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Toronto Electroacoustic Symposium 2013

Programme notes and biographies

TES 2013 is a co-presentation of the Canadian Electroacoustic Community (CEC) and New Adventures in Sound Art (NAISA) and is held in parallel with the 15th edition of Sound Travels, NAISA’s annual Festival of Sound Art. The Keynote Speaker for TES 2013 is Francis Dhomont.

All activities take place at Theatre Direct’s Wychwood Theatre unless otherwise indicated ], in the Artscape Wychwood Barns
601 Christie Street — Studio 176, Toronto [ Google maps ]

Registration — includes entry to all concerts [ register now ]
Webcast — Listen in to all events on a live stream.

Questions about the schedule or any other aspect of the symposium can be directed by email to Emilie LeBel, Chair of the symposium committee. For any registration or Sound Travels questions, contact Nadene Thériault-Copeland.

Call for Submissions
Schedule Summary | Directions | Organisation
Detailed Symposium Schedule
Abstracts + Bios | Programme Notes + Bios
TES 2013 event / info summary (PDF)

Day 1 — Wednesday 14 August

Click here to return to the symposium schedule.

18:30–20:00 • Installations

(E)scapes: Exploring the sonic relationship between body and space

Sound Travels installations Sonic Suit by Satoshi Morita and Tele Echo Tube by Hill Hiroki Kobayashi are on exhibition daily during the symposium from 18:30–20:00 and additionally from 10:00–15:00 on the final day, Saturday, 17 August.

NB Location: NAISA Space (Studio #252) ]

20:00–22:00 • Symposium Concert #1

Host: Emilie LeBel

Saman Shahi — A Dialogue in Afshari (2012), for clarinet + fixed media
Andrew Babcock — Pianolanche (2012)
Timothy Roy — Wunderkind (2012), for toy piano and computer
Teresa Connors and Andrew Denton — Aspects of Trees (2013), for visual projection, cello + electronics
Elizabeth Hoffman — Soundendipities (2008/11)
Maximilian Marcoll — Compound No. 5: CONSTRUCTION ADJUSTMENT (2011), for black box
Roberto Gerhard / Federico García Lorca — Lament for the Death of a Bullfighter (1959), Arr. Gregorio García Karman (2012)
Steven Naylor — Simeonovo (2011/13)

Saman Shahi — A Dialogue in Afshari (2012)
for clarinet + fixed media

Peter Stoll (clarinet)
Afshari is one of the small modes or aavaz in the Iranian classical music system, and it is a minor scale with the third note being a quarter tone raised instead of a semitone. All the sounds in the tape are taken from the tar (Persian lute) and most are heavily manipulated. The piece depicts a conflict and the inherent non-homogeneity of these two instruments (clarinet and tar). While each tries to imitate the other, at times they go back to their own roots and at the end find some form of reconciliation. Special thanks to Peter Stoll for his amazing support in this project, as well as Arjang Seifi Zadeh for providing me with some of the tar samples.

Saman Shahi finished his Master of Music in Composition at the University of Toronto in 2012, where in 2010 he received his Bachelor’s degree, Honours in Composition and Piano Performance. His instructors include Gary Kulesha, Sasha Rapoport, Norbert Palej, Roger Bergs and, for shorter periods, Heather Schmidt, R. Murray Schaffer, George Tsontakis and Christos Hatzis. Saman is a member of the Canadian League of Composers and SOCAN. His music has been read and performed by many ensembles and renowned performers across Canada, the USA, France and Germany. His music has also been broadcast on BBC Farsi, CBC (Podcast), and in 2013, Radio Sedaye Toronto. Saman is one of the co-founders of ICOT (Iranian Composers of Toronto). He also recently served as Composer-in-Residence for the Northdale Concert Band, where he composed and conducted a piece for a large wind ensemble in the fall of 2012. Saman is also active as a pianist, conductor and educator.

Andrew Babcock — Pianolanche (2012)

Beware of the landsliding piano: it will spit out and consume everything in its path.

Born in Buffalo NY, Andrew Babcock has been working in a variety of contexts with music and multimedia for over 15 years. After studying composition with Samuel Pellman at Hamilton College, he worked in New York City as a composer and sound designer for television, radio and film. Andrew recently completed an MA in composition at the University at Buffalo NY, where he studied with Cort Lippe and Jeffrey Stadelman. His main interests lie in acousmatic music and exploring the transformative potential of mundane sound materials with their ability to yield complex sonic associations and narrative structures. He was awarded first prize in the 2011 Sound in Space competition co-sponsored by Harvard University, Northeastern University and the Goethe-Institut, and was a finalist in the Metamorphoses 2012 competition in Belgium. His works have been featured internationally at festivals including Sonorities, ICMC, TES, NYCEMF and SEAMUS. Andrew is currently working towards his PhD in composition at the University of Florida, studying under Paul Koonce.

Timothy Roy — Wunderkind (2012)
for toy piano and computer
Joseph Ferretti (toy piano)

Wunderkind is a well known German term historically applied to a person who possesses an extraordinary talent or brilliance at an early age. The impetus for this work was the desire to explore the intellectual workings of a developing child prodigy, the electronic component being used to expand the palette of such a restricted instrument, the toy piano, while representing the mind’s ear of the child. The opening cadenza begins clumsily as the “child” seemingly explores the instrument for the first time. Musical ideas begin to mature, congeal and find meaning. The fixed media playback begins after two minutes of solo, and a complex and harmonically-saturated sound world emerges from and interacts with performed gestures, meant to be perceived as imagined musical structures, astonishingly advanced for a mere child. All of the sounds in the fixed media were created by recording and processing my own toy piano. I did, in fact, sit on the six-inch-high bench while doing so.

Timothy Roy (1987) is a graduate of Southern Methodist University, where he was both a President’s Scholar and Theodore Presser Scholar. His music has been selected for performance by Denison University’s Tutti New Music Festival, Bowling Green State University’s New Music Festival, the Center of Cypriot Composers, SEAMUS, Heidelberg University’s New Music Festival, Electronic Music Midwest, Helianthus Ensemble (University of Kansas), Opensound (Boston), the Electronic Music Studios Concert Series at the University of Iowa, the Kansas City Electronic Music & Arts Alliance and the International Electroacoustic Music Festival of Chile, Ai-maako. He was recently a Finalist in the International Composition Competition Città di Udine, and First Prize winner in the 9th International Musicacoustica-Beijing Composition Competition. Timothy teaches undergraduate courses in music theory at MidAmerica Nazarene University in Olathe, Kansas, while completing a Master’s degree in composition at the University of Missouri-Kansas City, studying with James Mobberley, Paul Rudy and Chen Yi.

Joseph Ferretti has performed in Europe, Canada and the USA. Recent concert highlights include the Canadian Opera Company’s Piano Virtuoso Series, Toronto’s Music Gallery, Barrie’s Colours of Music Festival, the CMC’s New Music in New Places, The Banff Centre and NUMUS, among others. He has been heard with such ensembles as the KW Symphony and the Talisker Players, and performs frequently as a duo pianist with Elaine Lau, with whom he has recorded for Capstone Records. As a member of the junctQín keyboard collective, Joseph takes part in events that involve the generation and performance of innovative works for keyboard. They have premiered works by dozens of composers, have been aired on CBC radio and Rondo Classic in Finland, and have been the recipient of awards from the Ernst von Siemens Foundation, the Ontario Arts Council and the Toronto Arts Council. Dr. Ferretti has taught piano at Wilfrid Laurier University since 2003.

Teresa Connors and Andrew Denton — Aspects of Trees (2013)
for visual projection, cello + electronics
Andrew Denton (video), Teresa Connors (electronics) and Anne Bourne (cello)

Aspects of Trees is a hyper-improvisational system for visual projections, live cello and Max/MSP. The network as a whole functions as a self-contained hyper-instrument within a carefully designed environment influenced by the theoretical position of cybernetics. Within a live situation, the laptop performer controls the Max patch, and, in conjunction with the cello and visual projections, creates a condition for each performer to respond in a sympathetic, symbiotic and collaborative way. Aspects of Trees is one of a series of on-going projects by Teresa Connors and Andrew Denton that assembles a range of moving image and sonic experiments, which records and then responds to changes in the ecology. The raw visual and sonic material was collected from locations in New Mexico, Canada and Tasmania, and includes audio samples recorded inside and on the surface of trees. The work seeks to operate in a more poetic or affective register as a tactic for opening up dialogue around anthropogenic climate change. The subjects of this live performance are the escalating pine beetle epidemics that have decimated forests on the west coast of North America.

Teresa Connors is active in many aspects of music: acoustic / electroacoustic composer, film scorer, multimedia installations and opera singer. She collaborates with a multitude of artists from diverse backgrounds and sensibilities. Originally from the musically rich island of Newfoundland, Teresa studied both composition and opera singing at Dalhousie University as well as the Banff Centre for the Arts, and has a Master of Music degree (first class honours) in composition from the University of Waikato in New Zealand. Her current PhD research at Waikato includes developing new methodologies and techniques for multimedia collaborations.

Andrew Denton is a film and video artist who works with both digital and analogue media. Andrew has a Master of Contemporary and Performing Arts (1st class honours) degree in film and television production from the University of Auckland and a BFA in Film from Simon Fraser University in Vancouver. He is currently undertaking a PhD at Monash University investigating ecological issues through affective moving image. Andrew has presented his research at numerous international conferences, including ISEA 2012, SIGGRAPH Asia (2009) and the International Conference on the Image (2010). Andrew is Head of Department Postgraduate studies at AUT University’s School of Art and Design in Auckland, New Zealand.

Elizabeth Hoffman — Soundendipities (2008/11)

Vibrational motions pervade the texture here and suggest an external world seen too close-up for one to recognize any substances themselves. This piece attempts to convey a hyper-frenetic immobility. Physical modelling techniques were used to sculpt small sections of this piece — objects that emerge out of nowhere. As embedded gestural fragments, they are intriguing residue from unknown sources entangled momentarily in the sonic mesh. The work presented here is a 16-channel arrangement — with slight modifications — of the original stereo work.

Elizabeth Hoffman’s electroacoustic music appears on empreintes DIGITALes, NEUMA, Centaur and Everglade. Prizes have come from Bourges, Prix Ars and Pierre Schaeffer International Competitions, the Seattle Arts Commission and the Jerome Foundation. Hoffman joined the faculty of New York University in 1998 when she created the Washington Square Computer Music Studio to provide resources for on-site research and composition in response to the Department’s commitment to electroacoustic sound study. She also writes on analysis and æsthetics and representation in electroacoustic and avant-garde musics, with recent articles in Computer Music Journal, Organized Sound, and Perspectives of New Music. Live electronics projects include recent collaborations with numerous NYC artists. Across media Hoffman has explored spatialization as an expressive signifier, the integration of sampled and synthetic materials, and timbral and micro-rhythmic complexities.

Maximilian Marcoll — Compound No. 5: CONSTRUCTION ADJUSTMENT (2011)
for black box
Maximilian Marcoll (black box)

The pieces of the Compound series are based on sonic material from my everyday life. The materials are organized into a network structure, which grows continuously, independent of actual pieces. The network consists of recordings, their transcriptions and derivatives, which are interconnected by phenomenological similarities. Compound No.5: CONSTRUCTION ADJUSTMENT was written for the Black Box, a custom percussion instrument with an interchangeable surface and some other features. The piece is based on recordings of my favourite sushi restaurant in Berlin-Kreuzberg, a shopping mall, construction workers in my backyard, the renovation of a friend’s apartment, the setting-up of the recording equipment, wind clipping in the microphone on a train and cooling hot plates in my kitchen.

Maximilian Marcoll (1981) lives in Berlin, teaches in Berlin and Düsseldorf, and studied percussion, instrumental and electronic composition in Lübeck and Essen, Germany. In his Compounds series (since 2008) he focuses on the transcription of concrete sounds, mostly recorded in live, everyday situations, and the creation of a material network, on which the pieces of the series are based. The development of software is a part of his compositional activities. In 2010, the software quince was released. Marcoll is a member of the artist group stock11.

Roberto Gerhard / Federico García Lorca — Lament for the Death of a Bullfighter (1959), Arr. Gregorio García Karman (2012)

Stacie Dunlop (reciter) and Gregorio García Karman (sound projection)

Lament for the death of a Bullfighter (1959) is a radiophonic poem based on Federico García Lorca’s Llanto por la muerte de Ignacio Sánchez Mejías. The tape was realized by Roberto Gerhard in his home studio in Cambridge (UK) and assembled at the BBC Radiophonic Workshop. As a departure point, Gerhard took the English translation of the poem recited by the actor Stephen Murray. The sonorous blueprint of the speech was the model from which the electronic composition was then derived: an expressive canvas woven with sounds of acoustic origin and magnetic tape manipulations, in which the composer distilled the rhythms of the speech and the affects of the poem. In this performance I seek to recover this pioneering work — originally conceived as a radiophonic feature — in the form of a concert adaptation with the live recitation of the poem and a reconstructed version of the tape with Gerhard’s sound composition.

Gregorio García Karman is a PhDc at the University of Huddersfield. In 2012 he was responsible for the creation of the digital archive of Roberto Gerhard’s Tape Collection in the context of the AHRC project, “The Electronic Music of Roberto Gerhard” as Research Assistant (University of Huddersfield) and Research Associate of the Centre for Music and Science (University of Cambridge). Until 2012 he was member of the Experimentalstudio of the SWR (Freiburg), performing in venues such as the Philharmonie (Berlin), Mozarteum (Salzburg), Arsenale (Venice), Nezahualcóyotl (Mexico DF) and Spiral Hall (Tokyo), and collaborating with composers such as Karlheinz Stockhausen, Georg Friedrich Haas or Julio Estrada. He has published on a range of topics including composition and performance practice, lecturing, among others, at the India International Centre (New Delhi), Southbank Centre, Stockhausen Summer Courses, ZKM and the Reina Sofía Museum. In 2004, he obtained his Master’s Diploma of Advanced Studies in Musicology, after studies in Piano, Music Theory and Sound Engineering.

Steven Naylor — Simeonovo (2011/13)

Simeonovo is a radiophonic work, and the sixth in a series of electroacoustic compositions concerned with the interplay between memory and imagination. The pieces in the series merge soundscape, radiophonic and acousmatic elements into abstracted musical portraits of times and places. The source materials are mostly personal acoustic memorabilia, sometimes — as with this piece — recorded years before, on a hand-held analogue cassette recorder. In 1991, I attended a composers’ workshop in the mountains outside Sofia, Bulgaria. There, we heard sophisticated arrangements of traditional music, performed by a renowned professional ensemble — and we were also treated to an evening of traditional vocals by local amateurs, performed in a crowded little bar named Disco City in the Simeonovo village cultural centre. Simeonovo is a response to memories of that remarkable week. Simeonovo was commissioned by the Acadia New Music Society for Shattering The Silence 2011, funded by the Government of Nova Scotia.

Steven Naylor composes electroacoustic and instrumental concert music, performs (piano, electronics, seljefløyte) in ensembles concerned with both through-composition and improvisation, and creates scores and sound designs for theatre, film, television and radio. His concert works have been performed and broadcast internationally; his theatre scores have now played to live audiences of over five million, in 13 countries. Steven co-founded Upstream Music and the Oscillations Festival, and is a former President of the Canadian Electroacoustic Community (CEC). He is presently Artistic Director of subText and an Adjunct-Professor in the School of Music at Acadia University. His first solo DVD-A of electroacoustic works, Lieux imaginaires, released on empreintes DIGITALes, was nominated for a 2013 East Coast Music Award. Steven completed the PhD in Musical Composition at the University of Birmingham, UK, supervised by Jonty Harrison. He lives in Halifax NS, Canada.

Day 2 — Thursday 15 August

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14:00–15:15 • Symposium Concert #2

Host: Michael Palumbo

Daniel Swilley — Contrapture (2009, rev. 2012), for video and EA
David Litke — Synesthesia (2013), for live electronics
Danny Saul — Frictions_Storms (2013)
Christopher Haworth — Vertizontal Hearing (Up & Down, I then II) (2012)
John Kamevaar — Echo, videomusic (2012)
Benjamin O’Brien — OSCines (2013)
Josh Horsely — Sedemus (2013)

Daniel Swilley — Contrapture (2009, rev. 2012)
for video and EA

Contrapture was designed for 5.1 surround, draws inspiration from a variety of noisy devices or machines: airplanes, typewriters, printing presses, and others. The title originates with a verbal mishap that I heard once; I’m still not sure if the intended word was contraption or capture. In either case, this work resonates with both words due to the sounds sources, various processes used in its creation, and the imagery of the video. Contrapture was composed with Grace (an algorithmic composition environment by Taube), Csound, AudioSculpt, and Protools. Max/MSP, After Effects, and Premiere were used for the processing and arranging of video material. Contrapture was realized in the Experimental Music Studios at the University of Illinois Urbana-Champaign.

Daniel Swilley (1980) is a German-American composer of acoustic and electroacoustic music based in Champaign IL. He is a graduate of Valdosta State University (BM) and Georgia State University (MM), and is currently a Doctoral Candidate (ABD) in Music Composition at the University of Illinois Urbana-Champaign. While at UIUC (2007–11), Swilley served as the Operations Assistant for the Experimental Music Studios. Since 2011, he has taught courses in composition, electroacoustic music and music theory as an Adjunct Instructor of Music at Illinois Wesleyan University. Swilley’s composition teachers have included Tayloe Harding, Mei-Fang Lin, Heinrich Taube, Stephen Taylor, Sever Tipei, Robert Scott Thompson and Scott Wyatt.

David Litke — Synesthesia (2013)
for live electronics

Olivier Messiaen was an influential French composer whose work provided inspiration for major compositional movements, including spectralism. He was a synesthete, perceiving connections between musical sonorities and visual colours. Based on an archival recording of Messiaen teaching an analysis class in which he discusses the colours he finds in Debussy, this piece applies spectral techniques to the sound of Messiaen’s voice and translates aspects of the sound production into projected imagery. This piece is performed in real time using Wacom tablet-controlled granular and phase vocoder synthesizers.

David Litke holds degrees in composition from the University of Toronto and the University of British Columbia, having completed doctoral studies at the latter under the supervision of Dr. Keith Hamel. After completing graduate studies in 2008, he taught courses in electroacoustic music and music theory at UBC, and taught theory and aural skills at the University of Windsor in 2012–13. His music has been performed by many of Canada’s finest musicians, including the National Broadcast Orchestra, l’Ensemble Contemporain de Montréal and the Turning Point Ensemble. His work has been recognized nationally and internationally, in composition competitions (NBO, SOCAN and CUMS competitions) as well as in emerging composers’ programs (ECM’s Génération 2006, NAC Young Composers 2008, acanthes@ircam New Technologies 2012, Composit 2013). He has also been active in electroacoustic music research and has given presentations at ICMC and SMC conferences on the gestural control of electroacoustic music as well as computer score following.

Danny Saul — Frictions_Storms (2013)

Frictions_Storms is a journey through unexpected sonic landscapes, created with sound sources which share relationships in causality and gestural motions. Sources include the push-pull action of sawing wood, the back and forth action of a bowed violin and ceramic tiles and slates dragged across one another, producing complex, atonal sounds which have then been processed, organized and spatialized to create textural passages suggestive of shifting weather patterns, heavy winds, (electronic) storms and thunder. The identifiable sound of the violin provides a degree of grounding for the listener, in a piece that employs heavy use of remote sound transformations. Gestural content in the piece is often employed as a means to produce crescendos emerging from dense layers of textural sound, and space itself (via an 8-channel format) plays a key role in creating an immersive (and sometimes claustrophobic) listening experience.

Danny Saul is an electroacoustic composer from Manchester whose interests are acousmatic composition, space, sound diffusion and improvisation. As a performer, his involvement in a variety of experimental projects over the past few years have included an on-going improvisational partnership with composer / performer Greg Haines (Liondialer) and a number of collaborations, performances and recordings with notable contemporary experimental musicians, including Ben Frost, Machinefabriek, Jasper TX, Xela and Simon Scott. Danny has played throughout the UK, Europe, USA and Japan. He runs the experimental record label White Box Recordings and has to date released two solo albums. In 2012, Danny was awarded the Degree of Master of Music with Distinction in Electroacoustic Composition (University of Manchester). He is currently pursuing a PhD in Electroacoustic Composition under the supervision of David Berezan at the NOVARS Research Centre for Electroacoustic Composition, University of Manchester. Danny’s research is funded by the Arts & Humanities Research Council, UK.

Christopher Haworth — Vertizontal Hearing (Up & Down, I then II) (2012)

Diana Deutsch’s “tritone illusion” illustrates that a number of cultural influences bear on listeners perception of pitch direction. She showed that using tones for which the cue of pitch height is absent, listeners judge the direction of an “indeterminate” interval differently depending upon such factors as language, musical training and the pitch range of one’s speaking voice. This “neutral” interval draws attention to a facet of “creativity” in everyday perception, albeit an involuntary one: objectively, the interval goes neither up nor down, but as soon as a listener is introduced, the “meaning” of the interval disperses. Through its use of the tritone illusion as a musical device, a radically individual listening experience is actualised in Vertizontal Hearing. In the maddening chatter of ascending/descending patterns that seem both to perpetually change and yet remain the same, the listener is drawn inwards, into an auditory paradox where to perceive the work is to perceive perception at work.

Christopher Haworth is the ICASP postdoctoral fellow at McGill University working in the Department of Philosophy on instrumentality and authenticity in technologically mediated improvisation practices. Prior to this, he completed a PhD in composition at the Sonic Arts Research Centre, where he focused on subjectivity and listener-agency in computer music composition. His works are designed in such a way as to “dramatize” the listening act, revealing voluntary and involuntary mechanisms of audition and encouraging “perceptual creativity”. He has a BA in Fine Art from Chelsea College of Art and an MMus in composition from Goldsmiths College, London.

John Kamevaar — Echo (2012)

Both the video and audio components of Echo are transformative digital modifications. The video was sourced from 190 pages of facsimiles from the manuscripts for Human, All Too Human, published in 1878, written by the German philosopher Nietzsche. The sequential order of the text was followed and approximately 1500 stills were made with durations of repeated frames varying between 1/6 to 2/3 of a second each. The audio was created by sampling from a three-minute segment of the 2002 documentary film Derrida. The French philosopher speaks of the myth of Echo and Narcissus. Two narratives are presented simultaneously: writing in German, speaking in French. Writing transcribed into drawing, percussive manipulation of speech as a “sound object”. There are no intended points of direct, gestural relationship between image and sound. The primary focus of the work is a transposition of the conceptual to the sensorial.

John Kamevaar is a sound and visual artist whose practice encompasses composition, live performance and gallery exhibitions. From 1981–94 he performed and recorded with the Toronto-based improvisation ensemble CCMC, and is again an active member with Paul Dutton, John Oswald and Michael Snow since 2011. He started using non-musical sounds such as microphone / guitar feedback and white noise in his compositions in the mid-1980s, with his “industrial / ambient” sound group Kaiser Nietzsche (with Thomas Handy and David Scurr then, and since 2009, reformed with Zev Farber). Kamevaar produced eight feature-length soundtracks for Carl Brown’s experimental films between 1987 and 2003. In 2004, Michael Snow, Brown and Kamevaar made the “exquisite corpse” work Triage, composed of two films on separate screens with the soundtrack by Kamevaar. Since 2003 he has been working with Nell Tenhaaf in the production of her interactive sculptures, and in the context of their duo NSF (Nous sommes fragiles).

Benjamin O’Brien — OSCines (2013)

OSCines focuses on the process of translating melodies found in birdsongs. The nightingale belongs to the clade Passeri also commonly known as Oscine, from the Latin root oscen, meaning “a songbird.” Its birdsong is composed of a wide range of whistles, trills and gurgles, which create a rich and vibrant melodic contour. Nightingale and clarinet samples serve as source and target materials (interchangeably) for spectral information collected via signal processing detection systems. OSCines explores the alignment and collisions of distinct timbre features and melodic topologies within the virtual aviary of the stereophonic speaker space.

Benjamin O’Brien composes and performs acoustic and electroacoustic music. He is currently pursuing a PhD in Music Composition at the University of Florida. He holds a MA in Music Composition from Mills College and a BA in Mathematics from the University of Virginia. Benjamin has studied composition, theory and performance with John Bischoff, Ted Coffey, Fred Frith, Paul Koonce, Roscoe Mitchell and Paul Richards. His compositions have been performed at national and international conferences and festivals including ICMC, EMS, NYCEMF, SCI National Conference and SuperCollider Symposium. He received the Elizabeth Mills Crothers Award for Outstanding Musical Composition and is a WOCMAT International Electroacoustic Music Young Composers Awards Finalist. His compositions have been published by SEAMUS and Taukay Edizioni Musicali. He performs regularly with the international laptop quartet Glitch Lich.

Josh Horsely — Sedemus (2013)

Working with designer Rhianne van Rheede-Toas, the design schematics for a chair were approached as score. With time and pitch as parameters, each dimensional perspective is read and realized as musical composition. Subsequent amalgamation and spatialization of sound creates a three-dimensional sonic representation of the chair. Schematics within architectural and interior design are an example of instruction in which interpretation is not subjective. A design schematic is a true representation of an object as intended for physical realization; flaw in design equals flaw in truth in relation to the completed object as intended. In comparison, musical notation allows for subjective interpretation. Design schematic as score is then dialogic: instructional to enable reading yet with parameters that are open to subjective interpretation.

Josh Horsley is a sonic artist from Lancashire (England) who creates work informed by academia and philosophy. Working within the ethos of collaborative interdisciplinary arts, Josh has performed and composed with artists from a wide variety of disciplines. His current practice-led research into the philosophical and theological implications of Sonic Interior Design informs his current artistic output which focuses upon heterarchical collaboration, Object Reality and subjective realities. Josh is an Associate Lecturer at The University of Central Lancashire, UK and has had his work disseminated internationally.

18:30–20:00 • Installations

(E)scapes: Exploring the sonic relationship between body and space

Sound Travels installations Sonic Suit by Satoshi Morita and Tele Echo Tube by Hill Hiroki Kobayashi are on exhibition daily during the symposium from 18:30–20:00 and additionally from 10:00–15:00 on the final day, Saturday, 17 August.

NB Location: NAISA Space (Studio #252) ]

20:00–22:00 • Symposium Concert #3

Host: Sophie Dupuis

Adam Vidiksis — synapse_circuit (2012), for percussionist and real-time processing
David Ikard — Água Eletrônica (2013), for water percussion and live electronics
Amanda Lowry — Gigue (2012), for violin and electronics
Luca de Siena and Antonello Belgrano — Concrezione (2102), videomusic
jef chippewa — DUO (1998)
Robert Fleisher — Loretto Alfresco (2009)
Girilal Baars — Lykanthropos (2012)

Adam Vidiksis — synapse_circuit (2012)
for percussionist and real-time processing
Adam Vidiksis (percussion)

What is the voice inside the machine? While computers perform tasks that extend the abilities of our own minds, they increasingly act as independent entities. Synapse_circuit serves not as a direct analogy between these two ideas, but rather as a symbol of human-machine interaction. The computer augments the percussionist’s performance and improvises sounds based on his or her playing using algorithmic processes in Pure Data. The percussion performance consists of glasses, bottles and a bowl, which the performer hits, scrapes, blows and sings into. All sounds produced by the computer are derived from the real-time performance. Both human and machine performers work from a score, but listen and respond to the performance of the other. Synapses and circuits — human and computer — together find the music inside the machine. This work honours the complexity both of the human mind and its digital counterpart, taking us from wonder, to discovery, to celebration.

Adam Vidiksis is a composer, conductor, percussionist and technologist whose interests span from historically informed performance to the cutting edge of digital processing. Exceptional ensembles have performed his work, including the Black Sea Symphony in Constanta (Romania), the Omaha Symphony, the Momenta Quartet and the Zephyrus Duo. He has been commissioned by the Network for New Music and ICIA. His compositions have been heard at the SEAMUS and CMS National Conferences, NSEME, the Huntsville New Music Festival, the Guthman Musical Instrument Competition, the New Jersey Shakespeare Festival, Toronto Electroacoustic Symposium and the Licino Refice Conservatorio di Musica in Frosinone (Italy). He was a regional winner of the 2012 SCI/ASCAP Student Commission Competition. His works are available through HoneyRock Publishing. Adam holds an MMus degree from NYU and is a DMA from Temple University. Adam currently serves on the faculty at Temple, where he teaches classes in music theory and computer music.

David Ikard — Água Eletrônica (2013)
for water percussion and live electronics
Ricardo A. Coelho de Souza (percussion)

In 2012, I attended the World Forum on Acoustic Ecology in Darmstadt, Germany. After percussionist Luís Alberto Bittencourt’s presentation on water percussion, we began discussing the possibility of composing a piece for water percussion and live electronics, which had never been done before and presented several engineering challenges. I was determined to make these two combative fields (water and electronics) work together. Água Eletrônica is the result of this work. In order to capture all sounds that would be possible with water, I designed an instrument around the dichotomy of above water sounds such as splashes, and below water sounds such as bubbles, tones, and struck objects. The striking visual nature of the piece and the engaging quadraphonic sound art creates an otherworldly environment, which results in an increased reverence for the water itself. After performances, people pay special attention to this instrument and the water in it, increasing the importance and awareness of water as a resource and an artistic tool.

Composer and conductor David Ikard is currently pursuing a DMA in composition from the University of Oklahoma. Ikard’s music has been described as innovative and exciting. Recent performances include the Sonorities music festival at the Sonic Arts Research Centre in Belfast, the Global Composition conference in Darmstadt, the Music Since 1900 conference at Hope University in Liverpool, the Symposium on “Water Memories and Tomorrow’s Landscapes” with a live broadcast in Tunis, Brisbane, Byron Bay, Hong Kong, Northampton, Keene and Buenos Aires, SEAMUS, Electronic Music Midwest, as well as national and regional conferences of the Society of Composers Inc. Composition teachers include Marvin Lamb, Konstantinos Karathanasis, Kim Archer and David Maslanka. Ikard’s work is published by Media Press Inc., Chicago IL.

Ricardo A. Coelho de Souza (Belem, Brazil) is a visiting instructor in world music and percussion at the University of Oklahoma, where he also directs the OU Steel Band, among other ensembles. Ricardo holds a performer's certificate from the Carlos Gomes Conservatory, Bachelor and Master degrees from the University of Missouri and a DMA from OU. Ricardo has been featured at the Percussive Arts Society International Convention, the Texas Christian University Latin American Arts Festival, and The International Music Festival of Para in Brazil. He has commissioned or premiered more than 25 works with percussion.

Amanda Lowry — Gigue (2012)
for violin and electronics
Kourosh Ghamsari-Esfahani (violin)

Gigue was written in November 2012. All of the sound samples were taken from a single recording session with violinist Lynn Kuo. When I decided at the last minute to ask Lynn to play a jig, I had something a little more Celtic in mind, but Bach’s familiar Gigue from Partita #2 was the only one she knew by rote. It was this material, as well as the other musical ideas I asked her to record, which ultimately inspired and shaped this piece. The “gigue” theme, which is never heard in its pure form, is used throughout both the violin and the electronic parts as a source of harmonic, melodic and rhythmic material. At the midpoint of the piece, the gigue is heard as a sustained chorale, first in retrograde form and then mirrored, with clouds of pitches appearing and dissolving as the violin plays a solemn melody over top.

Amanda Lowry is entering her final year of a Master of Music in Composition at the University of Toronto, studying under Dr. Norbert Palej. She completed her Honours BMus with distinction in 2012 at Wilfrid Laurier University, majoring in Contemporary Music (composition / improvisation) and Performance (flute) with a minor in philosophy. She has studied composition with Dr. Peter Hatch, Linda Catlin Smith and Dr. Glenn Buhr, and flute with Dr. Amy Hamilton and Douglas Stewart. Lowry is also an active performer, having played solo and principal flute with the Wilfrid Laurier University Symphony Orchestra. She is currently a member of the Dark Horse Ensemble. A founding member of ANSAE, a small chamber group specializing in contemporary music and improvisation, she was also the founder and co-director of the Free Improvisation Renegade Ensemble (FIRE). Her flute playing focuses on improvisation, contemporary music and extended playing techniques. Her activities have included the commissioning and premiering a number of new works.

Kourosh Ghamsari-Esfahani is a graduate of Wilfrid Laurier University’s music program, specializing in violin and viola performance, as well as composition / improvisation. Born in Karaj (Iran), he immigrated to Canada with his family in 2000, making their home in Waterloo ON. He began learning the violin at the age of 11 in a public school string program. He then studied privately with Tatiana Kostour, competing for several years in the Kitchener-Waterloo Kiwanis Music Festival. After auditioning for the music program at Wilfrid Laurier University, he was awarded both a Music Faculty scholarship, and an entrance scholarship. His violin and viola teachers include members of the Penderecki String Quartet, and his composition and improvisation teachers are Linda Catlin Smith and Glenn Buhr.

Luca de Siena and Antonello Belgrano — Concrezione (2012)

Concrezione is an audiovisual work by Luca de Siena (music) and Antonello Belgrano (video). It is an attempt of human exploration of the depths generable within a cathodic domain. This work deals with the raw edges of human perception, manipulating phenomena of retinal persistence and psychoacoustic thresholds. We are surrounded by a universe of architectures, materials concretions of thoughts that should be the extensions of our senses. Concrezione uses abstraction as a sum of not-immediately-identifiable shapes even though still human in the way of being assembled and perceived. These audio-visual landscapes are microscopically explored, unravelled, untangled and subsequently re-established. This work has been selected for several international festivals including EMU fest (Rome), International Computer Music Conference 2012, Workshop on Computer Music and Audio Technology 2012 (Taiwan), Athens Slingshot Festival 2013 (Georgia, USA) and New York City Electroacoustic Music Festival 2013.

Luca de Siena completed his master’s degree in electronic music at the Conservatory “L. Refice” of Frosinone under the guidance of Professor Alessandro Cipriani. The questions underlying his research are about the relationship between tradition and innovation, and between art’s functionality and rituality in modern society. He has attended workshops and master classes with Alvise Vidolin, Leigh Landy and Mary Castro. He studied intermedia art with Alba D’Urbano at the HGB Leipzig (Germany). His acousmatic pieces have been selected for festivals and concerts in Italy (Sassari, Bari, Salerno) and internationally (Poland, Denmark, England, South Korea). Together with five other composers, De Siena is a founding member of HEKA whose electroacoustic soundtrack for the silent film Kinoglaz by D. Vertov was presented during the 47th Festival of Nuova Consonanza in Rome, and was subsequently performed in many festivals abroad, including Cybersound, a festival at Temple University in Philadelphia (USA).

jef chippewa — DUO (1998)

a screaming, ripping, convulsing, thrashing, contorting, thrusting, tender, grinding, oozing discharge of multiple orgasms shared between an aries analogue modular synth and an alto sax | DUO was composed in the Concordia University electroacoustic studios in 1997–98. Thanks to Yves Charuest for the sax materials.

Canadian composer jef chippewa is particularly interested in questions of cultural awareness and identity in regards to the composer’s responsibility in inheriting or appropriating cultural heritage. Understanding the impossibility of definitive articulation or comprehension of cultural identity does not justify conscious ignorance of any of its aspects. Nor does it excuse irresponsibility in cultural appropriation, and this applies equally to the appropriation of one’s “own” culture (cultural heritage) as to that of another culture or sub-culture (“external influences”). He recently completed 17 miniatures (2012), for flutes, extended piano, drumset and several dozen sound-producing objects, commissioned by Berlin-based Trio Nexus, and “… unless he senses when to jump” (2012), commissioned by Berlin’s LUX:NM ensemble with the support of the Canada Council for the Arts. Since 2005, jef chippewa is the Administrative co-Director of the Canadian Electroacoustic Community (CEC), Canada’s national association for electroacoustic music, as well as Coordinating Editor for the CEC’s quarterly journal for electroacoustics, eContact!

Robert Fleisher — Loretto Alfresco (2009)

After nearly four decades in my archives, this brief musique concrète work was premiered during the first NYC Electro-Acoustic Music Festival (2009) and subsequently heard in the UK and throughout the US. It is included in the SEAMUS CD Electroacoustic Miniatures 2012: Re-Caged. “Loretto Alfresco is endearingly low-tech: its sounds are drawn entirely from recordings of a friend striking pots, pans and other items, which Mr. Fleisher sped up… and overlaid to create a rich, tactile texture” (Allan Kozinn, New York Times). Recorded under a tree on a small Wisconsin farm, the percussionist is Thomas Loretto, whose voice may (or may not) be heard at the end, with a bit of bird song. Two iterations will be heard on this program: first, a 2-channel stereo playback befitting the work’s historical context and medium; subsequently, a multi-speaker enhancement suggested by my former student and dear friend, Elainie Lillios.

Robert Fleisher attended New York City’s High School of Music and Art, graduated with honours from the University of Colorado at Boulder and earned his doctorate in composition at the University of Illinois at Urbana-Champaign, studying with Salvatore Martirano, Ben Johnston and Paul Zonn. His work has been supported through artist residencies in the USA and abroad, and by the Ruttenberg Arts Foundation, Illinois Arts Council, National Foundation for Jewish Culture and National Endowment for the Humanities. His music appears on Centaur, Capstone and SEAMUS labels. The author of Twenty Israeli Composers: Voices of a Culture (1997), he is also a contributing composer and essayist in Theresa Sauer’s Notations 21 (2009), a collection of new music scores inspired by John Cage’s (and Alison Knowles’) Notations (1969). In 1983, he joined the music faculty of Northern Illinois University (DeKalb IL), where he is professor and coordinator of music theory and composition.

Girilal Baars — Lykanthropos (2012)

The title Lykanthropos refers to the Swedish medieval ballad Varulven (The Werewolf). The ballad tells the story of the young maiden who ventures into the woods and is attacked by a werewolf. She tries to appease the werewolf with her finery — a silk scarf, her silver belt buckle, etc. But the werewolf is determined to have her. In desperation, she climbs a tall tree and screams for help. A young man comes to her help, but in the end both of them are slain by the raging werewolf. Lykanthropos could be described as an oratorio sans words. The 15-minute long piece tells the story of the ballad using only voice and the transformation of voice material (with the exception of a couple of passages using Theremin). Along with an abstract re-telling of the story, the idea was to create the emotional environment of the individual protagonists. Maintaining a relationship to oral story-telling, the piece employs a fairly clear “lead voice” structure and at times refers to the use of repetition in many of the traditional ballads of Europe.

Girilal Baars is a composer and performer, based in Uppsala, Sweden. Girilal’s two main fields of work have long been electroacoustic composition and performance, and the research and performance of vocal folk / ethnic music traditions. Lately, his main musical concern is the meeting point of old vocal traditional music and contemporary electroacoustic music. A lot of Girilal’s work is focused on live performance using real-time manipulation of voice. He is one of the founders of the male vocal quartet Äijä (based in Finland) whose 2009 release Jet-Black was nominated for a Finnish Grammy. His composition Litanies in Zero Kelvin represented Sweden at the 2009 Nordic Music Days. He is currently researching a PhD in composition at the University of Huddersfield under the supervision of Professor Monty Atkins. The provisional title of the research is “Ballads and Ohms.”

Day 3 — Friday 16 August

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14:00–15:15 • Symposium Concert #4

Host: Matthew Hills

Jeffrey Roberts — Records of A Fractured Past (2012), for flute, cello, percussion + electronics
Jon Fielder — Vous l’inaccessible (2012), for voice and live electronics
Adam Tindale — SIMPLE (2013)
Nick Collins — Supersonic Aortae (2013)
Jerod Sommerfelt — kernel_panic (2011)

Jeffrey Roberts — Records of A Fractured Past (2012)
for flute, cello, percussion + electronics
Katherine Watson (flute), Bryan Holt (cello) and Adam Vidiksis (percussion)

The mind remembers the most salient things and discards the rest. From the most salient memories are constructed a narrative of continuity of our past. Yet the fragments of memories that often pop spontaneously and seemingly randomly into our daily thoughts reflect a life of memory that is not a linear narrative, at least not on the surface of our consciousness. In my composing process, I work with fragmented spontaneous ideas that arise through intuition, and these shape the narrative of my compositions. In a way, my pieces are the records of the spontaneous life of my fractured memories of my past. In this piece, I take things a step further, by selecting sections of the compositional narrative and fragment them further by chopping up earlier sections of the piece and playing them back in repeating and random fragments, as if the work’s memory of itself is decaying into fractured moments, slowing losing its original linear continuity in favour of constructing a new one.

As composer and improviser, Jeff Roberts integrates elements of music styles and cultural traditions that sonically and æsthetically resonate. His background in improvisation and experimentation combine with studies in China to shape his compositional language. His music has been commissioned and performed in the US, Europe and China. His music has received recognition with competition awards and artist residencies (VCCA, ACA, Brush Creek, STEIM). Jeff was a 2006 Fulbright Scholar to China, studying guqin and Chinese æsthetics. He improvises on guqin, guitar, found objects and electronics and has worked with Jin He Kim, Jane Ira Bloom, Elliot Sharp, Richard Teitelbaum, Wu Na, Gamin and others. He researches intercultural composition and improvisation and has presented papers at multiple conferences. He directs the Walden Percussion Project, a found object ensemble. He holds a PhD in Composition from Brandeis University. He was a 2011–12 visiting professor of composition at Williams College. Jeff currently teaches at the University of Alberta.

Jon Fielder — Vous l’inaccessible (2012)
for voice and live electronics
Liz Pearse (soprano)

The inspiration for Vous l’inaccessible came to me years before the piece was actually written. I first heard the medieval virelai Douce Dame Jolie in an introductory music history class and I was immediately taken by the beauty of the vocal melody. Within months, I became fascinated with the idea of doing a modern setting of the melody. In the winter of 2012, I began talking with soprano Liz Pearse about the idea of writing her a piece for solo voice and live electronics and decided to do a modern setting of the Douce Dame Jolie text with fixed and live electronics. I also included recitation of a second text at the end of the piece — a kind of modern take on the theme of unattainable love. The end result is a piece containing three layers of evolution: 1) electronic accompaniment as opposed to the traditional acoustic accompaniment to Douce Dame Jolie, 2) evolution of singing style from chant-like to a quotation of the melody followed by deconstruction of the melody into fragmented distortions of the melody, and 3) the use of the medieval text against the modern text, both drawing similar themes, the latter a modern take on the former.

Jon Fielder is a composer of experimental electroacoustic and acoustic music. He looks to the sciences and his passion for natural landscapes as primary sources of inspiration. His music is also influenced by strong interest in timbre and texture, algorithmic composition and sound spatialization. Jon is a native of Ohio and is currently residing in Austin TX to begin pursuing a DMA in composition at the University of Texas — Austin. Jon received a MM in composition from Bowling Green State University and also holds BMus degrees from Ohio University in both composition and theory. Notable performances include a premiere by Alex Sramek for the Voxnovus 15-Minutes of Fame series (New York) the 2013 SEAMUS conference (St. Paul MN), 2012 EA Barn Dance (Fredericksburg VA), 2012 IDRS conference (Oxford OH), the first Northern Ohio Music Exchange concert (Oberlin OH) and the Olmsted Festival of the Arts (Cleveland OH).

Soprano Liz Pearse is becoming known as a fearless performer with a near-endlessly versatile instrument. She enjoys a wide range of repertoire, reflected in performances spanning from medieval era to world premieres, and her ambitious schedule finds her constantly running between opera and recital stages around the Midwest. Liz currently performs with Quince Contemporary Vocal Ensemble, a vocal chamber group praised as “a new force of vocal excellence and innovation” by the Brooklyn Rail. Prior to her doctoral work in contemporary music at BGSU, Liz attended Indiana University. During her undergraduate and graduate studies there (studying with Patricia Stiles), Liz appeared on the opera stage as Elvira in L’italiana in Algeri and Smeraldina in A Love for Three Oranges. As a soloist, Liz performed with a number of groups at IU, including the University Chorale, Women’s Chorus, New Music Ensemble, Contemporary Vocal Ensemble and with a medieval ensemble for BLEMF’s Fringe series.

Adam Tindale — SIMPLE (2013)

“I adore simple pleasures. They are the last refuge of the complex.”
—Oscar Wilde, The Picture of Dorian Gray (1891)

SIMPLE is a short album created entirely from cosine waves and effects processors, which include downsamplers, distortions, convolutions, delays and reverbs. The piece is realized in Ableton Live with synthesis and effects patches created in Max4Live.

Adam Tindale is an electronic drummer and digital instrument designer. He is an Associate Professor of Human-Computer Interaction in the Digital Futures Initiative at Ontario College of Art and Design University. Adam performs on his E-Drumset, a new electronic instrument that utilizes physical modelling and machine learning with an intuitive physical interface. He completed a Bachelor of Music at Queen’s University, a Masters of Music Technology at McGill University, and an Interdisciplinary PhD in Music, Computer Science and Electrical Engineering at the University of Victoria.

Nick Collins — Supersonic Aortae (2013)

Human and machine worked together to create an extended work, formally structured in five movements (attacca). The machine, a program called Autocousmatic, did most of the work; the human edited the result together with around fifteen edits, with none in the first movement. You will hear the first movement alone, uninterrupted by humanity. The sources here include piano, saxophone, flute, string quartet and swing band recordings. All have gone through multiple stages of pre-processing by source separation algorithms, in particular, a method to separate percussive and tonal components of sound due to Derry FitzGerald; so the work is dedicated to him. The title, like many in my life, is an anagram, but I could have gone with An Epicurean’s Torso, A Precarious Onset, Cauterise Soprano, or Arcane Opuses Riot.

Nick Collins is currently Lecturer in Music Informatics at the University of Sussex and will become Reader in Composition at Durham University in September 2013. His research interests include live computer music, musical artificial intelligence and computational musicology, and he is a frequent international performer as composer-programmer-pianist, from algoraves to electronic chamber music. His latest book, co-written with Margaret Schedel and Scott Wilson, is the volume on Electronic Music in the Cambridge University Press Introductions series. Further details, including publications, music, code and more, are available online, somewhere.

Jerod Sommerfelt — kernel_panic (2011)

kernel_panic is a fixed-media work that explores the use of digital audio artifacts as musical material. The by-products of aliasing, quantization noise and clipping are liberated to the forefront of the composition process. Tiny grains of nearly inaudible sounds collide and mix with one another in a sonic collage that follows a trajectory from quietude to loud fervour.

Jerod Sommerfeldt’s music focuses on the creation of algorithmic and stochastic processes, utilizing the results for both fixed and real-time composition and improvisation. His sound world explores digital audio artifacts and the destruction of technology, resulting in work that questions the dichotomy between the intended and unintentional. He will begin the fall of 2013 as Assistant Professor of Electronic Composition and Theory at the Crane School of Music, SUNY-Potsdam, and director of the Potsdam Electronic Music Studio (PoEMS).

18:30–20:00 • Installations

(E)scapes: Exploring the sonic relationship between body and space

Sound Travels installations Sonic Suit by Satoshi Morita and Tele Echo Tube by Hill Hiroki Kobayashi are on exhibition daily during the symposium from 18:30–20:00 and additionally from 10:00–15:00 on the final day, Saturday, 17 August.

NB Location: NAISA Space (Studio #252) ]

20:00–22:00 • Sound Travels Concert #1: Places Real and Imagined

Devin Ashton-Beaucage — ES6 (2009)
David Ikard — Velo (2012)
Iain Armstrong — Annapurna-Pastoral One Hundred Springs (2012)
Samuel Dunscombe — Poetic Cartography: Rainforest (2012/13)
Francis Dhomont — CPH Pendler Music (1997)
Barry Truax — Pendlerdrøm (1997)
Jullian Hoff — Chants migratoires (2012)

The first night of a two-night listening journey that slips in and out of reality and imagined space. Featuring works by Francis Dhomont and Barry Truax alongside artists emerging on the international scene for a thematic evening program curated on the theme of Sonic Geography.

See the NAISA website for programme notes for this concert and more information about the various events in Sound Travels 2013 (15 July – 24 August).

Day 4 — Saturday 17 August

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10:00–15:00 +
18:30–20:00 • Installations

(E)scapes: Exploring the sonic relationship between body and space

Sound Travels installations Sonic Suit by Satoshi Morita and Tele Echo Tube by Hill Hiroki Kobayashi are on exhibition daily during the symposium from 18:30–20:00 and additionally from 10:00–15:00 on the final day, Saturday, 17 August.

NB Location: NAISA Space (Studio #252) ]

20:00–22:00 • Sound Travels Concert #2: Places Real and Imagined

Vanessa Sorce-Lévesque — Bora (2011)
Barry Truax — Chalice Well (2009)
Monique Jean — Givre (2011)
Francis Dhomont — Here and There (2003)
Ursula Meyer-Koenig — L’espace entre les souvenirs (2009)
Francis Dhomont — Espace / Escape (1989)

The second night of a two-night listening journey that slips in and out of reality and imagined space. Featuring works by Francis Dhomont and Barry Truax alongside artists emerging on the international scene for a thematic evening program curated on the theme of Sonic Geography.

See the NAISA website for programme notes for this concert and more information about the various events in Sound Travels 2013 (15 July – 24 August).

Post-Symposium — Sunday 18 August

13:00–15:00 • Spatialization Workshop

Host: Darren Copeland

A hands-on workshop where NAISA Artistic Director Darren Copeland will explain and demonstrate the Audio Spotlight directional speakers and the NAISA spatialization system. Participants will have the chance to try out the system.

Free to all registered TES attendees!


Maximilian Marcoll is supported by the Berlin Senate Cultural Affairs Department.

Mathew Hills, Michael Palumbo and performers are supported by EaSt, Department of Music, Concordia University, Montréal.

New Adventures in Sound Art (NAISA) would like to acknowledge the support of the SOCAN Foundation.

Fondation SOCAN Foundation Berlin Senate

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