7 PM, October 20, 2023, Niagara Artists Centre

Dr. Moffat’s sound installation and performance projects are sensorial environments of materials, matter, and sonic becomings that offer a speculative time-space of sound, sensation, and differing. The sensoriality of sound affirms embodied knowing and fluctuation.

Her work has been presented throughout Canada and internationally in solo, collaborative, and interdisciplinary projects with performing and visual artists, computer scientists, engineers, and community groups. This artist talk is sponsored by SAIL.

Workshop Date: Saturday, October 21st, 2023

S.A.I.L. would like to thank Brock University for the Dean’s Discretionary Fund to help students build a contact microphone, which they get to keep. This will help students further their studies in their digital media studies across the university. The event ticket link is here https://www.eventbrite.ca/e/contact-microphone-workshop-tickets-715649515967?aff=oddtdtcreator

Get your tickets as they will go fast. There is a 12 person limit. The event and materials are all free, thanks to a generous grant from the Dean’s Discretionary Fund at Brock University.

SEPTEMBER 23TH, 2023

2:00 - 6:00 PM EDT

This is a free event as part of the September 22 – October 15, 2023 Culture days St. CatherinesAll are welcome to this free event at the Sound Art Innovation Lab

Get introduced to some of our volunteers, enjoy some refreshments and get introduced to the control room, instruments, software plugins and live space. The live space features many different ways to control the acoustics, which will be showcased at the event.

We are hoping to bolster collaboration, membership, communal studio use and to see who is interested in sound art here in the region.

Sound Artist Troy Ouellette will be on hand to tour the studios and help with any questions you may have.

Ouellette (he/him) is an Assistant Professor of Digital Media at Brock University's Marilyn I. Walker School of Fine and Performing Arts. He is a founding member and former Chair of the London Ontario Media Arts Association (L.O.M.A.A.) and "Principal Organizer" of the Sound Art Innovation Lab (S.A.I.L.). His practice dovetails, with interests in conceptual art, as his approach often involves investigations into how organizations (as organisms) function as platforms for social justice and studies in environmental and cultural reciprocity. In addition, Ouellette's research often extends into how culture, technology, and the environment might interact beyond anthropocentric and economic concerns.

SAIL is located at:55 Geneva St, St. Catharines, ON L2R 4M6

Date: TBD for October, 2024

$30 8 Person Limit

Email: Gigifarrugia@gmail.com for more information or to sign up.

This masterclass will feature instructor Gina Farrugia, a musician and educator from Southwestern Ontario. Gina started her career in Hamburg, Germany.. Fuelled by her passion for music and sound art. She pursued formal training in vocal performance at an early age. She honed her skills through esteemed mentors like Canadian Composer R. Murray Schafer, delving deep into the intricacies of composition, interpretation, and stage presence.

Soundscapes 101 - Field Recordings, Sound Walking, Acoustic Ecology and Deep Listening, Creating the Electronic Instrument via Field Recordings/Fabricated Instruments (Sforzando, Sample Mapper,+) Sound Inventions(mics and speakers) and Auditory Transduction, Earworms , Acoustics... ·       Emily Thompson, The Soundscape of Modernity

·       Schafer, R. M. The soundscape: our sonic environment and the tuning of the world. Vt. Destiny Books, Rochester. 1994.

·       Augoyard and Torgue, Sonic Experience: A Guide to Everyday Sounds

·       Voegelin, S. Listening to noise and silence: toward a philosophy of sound art. Continuum, London. 2010 ·       Kytö, M. “Sound Diary Istanbul–Acoustemological Musings From The Field.” 2013.

·       Angus Carlyle and Cathy Lane. On Listening. Axminster: Uniformbooks

No DAW - Electronic Music without a DAW (Performed), Sonification and Bio-signals, Broadcasting/Radio, In the Moment of Performance, Instruments in the Moment, History of Instrument Making, Using other Technologies: Tape, Film, Mechanics

Readings

·       Chion, M. Audio-vision: Sound on Screen. Columbia University Press. 1994.

·       Kane, B. “Musicophobia, or Sound Art and the Demands of Art Theory”. 2013.

·       Demers, Joanna. Listening Through the Noise. Oxford University Press. 2010

·       Lange-Berndt, P. Materiality. US: The MIT Press. 2015

·       Ouzounian, Gascia. Stereophonica: Sound and Space in Science, Technology, and the Arts. MIT Press. 2021

Sound Histories - Early Sound Machines and Instruments, Recording, Modular and Electroacoustic Sound, Experimental Music Composition and Minimalism, Early Electronic Music in Games

Readings

·       Kahn, D. Noise Water Meat. A History of Sound in the Arts. Mass, Cambridge. MIT Press, London. 1999.

·       Edwards, E., “Photographs and the Sound of History”. Visual Anthropology Review, 2005.

·       Licht, A. Sound Art: Beyond Music, Between Categories. Rizzoli International Publication, New York. 2007.

·       Musica Futurista, Sound Recording. The Art of Noises. Salon, England. 2004

·       Kitler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1986.

·       Sterne, J. The Audible Past, Cultural Origins of Sound Reproduction. Duke University Press, Durham. 2003.

·       Wark, McKenzie. Gamer Theory. Cambridge: Harvard University Press, 2007.

·       Watkins Fisher, Anna. The Play In the System: The Art of Parasitical Resistance. Durham. 2020.

Sonic Ghosts - Virtual Instruments, Anthro/Arche Instruments and voices, Unsound/Undead, Silence and the Inaudible (Frequencies beyond hearing), Sounds of Extinction, Past Recordings, Hearing things (memory and psychoacoustics), Forensic Archeology and Sound-space Recreation, Extraction of Sound from Visual Material (subtle motion acoustics), Acousmatic Sound

Readings

·       Goodman, Steve, Heys Toby, Ikoniadou Eleni Eds. AUDINT—Unsound: Undead, Urbanomic.  2019

·       Sontag, S. ‘The Aesthetics of Silence’ Styles of radical will. Penguin, London. 2009.

·       Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice. Oxford University Press. 2016

·       Stanyek and Piekut, "Deadness: Technologies of the Intermundane"

·       Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction

Interdisciplinary Audio Production and The DAW- Sound in Context, Digital Audio Workstations and Collaboration, Video and Sound, Sounds in Gaming, Theatre/Video/Film Foley, Dance and Choreography, Body Tracking and Wearable Sound Production, MIDI

Readings

·       Thompson, E. A. (2002). The soundscape of modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Mass, Cambridge, MIT Press, London.

·       Tuan, Y. (1977). Space and place: the perspective of experience. University of Minnesota Press, Minneapolis.

·       Kim-Cohen, S., (2016). Against ambience and other essays. Bloomsbury Publishing USA.

·       "Noise: An Ontology of the Avant-Garde." In, Aesthetics After Finitude. Baylee et al. eds. Melbourne: re:press, 2016.

Graphic Notation – Noting Noise, Non-Verbal Utterance, Abstract Sound, Materials and Mediums, Infrasound and Microsound, Composition and Systems of Notation, Transcription, Alternate Compositional Notation in Music Using Alternate Scores, Data and Sonification Translation, MIDI notation

Readings

·       Hermann et. al., Eds., The Sonification Handbook. Logos Publishing House, Berlin. 2011

·       Eno, Brian. Visual Music. Chronicle Books. 2019

·       Neagle, R.J. and Ng, K.C. (2003) Machine-representation and Visualisation of a Dance Notation. in Proceedings of Electronic Imaging and the Visual Arts - London July 2003.

·       Isabel Carneiro, Scores of irreconcilable temporalities, Universidade do Estado do Rio de Janeiro

·       Cage and Atlas Eclipticalis https://www.johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=31

Social Justice Sound - Aural Diversity in Sonic Arts Practice, Sonic Surveillance (Alexa, Siri, Google Nest and the Internet of Things, Military Technologies and Sound Critique, Sound and State, Samples/Collage and Musique Concrète as Relational Counter Culture, Intersectional Sound Practice

Readings

·       Labelle, B. (2010) Acoustic Territories / Sound Culture and Everyday Life. Continuum, New York. https://art-of-assembly.net/material/brandon-labelle-on-acoustic-justice/

·       Deleuze, Gilles. 1990. "Postscript on Societies of Control." L'Autre Journal, no. 1 (May)

·       Daughtry, Martin. Listening to War Oxford University Press. 2015.

·       Watkins Fisher, Anna. The Play In the System: The Art of Parasitical Resistance. Durham: Duke University Press. 2020.

·       Chude-Sokei, Louis. The Sound of Culture: Diaspora and Black Technopoetics. Middletown: Wesleyan University Press, 2015.

·       Hagood, Mack. Hush: Media and Sonic Control. Durham: Duke University Press, 2019.

·       Khan, Atiyya. How Jazz Musicians Fought Against Apartheid https://art-of-assembly.net/material/atiyyah-khan-how-jazz-musicians-fought-against-apartheid/

·       Stefanie Alisch and Carla J. Maier. We Travel the Space Ways: Black Imagination, Fragments, and Diffractions, The Sound of Afrofuturism. 2019.

Social Justice Sound - Aural Diversity in Sonic Arts Practice, Sonic Surveillance (Alexa, Siri, Google Nest and the Internet of Things, Military Technologies and Sound Critique, Sound and State, Samples/Collage and Musique Concrète as Relational Counter Culture, Intersectional Sound Practice

Readings

·       Labelle, B. (2010) Acoustic Territories / Sound Culture and Everyday Life. Continuum, New York. https://art-of-assembly.net/material/brandon-labelle-on-acoustic-justice/

·       Deleuze, Gilles. 1990. "Postscript on Societies of Control." L'Autre Journal, no. 1 (May)

·       Daughtry, Martin. Listening to War Oxford University Press. 2015.

·       Watkins Fisher, Anna. The Play In the System: The Art of Parasitical Resistance. Durham: Duke University Press. 2020.

·       Chude-Sokei, Louis. The Sound of Culture: Diaspora and Black Technopoetics. Middletown: Wesleyan University Press, 2015.

·       Hagood, Mack. Hush: Media and Sonic Control. Durham: Duke University Press, 2019.

·       Khan, Atiyya. How Jazz Musicians Fought Against Apartheid https://art-of-assembly.net/material/atiyyah-khan-how-jazz-musicians-fought-against-apartheid/

·       Stefanie Alisch and Carla J. Maier. We Travel the Space Ways: Black Imagination, Fragments, and Diffractions, The Sound of Afrofuturism. 2019.

Sound Affects - Affect Theory of Sound, Psychosocial Voices, Autonomous Sensory Meridian Response, Affordance of Instruments and Sound Production, Application in Healing/Therapy and Medicine, Sound and Cognition, Sense and Sound, Sound and Disability, Sound and Neurodiversity, Synaesthesia, Sense

Readings

·       Blesser, B. (2007). Spaces speak, are you listening? Experiencing aural architecture. MIT Press Cambridge, London.

·       Gallagher, M., (2016). “Sound as Affect: Difference, Power and Spatiality”. Emotion,

·       Space and Society, 20, pp.42-48.

·       Barthes, R. (1991). Translated by Richard Howard. ‘Listening’ The Responsibility of Forms: Critical Essays on Music, Art and Representation. University of California Press, Berkeley.es here

Sounds of Life – Insects, Animals, Elements, Weather, VLF, Science of Sound, Planetary Sounds

Readings

·       Toop, D. Haunted Weather: Music, Silence and Memory. Serpent's Tail, London. 2005.

·       Carlyle, A. Ed.  Autumn Leaves – Sound and Environment in Artistic Practice. Double Entendre, Paris. 2007.

·       Douglas Kahn, Earth Sound/ Earth Signal

·       Oliveros, P. (2015). Pauline Oliveros: The difference between hearing and listening | TEDxIndianapolis[Video file]. Retrieved from https://www.youtube.com/watch? v=_QHfOuRrJB8

·       Roads, Curtis. Microsound. Cambridge: The MIT Press, 2001.

Soundscape Speculations

AI Music and Sound Composition, Software Algorithms, Music Industry Manipulation, Cyborgs and Sounds (Ribas et al)

https://www.hkw.de/en/programme/ai-ancestral-immediacies-alterlife-afterlife

Readings

·       Parisi, Luciana. “Xeno-Patterning: Predictive Intuition and Automated Imagination." Angelaki Journal of the Theoretical Humanities, no. 24 (February) 2019.

·       Hagood, Mack. Hush: Media and Sonic Control. Durham: Duke University Press, 2019. Hansen, Mark B.N. "The Operational Present of Sensibility," In The Nordic Journal of

·       Miller, D. P. ed. Sound Unbound: sampling digital music and culture. Mass, Cambridge, Mit Press London. 2008.

·       Pasquinelli, Matteo. "How A Machine Learns And Fails: A Grammar Of Error For Artificial Intelligence." Spheres: Journal for Digital Cultures, no. 5. 2019.

·       Pickering, Andrew. The Cybernetic Brain: Sketches for Another Future. Chicago: University of Chicago Press. 2010.

·       Marina Peterson, Atmospheric Noise: The Indefinite Urbanism of Los Angeles Cathy Lane, Ed. On Listening

·       Jouili and Moors, "Introduction: Islamic sounds and the politics of listening" Matt Sakakeeny, "Resounding Silence in the Streets of a Musical City" Steven Goodman, Sonic Warfare

·       Licht, Alan. Sound Art Revisited. Bloomsbury Academic. 2019.

·       Holger, Schulze. Sonic Fiction. Bloomsbury Academic. 2020.