions of Songs of Place which are presented in the Songs of Place box set publication (2005), represent 4 Canadian places: Halifax, N.S., Montréal, QC, Springwater, Sk., and Vancouver, BC. Each composition in this series group, creates a portrait of the selected place by using 8 Acoustic Mapping Process (AMP) recordings, which are continuous 4 channel surround sound location recordings. These recordings are taken from 8 different environmental locations of the place, each representing the perimeter points of the 8 major directions on a compass, creating a template that is layered upon a recent road map of the place to be recorded. In the composition, the AMP recordings are layered and edited together with another system called Dynamic Voltage Mapping (DVM). DVM is a sound diffusion editing technique that incorporates analogue or digital noise gate technology, allowing quadraphonic AMP recordings to be cut up without changing the continuity of their time line. DVM randomizes the temporal occurrences (augmenting space) of each of the AMP recordings by using the recorded amplitude events of a secondary sound source that is also found within the place of portraiture, to control the diffusion editing of the composition for surround sound presentation. This secondary non metered (natural) sound source controlling the edit points can be either another 4 channel AMP recording or a mono recording. In either case the DVM system is applied in augmented or delayed time lines to weave all 4 directions of all 8 AMP / DVM recordings together in the composition, to create a completely immersive and omni vibrational representation of the environmental portrait of place. With my Songs of Place AMP / DVM compositions I am proposing to the listener a unique way of perceiving time and space through sound. In each Songs of Place production, my DVM editing technique reduces the linear information from each AMP recording location and replaces it with information from another at edit rates between 10 and 40 edits per second, which is diffused or divided by the 4 audio channels in the surround sound field. When AMP recordings are layered together, the 4 cardinal directions remain constant, so that for example, the sound of north is always comprised of the sounds of north. For the visual component, one take continuous digital video is shot at the same time as the AMP location audio recordings, visually referencing each location. The framing of each video recording does not move, so that like the audio, objects enter and leave the picture without artistic direction. These many videos are then collaged together on one screen, poetically documenting the geographic iconography of the place, using slowly unfolding motion masking and changing opacities, layered upon a moving environmental colour field, also taken from the place of portrait. In the Songs of Place series I am interested in creating a vibrational sonic and visual portrait of a particular place at a particular time. It is my contention that to fully hear a place one needs to hear the space of that place. By using my Acoustic Mapping Process, and editing techniques such as my Dynamics Voltage Mapping, I create illusions of repetition which result in intense spatial compositions that are the Songs of Place. Songs of Place: Vienna, commissioned in 2004/05 by ORF Kunstradio, represents 31 minutes of the daily life occurrences of all 23 city districts in Vienna, Austria, which spiral outward from the centre district 1, represented by the upward shot of the sky. In the previous Songs of Place productions, 8 different locations were recorded with audio and video. Songs of Place: Vienna required the recording of 23 locations, resulting in 3 times the amount of usable data to create the portrait. As a consequence, Songs of Place: Vienna contains 23 points of view, 53,946 video edits (1 edit per frame, centre frame), and 74,400 surround sound diffusion edits (40 edits per second). Many thanks to Etienne Grenier for the creation of the software Max patch for the video editing. PRODUCTION RESIDENCY PROCESS Songs of Place portraits have been created “in situ” through artist residency programs and commissions offered by host organizations. To create a Songs of Place portrait, Heimbecker requires 1 to 2 weeks in residence (depending on the geography of the portrait place), for the recording all source materials. A second period of production time, typically in his own AV studio in Montréal, is required for Heimbecker to prepare, edit, and produce the Songs of Place production. The duration of this production process has varied from 2 weeks to several months. Now with newly available portable AV digital technologies Heimbecker is striving to complete projects in situ, over a 2 to 3 week residency period, but many variables do come into play, including the total area (size) of the portrait place and the weather. Once the master files are complete, a presentation of new the Songs of Place portrait can be made for the host organization. Songs of Place portraits use a combination of resources from both the host organization and from his own production company Qube Assemblage. Residency scheduling a Songs of Place portrait may require a production invitation up to a year in advance. For information on becoming a host organization for a Songs of Place portrait, contact Steve Heimbecker directly. ONGS OF PLACE CONCERT AND GALLERY INSTALLATION PRESENTATIONS Songs of Place productions presented in concert halls are best presented from high quality digital video and digital audio files, played directly from a computer and suitable audio and video presentation hardware. Heimbecker will present a selected Songs of Place production from his own laptop, using Protools and Quicktime software, plus external hardware, and will mix a new sound diffusion using the original source audio files with the addition of “outboard” processing hardware creating another layer of the DVM sound diffusion process, mixed “live”. Installation exhibitions of Songs of Place can be presented from a series of DVDs, or in special cases from the high resolution master files played back from a specialized software and computer system. While most of the computer equipment and hardware for the presentation can be provided by Heimbecker, items like video projectors, video screens, 4 channel sound system, and the sound mixing console (live), will be provided by the host. The sound system required for any presentation must be a professional quality 4 channel quadraphonic surround sound system with a LFE - 2001 Canada 163 Steve Heimbecker 1959 3022 images/works/Heimbecker-2004-windwaterwall.jpg Windwaterwall - 2004 Canada 163 Steve Heimbecker 1959 3023 images/works/Heimbecker-2003-wacm.jpg Wind Array Cascade Machine A 64 channel kinetic wind mapping and network diffusion system. Inspired by the wave patterns of the wind seen flowing across the summer wheat fields of the Saskatchewan prairies, each of WACM’s 64 motion sensors move and bend very much like stocks of wheat. At 10 samples per second, the 2 meter tall wheat stock sensor units record the velocity (amplitude) of the wind by measuring the tilt of the sensor as affected by the force of the changing wind. Wave pattern and direction, a bit like falling dominoes, are captured using the entire WACM network. For Heimbecker, these wave patterns metaphorically represent the movement of sound (sine) waves in space, and like sound are infected by the architecture of the space that it exists in. The data generated by the WACM can be recorded and archived like a photograph, or can be streamed over the WWW to Heimbeckers installations built for the WACM data set. The WACM series of installations are: POD (2003), Signe (2005), Paravent (2006), and the Turbulence Sound Matrix (2007). The WACM is typically installed on rooftops and covers an area of about 10 meters by 10 meters. - 2003 Canada 163 Steve Heimbecker 1959 3024 images/works/Heimbecker-2003-pod.jpg Wind Array Cascade Machine and Pod An award winning installation that was created for the Wind Array Cascade Machine (2003) data network / stream. POD is a 64 channel installation that uses 2880 light emitting diodes (LEDs) to portray a 4 dimensional picture of the wind (3-D plus time). Each of 64 “pods”, functions as a velocity or amplitude light meter of each of the 64 wind sensors in the WACM data network. POD is designed to operate from live streamed data produced by the WACM installed upon a horizontal (rooftop) location, or from recorded wind data previously generated by the WACM system. The POD installation is 3 metres by 3 meters across, and 1.75 meters tall (eye level). There are many aspects to POD that are hidden beneath the the design structure and concept of the installation. POD was designed as a silent representation of wave patterns of the wind. For Heimbecker, these wave patterns are a metaphor for the movement of sound waves through space. From this perspective the 64 individual light clusters built for this installation visually represent the idea of the amplitude meter of a sound mixing console. As the amplitude or strength of the wind increases (or decreases) so too does the light level of the POD LED clusters from (low) dark green to (high) red. But these clusters are also an analogy for the seed POD of a head of grain found in the Saskatchewan wheat fields which inspired Heimbecker to create the WACM sensor network. This visual is emphasized by the organic looking copper rods that support the POD light clusters and the ribbon cables that hang freely. The 8 X 8 grid is also significant in relation to the prairies and Heimbecker’s birth place, in that a “section” of land which is a square unit of area surveyed to be one mile by one mile, and contains 640 acres or 80 acres X 80 acres, is the grid of which the POD base is a derivative. Finally, the wind is often thought of as a sound, but the sound of the wind is not heard, only objects affected by the wind are heard. By changing the wind into light, these silent wave patterns become a catalyst for synaesthetic observation, where many of those who have expereinced POD have also said they have heard it. In 2003, POD premiered as part of the Mois Mulit Festival in Quebec City, and then later at the Subtle Technologies Festival (at Interaccess), Toronto. In 2004, POD was exhibited at The Kenderdine Art Gallery - U of S, Saskatoon, just before it’s European premiere at ISEA 2004 Wireless Experience at the Museum of Contemporary Art Kiasma, Helsinki, Findland, and then finally that year at a solo exhibition at OBORO, Montréal. In 2005, POD was presented at BEAMS Sea of Sound Festival - as part of the WORKS Festival in Edmonton, and then at the exhibiton CyberArts - OK Centrun, where POD won an Honorary Mention in Interactive Art at Prix Ars Electronica, Linz, Austria. In 2007, as part of Transit / Transition, POD will be exhbited at Centro Cultural Pontificia Universidad Católica del Perú (Lima) in a group exhbition organized by Groupe Molior of Montreal. - 2003 Canada 164 Gordon Monahan 1956 3029 images/works/Monahan-1978-gerry.jpg Gerry Lucas - Winner! An open reel tape is prepared using source material from a vinyl record of Gerry Lucas, a former NBA basketball player, telling of his born again experiences with finding Jesus Christ. The spoken word is edited with certain sentence deletions, leaving silent spaces between sentence phrases. Three reel-to-reel tape recorders are placed on stage approximately 2 meters apart, and the playback reel is placed on the first tape recorder. The tape is then fed through the playback heads of the other tape recorders and is eventually taken up by the last machine, so that the tape spans across the stage from left to right. The tape machines are activated to play, and a spoken word canon is created as the tape plays successively through each of the three machines. The delay time of the canon is determined by the physical space between each tape recorder, so that the spatial delay determines the time delay . ©Gordon Monahan 1978 Accessed 02.07.2007 from - 1978 Canada 164 Gordon Monahan 1956 3030 images/works/Monahan-1978-here.jpeg Hear and There Accessed 02.07.2007 from - 1978 Canada 164 Gordon Monahan 1956 3031 images/works/Monahan-1979-magnetic.jpeg Magnetic Hill Exposed Installation, collaboration between Gordon Monahan and Thaddeus Holownia. Artifacts are purchased from the Magnetic Hill gift shop at Magnetic Hill, Moncton, New Brunswick. Photographic documentation of the Magnetic Hill experience are made on 35 mm. slides. Bob Tombs, pretending to be a scientist who explains the Magnetic Hill phenomenon, visits the site and improvises a monologue on location. The monologue is edited and easy listening background music is added. The finished piece consists of an exhibition of the collected artifacts (e.g. bottle of magnetic hill water that runs uphill, salt and pepper shakers, magnets, etc.) and a slide show with soundtrack on the fake science of Magnetic Hill. ©Gordon Monahan/Thaddeus Holownia 1978. Accessed 02.07.2007 from - 1979 Canada 164 Gordon Monahan 1956 3032 images/works/Monahan-1979-tidal_resonance.jpeg Tidal Resonance at 45N 64W Accessed 02.07.2007 from - 1979 Canada 164 Gordon Monahan 1956 3033 images/works/Monahan-1981-silent.jpeg Five Silent Studies A work for solo piano in five movements. All pitches in this piece are notated with a diamond-shaped note head, which indicates that the piano key is to be depressed silently, without the hammer striking the string. Some of the pitches are written marcato, so that inevitably, some notes will sound due to error of touch by the pianist. The sustain pedal is depressed throughout the piece, so that the notes that accidently sound will linger until they die away, thus creating a quiet wash of harmony that is an indeterminate mistake . ©Gordon Monahan 1980. Accessed 02.07.2007 from - 1981 Canada 164 Gordon Monahan 1956 3034 images/works/Monahan-1981-tidalbore.gif The Tidal Bore of the Maccan River Accessed 02.07.2007 from - 1981 Canada 164 Gordon Monahan 1956 3037 images/works/Monahan-1983-tapepulling.jpg Tape Pulling A tape recording of electronically-generated percussive sounds created on a Buchla Electric Music Box is prepared on reel-to-reel tape. The tape is fed through the playback heads of a tape machine without a take-up reel. The end of the tape is tied to a stationary abject so that when the tape recorder is moved, the tape is pulled through the playback heads at a varying speed depending on the speed of movement of the tape recorder itself. The tape is then broken by hand and the end of the tape is pulled into the audience, as the tape machine now remains stationary. The end of the tape is given to audience members and it is passed around so that the audience can play the tape themselves by pulling it at various speeds through the tape heads. The broken and tangled pieces of tape lay in piles on the ground at the end of the piece. These piles of tape become sculptural objects representing audio garbage. ©Gordon Monahan 1983 Accessed 02.07.2007 from - 1983 Canada 164 Gordon Monahan 1956 3038 images/works/Monahan-1983-guitaring.jpg Guitaring An electric guitar (fed into a fuzz and distortion box ) is de-tuned and re-tuned at high volume creating sustained and distorted feedback sounds. The strings are eventually de-tuned to the point where they dangle loosely and are then tightened by pulling them across the guitar pick-ups, so that the pick-ups become the bridge for the strings. This creates a very distorted feedback effect. The piece is improvised according to this plan. © Gordon Monahan 1978-83 Accessed 02.07.2007 from - 1983 Canada 164 Gordon Monahan 1956 3039 images/works/Monahan-1984-aeolian_piano1_med.jpeg Long Aeolian Piano This piece was realised in collaboration with Thaddeus Holownia. An old upright piano is placed outdoors in a field (Jolicure, New Brunswick, 1984), in a public park (Edmonton, Alberta, 1986), and on top of a mountain (St. Johns, Newfoundland, 1988). Long piano wires (20 meters to 50 meters) are strung through the piano soundboard and anchored to peg boards at the other ends of the strings. The strings are oriented at 90 degrees to the prevailing wind, so that aeolian tones are excited in the strings. These tones are acoustically amplified through contact to the piano soundboard. Because of the long length of the strings, the predominant tones are those between the 20th to 100th harmonic partial (usually in the 400 Hz. to 2000 Hz. range) of the strings fundamental frequency. Some strings vibrate multiphonically, that is, two or more frequencies are simultaneously excited on a single string. Mysterious low frequency tones (100 Hz. and lower) have also been excited in the strings in the seeming absence of wind. In some cases, in a quiet soundscape, the aeolian tones can be heard up to 700 meters away, without any electronic amplification. ©Gordon Monahan 1984 Accessed 02.07.2007 from - 1984 Canada 164 Gordon Monahan 1956 3040 images/works/Monahan-1985-large_pianomagnified.jpeg Large Piano Magnified For magnetic tape in 7 movements; commissioned by CBC Radio for broadcast. Recorded piano sounds are played back at variable speeds and mixed on a multi-track tape. The piano sounds derive from acoustical properties developed from investigations while composing Piano Mechanics. ©Gordon Monahan 1985 Accessed 02.07.2007 from - 1985 Canada 164 Gordon Monahan 1956 3041 images/spacer.jpg A Magnet That Speaks Also Attracts A mechanical performing sculpture that is part medieval weapon system and part modern audio system was installed in a window display case (5 meters x 2 meters x 2 meters) at Torontos Union Station. This work examines the loudspeaker as a magnetic projectile capable of imitating most sounds in the human audio spectrum. A catapult, operated by an automated program, throws a broadcasting loudspeaker at a magnet that catches the speaker through mutual magnetic attraction. The speaker is mechanically retrieved from the magnet and returned to the catapult to be blasted off again. This process continues until the operation breaks down, usually caused by the speaker missing its target (the magnet) and getting messed up in the mechanical parts of the machine. The sounds heard over the speaker are pseudo-space musics from the 1959 vinyl season, played on a repeating turntable attached to the machine. The piece was installed for four weeks and was open to the public 24 hours a day. ©Gordon Monahan 1986 Accessed 02.07.2007 from - 1986 Canada 164 Gordon Monahan 1956 3043 images/works/Monahan-1989-thispianothing.jpg This Piano Thing This Piano Thing is, in some ways, an answer to questions and problems raised by my composition Piano Mechanics . These problems deal both with an evolution of piano technique and a redefinition of the piano as a machine for the synthesis of new sounds. When Piano Mechanics is performed live in concert, the unusual acoustical effects emerging from a solo unamplified and unaltered piano form an impression to the audience that some trickery is taking place. In almost every performance of this piece, I have had audience members approach me after the concert to see what processing equipment I was using, or to look for the preparations inside the piano. Of course, no such equipment or preparations existed for this piece. This gave me the idea to compose a piece for the antithesis of this perceptual innuendo: a piece for amplified prepared piano, This Piano Thing. In This Piano Thing, seventy-three notes of the piano are prepared using materials of the traditional preparation repertoire: bolts, screws, broken chopsticks, rubber, weather-stripping, and vibrating nuts and washers. In some instances, medium-size (0.5 cm x 6.0 cm) eyebolts are placed in the strings of adjacent whole tones so that their eyes are barely touching. When either of these whole-tone notes are sounded, a sustained jingling takes place, creating a kind of multi-level mechanical reverb-feedback system, in that a string attack induces further attacks between the eyebolts with the resulting sustained sounds feeding back through the strings to the soundboard. Transducer pick-ups are also placed inside the piano for the purpose of electronic amplification. If pick-ups suspended between the strings and bridge of the piano could loosely be considered a preparation, then augmenting these pick-ups with additional air microphones would be in keeping with a methodology of piano preparation. With the use of pick-ups and close-miking I am able to get right inside the sound of the preparations, to amplify all the jingles, buzzes, and distortions created, and to use the magnification of these extremely close-up sounds as prime sound material on which to focus. When an attempt is made to liberate the piano from the standard keyboard literature, one can arrive at an anti-pianism, and by implication, an anti-musicality. This is a fermentation of Romanticism that leads to a kind of industrial music. ©Gordon Monahan 1989 Accessed 02.07.2007 from - 1989 Canada 164 Gordon Monahan 1956 3046 images/works/Monahan-1990-aeolian_silo1.jpg Aeolian Silo 10 meter-long piano wires are attached to the wall of a steel grain silo at one end and a concrete silo at the other. The strings are oriented at 90 degrees to the prevailing wind. You can enter the steel silo to hear the aeolian tones acoustically amplified inside the silo. You can also hear the tones at a distance in the surrounding fields. This piece is permanently installed at the Funny Farm, Meaford, Ontario. ©Gordon Monahan 1991 Accessed 02.07.2007 from - 1990 Canada 164 Gordon Monahan 1956 3048 images/works/Monahan-1991-kbz.jpg KB Zed Exotic Trilogy The KBZ 200 presents 18 hour performances where different cover versions of three exotic songs (Taboo, Caravan, and Quiet Village) are repeated endlessly, both from mouldy vinyl presentations and from live musical performances and re-enactments. This is set in a tableau of ersatz exoticism manifested by continuous projection of travelog films of exotic locations, processions of large tiki-god heads, pullulating maneouvres of coconut bras oozing sweet nectar, and bread hats flamed during exotic food preparation. This is the mouldy reincarnation of orchid rot, the impacted nectarine vexations of Baghdadianism; an hommage to the performance artist Jack Smith. Collaboration with Gordon W. and Laura Kikauka, Gordon Monahan and members of KB Zed. Vexations (1893) by Erik Satie was an extremely avant garde work when it was composed. Approximately 50 years later, the concept of furniture music was co-opted by the Muzak Corporation and used as background shopping music. The KB Zed takes 3 songs often heard as shopping music and uses them to create this ersatz exotic tableau that returns the music to its primitive state, causing delirious frenzy amongst listeners subjected to a full 18 hour listening. Accessed 02.07.2007 from aka The Impacted Nectarine Vexations of Mouldy Vinyl Re-incarnations 1991 Canada 164 Gordon Monahan 1956 3055 images/works/Monahan-2003-New_Used.jpg New and Used Furniture Music A multi-media sound performance using a midi-interactive theremin to control midi-mechanised thunder sheets, long piano strings, and amplified water drops. The performer plays a midi-interactive theremin, causing a progressive series of Max programs to play various mechanised sound sculptures. Long piano wires are divided into resonant sections that are played by midi-controlled solenoids. A collection of amplified household objects are played by midi-controlled water drops, and several suspended thunder sheets are resonated by variable speed motors. Other long strings are activated by pneumatic air cylinder and off-balance motor. The physical parameters of the sound installation are defined by the architectural space of the performance location. The resulting sounds activate the natural resonant frequencies of the space. The installation is structurally self-reflective in sound and space, and makes specific references to social and consumerist musical ideas through interpsersed quotes from Jerry Hunt, Bill Viola, and Mickey McGowan. Live video projection is used as a backdrop to show the close-up movements and actions that create the mechanical sounds. ©Gordon Monahan 2003 Accessed 02.07.2007 from - 2003 Canada 164 Gordon Monahan 1956 3056 images/works/Monahan-2004-grasslands_piano.jpg Music for Grasslands A day-long dance event taking place at an abandoned ranch in Grasslands National Park, and in the town of Val Marie (pop. 150). A Long Aeolian Piano was installed at the ranch, and was amplified through a large sound system placed inside the house, invisible to the audience. Several pieces were composed to accompany the performance, including Just Another Turkey Track Horizon for solo piano, and The Belza Place, for string orchestra. Accessed 02.07.2007 from - 2004 Canada 164 Gordon Monahan 1956 3058 images/works/Monahan-2006-music.jpg Music for Gros Morne Project Music and sound installations for a day-long performance on two beaches at Green Point and various locations in the town of Cow Head. An aeolian string installation was attached to a lobster hut and strung along the beach. The aeolian tones could be heard beside and inside the lobster hut. Various audio playback systems were installed in other lobster huts and at two remote beach locations, accompanying the dance performance. Later several performances took place at the hockey rink, theatre, and Lindas Place, in Cow Head. Accessed 02.07.2007 from - 2006 Canada 164 Gordon Monahan 1956 3059 images/works/Monahan-2006-aeolian.jpg Aeolian Chimney At the Claybank Brick Factory heritage site, long piano wires were attached to a chimney and stretched across to anchorage points on neighbouring buildings. Most of these anchorage points were on the roofs of abandoned factory buildings. When you walked through these buildings, you heard the aeolian tones vibrating in the roof and interior rooms, and as you walked through the interior space, the tonal mix would change, as you passed underneath a series of piano wire anchorage points on the roof. A long string was also attached a railway car parked beside one of the buildings, causing the metal structure to vibrate intensively. This piece was part of Crossfiring, a multidisciplinary event taking place at Claybank Brick Factory produced by Knowhere Productions, Regina. ©Gordon Monahan 2006 Accessed 02.07.2007 from - 2006 Canada 163 Steve Heimbecker 1959 3062 images/works/Heinbecker-2007-TSM.jpg The Turbulence Sound Matrix In 2003, I began designing a 64 channel sound generation and diffusion system that uses the data produced by my Wind Array Cascade Machine (2003) or WACM. WACM is a 64 channel sensor network that captures, streams or records the wave patterns and movement of the wind across a horizontal surface. This system was inspired by the wave patterns of the wind seen in fields of tall grass or grain as the wind blows across them, and is a metaphor for the sound / sine wave. Now named the Turbulence Sound Matrix or TSM, my 64 channel sound system will be completed in Montréal in April, 2007. The TSM is a truly versitile 3200 watt RMS, 64 channel sound diffusion system configurable in 3 different speaker column arrangements, with 4 unique 10’ tall, 4’ wide free standing cluster columns, each containing 16 discrete channels of sound. - 2007 Canada 163 Steve Heimbecker 1959 3066 images/spacer.jpg Songs of Place: Springwater - 2004 Canada 5 Hildegard Westerkamp 1946 3103 images/spacer.jpg Garden of the Sonic Labyrinth - 2000 Canada 5 Hildegard Westerkamp 1946 3104 images/spacer.jpg Talking Rain A subtle meditation on the rhythms and nuances of a keynote west coast sound. Length: 16:00 Rainsounds from the westcoast of British Columbia, Canada are the basic compositional materials for Talking Rain.Through them I speak to you about this place. The raincoast. A lush and green place. Made that way by rain. Nourished by rain, life-giving rain. In Talking Rainthe ear travels into the sonic formations of rain, into the insides of that place of nourishment as well as outside to the watery, liquid language of animals, forests and human habitations, all of which are nourished by the rain. Talking Rainwas commissioned by CBC Radio for Westcoast Performance. It was realized in my own studio, Inside the Soundscape, and was premiered on April 20, 1997. Most rain recordings for this piece were made by myself in and around Vancouver. Thanks to Norbert Ruebsaat for providing his recordings of ravens, eagles and frogs from Haida Gwaii and also for finding the right title for the piece, magically. Thanks to Bruce Davis and Peter Huse for their high-quality recordings made in the early seventies for the World Soundscape Project's environmental tape collection at Simon Fraser University; to Robert MacNevin for his equally high-quality recordings made 20 years later (1991 to 95) for the same collection; to David Grierson for his light footsteps and receptive ears during the recording of our rainy forest soundwalk in Lighthouse Park near Vancouver. Special thanks go to John Siddall, producer of Westcoast Performance for giving me this opportunity and for challenging me to create a radio piece with sounds that must be the most difficult sounds to broadcast! Talking Rainis dedicated to my companion Peter Grant. Available on CD! Accessed 12.06.2009 from - 2000 Canada 5 Hildegard Westerkamp 1946 3105 images/works/Westerkamp-2000-Labyrinth.jpg Into the Labyrinth Length: 15:06 Into the Labyrinthis a sonic journey into aspects of India's culture. It occurs on the edge between dream and reality, in the same way in which many visitors, myself included, experience this country. Nothing ever happens according to pre-determined plans or expectations. Although travellers usually do reach their destination somehow, the journey itself - full of continuous surprises and unexpected turns - becomes the real place of experience. In composing this piece, I was challenging my own compositional process as it has developed over the last 25 years: just as India has challenged many of my Western Eurocentric values and turned them upside-down, so has this piece challenged my preconceived notions of the creative process. From the start I had the image of entering a labyrinth of a multitude of sounds and sonic experiences. I had made no plans for the piece other than letting the recorded sounds move me through a compositional journey into an unknown sonic labyrinth. Obviously my experiences of travelling in India and of recording the sounds played a significant role in the formation of this piece. But I could never be sure of where I was going and where I would end up. I worked on it continuously as if on a 15-day journey, where the journey itself became the centre of experience. The composition simply is a result of that experience. Into the Labyrinthwas commissioned by "New Adventures in Sound" with the assistance of the Canada Council and was realized in the Electronic Music Studio of the School for the Contemporary Arts at Simon Fraser University. Many thanks to Darren Copeland for giving me this opportunity to explore composition for 8-channel diffusion. I would also like to thank Savinder Anand, Mona Madan, Arun Patak, Veena Sharma and her mother Mrs. Goyal, Situ Singh-Bühler and Virinder Singh for taking me to the places where the sounds and soundscapes for this composition were recorded. Without their help and local knowledge I would have had a difficult time gathering them on tape. Many thanks go to Max Mueller Bhavan (Goethe Institut Delhi) for inviting me to India in the first place and giving me the opportunity to meet and work with those who have become my Indian friends. Listening to India together has deepened our understanding of each other and our cultures' differences. Into the Labyrinthis dedicated to my daughter Sonja, who courageously travelled through India by herself and emerged enriched from a labyrinth of new and complex experiences. SOUND SOURCES Voices and Musicians Group of Rajasthani musicians, camel fair, Pushkar Kamal Kothari's group of Rajasthani musicians, Jodhpur Sitar, played by Arun Patak in music shop, Old Delhi Situ Singh-Bühler, mezzo soprano, Delhi Snake Charmer, Lodi Gardens, Delhi Sarangi player, Madore Park, Jodhpur Vendor, Janak Puri, Delhi Young boy singing, camel fair, Pushkar, Rajasthan Other Sounds: Bicycle Bell, Tilak Nagar, Delhi Crickets, Palolem, Goa. Film music from loudspeaker near vegetable market, Tilak Nagar, Delhi Footsteps, Shivananda Ashram, Rishikesh Gate, Shivananda Ashram, Rishikesh Stone cutters working on restaurations, Jodhpur Fort, Rajasthan Toy vendor's trumpet, Delhi Traffic, Connaught Place, Delhi Traffic near vegetable market, Tilak Nagar, Delhi Train with trainhorn as it is approaching Delhi Trainhorn as heard from the elevated grounds of the Bahai temple, Delhi Accessed 12.06.2009 from - 2001 Canada 54 David Toop 1949 3106 images/spacer.jpg White Powder/The Spiders - 2001 Canada 23 John Oswald 1953 3107 images/spacer.jpg A0 - 2001 Canada 23 John Oswald 1953 3108 images/spacer.jpg Balsteroid Convection created especially for and performed by the Ghettoblaster Ensemble with funding from the Ontario Arts Council. - 2004 Canada 163 Steve Heimbecker 1959 3109 images/works/Heimbecker-2005-Sounds_Can_Fly.jpg Sounds Can Fly part of an ongoing collaboration between theatre performance artist Neil Cadger (sound can) and audio artist Steve Heimbecker (sound man). Using specially created wearable sound equipment, the two artists will create a dynamic exchange of sound in situ as they lead audiences from the Centre Island Ferry Dock to St. Andrew by-the-Lake Church. The technology employed in Sound Can Fly is a hybrid combination: the soundcan itself is built from a portable, battery-powered amplifier, a coffee can, a car speaker and a dismantled back pack; Heimbeckers whimsical Acoustic Field Intensifier (1994) is a head device made from 18 metal funnels, also fitted with a portable, battery powered amplifier and speaker. Heimbeckers composition for this performance is a specially mixed 2 channel composition, combining to produce a playful exploration of human behaviour in the age of extended senses. - 2005 Canada 174 Simo Alitalo 1954 3121 images/spacer.jpg Collection dhiver - Winter Collection Winter Collection is a sonic study of winter and coldness. In South-Western Finland winter has a liquid sound - sounds of water in constant transformation and flux . Water turning into snow, snow turning into sleet, sleet turning into ice and back into water again. As a sound artist I started my career with site-specific outdoor installations. But when you live north of the 60th parallel the problem is that summer, the regular season for outdoors works is a bit short. This condition of northern artist got me interested in the potentials of ice and snow as materials. For the past few years I have been doing research and studies about recording ice and water with different microphones and hydrophones. Collection dhiver - Winter Collection is a kind of interim report of my ongoing sonic studies of cold, water and winter. Installation also uses other sounds that in my mind associate with coldness or that have similar acoustic structure. I also want to think of Collection dhiver - Winter Collection as a kind of survival exercise. Some scholars insist that greenhouse effect will not turn Scandinavia into subtropical paradise. They have predicted that the Golf stream, that makes life above 60th parallel possible will stop flowing and that our climate will eventually resemble that of Northern Siberia. In that sense Collection dhiver - Winter Collection can be heard as sound artists preparation for the changing enviromental circumstances. Accessed 02.01.2008 from - 2002 Canada 174 Simo Alitalo 1954 3124 images/spacer.jpg unknown - 1983 Canada 176 Maia Urstad 1960 3173 images/spacer.jpg sound barrier SOUND BARRIER is a new work by Maia Urstad, a sound installation consisting of some 130 CD-and cassette radios assembled as a wall. Visually, these devices function as elements in a structure inspired by historical stone constructions. SOUND BARRIER relates to earlier works such as STATIONS; a sound installation deriving its visual basis from the Roman arch; and CLEOPATRAS NEEDLES; a concert performance inspired by Pharonic Egyptian structures. The creative impulses for SOUND BARRIER originate in the historical remains of buildings, i.e., ruins. Technology, here, electronics - a development from our own time, comprises the stones. The CD-and cassette radios in the installation have a double, visual and conceptual function. On an auditory level they are mediating the sound image implemented in the installation. Visually they are the concrete building blocks, the obvious function in the wall, but they also reflects issues related to the technical development and our culture of consumption. The CD players in the wall are playback units for a composition of electronically treated sounds borrowed from radio waves, Morse code, FM- and satellite radio etc. Sound signals that also will be obsolete and forgotten sooner than we might expect. The installation SOUND BARRIER is a creative examination of correspondences and the juxtaposition of issues. The questions it poses are many, including and especially: What will become of the ruins after us`? - 2006 Canada 90 Ron Kuivila 1955 3281 images/spacer.jpg Sparks on Paper In Sparks on Paper, pairs of wires are used to distribute sparks throughout a space a foot or two above the heads of visitors. The power of these sparks is carefully limited to the level of carpet shock, so they are safe to touch and generate a minimal amount of ozone. Simple resonators made of paper are attached to the wires to create a sound field of subtly shifting timbres and overtone. A spark is a piece of electrical multimedia in its rawest form - a single impulse of light and sound. But the small sparks I work with are oddly allergic to representation in electronic media. Audio recordings do not capture the omindirectional diffusion of their sound,on video recordings the sparks look like drop out. I am particularly fond of this aspect of the project, it makes it a little oasis outside of the range of the mediascape but built out of its most basic parts. Sparks on Paper was commissioned by the Donaueschinger Musiktage in 2000. Accessed 06.01.2008 from - 2005 Canada 142 John Wynne 1965 3282 images/spacer.jpg Response Time Everything beeps these days: microwave ovens, watches, cars, phones, computers, the doors on elevators. Auditory warnings, large and small scale, surround us in domestic and public spaces; many have strong and specific associations but are paradoxically difficult to locate spatially. ‘Response Time’ makes use of a set of auditory warnings of my owndesign to explore that dividing line between ignoring something because we hear it all the time and listening because it signifies something directly applicable to ourselves. It also brings out the abstract beauty and musical qualities of these sounds, attributes usually obscured by their potentially high annoyance factor. The aim of the piece is to promote a long-term qualitative change in the way people experience the urban sound environment and an increased awareness of the value of “silence”. Accessed 05.01.2008 from - 2005 Canada 208 Robin Minard 1953 3462 images/spacer.jpg Music for Environment, Diffusion - 1984 Canada 91 Iannis Xenakis 1922 3641 images/works/Xennakis-1967-Montreal.jpg Polytope de Montréal spectacle of light and sound for 4 identical orchestras of 15 musicians 1967 Canada 253 Gary Hill 1951 3732 images/spacer.jpg Mediations (Extracts from Soundings) continued un il 1986 - 1971 Canada 1 Barry Truax 1947 3819 images/spacer.jpg The Shaman Ascending The Shaman Ascending evokes the imagery of a traditional shaman figure chanting in the quest for spiritual ecstasy. However, in this case, the listener is placed inside of a circle of loudspeakers with the vocal utterances swirling around at high rates of speed and timbral development. The work proceeds in increasing stages of complexity as the shaman ascends towards a higher spiritual state. The work and its title are inspired by a pair of Canadian Inuit sculptures by John Terriak with collectively the same name, as well as Inuit throat singing. All of the vocal material heard in the piece is derived from recording of the Vancouver bass singer Derrick Christian. The Shaman Ascending was commissioned by the ZKM, Karlsruhe, Germany and premiered there in February 2005. Note: the 8-channel version of this work was created with Richmond Sound Designs AudioBox computer-controlled diffusion system. The Shaman Ascending is available on the Cambridge Street Records CD, Spirit Journies. Accessed 27.04.2008 from Composed 2004-5 2004 Canada 1 Barry Truax 1947 3820 images/spacer.jpg The Way of the Spirit 2005-2006 he Way of the Spirit is the result of a collaboration between Barry Truax and Randy Raine-Reusch that explores the interrelationship between the inner and outer worlds of consciousness. All sounds are derived from the two live instruments: the deeply philosophical Japanese one string ichigenkin and shakuhachi end blown flute, both associated with Zen for their expressions of the duality of life and spirit, simplicity and complexity, material and immaterial. The circle of loudspeakers places the listener within the live and digitally enhanced instruments as the dialogue between the two develops in intensity. The Way of the Spirit was premiered at the Sonic Boom Festival in Vancouver in March 2006. The Way of the Spirit is available on the Cambridge Street Records CD, Spirit Journies. Note: the 8-channel version of this work was created with Richmond Sound Design's AudioBox computer-controlled diffusion system. Technical note The work was realized using material provided by the composer's PODX system which incorporates the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer with software for real-time granular synthesis and signal processing developed by the composer in the School for the Contemporary Arts at Simon Fraser University, with additional material processed with Tom Erbe's SoundHack convolution program. The sounds were recorded on 8-track digital tape and the AudioBox, and mixed in the Sonic Research Studio at SFU. Original impulse response file provided by Worldwide Soundspace library, some of which is now available in Peak's "Impulseverb" for OSX. Accessed 09.06.2009 from for ichigenkin, shakuhachi and eight digital soundtracks (16') 2005 Canada 228 Paul DeMarinis 1954 3835 images/spacer.jpg (Tommy Franks) Dérive Quebec A 48 diameter wooden disk moves and tilts unpredictably. Inside a small robotic tank roams algorithmically over a fancifully rearranged map of Quebec City, transmitting video of its location via a wireless video link to the projector. 2003 Canada 209 Andreas Oldorp 1959 3877 images/works/Oldorp-2000-Air.jpg Air 2000 Canada 209 Andreas Oldorp 1959 3880 images/works/Oldorp-2000-Nenuphar.jpg Le Nénuphar 2000 Canada 5 Hildegard Westerkamp 1946 3955 images/spacer.jpg His Masters Voice re-issued by CRiSAP 2008 with the book Autumn Leaves. Edited by Angus Carlyle His Master'sVoice is a collage of the "macho voice" as it appears in all walks of life: on the street, in the media (AM/FM radio), in the political and religious realms, in the contexts of popular culture and of high culture. For His Master's VoiceI have disconnected the macho voices from their settings and have re-contextualized them with each other. The message of the piece is as blatant as the voices themselves which penetrate our lives. The difference is that in daily life we often are numbed to them and we internalize their message with little resistance. His Master's Voicemakes them audible in all their blatancy. Perhaps it also makes us look more rigorously at what it covers up. Available on CD! Accessed 12.06.2009 from 1985 Canada 5 Hildegard Westerkamp 1946 4253 images/spacer.jpg Liebes-Lied/Love Song commission For cello and for eight digital soundtracks 2005 Canada 23 John Oswald 1953 4518 images/spacer.jpg Plunderphonic CD: Beatles 1989 Canada audio/Oswald-BEATLES.mp3 23 John Oswald 1953 4519 images/spacer.jpg Plunderphonic CD: Black 1989 Canada audio/Oswald-BLACK.mp3 23 John Oswald 1953 4520 images/spacer.jpg Plunderphonic CD: Brown 1989 Canada audio/Oswald-BROWN.mp3 23 John Oswald 1953 4522 images/spacer.jpg Plunderphonic CD: Mirror 1989 Canada audio/Oswald-MIRROR.mp3 23 John Oswald 1953 4523 images/spacer.jpg Plunderphonic CD: Mist 1989 Canada audio/Oswald-MIST.mp3 23 John Oswald 1953 4524 images/spacer.jpg Plunderphonic CD: Net 1989 Canada audio/Oswald-NET.mp3 23 John Oswald 1953 4525 images/spacer.jpg Plunderphonic CD: Pocket 1989 Canada audio/Oswald-POCKET.mp3 23 John Oswald 1953 4526 images/spacer.jpg Plunderphonic CD: Rainbow 1989 Canada audio/Oswald-RAINBOW.mp3 23 John Oswald 1953 4527 images/spacer.jpg Plunderphonic CD: Ten4 1989 Canada audio/Oswald-TEN4.mp3 62 Ken Gregory 1964 4480 images/works/Gregory-xxxxsonicwaking2.jpg Sonic Waking recorded live by Lloyd Peterson at; Send + Receive [001]: a festival of sound November 21 1998. University of Winnipeg Bulman Center Winnipeg, Manitoba, Canada 1. compression capsule 15:52 2. sonic waking 10:38 3. dream time trance 11:11 4. ambient sleep 13:00 Concert recording of a live improv performance for a quad sound system re-mixed and mastered for stereo compact disc January 20, 21, 22 2001 at Video Pool Inc. Winnipeg, Canada. with Shawn Pinchbeck and Steve Heimbecker 1998 Canada audio/Gregory-xxxx-Waking.wav 62 Ken Gregory 1964 4474 images/works/Gregory-xxxx-RadioRiot2.jpg Radio Riot An acerbic assault on the disembodied voice and the state of commercial radio, Radio Riot is designed to jolt the listener of radio from listening passively to listening actively and hopefully, engaging in some type of critique of the material that is piped into their private space. 1990 Canada audio/Gregory-xxxx-RadioRiot.wav 62 Ken Gregory 1964 4475 images/works/Gregory-xxxx-CheeseHarp.jpg Cheese Harp The Cheese Harp was found years ago in a BFI larger garbage bin behind an apartment block I used to live in in downtown Winnipeg. With some screws, a piece of wood and some spare electric guitar parts, I changed what was originally some kind of manual food processor into a multi-stringed musical instrument caqpable of great expressive qualities. Many months of experimentation and adaption resulted in the creation of new techniques to produce music and sound. Using a number 4 Robertson screwdriver, the Cheese Harp can be tuned to produce what has been described as sounding simular to drums, percussive instruments, a harp, or any combination of the lot. With external processing usually associated with electric guitar amplification, the sound from the Cheese Harp can be expanded. The soundtrack for a video of the same name directed by Alethea Lahofer and Alex Poruchnyk. Recorded Spring 1989. Remixed in 1991. 1989 Canada audio/Gregory-xxxx-Harp.wav 62 Ken Gregory 1964 4481 images/works/Gregory-xxxx-Gills.jpg We Had Gills A collaboration between improviser composer Marilyn Lerner and audio artist Ken Gregory. An exploration which blurs the boundary between audio soundscape and musical improvisation with the acoustic piano as the center of focus. Gregory and Lerner create skeletal structured compositions with layers of digitally recorded sound, improvised extended piano techniques, acoustic tuned feed back, and carefully crafted manipulations of same. duration 30 - 45 minutes 2002 Canada audio/Gregory-xxxx-Gills.wav 62 Ken Gregory 1964 4473 images/works/Gregory-xxxx-distressCD.jpg 000(distress) 000(distress ) A collection of distressed audio collected and edited 'as is' in the form of loops, clicks, noise and drones from crashing computers. These digital audio recordings document the output of sound editing software and hardware at the moment of an internal error and computer system crash. A unique listening experience. The CD is packaged in a hand made custom metal case. The case is bolted together with the CD held in place by a rubber grommet. limited edition hand assembled audio compact disc 1999 Canada audio/Gregory-xxxx-distress.wav 62 Ken Gregory 1964 4471 images/works/Gregory-xxxx-SonicBoom2.jpg Sonic Boom! 2001 Canada audio/Gregory-xxxxBoom.wav 62 Ken Gregory 1964 4470 images/works/Gregory-2009-wcso.jpg wind coil sound flow An electro-mechanical system that poetically reproduces the processes involved in operating an Aeolian Kite Instrument in the field, a wind instrument based on an Aeolian harp. The kite's towline is acoustically coupled to a resonator. The resonator amplifies the wind induced vibrations of the towline and resonates harmonically. A large one stringed guitar played by the wind. Receiving the audio recordings from this outdoor instrument, the electro-magnetic sculpture in the gallery not only becomes a poetic and kinetic representation of a sound speaker, but also mirrors the different components of the Aeolian Kite Instrument used to capture the wind's voice. A result of research and explorations with the Kite Lab. wood, paper, tyvek, piano wire, hardware, hand wound coils, mp3 player 2009 Canada audio/Gregory-2009-SoundMachine.wav 62 Ken Gregory 1964 4476 images/spacer.jpg After the Tone telephone me..... I'll tell you my dreams......... Recorded in 1989 for Plug In Gallery's After the Tone audio series, which commissioned artists to prepare and present an audio work for presentation on a telephone answering machine. The public were made aware of a special telephone number through the media and were invited to phone the gallery to listen to the works and leave a comment as a message. The audio works were rotated daily. The raw audio content for this work is sourced from the every day familiar sounds of the telephone communication system, including the busy signal, the audible ring of a rotary dial phone, the ringing tones as heard by the caller, the DTMF tones of a touch tone phone, automated voice messages, and other warning or alert sounds. These sounds were long ago engineered to be the audible interface of all our basic electronic communications. Even today modem, fax, and most data transmissions still use the telephone system using modulated analog electronic tones as a carrier of any type of information. Digital data is coded as analog electronic signals using these tones for transmission on telephone lines. 1989 Canada audio/Gregory-xxxx-AftertheTone.wav 62 Ken Gregory 1964 4478 images/works/Gregory-xxxx-synchroSolo.JPG Synchro Wing Machines New Artificial Life for Artificial Eniviroments. This trio of identical machines traversed the space above the second floor mezzaine and staircase in front of One Yellow Rabbit theatre company's Big Secret Theatre. Moving silently and vertically, occasionally extending an 'arm' with an attched 'wing' and often in sync with each other, these machines presented a new way of looking at unused public space. aluminum, steel, latex rubber, DC and servo motors, aircraft cable individual machine dimensions: 40 2006 Canada video/ 5 Hildegard Westerkamp 1946 4255 images/spacer.jpg Streetmusic for two channel tape Streetmusicis a sound document which celebrates the beauty and diversity of Vancouver's street music scene. Featured are Joe Freelander, Art Wheeler, J.J., Malcolm, Spider Spoon, Dan-the-Man-the-One-Man-Band, Ramsey and John Husser, and Charles McCulloch. Streetmusicoccurs on three levels. There is the music itself, which the musicians produce and passers-by listen to; there is the interaction and the chit-chat, the verbal exchange between the performers and the street audience; and there is the street itself, with its noises and intrusions, its randomness and ambience-creating a context for and, occasionally, a musical counterpoint to the acoustic event being played out. Streetmusicexplores the flow and exchange between these three levels of sound. When a streetmusician begins to play, he or she sets up a little stage. But it is only an implied stage. It is a stage that is constantly open and vulnerable to the surrounding world. The intensity and beauty of this vulnerability is what this sound document tries to convey. Streetmusicwas first broadcast and commissioned by Vancouver Co-operative Radio and has also been broadcast on CBC Radio's "Hornby Collection". Accessed 12.06.2009 from 1982 Canada 19 Janet Cardiff and George Bures Miller 1957 4338 images/works/Cardiff-1999-Hill.jpg Hill Climbing Hill Climbing is a film watched on a monitor while wearing headphones. Miller and Cardiff are heard walking to the top of a snowcovered hill in the footsteps of their dog. Seeing only the climb ahead you hear the crunch of boots in the snow, the couple gasping and at one time falling. The film loops making the summit unreachable, the afternoon endless. The sound technology used means it is experienced three-dimensionally as if noises and voices are inside ones head, or whispered into ones ear. This directedness immerses the viewer. It is the same effect as that of dreams, films and fantasies that blur the distinctions between now and then, self and other, reality and representation. Cardiff and Miller are well aware of the complex nature of subjectivity and the constant need to negotiate between the presence and loss of self, sensation and imagination, memory and experience. In Hill Climbing we relive one of the artists memories, their past becomes our present as the two narratives weave together. Accessed 27.07.09 from 5 min 30 sec loop , Color, Sound 1993 Canada 19 Janet Cardiff and George Bures Miller 1957 4339 images/works/Cardiff-2004-Feedback.jpg Feedback, Cardiff and Miller have created an audience-activated amplifier which becomes a virtual guitarist in the style and spirit of Jimi Hendrix's thunderous rendition of the star spangled banner. Just as Hendrix's version was an anti-war statement in the 1960’s this piece is a response to current political events. Accessed 27.08.09 from Guitar amplifier, pedal, electronic equipment, 106.68 x 75.57 x 35.56 cm, 3 min 59 sec , , Sound 2004 Canada 19 Janet Cardiff and George Bures Miller 1957 4340 images/works/Cardiff-1994-Touch.jpg To Touch The action of passing your hands over the surface of an old carpenter’s table elicits an aural response from audio speakers around the small room. A couple impart their bodily passions while other voices disclose mysterious dream-like events reminiscent of a cinematic suspense thriller. These voices mingle among the familiar sounds of a car screeching, a telephone ringing, a knife being sharpened, a gun shot, movie music, a woman softly reciting the alphabet. The viewers’ hands orchestrate this collage, composing layered and provisional tales. Accessed 27.07.2009 from Mixed Media with binaural audio (Wooden carpenter's table, electronic photocells, 18 audio speakers, audio equipment) 1994 Canada 62 Ken Gregory 1964 4472 images/spacer.jpg Kite Lab I have been interested in re-introducing 'play' into my art practice. The vehicle for this has been the building and flying of kites. At first this seems like a simple exercise but actually as each fact leads to another in my research I find myself getting deeper into the rich and vast history, spiritual and cultural significance, science(physics of flight), the mysteries, poetic and metaphoric aspects of kites. These processes and discoveries are essential in 'sparking' my creative juices, challenging my skills and providing new experiences to draw upon in my artwork. I have been learning to design, build and fly kites with a recent emphasis on creating wind instruments. Simply, while the kite is in flight, the tow line vibrates at different frequencies induced by the various constantly changing wind intensities which can be heard as whistles or hums at very low levels. The basic idea is to experiment with acoustic and electronic amplification systems so that these sounds can be heard by the naked ear. Additionally I have been seeking out methods(successfully) of recording the sound digitally for use in other presentation forms. Another side of the Kite Lab process is the exploration into using electronic and digital interactive processes to create hybrid kite based media objects. Recent explorations include a successful experiment to broadcast the kites tow line vibrations using a contact mic connected to a small FM transmitter. This allows potential visitors to the field to listen to the sounds on FM radio receivers. Or the spacialization of the sound by placing FM radio receivers around the field(s) in range of the transmitter's broadcast. Another successful experiment is the development of a tiny microprocessor based data recorder (black box)that digitizes and records the speed of the wind, tilt, pitch and yaw of the kite in flight as a text file. This data(the kites trip) can be downloaded into software, analyzed and used in some way within a new media project, yet to be realized. 2009 Canada 62 Ken Gregory 1964 4477 images/works/Gregory-xxxx-Warhol.jpg Andy Warhol Machine for Plugin ICA Fakes n Forgeries Fundraiser themed Pop Art of the 60's Inspired by a comment attributed to Andy Warhol, "I want to be a machine" and influenced by Andy Warhol, Jean Tinguely and Marcel Duchamp's art work, this project could be entitled Andy, Marcel and Jean discuss contemporary art on the steps at the opening of the MOMA March 1960. inkjet printouts, American dollar bills, steel, AC motor, dimensions: 30 2006 Canada 62 Ken Gregory 1964 4479 images/works/Gregory-xxxx-RocknRoll.jpg Rock n Roll pt. 1 Microprocessor generates sounds and control signals to rock the horn. old wooden gramophone horn, push cart, Basic Stamp microprocessor, speaker, motor. 2003 Canada )