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Soundwalks – ISEA 2015 Vancouver

Soundwalks – ISEA 2015 Vancouver published on

Soundwalks (wheelchair accessible) Led by Jean Routhier Sunday August 16, Saturday August 17 and Sunday August 18, 2015. 2:00pm – 3:30pm

Meeting place: under the photomural Abbott & Cordova, 7 August 1971 by Stan Douglas (look for the large15mx9m photograph of a street riot scene) in the Woodwards’ courtyard.

Soundwalks are approximately 60 to 90 minutes in length. This exploration weaves through diverse soundscapes, both man-made and natural, inviting the listener to become immersed in the totality of the sonic environment, and to sensually imagine, respond to, and hear often overlooked social environments, communities and other urban places. The sounwalks take place rain or shine, please wear appropriate footwear and clothes for the weather.

On each of the days, one of two proposed soundwalks will be followed: One route drifts along an older neighborhood with hints of Vancouver’s industrial past and attraction as a centre of leisure activities. The other will explore more recent urban developments that have led the way for the densification of the neighborhood where the redeveloped Woodwards complex is now rooted. At the end of the soundwalk the participants will be led back to the starting place, adjacent to SFU Woodwards’.

If you can’t join us you, can use these maps to take a self guided soundwalk (map).

N.B.: If entering SFU from the street address, please walk straight across the ground floor lobby and exit into the courtyard. The meeting point will be a few meters to your left.

This is a partner event with Vancouver New Music (VNM) who are dedicated to exploring and contextualizing new music and sonic art, through concert presentations, festival, community, and workshop events.

 

Charleson Park Soundwalks Led by Jean Routhier Sunday August 18 2015 8;00pm – 9:00pm

Meeting place: Love Your Bean Sculpture by Cosimo Cavallaro (look for the big and colorful kidney-shaped rocks) close to the seawall near the children’s playground/ off leash area in Charleson park (map).

This soundwalks will be approximately 60 minutes in length. This route explores the immediate neighborhood around Charleson park. Across from the downtown area, bordered by a small body of water, a busy pedestrian/ cycle path and a popular park, it features a more intimate soundscape with interesting acoustic perspectives as sound travels across the water divide. The soundwalk will end by the site of the Loco Moto Art exibit. The sounwalk takes place rain or shine, please wear appropriate footwear and clothes for the weather, be aware the park will have uneven terrrain.

This is a partner event with LocoMotoArt, and Vancouver New Music (VNM). VNM is dedicated to exploring and contextualizing new music and sonic art, through concert presentations, festival, community, and workshop events.

The Sport of Listening

The Sport of Listening published on

Recreational Interference (aka Radio Interference) was composed for this radio narrowcast exhibition/ enhanced soundwalk. Produced by VIVO, The Sport of Listening provided visitors with portable FM radios and a map of the neighborhood where the different radio art pieces could be heard during February 2010. The event was held concurrently with the winter olympics.

sport-of-listening-final

The Voyage

The Voyage published on

Departures for Boca Del Lupo‘s The Voyage were all full!

Carey Dodge and Jean Routhier created and performed The Voyage, with direction from Sherry J Yoon and design from Jay Dodge, on Granville Island, Vancouver, BC.

An immersive eight channel acousmatic system in an intimate environment is host to a tale of displacement. Both disorienting and gripping, the performance takes a small audience on a psychoacoustic and psychological trip. Claustrophobic (and nyctophobia?) abstain!

Pictures from the first production of The Voyage

 

in production for The Voyage
In production for The Voyage at Progress Lab

IMG_1784 IMG_1791 on board for The Voyage

Soundwalk at Willow Farm and workshop presented by Laboratorio

Soundwalk at Willow Farm and workshop presented by Laboratorio published on

Roberts Creek is home to a creative community and I was fortunate enough to join local sound artists and an participatory audience for a wonderful artist talk/ conversation on sound art and a noise-music making workshop leading to a performance.

The soundwalk was the result of a collaboration with soprano Wendy Humphreys Tebbutt and shakuhachi flute player Alcvin Takegawa Ramos. Alex Vardy wrote a review for Vancouver’s Georgia Straight newspaper.

laboratorio-brochure-outside laboratorio-brochure-inside

Coastal Calls performed at Musicacoustica Beijing

Coastal Calls performed at Musicacoustica Beijing published on
Telematic concert - 24 channel routing layout for three locations/ time zones.
Telematic concert – 24 channel routing layout for three locations/ time zones.
audience seating at the MoCap Studio for telematic concert.
audience seating at the MoCap Studio for telematic concert.

An evening of performances across times zones and countries, the telematic concert “World Delay” was held during the 6th Musicacoustic-Beinjing in June 2009.

Initiated by Kenneth Fields with the support of the Canadian Electroacoustic Community and the China Electronic Music Centre (China). I curated and organized the Vancouver concert featuring Martin Gotfrit, Philippe Pasquier, Jean Routhier, Stefan Smulovitz performing in collaboration with musicians in Calgary and Beijing for the local and remote audiences. Other performances were taking part in Calgary and Beijing. I presented both sister compositions Coastal Calls: Japan and Coastal Calls: Canada.

It was held at Emily Carr University’s Motion Capture studio with a custom designed acousmonium of eight discreet channels surrounding the audience.

The technical setup requirements, combined with a live audience situation, was an interesting challenge. Because both live microphones and line signals were being re-injected in the multichannel signal path, I needed to insure no delayed feedback could be inadvertently created from the close proximity of speakers and microphones in all three venues, which required numerous rehearsals with all systems linked. Thanks to the MAX/MSP programming chops of Simon Lysander Overstall, a very refined sound mixer insured beautiful music was heard.

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Performance for exhibition launch at Interurban Gallery

Performance for exhibition launch at Interurban Gallery published on

Friday Sept 11 2015, 7:30pm

tssp-show-1The strange and the wonderful come together for an intimate night of performance at the Interurban Gallery. Featuring over 100 amazing hand crafted dolls by Constantia Smulovitz.interurbanthrifty1

Stefan Smulovitz and Jean Routhier performed a 30 minute improvisation during SWARM 16 for the opening of the exhibition Thrift Shop Sunshine People.

thriftyscreengrab1

Une Suite de Temps-Mort: Iona exhibited at Oscillations as part of ISEA 2015

Une Suite de Temps-Mort: Iona exhibited at Oscillations as part of ISEA 2015 published on


Une Suite de Temps-Mort:Iona
was featured at the outdoor exhibition Oscillations during ISEA 2015-disruption symposium! Produced by LoCoMoTo Art and Vancouver New Music.

Thanks to Citr Radio Art’s Report show  for the coverage! Here’s a link to the podcast.

A number of media art works and performances were on display for one evening at Charleston Park, Vancouver. I kicked off the evening event with a soundwalk of the area. It had a record number of 100+ participants, much more than for any of my previous soundwalks!

IonaByCourtemanche temps-mortiona-in-the-grass

OpenSpacePanoramaLarger

Une Suite de Temps-Mort: Nelson_R.Y. B at Open Space gallery

Une Suite de Temps-Mort: Nelson_R.Y. B at Open Space gallery published on

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Une Suite de Temps-Mort: Nelson _R.Y. B was exibited May 16 to June 13, 2014 as part of Audiospace 10 Not All There at Open Space gallery, Victoria, British Columbia.

This version of the instalation was comprised of three music stands displaying colour pinhole photographs overlaid on blank music sheets, and a re-edited stereo mixdown of the original 5 channel version, heard on a pair of flush mounted monitor speakers.

“Temps-morts” can be translated as “idle time”: those moments in between activities. It’s the time capsules where awareness—and for me, auditory awareness—shifts from focused to open wide, to an almost distracted state. Those are sometimes brief, lapsed moments that don’t provide rest because they are transitory, akin to the spark before a short-circuit.

The audio compositions in the series Une Suite de Temps-morts: Nelson_R.Y. B are comprised of location audio recordings; part soundscape, part musique concrète. They are revisionist sound events that follow another narrative than the one that took place. During the location recordings, I shot photographs using homemade pinhole cameras—which require long exposure time—and used the required time of the exposure to determine the duration of the recordings.

The photos from these locations are later used as compositional tools, where I interpret their graphic qualities as guidelines or strategies in the editing and mixing of the audio selections in the piece.

The location sound recordings provide a complex realm of events, rich in textures and contrasts. However, I do not treat them as pristine—they are the raw material I work from. The relationship of distant or intimate sounds, and the way they occur over the landscape as subtle transformations over time, makes them ephemeral and fluid attractions. By reordering the original location recordings, I compose by micro-editing the severed sections. Each is reconsidered on its own to find new connotations. Where does it lead to? What does it suggest?

The result is an exploration of the space, reinterpreted within the audio setting of the exhibition.

Une Suite de Temps-morts: Nelson_R.Y. B is composed of three music stands on which rest photographic transparencies overlaid on blank music sheets and a pair of speakers. By using loudspeakers for audio playback, the aim is to present an intimate experience. This series resonates with me. I found the working methods, the complementary approach and results obtained by using the two media in a parallel way, stimulating and attractive.

Jean Routhier is pleased to have been invited to present the installation Une Suite de Temps-morts: Nelson_R.Y. B at Open Space, where he previously presented Ethereal Interference as part of Audiopace 02 when it was a streaming-only exhibition series until in 2005.

 

The 2014 edition of the Audiospace: Not All There was curated by Paul Walde.

Not All There Project Description

Not All There is a series of sound art works presented in succession over a six-month period from January until July 2014. These works all deal with music (obliquely or directly) and absence (as a device or concept). The title is a reference to this absence but also to sound’s non-materiality, while also being a play on the perception of cognitive dysfunction in oneself or others. Many of the works investigate ideas of what “there” might be and what it means to be both “there” and “not all there.”