Darren Copeland’s new installation Hidden Sounds will be included on the Artscape Studio Tour organized by the Almaguin Highlands Arts Council. Enjoy a northern summer visit to Warbler’s Roost and also experience outdoor sound installations curated by NAISA that includes works by Yves Daoust, BARFFF Enterprises and Christine Charette.
Friday July 29 & Saturday July 30 – 10 to 4 pm
Sunday July 31 – 12 to 4 pm
I. Home by Christine Charette
Christine Charette’s sound art installation “Home” wanders through forest metaphors inspired by “women’s work” in sight and sound. In scope are the co-existence of the object and the domestic, the parallels of mending in the home and in the environment, and what that can look and sound like. Charette’s installation is meant to unwind you and hopefully carry you to places that move you in your own relationship to what “Home” has meant or can mean to you.
II. Empreintes by Yves Daoust
Sponsored by the the René Derouin Foundation, for the International Symposium of Art in Situ, Val-David, Québec
The work is a long loop of about 36 minutes, the end merging perfectly with the beginning, without any interruption. The structure makes it very difficult, even in extended listening, to perceive repetition, all the sound elements being repeated two or three times, but in different contexts and vertical organizations.
The sound materials are in immediate relationship with the environment: wood (beaten, broken, rubbed), leaves, the wind whistling, rain, rocks, some real sounds of animals (frogs, birds), and naturalists electronic sounds evoking the forest bestiary .
I worked according to my usual way: classification of sounds by typo-morphological categories, but especially expressive energies and potentialities. The srtucture consists of a juxtaposition of moments in which, for each of them, a specific material is in forefront.
The eight speakers are above the heads of listeners. The spatial distribution of sounds is done according to the following principles:
1) a specific category of sounds invading all the space;
2) opposition of the different materials, spreaded in different area of the diffusion system, circular movements, echoes…
In compliance with the natural environment in which the installation takes place, I mainly used the medium and high registers, and levels were adjusted so that the dissemination area is restricted. Some bass sounds, evoking menace of nature, appear sometimes.
III. WR – NETTT – wilderness and technology by BARFFF Enterprises
Readings from the local environment using a triangle mesh interface. Visitors will have a chance to record a simple composition which will serve as a document of the combined living presence of the environment, the participants, and myself. Some of the results will be presented as animations on my website (www.BARFFF.com/wr-nettt-technology-and-wilderness/). This is part of a continuing investigation into the human psyche – consciousness, using artwork as the medium. The forest provides networks rich beyond comprehension. The tools of scientific computing offer an opportunity to discern some of the information, messages, and forms that are carried along them.
IV. Hidden Sounds by Darren Copeland
This is the second part in my piece Hidden Sounds which is a series of installations that uncover sounds not audible to the human ear. The work uses unconventional methods for capturing ultrasound, material-born sound, and electromagetic radio waves. Discarded materials that have interesting sound properties are collected from my home and nearby environs and then incorporated into the design of the sound installation. Hidden Sounds is generously supported by the Ontario Arts Council’s Northern Arts program. This presentation coincides with the Almaguin Arts Council’s 2016 Studio Tour.
Yves Daoust Composer, teacher and researcher, Yves Daoust has greatly contributed to the development of electroacoustic music in all its forms in Canada since 1976. Co-founder in 1978 of ACREQ (now ELEKTRA), he headed for 7 years this organization producing concerts and experimental events. From 1976 to 1979, he worked as a sound designer in the National Film Board. From 1980 until 2011, he taught at the Conservatoire de musique de Montréal, where he developed a five year program of electrocaoustice music composition. His concert works bear witness to his past endeavours in music for the cinema. A ”figurative” composer, he mostly uses sonic sources that are evocative, such as sounds from day-to-day life, musical quotations and sound archives. A visual music, eagerly evolving on the boundaries of musical genres. Mixed musics (acoustic instruments and electro-acoustic support) are an important part of its production, since Valse (1980), to Chorals ornés (2007/2008), Official selection in 2009, Prix de composition Prince-Pierre-de-Monaco. Alongside the composition and teaching, he works since 2004, in collaboration with Alexandre Burton, to the creation and development of educational tools for sound creation. He developed the FonoFone, a sound creation application for the iPad. In 2009, Yves Daoust received the Serge Garant Awards (Émile-Nelligan Foundation), for his work.
BARFFF Enterprises Working with nearly complete autonomy for two decades, BARFFF Enterprises is now moving to connect with the rest of humanity in what could possibly be a glorious awaited revelation or an inexcusable reckless failure. Finding middle ground has seldom been an option. Exploring the intersection of ancient, modern, and natural technologies. Everything we could possibly ever need is provided, its just a matter of figuring out how to access and use these tools. The forest speaks.
Christine Charette , a local multi-disciplinary Northern Ontario artist, has been sharing her artwork publicly since 1992, through themes of mothering, mending, existence, and the environment. Through narrative whisperings she invites you to wander through both ancient and ephemeral stories of sound, colour, shape, and spirit. Textile artist, printmaker, painter, sound and word art relationship maker, Christine’s art is meant to draw you deeper into our human experience, and our connection to nature.
Darren Copeland has been active as a sound artist since 1985 and is the founding Artistic Director of New Adventures in Sound Art. Copeland’s sound art practice focuses on multichannel spatialization for live performance, fixed media composition, soundscape, radio art and sound installation. He studied electroacoustic composition under Barry Truax at Simon Fraser University and Dr. Jonty Harrison at University of Birmingham. Copeland incorporates both abstract and referential sound materials in his fixed media compositions, and many of these works are published on the empreintes DIGITALes label. His radio art works engage in the associative qualities of environmental sounds in relation to spoken text and have been commissioned for public radio across Europe and North America. His sound installations include gallery and site-specific works which examine the relationship of sound and place.