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.
Departures for Boca Del Lupo‘s The Voyage were all full!
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
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.
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.
Friday Sept 11 2015, 7:30pm
Stefan Smulovitz and Jean Routhier performed a 30 minute improvisation during SWARM 16 for the opening of the exhibition Thrift Shop Sunshine People.
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!
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.”
Vancouver New Music commissioned me to lead a series of sound walks in Vancouver during ISEA 2015 Disruption. Over the course of ISEA I led 4 different soundwalks, but VNM organizes soundwalks throughout the year, all lead by members of a loose collective of permanent and transient vancouverites!
I find walking through the gastown neighborhood and and over the Main st. viaduct, then across one of my favourite park Port Side Park, locally known as Crab park always offers some of the most dynamic perspectives.