October 11, 2021

Day 1 - 6pm

Satosphère de la SAT


Myriam Bleau &
Sandrine Deumier

Myriam Bleau is a composer, digital artist and performer based in Montreal. Using music and sound as a point of departure, she has created gestural electronic music performances, audiovisual interfaces, installations and interactive devices that articulate sound, light, movement and symbols. Her work investigates performance, both as a codified cultural manifestation, and as an embodied (re)enactment of symbolic systems through human and non-human agencies. It has been recognized and presented internationally, in festivals such as Prix Ars Electronica (AT), Sónar (ES, HK), Mutek (MX, CA, AR, JP), ISEA (CA, KR), Transmediale (DE).

Sandrine Deumier is a pluridisciplinary artist working in the field of performance, poetry and video art whose work investigates post-futurist themes through the development of aesthetic forms related to digital imaginaries.


Digital animation (Sandrine Deumier) and electronic music (Myriam Bleau)

Evocation of a cybernetic garden designed in multiple scenes, this work contemplates a potential symbiosis between the human being and a state of rediscovered nature. Through ecosophy and interspecies mutualism, it explores the possibility of identifying ourselves with a mutant nature, a plant becoming state or the experience of infrahuman lives.

In search of a biosensitivity a nonhuman / hypernatural sensitivity.

L'alter-Monde addresses the critical issues of climate change and extinction of species while immersing the viewer in a potentially transformative experience. Through its worldbuilding, it offers a constructive meditation towards the idea of economic de-growth, of a crucial posthuman symbiosis with nature.

Winner of the Festival Platform Award - Dome Theater Category at the 24th Japan Media Arts Festival, 2021.

With support from the Cité des Sciences et de l’Industrie, the Conseil des arts et des lettres du Québec and the Canada Council for the Arts.


GGROUNDD is an audio-visual duo made up of Line Katcho and Guillaume Cliche. Based in Montreal, Line and Guillaume met during their studies at the Conservatoire de Musique de Montréal where they studied electroacoustic composition. They subsequently hosted a radio show together at CKUT 90.3FM. In 2019, they created the generative audio-visual performance Limit Brick which addresses the notion of limits. The project premiered at Mutek Montreal 2020 and screened at the Transart (Italy) and Node (Germany) festivals. This year, their most recent creation Cristal métal was presented at FIMAV (Victoriaville). GGROUNDD aims at producing a sensory experience, sometimes visceral and raw, sometimes atmospheric and enigmatic. They create psycho stimulant audio-visuals, on the edge of frantic excitement and hypnotic radiance.

Program *premiere
Sublimer les solides (16’)
Sublimer les solides is an audiovisual piece for fulldome inspired by the duality between obsession and letting go. Sublimation of the state of affairs towards an enigmatic manufactured ideal, sometimes frenetic, sometimes hypnotic, abrasive and rigid, smooth and radiant.


Simon Chioini

Emerging from Montréal’s vibrant community of experimental artists, Simon Chioini creates a hybrid of new music aesthetics and genre-fusing electronic sounds. Through long-form electroacoustic pieces and sharp technoïd productions, his exercises in abstract composition tied with club elements have honest roots, drawing from his academic background and a self-driven study of the past decades’ outlier electronic music.

Program *premiere
Réservoir IV

In the continuity of the “Climat avenir” cycle published in March 2021, Reservoir IV continues a representation of nature through synthetic music. The teeming complexity of an imaginary ecosystem is expressed by the harsh song of electronics, mingled with bordering soundscapes. In this perspective, the dome of the SAT is envisioned as a reservoir where water collides with walls, its sphere deposited on the outskirts of an unknown territory. Ephemeral music, part of the work will be performed live, inscribed in the moment.

Future climate;
images of abandoned places,
of maddened winds,
corrosive and poisonous flora.
Angry protagonists with scathing cries.
Beauty of the blue-green lakes, the twinkling of the stars under the bronze clouds.
Slow movement of floors. Crash of ice. Solar flows.

October 12, 2021

Day 2 - 8pm


@ Le Vivier


The program Akousma_En-Direct is co-presented in association with Le Vivier, a group of which Akousma has been a member since 2007.
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Léa Boudreau

Léa Boudreau is a sound artist based in Montréal shaping her art around circuit- bending and DIY. Through electroacoustic music, performances and installations, she explores the unexpected qualities of second-hand objects while integrating a touch of humour and playfulness. She was awarded many prizes and grants in the last years (2nd and 3rd JTTP 2020 and 2019 prizes from the Canadian Electroacoustic Community, the Marcelle Deschênes 2019 prize from the Université de Montréal faculty of music, the 3rd Hugh-Le Caine 2017 prize from the SOCAN foundation, etc.) and her projects have been broadcasted and performed around the globe. She published her first album with Montreal label Mikroclimat in 2020 and will start an Intermedia MFA (Video, performance and electronic arts) in Concordia during fall 2021.

Program this performance is no longer available due to [...] (15’)

Website / ︎

Anne-F Jacques

Anne-F Jacques is a sound artist based in Montreal. She is interested in amplification, oblique interactions between materials and construction of various contraptions and idiosyncratic systems. Her particular focus is on low technology, trivial objects and unpolished sounds. She keeps busy these days by doing battery-powered performances in vacant lots, empty hallways and under staircases, mostly for no audience.

Tenir à un fil (10’)

Véro Marengère &
Alain Lefebvre  

Véro Marengère is an emerging audiovisual artist and researcher based in Montreal. She creates artworks that evoke entanglement, pop culture, ecosophy and digital intimacy. Inspired by everyday objects, technological communities, ASMR, electromagnetism and human voice, her work takes a critical yet playful approach to hyperpersonal video and music making. Véro Marengère is currently a graduate student in the digital music program at the Faculty of music of the Université de Montréal. She is a teacher’s assistant for the course Stereophonic Recording and Sound Systems as well as the content lead of the national digital literacy project AlphaNumérique.

Alain Lefebvre makes abstract noise with amplified objects and lo-fi devices which he pushes beyond their intended uses and capabilities. He is interested in using typically unwanted sounds as a means of reconsidering prevailing distinctions between the intrinsically musical and the intrinsically non-musical. His music embraces short circuits, 50-60Hz hum, DC offset, electromagnetic interference and other perhaps unnamed analog pariahs. As a seasoned cultural organizer in Montreal’s underground scene, Lefebvre co-founded Rara Avis in 2018 - a digital label for hard-to-classify experimental music. His albums have also appeared on the Kohlenstoff, Jeunesse Cosmique and Mikroclimat labels, occasionally under the moniker of Total Music.

The Journey of Objects into Selfhood (15’)

The Journey of Objects into Selfhood evokes intimate and communicative space where sounds spontaneously move in and out of each other’s paths like characters in an unscripted play. By using amplified objects, lights and electromagnetism, it explores the possibility of rethinking our relationship to everyday objects in a Fluxus and neoanimist perspective. Adopting a posture of matter over mind, The Journey of Objects into Selfhood doesn’t impose ideas as much as it imposes empathy.

Dominic Jasmin 

Dominic Jasmin is an improvising musician and electroacoustic composer from Montreal. His music, somewhere between free jazz and acousmatic music, blends the accidental and unpredictable nature of the former with the techniques of the latter to create what has been described as « structured noise ». Primarily working with found sounds and electronics, he also incorporates guitar and hardware synths to some of his live sets. He is also a member of noise duo Chayer/Jasmin and the Kohlenstoff collective. 



Freely improvised spatialised live set.

October 12, 2021

Day 2 -


@ Le Vivier


The program Akousma_En-Direct is co-presented in association with Le Vivier, a group of which Akousma has been a member since 2007.
Get your tickets

Martín Rodríguez

As a multidisciplinary Chicanx artist and independent curator, Martín Rodríguez’s work emerges from personal experiences. By engaging the present, his practice mixes performance with interventional happenings, and installations.

After a surgery to remove a brain tumor left him temporarily paralyzed Rodríguez searched for new meaning.  When radio signals trapped in his guitar began to sing, he seized on the phenomena, and began exploring the cracks of the radio spectrum as a material for making art. Notably, his work has been presented by the Musée d’art contemporain Montréal (CA), MUAC (MX), Darling Foundry (CA), Spektrum (DE), as well as various festivals and performance venues across Canada, and the US.

In addition to producing his own work, he organises and curates various events, happenings, and festivals including: Bodies in Resonance (2021), Acoustic Mirror (2020), the international digital art festival Sight and Sound Festival (2019), Ibrida*Pluri A/V Festival (2019), Amplified (2018) and PirateBlocRadio In-Situ (2017).  From 2014 to 2018, he worked as Technical Director, Lab Director, and Co-director of Eastern Bloc, an artist-run centre dedicated to presenting emerging media artists in Montréal, Canada.

Entre Temps Perdus (15’)

Rodríguez will perform a piece from his album Entre Temps Perdus (2021). For this album Rodríguez developed a process using live radio broadcasts, a modular theremin, and a ride cymbal to examine the stretching of a single moment in time, creating a space between contemplation and movement. Mixed into this performance are sounds emerging from Montreal's urban spaces during the early days of the pandemic revealing harmonies and textures tucked away between broadcast and cymbal.

Site web / ︎

Photo credit : Jose Garcia-Lozano

Érick d’Orion

Interdisciplinary audio artist, composer for the performing arts and cinema, musician/improviser and audio curator residing in Montreal since 2015.

As curator, he has organiszed more than a dozen events focusing on audio art and advanced sound creation. He was co-curator of the artist-run center Avatar (2008-2010) and he is curator for the sound installations component of the Festival international de musique actuelle de Victoriaville since 2010.

Concentring much of his audio research on digital maximalism, d’Orion performs a work that closely resembles noise, musique concrète, free jazz and electroacoustic.

He is part of the duo morceaux_de_machine, the trio BOLD (with Alexis Bellavance and Nicolas Bernier) and the trio Napalm Jazz, as well as a multitude of ad hoc ensembles.

Program *creation
Apocalypse vaudou (10’)

Photo credit : Luc Sénécal

(Takuto Fukuda &
Ana Dall’Ara Majek)

blablaTrains is a duo by Ana Dall’Ara-Majek and Takuto Fukuda, focusing on the integration of physical gestures and electroacoustic sounds into a multimodal performance by using their analogue/digital musical instruments–Ana’s augmented Theremin and Takuto’s gestural controller. Their performance unfolds at the intersection of the gesture-sound synchrony and the inter-performers synchrony. Drawing various relationships on a continuum between explicit synchrony and elusive asynchrony, their music conjures up poetics over the collective subjectivity.

They have been awarded second prize at IEMC2021 (China) and have performed at international events such as Live@CIRMMT 2020 (Montreal, Canada), NIME 2019 (Porto Alegre, Brazil), Now Hear This Festival 2018 (Edmonton, Canada) and MA/IN Intermedia Festival 2018 (Matera, Italy).

Ana Dall’Ara-Majek is a composer, sound artist and researcher living in Montreal. She is interested in the study of how instrumental, electroacoustic and computational-thinking approaches interact in music. She's been active for composing multimedia pieces and performing live electronic music.

Takuto Fukuda is a composer, sound artist and gestural controller performer. He has been exploring the enhancement of the audience engagement with technologically enhanced liveness. His approaches encompass, among others, gestural control of music, interactive audiovisual installations and Game Pieces.

Pythagorean Domino (15’)

Pythagorean Domino is an improvisatory composition for an augmented Theremin and a gyro-based gestural controller. This work aims to integrate music concrete techniques and an algorithmic compositional approach in the context of composition for gestural controllers. While music concrete compositional practice brings out the concept of “composite object”—a sound object made up of several distinct and successive elements—in the piece, our algorithmic compositional approach delivers an interpolation technique which entails gradual transformations of the composite objects over time. Our challenge is to perform a chain of short fragmental elements in tandem in the way to form a single musical unit, while the algorithms for transformation are autonomously changing synthetic and control parameter settings. This approach derives closely interconnected triangular interactions between two performers and a computer.

Photo credit : André Parmentier

Exhibit +
Sound installation

Sound mappings,
by Félix-Antoine Morin 

From October 11 to November 5, 2021
Vernissage : October 13 from 5:00 to 7:00pm 

Félix-Antoine Morin’s graphic scores represent existing musical forms whose basic structures are drawn from the artist’s repertoire of compositions. Through a syncopated visual construction, by which he instinctively creates new connections between signs, he shifts the initial writing toward material abstraction. Preserving traces of the sound origin, the accumulation of elements gradually transforms each composition into an autonomous language that no longer references music.

By this process, Morin maps out the metamorphosis of sound phenomena through a rhythmic and poetic graphic expression. Although the musicality of the scores inevitably resonates in the minds of those looking at them, they are not intended, however, to be decoded and interpreted by musicians. Seeking to eschew any kind of system, the artist encourages the ambiguity between musical notation and pure pictorial symbolism. While he retains certain codes as points of reference—such as the standard of reading left to right and traces of the staff—he then subverts them to obtain an undecipherable language whose metaphorical charge is revealed by its “abstract radicality.” 

This series of mappings ultimately express an artistic intuition in which the artist’s musical and pictorial sensibilities vibrate in synchrony.

Ariane Plante, curator

About the artist

Whether using the medium of music or image, the overall approach of Félix-Antoine Morin's work is guided by the aesthetic principle of a poetic execution. Transfiguring reality by shifting it into fiction and abstraction, his creations develop a lyric quality as they pass through multiple stages of writing, transforming, and mutating reality into new, perceptual, visual and sonic imagery. His area of exploration encompasses a wide range of mediums, including electroacoustic music composition, video art, graphic scores, photography, immersive installations, and new media.

In his work, he explores various possibilities of constructing between and within mediums, so that their execution translates into an incantation. This approach seeks to work through a logic of immersion by producing multisensorial work that invites viewers to merge with it and discover the potential of a unique imaginary. In a state of constant motion and metamorphosis, his creations become transit routes for examining various phenomena such as ubiquity, scales of magnitude, infra-worlds, psychoacoustics, and the musical subjectivity of imagery. These perceptual experiences translate representations of the world into universes that are unusual, realistic, or recomposed at different scales.

As a sound and visual artist, Morin draws inspiration for his compositions from traditional and sacred music, invoking the processual approach of ritual.

Félix-Antoine Morin studied visual arts at UQAM and electroacoustic composition at the Conservatory of Montreal. In 2008, he won a JTTP award and in 2012, he received the Joseph S. Stauffer award from the Canada Council for the Arts. His works have been featured in several national and international events. He is also a founding member of the Kohlenstoff Records label.


Les champs sonores possibles 
by David Ledoux, copresented by Audiotopie

October 13-15, 2021

Les Champs Sonores Possibles (Sonic Possible Fields) is an ongoing project that proposes ambient musical experiences, where mediate and immediate sound ambiences are intertwined, inciting passers-by to contemplate and imagine possible places. Designed for a continuous broadcasting in an outdoor public space, the project is part of a sound ecology and urban design approach: by exploiting digital in situ sound diffusion devices - such as Sporobole’s sound window, or Audiotopie's ESSAIM system, the artist wishes to raise the public’s awareness of the positive effects of urban planning that integrates sound design. Born from a commission for Audiotopie's 10 years anniversary, Les Champs Sonores Possibles has ultimately developed into a continuous project, associating various soundscapes of vacant spaces with those of developed public spaces within a specific urban environment. The project aims to beautify an urban environment, to the ears of local citizens as much as tourists, by exploiting its surrounding sounds, whether they may be specific to its identity or otherwise without interests, even harmful, to make enjoyable environmental music.

Photo credit : Elisabeth Rancourt

About the artist

David Ledoux is a composer and sound artist residing in Montreal (Quebec, Canada), whose main practice is to create an environmental music, specifically designed for sound installations involving a large number of loudspeakers. On the aesthetic level, his approach consists in constructing sonic possible worlds where musical and extra-musical elements are spatiotemporally intertwined following an ecological relationship.

He was awarded with the 2018 edition of the Marcelle Prize, by the teachers and professors of the University of Montreal’s faculty of music, for his work Cathédrales (2018), while the work’s first part I – Ville Aux Cent Clochers (2018) has won the 2nd prize of the JTTP 2018 contest, attributed by the Canadian Electroacoustic Community (CEC).
His work has been presented in various international events, in Germany, Italy, United Kingdom, France, United States and Canada.

In addition, David also works as a multimedia technician specialized in scenic telepresence and a teacher in sound immersion for the Society for Arts & Technology. He works also as a freelancer, offering technical advices and services for various artistic projects: sound recording, sound engineering, sound mixing, sound installations, concerts, podcasts, sound editing, sound spatialization, sound design, musical composition, etc.


Photo credit : JP Lebel

Audiotopie is a creative organization formed as a work cooperative. Its activities revolve around the research, creation and production of in situ media works centered around sound language and digital art. The cooperative brings together artists and designers whose work spans sound creation and art, new media, design and landscape architecture. The organization encourages reflection around the notions of places and spaces. Audiotopie's creations take various forms, such as sound walk, installation and performance. They capitalize on the sensitive and social qualities of the places in which they are located while promoting the active involvement of the public through immersive experiences.

October 13, 2021

Day 3 - 7pm

Please notre that there is a PASSPORT available for the three concerts at Usine C. Juste choose one date and then the “passport” option will become avaialble.
Get your tickets

Félix-Antoine Morin

Whether using the medium of music or image, the overall approach of Félix-Antoine Morin’s work is guided by the aesthetic principle of a poetic execution. Transfiguring reality by shifting it into fiction and abstraction, his creations develop a lyric quality as they pass through multiple stages of writing, transforming, and mutating reality into new, perceptual, visual and sonic imagery. His area of exploration encompasses a wide range of mediums, including electroacoustic music composition, video art, graphic scores, photography, immersive installations, and new media.

In his work, he explores various possibilities of constructing between and within mediums, so that their execution translates into an incantation. This approach seeks to work through a logic of immersion by producing multisensorial work that invites viewers to merge with it and discover the potential of a unique imaginary. In a state of constant motion and metamorphosis, his creations become transit routes for examining various phenomena such as ubiquity, scales of magnitude, infra-worlds, psychoacoustics, and the musical subjectivity of imagery. These perceptual experiences translate representations of the world into universes that are unusual, realistic, or recomposed at different scales.

As a sound and visual artist, Morin draws inspiration for his compositions from traditional and sacred music, invoking the processual approach of ritual.

Félix-Antoine Morin studied visual arts at UQAM and electroacoustic composition at the Conservatory of Montreal. In 2008, he won a JTTP award and in 2012, he received the Joseph S. Stauffer award from the Canada Council for the Arts. His works have been featured in several national and international events. He is also a founding member of the Kohlenstoff Records label.

Program *creation
Spéléogenèse (10’)

Photo credit : Carl Lessard

Joseph Sims & 
Pablo Geeraert - JTTP 2021

Joseph Sims is a composer and musician born in London Ontario, and currently based in Montreal. His work acts as an amalgamation of sonic styles, frequently exploring the relationships between concrete and electronic sources . With roots in folk music, his compositional approach remains grounded in intuition and narrative – and continually explores new sonic pallets as a means of expression. Multi-channel fixed medium composition is his primary focus, but a love for visual media is expressed through frequent collaboration with animators and film makers. He is currently finishing his bachelors in Electroacoustic Studies at Concordia University.

Pablo Geeraert is a Belgian composer born in Brussels (BE), and currently based in Montreal. He explores composition as a means to discover and experience the complex yet exciting dimensions that music can offer. Influenced and fascinated by a wide variety of sonic discourses, his music tries to blend these into kinetic and evolving narratives - focusing on sculpting a contrast between the sound materials to evoke images and/or reactions. Interested in multidisciplinary practices, the aspects found in other arts such as dance and the visual medias also fuel his inspiration and motivation to broaden his understanding of music. Having recently graduated from BFAs in Music Production (BIMM Berlin) and in Electroacoustic Studies (Concordia University), he has just started a masters degree in Electroacoustic Composition at the Conservatoire de Montréal to further discover and define his artistic identity.

Esquisse d’une Sandbox (11’50’’)

Fisrt prize winner at the 22nd edition of the Jeu de temps / Times Play contest of the Canadian electroacoustic community (CEC)

Esquisse d'une Sandbox, a scalable multi-channel piece, focuses on finding homogeneity in both the articulation of contrasting sonic materials and two artistic voices. The piece was created over a three-month period through weekly in-studio sessions. Rather than relying on a conceptual framework, the composition is a direct result of a continuous kinetic reaction to each others creativity. The two composers embraced the challenge of acousmatic collaboration as means to push their individual artistry.

Jean-François Blouin

Jean-François Blouin received a master degree at the Montreal Conservatory of Music, and was granted the Electroacoustic Price from this academy in 2008. He mainly composes for concerts, sound installations and multi-disciplinary shows. His music is shaped by the relation with site, space, sound objects and time. The integration of cultural elements, classical and traditional instruments, and the use of musique concrète techniques gives his opus a wide range of expression, which is articulated between tradition and modernity, ecology and urbanity, minimalism and spectral density.

Since 2010, he collaborated with fellow composer Benoît Rolland in an interactive project with the native community from Nutashkuan. He also presented creations in Québec City, Val-David and Montréal. His acousmatic pieces have been heard internationally. In 2013, he was granted by the Canadian Arts Council to work on instruments invented by J.F. Laporte. He is active in the collectives Kohlenstoff (web-diffusion of new music) and Volte21 (multi-disciplinary creation).

Program *creation

Chantal Dumas

Montreal sound artist Chantal Dumas has been exploring the medium of sound for over 25 years. Her work takes the form of narration and soundscapes, compositions, listening tours and installations. The years have brought to light a thematic recurrence (space, time, territory, nature, elsewhere) underlining an environmental awareness that is combined with a marked interest in listening. Cartography intervenes naturally in this context as a structuring element of some of his proposals.

She obtained the Studio du Québec in New York (CALQ-2011) and the Récollets Studio in Paris (CALQ-2016). She has received the Opus Awards - Concert in electroacoustic music (Qc) and the Bohemia (Czech Republic) and Phonurgia Nova (Fr) awards in radio. Her work has been widely broadcast on foreign public radio and festivals. In recent years, she has expanded her palette by collaborating on various projects as a sound designer. Her recent productions include among others a commission from DeutschlandFunk Kultur, Oscillations planétaires that evoke the geological. The album was a finalist for the Prix Opus 2019-20: Album of the Year. There is also the sound design of the multidisciplinary show Le désert mauve, free adaptation of Nicole Brossard's novel, production Rhizome and that of Roxham a project of the photographer Michel Huneault on migration, produced by the NFB Interactive Web.

Oscillations planétaires (15’)

Oscillations planétaires evokes geology. In all the layers that make it, from its core to its surface areas, Planet Earth is inhabited by undulatory motions of extremely varied temporal scales. Some are inscribed in a geological timeframe while others follow a daily cycle. This oscillatory ensemble contributes to the mechanisms that rule the Earth’s dynamics. These are the phenomena evoked : Earthquakes, Antarctic Plate, Subduction, Oceanic Trench, Mantle Convection, Geysers.

October 13, 2021

Day 3

Get your tickets
One ticket grants access to blocs 1, 2 et 3

Kevin Austin

Kevin Austin, composer, educator, arts animator. Born in London England, moved to Montreal at the age of nine. Composing / inventing musics for about 65 years; teaching for more than 55 years; active in electroacoustics for about 55 years; concert and event production for more than 50 years. Composed in most concert musical idioms – instrumental, chamber and solo, large ensemble, vocal, and chinese instruments; and multi-channel electroacoustic idioms from fixed media, to live electroacoustic performance and improvisation, mediatic sound, ‘performance art’ / theater, social engagement, soundscaping etc. Co-founder of the Canadian Electroacoustic Community, written articles on electroacoustics, and a two-year university level ear-training course. Embroidery, painting and sewing are on-going pastimes. 

Concrete Studies — Seven Concrete Studies in Nine Movements (18’53”)

A multi-channel, point-source piece. These are micro-edited, mono-source, concrete “amplitude” studies. The only processing was cut, copy, paste, and change of amplitude, “Thunder” having been slightly equalized.

Please note: as the composer is unfortunately unable to participate in the concert due to his medical condition, the performance of his piece will be supervised by Joseph Sims. We wish him a quick recovery.

Photo credit : Brian Campbell

Stéphane Roy 

Stéphane Roy is an acousmatic composer. His art esthetics allow him, after thorough experimentations with sound materials, to extract expressive properties and give these works teleological motion.

Stéphane Roy is also a musicologist. He has written a number of papers and a book on the analysis of electroacoustic music (L’Harmattan, Paris, 2003), which earned him the 2003-04 Prix Opus — Book of the Year. His works have won several awards and mentions in national and international electroacoustic composition competitions. His latest album, L’inaudible, received the 2019-2020 Prix Opus — Album of the year, Musique actuelle et électroacoustique. His works have been programmed throughout Europe and the Americas. For the past few years, he has been featured by various international festivals who gave his latest works their European premiere. Some of his works also received their world premiere in concerts presented at the Conservatoire de musique de Montréal (Québec).

His works have been published on audio support by various labels, including empreintes DIGITALes (Kaleidos, 1996; Migrations, 2003; L’inaudible, 2019).

Voies crépusculaires (15’28”)

Like most of my works, Voies crépusculaires originates from experimentations with sound materials I had selected and captured for their morphological qualities. While exploring their plasticity, I was led to oppositions of textures, and used multiple transpositions, filters, and successive mixes in order to highlight the edgier qualities of the material. Voies crépusculaires consists of pulsed units that unfold through an additive texture to the point of reaching audio fullness that evaporates suddenly over a furtive atmosphere. Sometimes, these processes are cut short – even before reaching their crepuscular horizon – by meandering sequences peppered with antagonistic sonic motifs and allusive returns that tug at the narrative, which eventually gets back on its original course and flares up into extreme agitation. Reiterated, these pulsed units function as a structuring axis, at both the microscopic and macroscopic levels.

This research work inspired by the plasticity of the material arks back to my first pieces, among them Crystal Music (1992-94), with the difference that here I am using a pulse as the main unifying factor, in order to allow the development of multiple musical objects deployed into various planes of the sound field.

Photo credit : Maddi Berger

Pauline Patie

Pauline Patie Pelicaut is a French composer of electro-acoustic music. Formerly intermittent in the music industry in France, she recently completed her bachelor's degree in the digital music department of the University of Montreal, and intends to continue her studies there. Interested in the trance effect, her creations explore the association of discomfort and appeasement for the listener. Thus, she questions the mysterious reactivity of the body to immersion and its causality.

Bulle d’air (8’59”)

October 13, 2021

Day 3

Get your tickets
One ticket grants access to blocs 1, 2 and 3

Claude Périard

Claude Périard is a multidisciplinary Montreal artist whose work focuses primarily on sound art and music. In addition to completing a bachelor's degree in digital music from the University of Montreal, they have released a dozen albums of pop and experimental music, sound installations and experimental films. They also work as sound recorder and mixer for the cinema. 

Terrains vagues

Sarah Feldman

Sarah Feldman makes textural music built on unconventional rhythms. Sensitive, powerful, and complex, Feldman’s work is informed by her analytical personality, background in electroacoustics, and many years as a drummer. Just Intonation, physical modelling synthesis, and the influence of American and Japanese minimalists feature widely in her compositions. She has a degree in electroacoustics and music composition from Concordia University, Montreal.

Grids (12’)

In Grids EP, the synchronization and de-synchronization of repetitive rhythmic grids suggests but evades a stable, definable construction. Through this tension, Feldman explores her experience of trying to gain control over the fragility and dizzying unpredictability of existence.

Jesse Osborne-Lanthier

Active since 2007, Jesse Osborne-Lanthier is a Montréal-based multidisciplinary artist, composer, designer, curator, producer and musician. His interest lies in using his work to create both a living ecosystem of abstract memories and outward-looking, physically-reactive music to mezmerize, appall, and delight his audiences in equal measure. His last several releases have found homes on Halcyon Veil, raster-noton, Where To Now?, United Standard, Cosmo Rhythmatic and Haunter Records.

Musically, Osborne-Lanthier looks to the material composition and hybrid techniques of a wide gamut of genres spanning from pop to experimental music, to create something that is readily unique and oddly accessible in its singularity. Above all, Osborne-Lanthier maintains a taste for intensity as a tool for immersive engagement. His music is tactile and elastic, morphing rapidly from uncanny-valley sound design to vast, sweeping expanses of profound choral synths and circling back to more classically inclined instrumental rhythms. His work provides stark contrasts at every turn; sometimes heavily structured or freely fluid; symphonic or dissonant; minimal or intricate.

Osborne-Lanthier’s hybridized musical languages gesture at both something plainly known and deeply unknowable; the new, the old, the imaginary, and the unimaginable jostling side-by-side for equal attention in the ears of his audience. His work operates as a catalogue of his various moods, passions, beliefs, and interests; a constantly updating self-referential corpus. As his design practice grows in both scope and confidence, so too does the visual identity that accompanies his music.

In addition to his solo work, Osborne-Lanthier is a prolific collaborator; most notably under the alias Femminielli Noir (with Bernardino Femminielli and later Asaël Robitaille), and other projects with Grischa Lichtenberger, Marie Davidson & L’Œil Nu (with Marie, Asaël R. Robitaille and Pierre Guerineau), Anna Arrobas (with Anna Asaël R. Robitaille and Shane Hoy) and Daniele Guerrini (AKA Heith). As a designer, producer and engineer he’s provided artwork, design, and mixing & mastering services to hundreds of artists and labels — including scene staples like NON Records, Essaie Pas, Halcyon Veil, Where To Now?, Ninja Tune, genome 6.66 mbp, Avec le soleil sortant de sa bouche (Constellation Records), Unseelie, Absurd Trax, NAFF, DFA Records, Alex Zhang Hungtai, MSYLMA, rkss, Dasychira, Maurizio Bianchi, Himera and countless more. He is the co-founder of Éditions Appærent, a multifaceted publishing house, collective and record label, launched alongside Pierre Guerineau (AKA Feu St-Antoine and 1/2 of Essaie Pas) and Will Ballantyne (AKA City and a member of Vancouver’s s.M.i.L.e. collective).

He has toured extensively in America, Asia, and Europe, performing at festivals such as Mutek, Elektra, Norberg, Akousma, Sonar, Rewire, Lunchmeat, CTM, Le Festif, Blue Blue, La Noce, Synthposium Armenia, Suoni Per Il Popolo, Pop Kultur and FASMA. His audio and visual works both in solo and in collaboration, have also been featured in museums, galleries, and venues such as the Musée d’art contemporain de Montréal, Grand Théatre de Québec, The Nottingham Contemporary Museum, National Gallery of Canada, Compufunk, Berghain, NK, WWWß Tokyo, La Petite Mort, Club Stomp Osaka, Ji.hlava International Documentary Film Festival CZ, São Paulo Museum of Image and Sound, NK Berlin, and EMS Studio Stockholm.

Program *creation

(00:00 - 01:00) I- Flat-min ("old normal"; plan-day)
(01:00 - 02:00) II- Sphere-min (global-day; Earth day)
(02:00 - 03:00) III- Torus-min (cycle-day; recycle-day)
(03:00 - 04:00) IV- Hyperboloid-min ("surreal day")
(04:00 - 05:00) V- Orthogonal-min ("reflection day")
(05:00 - 06:00) VI- Blending-min ("re-cognition day")
(06:00 - 07:00) VII- Normal-min ("new normal day")
(07:00 - 08:00) VIII- Alt-min ("another day")
(08:00 - 09:00) IX- Bland-min ("boring day")
(09:00 - 10:00) X- Xtra-min (day X)
(10:00 - 11:00) XI- Trash-min (garbage day)
(11:00 - 12:00) XII- Color-min (butterfly gardening day)
(12:00 - 13:00) XIII- Slurry-min (day-drinking day)
(13:00 - 14:00) XIV- Silent-min (memorial day)
(14:00 - 15:00) XV- Last-min (End day)

October 14, 2021

Day 4 - 7pm

Please notre that there is a PASSPORT available for the three concerts at Usine C. Juste choose one date and then the “passport” option will become avaialble.
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Mélanie Frisoli - JTTP 2020

Mélanie Frisoli is a French composer, sound designer and field recordist based in Montreal. Before composing electroacoustic music, Mélanie was a singer-songwriter who has released six albums and toured around the globe, performing over 700 shows. She has also composed music for documentaries, dance and theater plays.
She's currently finishing a Master’s degree in digital music at l’Université de Montréal, studying electroacoustic, acousmatic and electronic music composition with famous composers/teachers (Robert Normandeau, Dominic Thibault, etc.). Her work is inspired by soundscapes, poetry, noise and the limits of technology.

Le chant de la machine (13’)

First prize winner at the 21st edition of the Jeu de temps / Times Play contest of the Canadian electroacoustic community (CEC)

Le chant de la machine (2021) is the result of an exploration of the infinite limits of technology. I went in search of sound materials with, in all and for all, a recording of a few seconds of digital silence. Thanks to feedbacks and extreme settings, sounds escaped. I caught them as I could, and then I did everything. All the tweaks I’d never tried and all the tools

I had never dared to thwart. Finally, in spite of the bloody fight between the machine and I, velvet and charm appeared. A disturbed electronic soundscape, sometimes erratic chase, sometimes contemplative face-to-face, could then take shape. It was interesting to probe what the machine is capable of producing. Does it have things to tell me when it no longer understands me? Can I make it lose control?

I didn't get a clear answer, it didn't speak. But it almost sang.

Frédéric Auger

Frédéric Auger is interested in creating living sound matter, interpreted live. In recent years, his activities have focused on the integration of immersive sound environments into performative context, using sampling, reproduction, dynamic processing as well as the possibilities of direct spatialization and transformation of objects/sound bodies. He’s always looking for an organically integrated practice that blends with the creative and experimental process of artists with whom he associates. Ces temps lents-là is his first fixed media work.

Lately he worked with l’Orchestre d’hommes-orchestres, Bureau de l’APA, Théâtre Rude Ingénierie, Théâtre de la banquette arrière, Système Kangourou, documentary theatre company Porte Parole, Sibyllines (Brigitte Haentjens) and Onishka (Émilie Monnet). In the past he had the opportunity, as sound designer or sound engineer, to collaborate with Marie Brassard, François Girard, Robert Lepage, Claude Poissant, Philippe Cyr and Alexia Bürger. He teaches sound design at UQAM’s École supérieure de théâtre and sound engineering at the National Theatre School of Canada.

Ces temps lents-là (13’)

Premiere: 2020, remix: 2021

A collapse took place. Not the one announced, not how or where it was expected, creating a break in space-time.


Accelerating is exhilarating, of course, but it also needs to be offset by slowing down more, more often, for a longer time.

Making this slowdown possible.

Building more humane, more supportive, more communal tomorrows.

Tripping up processes of alienation.

Inhabiting time in other ways. Changing the horizon. Decolonizing minds.


Photo credit : Caroline Campeau

Roger Tellier Craig

Roger Tellier Craig is a composer based out of Montreal, Canada. He  is a founding member of Fly Pan Am, Et Sans (with Alexandre St-Onge), Set Fire To Flames and Le Révélateur (with Sabrina Ratté). These projects have seen him tour extensively in Canada, Europe, the United States and Japan, as well as releasing records with Constellation, Locust, Alien 8, Fat Cat, Root Strata, Gneiss Things, NNA Tapes, Where To Now?, Dekorder and Second Editions.

He has composed music for film and various art projects, working with Denis Côté, Albéric Aurtenèche, Zaynê Akyol, Projet EVA, Lynda Gaudreau, as well as providing the score to most of Sabrina Ratté's video works. He has also worked closely with the choreographer Dana Gingras over the past 15 years. He holds a certificate in electroacoustic composition from the Conservatoire de Musique de Montréal. His compositions “Duelle" and “Nulle part à trouver” have been awarded 3rd and 2nd prize in the Jeu de Temps/Times Play competition held by the Canadian Electroacoustic Community.

Program *creation
Horizons pavés (10’22’’)

Horizons pavés is a piece created from sound recordings made in the Quartier St-Pierre in Montreal. The latter is completely enclosed by enormous transport infrastructures, including Highway 20 and two railroads (Canadian Pacific and Canadian National). Added to this is the current repair work on the Saint-Pierre interchange and a noisy bypass for trucks that crosses the neighbourhood.

Inspired by the energy and movement of the vehicles captured in the sound recordings, the piece seeks to make us aware of the acoustic reality that inhabits the neighborhood. Each of the sound recordings used presents a different point of view on the outskirts of the neighborhood, of its limits. The different passages of the piece were therefore guided by each of these points of view; some places are very active and noisy and other places offer more rest, although you can still hear this highway in the distance.

October 14, 2021

Day 4

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One ticket grants access to blocs 1, 2 and 3

Hugo Tremblay

Socalled ex-acousmatician, tremblay sinks the speakers and screams in their sleep. 

 Please keep in line until concrete fields appear.

mémo dégradé (13’)

Rouzbeh Shadpey

Rouzbeh Shadpey is an artist and musician based in Montreal working through sound, writing, and performance. His practice and thought are shaped by an academic background in medicine, psychiatry, and music, the lived experience of a faltering body, and the deep kindness of his grandmother Nargues. His current artistic research explores the subclinical (an)aesthetics of illness, the AI voice, and decolonial nervous architectures. Rouzbeh is currently a studio resident at the MAI and has performed and exhibited work at Mutek Montreal, Studio XX, la Serre, Suoni Per Il Popolo, and Phi Centre. His music, under the identity GOLPESAR, has been released on Dream Disk Lab and Opal Tapes.

A Body Without, and in Need (15’)

Spatialized excerpts, 2020-2021

Photo credit : William Sabourin

Erin Gee

Erin Gee (Montreal, b. 1983) is an artist and composer who creates artworks that promote critical sensuality, affect, haptics, communication, and presence in sonic and digital architectures. Inspired by the human voice as a conceptual object, she likens the vibration of vocal folds to electricity and data across systems, or vibrations across matter, that inform larger structures of power via gender in contemporary life. She is known for her use of physiological sensors to promote and embodied relation to algorithmicity, and is a DIY expert in affective biofeedback, implicating the body of the listener as part of her cybernetic systems in place. Her work in vocal composition, networked performance, ASMR, VR, AI and robotics was shown in solo exhibition at MacKenzie Art Gallery (CA), and Hamilton Artists Inc (CA), as well as festivals and group exhibitions such as LEV Festival (ES), MUTEK (CA), Darling Foundry (CA), Trinity Square Video (CA), Toronto Biennale (CA), Elektra Festival (CA), Ars Electronica, NRW Forum (DE), and MediaLive Festival (US).

Program *creation
We as Waves (15’)

Presenting an intimate experience for electroacoustic music and voice, composer and visual artist Erin Gee expands upon her past work in physiological and unconscious sonic methods through a new collaboration with queer playwright Jena McClean. We as Waves is a performance for solo performer that combines hypnotic hand gestures and intense eye contact with sonic elements of verbal suggestion, whispers, and hand-manipulated textural sounds, triggering new ways of listening through feeling, adapting techniques from Autonomous Sensory Meridian Response (ASMR) into a provocative first-person roleplay.

October 14, 2021

Day 4

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One ticket grants access to blocs 1, 2 and 3

Xavier Madore

Composer and videographer, Xavier Madore lives and works in Montreal. He is also the co-founder of the audio-visual company "La Conserve Média". A graduate of the Montreal Conservatory of Music in Electroacoustic Composition, his compositional works are focused on the search for discursive structures and advocate a discourse with articulated gestures. His work has received awards in several internationally renowned composition competitions as well as presented in several festivals in Canada, the United States, France, England, Germany, Switzerland, Italy, Greece and Sweden.

Écran-mosaïques (18’16”)

During an acousmatic analysis seminar on the subject: From cinematographic grammar to acousmatic music: Writings and structures, I was particularly interested in the perceptual efficiency of the sound and spatial anchoring of certain fragmented screen processes (split-screen).

Begun during a research & creation residency at the Elektronmusikstudion (EMS) in Stockholm, and completed at the Montreal Conservatory of Music (CMM), Mosaïque Screen (from the process of the same name) attempts a transposition of the various diegetic and geometric displacement possible from a visual framework to a distribution of various sound elements in the diffusion space.

France Jobin

France Jobin is a sound / installation / artist, film composer, and curator residing in Montreal, whose audio art, qualified as “sound-sculpture", reveals a minimalist approach to complex sound environments where analog and digital intersect. Her installations incorporate both musical and visual elements inspired by the architecture of physical spaces. Her work can be “experienced” internationally in a variety of unconventional spaces and new technology festivals.

Jobin has solo recordings on many renowned labels, mainly popmuzik records (JP), LINE (US), ROOM40 (AU), nvo (AT), Baskaru (FR) and ATAK (JP) and recently No-ware (CL-DE). Her sound art is also part of countless compilation albums.

Program *creation
The Fluidity of Time Does Not Exist (15’)

Time is mysterious; I never realized how much until I studied it in the context of Quantum Physics.  The mystery stems from a common-sense way of thinking - that the present moment, which we call “now” is not fixed but moves constantly in the direction of the future. This is what we refer to as the flow of time.

The common-sense concept of time is as follows: Imagine a line with an arrow pointing towards the right, each point on the line represents a fixed moment, a triangle drawn with the tip touching the line represents the continuous moving point, the present moment. It is supposed to move from left to right. Some believe particular events as being fixed, and the line itself as moving past them so that moments from the future sweep past the present moment to become past moments. Thinking of time as a line simply implies a sequence of points at different positions, so any moving point can be thought of as a sequence of motionless “snapshot” versions of itself, at each moment. It is similar to a sequence of still photos, projected onto a screen. Collectively, the images are moving but individually, the image never changes.

This idea that the present moment seems to be moving forward in time is defined relative to our consciousness. But our consciousness, however, cannot do that. Nothing can move from one moment to another, To exist at all at a particular moment means to exist  forever. Our consciousness exists in all our (waking) moments. We do not experience time flowing, or passing. What we experience are differences between our present perceptions and our present memories of past perceptions. We interpret those differences correctly, as evidence that the universe changes with time. We also interpret them incorrectly, as evidence that our consciousness, or the present, is something that moves through time.

The passing of time is intrinsic to the world; it is born of the world itself, out of the relations between quantum events that are the world, and that themselves generate their own time.

The fluidity of time does not exist,  is my attempt to put this concept into sound, creating a piece of music, which itself is created within a span of time…

Photo credit : Fabio Perletta

Louis Dufort

Louis Dufort, from Montréal, is a prolific composer in several formats: fixed media, mixed music with live processing, visual music, and installation. He received several commissions from various musical ensembles and organizations: ACREQ, SMCQ, Akousma, Chants libres, Codes d’accès, ECM, Quasar, Quatuor Bozzini, Ubisoft, Musée Pointe-à-Callière, ZKM, Sixtrum, and Radio-Canada. He has also been a regular collaborator with Compagnie Marie Chouinard since 1996. In 2018, he composed the soundtrack for Denys Arcand’s movie La chute de l’empire américain (“The Fall of the American Empire”). In addition to his creative work, Louis Dufort teaches composition at the Conservatoire de musique de Montréal and is the artistic director of the Akousma festival. In February 2018, he received the 2016-17 Opus Award for Director of the Year for the Akousma 13 festival.

Monts-Valin 2021 (11’36)

Based on field recordings, this piece is inspired by a collection of meaningful moments experienced during my many hikes on Monts-Valin, located in Saguenay. These moments present a wide range of states of consciousness, from pure enjoyment to heady excitement, all underpinned by the holistic beauty and complexity of nature. What also fascinates me is that regardless of my states of consciousness, the forest remains sovereign, it is there, neutral and abstract, exposing its beauty through its light, colors, textures, movements and sounds. Consequently, the forest becomes music.

Monts-Valin was composed on the octophonic system of the Chicoutimi Musical Experimentation Center during a residency and mentoring activitie (Achicoutimatique), and premiered at the same place on August 12, 2021. Since then, the work has been reworked and spatialized for 16 speakers especially for Akousma.

Photo credit: Valérian Mazataud

October 15, 2021

Day 5 - 7pm

Please notre that there is a PASSPORT available for the three concerts at Usine C. Juste choose one date and then the “passport” option will become avaialble.
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Micheline Coulombe Saint-Marcoux

presented by Yves Daoust
Micheline Coulombe Saint-Marcoux was born in Notre-Dame-de-la-Doré, in the Lac Saint-Jean region of Québec, on August 9, 1938. Her childhood, close to nature and filled with family song, was to influence her later electroacoustic work in its exploration of the voice (Arksalalartôq) and its evocation of natural landscapes (Moustières).

In 1965, she was a student of Tony Aubin at the Académie internationale d’été de Nice (France) where she was awarded the Prix René-Poire, her first composition prize. In 1967, she graduated from the Conservatoire de musique de Montréal with a first prize in composition with Modulaire, a work for orchestra and ondes Martenot, and the Académie de musique de Québec awarded her the Prix d’Europe (in composition), the first time it had been awarded to a woman.

In 1968, at the suggestion of Iannis Xenakis, she went to Paris to study electroacoustic music with the Groupe de recherches musicales (GRM), working with François Bayle, Guy Reibel and Henri Chiarucci. She also attended Pierre Schaeffer’s course at the Conservatoire national supérieur de musique de Paris, and had private composition lessons with Gilbert Amy and Jean-Pierre Guézec. She remembers learning different aspects of composition from each of these artists, noting particularly Guézec’s creative approach to voice, Schaeffer’s vision of musical phenomena, Reibel’s technical knowledge, Parmegiani’s exploration of relationships between sound and image, Amy’s logical organization of composition, and Bayle’s poetic approach to sound.

In November 1969, she and five other young composers (Eduardo Bértola, Joanna Bruzdowicz, Pierre Boeswillwald, Dieter Kaufmann, and Jacques Lejeune) founded the Groupe international de musique électroacoustique de Paris (GIMEP), which gave concerts in Europe, South America and Canada between 1970 and 1973.

When Coulombe Saint-Marcoux returned to Montréal in July 1971, she joined the Conservatoire de musique de Montréal. She taught there until her death in 1985.
Contrastances (6’34”)

Developed from a limited amount of material, this study juxtaposes moments whose contrasting effects are produced through different sound treatments. Each moment brings forward its own sound characteristics, and this results in a constant play of opposites.

Contrastances was realized in February 1971 in a private studio in Paris (France) and premiered on April 1, 1971 at the Musée d’art moderne, in Paris (France)

Gisèle Ricard

presented by Monique Jean
Born into a musical family, Gisèle Ricard found herself drawn to the piano at an early age. In the mid-1960s, she undertook studies in performance and music education at Université Laval’s School of Music in Québec City. It is there that she was first introduced to electroacoustic composition. Created in 1969 by Nil Parent, the University’s electronic music studio (SMEUL) offered Québec’s francophone experimentalists a stimulating environment in which to create. In 1973, Ricard cofounded the Groupe d’interprétation de musique électroacoustique (GIMEL) with Parent, Marcelle Deschênes, and Jean Piché.

The group performed in Québec and Ontario before traveling to Europe in March 1976 where it gave a series of concerts and workshops. In 1978 Ricard participated in the creation of the Association de musique actuelle de Québec (AMAQ). She then partnered with Bernard Bonnier and founded Studio Amaryllis. In 2002, until 2008, she became the general director and artistic director of the avant-garde concert presenter Erreur de type 27 (E27).

Je vous aime (13’08’’)

Premiered on May 8, 1987: Afternoon Concert, Faculté de musique — Université de Montréal, Montréal (Québec)

Marcelle Deschênes

presented by Louis Dufort
Composer, pianist, teacher and multimedia artist born in Price (Québec) in 1939. Master’s degree and doctoral courses in composition under Jean Papineau-Couture and Serge Garant at the Université de Montréal (1963-68), followed by advanced training and work at the Groupe de recherches musicales de l’ORTF with Pierre Schaeffer, François Bayle and Guy Reibel, and at the Université de Paris VIII (1968-71).

Moving to Québec City (1972-77), she works as a lecturer and researcher in Auditory Perception, Musical Pedagogy for Children and Multi-art Animation Techniques at the Studio de musique électronique de l’Université Laval (SMEUL), where she cofounds the Groupe d’interprétation de musique électroacoustique (GIMEL). Back in Montréal, she is involved in the creation and operations of various organizations, as a founding member and director of: ACREQ (Association pour la création et la recherche électroacoustiques du Québec), Action multimédia (with the company Écran Humain), FATNA (Fondation pour l’application des technologies nouvelles aux arts), and Nexus (multimedia organization); and a founding member of CEC (Canadian Electroacoustic Community ). She was also on the Board of Directors of the SMCQ (Société de musique contemporaine du Québec) for a few years.

From 1980 to 1997, she teaches electroacoustic and multimedia composition, auditory perception and electroacoustic composition techniques at the Music Faculty of the Université de Montréal. She creates, develops and manages a new program in Electroacoustic Composition for the undergraduate, master’s and PhD levels.

deUs irae  (19’45’’)

To Micheline Coulombe Saint-Marcoux, in memoriam (1985)

Presented with a multi-image presentation realized with Jacques Collinbased on paintings by Liliane Fortier, David Morin, Michel Pigeon, and Pierre Tabouillet. Commissionned by the Canadian Electronic Ensemble (CEE).

October 15, 2021

Day 5

Please notre that there is a PASSPORT available for the three concerts at Usine C. Juste choose one date and then the “passport” option will become avaialble.
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Christophe Lengelé

Currently studying in a Doctorate in Music - composition and sound design - at Université de Montréal, his field of activity and research gathers spatial sound design, electronic and electroacoustic composition and performance with a special focus on the development of live experimental audio tools and interfaces built from open source softwares.

After studying law and economics and working as a marketing and market analyst in international companies for a few years, he decided to quit the business field in 2006 and returned to studies to be trained in electroacoustic composition and obtained a Master of Arts in computer music.

He seeks to bring together the spheres of composition and improvisation and focuses on performing variable spatio-temporal open sound pieces with a global custom live tool, which he has been developing regularly in SuperCollider since 2011 in order to play the place and the music at the same time.

Program *creation
Free Party With Robert Normandeau (15’)

This spatial performance is produced using a digital instrument, called Live 4 Life, which the author has been developing since 2011 on SuperCollider, in order to play with the space and the music at the same time. The spatial performance program is based on pre-recorded parameter loops that can be modified in real time through multiple interfaces. The main sound source of this performance consists of several hundred or even thousands of sound samples, taken from different works by composer Robert Normandeau, in this case Puzzles, Places inouïs, Clair de terre. This sound material is rearranged and triturated, in particular via the playback speeds and multiple multiphonic effects, the parameters of which are uncorrelated. The performance thus tends to resemble life experiences, which can oscillate slowly or suddenly between gentleness and violence, intense moments and periods of boredom and sadness. The machine is pushed to its computational limits, and sample playback speeds are changed frantically, speeding up or slowing down the life of a mass of sound objects. What I call machine hiss can sometimes be felt by overloading the computer's CPU, which effectively prevents new sound events from being triggered.

Photo credit : André Parmentier

Jean-François Denis

Jean-François Denis first discovered electroacoustics during a summer course given by Kevin Austin in 1981 at Concordia University in Montréal. Hooked, he pursued music studies at Mills College in Oakland (California, USA) under David Rosenboom (MFA, 1984). He has worked in live electroacoustics (solo and in ensembles) and works for dance and multimedia from 1982 until the mid-90s.

He is the director of Diffusion i média (1989) which produces and distributes the empreintes DIGITALes (1990), the SONARt (1992-95) and the No Type (2002-08) record labels.

In 1994, for his exceptional commitment to Canadian composers, he was awarded the Friends of Canadian Music Award organized by the Canadian Music Centre (CMC) and the Canadian League of Composers (CLC). In 1995 he was presented the Jean A Chalmers Award for Musical Composition — Presenters’ Award for his contribution to the diffusion of new Canadian (electroacoustic music) work. In 2011 he was awarded the Prix Opus 2009-10: Artistic Director of the Year for his 20-year involvement in sound recording publishing / production.

Jean-François Denis is one of the three co-founders and co-artistic directors (1991-2008) and first president (1991-2009) of the concert presenter Réseaux des arts médiatiques.

He has taught electroacoustics at Concordia University (1985-89) in Montréal where he also directed the Concordia Electroacoustic Composers’ Group (CECG) annual concert series. He is the editor of the CECG Tape Collection catalogs Q/Résonance (1988) and Q/Résonance Addendum (1989). Jean-François Denis was a member of the organizing committee of the Festival/Conference 2001(-14) (Montréal, May 1987). He is a founding member (1986) and the first president of the Canadian Electroacoustic Community (CEC) (1986-87; 1987-90) and the founder and first editor of the CEC publication Contact! (1988-90) and has edited the 1988 CEC Electroacoustic Days Diffusion! GUIDE and the 1989 >convergence< GUIDE.

He was awarded a fellowship grant from the ministère des Affaires culturelles du Québec (1988), from the Canada Council for the Arts (1988; 1989-90, 1993), and from the French Government (1990), was an artist in residence at the studio Grame (Lyon, France, 1988), at the Media Arts program of The Banff Centre for the Arts (Banff, Alberta, 1989), and at the studio Collectif & Cie (Annecy, France, 1990).

Jean-François Denis is an Associate Composer of the Canadian Music Centre (CMC) (1989) and a member of the Canadian League of Composers (CLC) (1990).

He has also been on several boards of directors: Conseil québécois de la musique (CQM) (for several years, until September 1998; 2009-10), Canadian Music Centre — Québec Region (2001-08), Canadian Music Centre — National (2002-08), Et Marianne et Simon (founder, 2001-08), Les Filles électriques (founder, 2001-07), SOCAN Foundation (2003-09; vice-president 2009-12; president 2012-15; past-president 2015-18), SODRAC (2009-18), and Association des professionnels de l’édition musicale (APEM) (president 2014-20).

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Robert Normandeau

His work as a composer is mainly devoted to acousmatic music, although he composed some mixed works. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. More recently Robert Normandeau composed a cycle of works of immersive multiphonic music for a dome of loudspeakers. Along with concert music he has composed, for a period of twenty years, incidental music especially for the theatre.

He also worked as artistic director for over twenty years, notably for the concert series Clair de terre (Association pour la création et la recherche électroacoustiques du Québec (ACREQ)) from 1989 to ’93 at the Planétarium de Montréal, and Rien à voir and Akousma (Réseaux) from 1997 to 2006.

He has been Professor in electroacoustic music composition at Université de Montréal since 1999 after completing the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He leads the Groupe de recherche immersion spatiale (Spatial Immersion Research Group, GRIS), which produces sound spatialization software.

He received three Prix Opus from the Conseil québécois de la musique (CQM): two in 1999 (“Composer of the Year,” and “Record of the Year — Contemporary Music” for Figures) and one in 2013 (“Record of the Year — Contemporary Music” for Palimpsestes). The Académie québécoise du théâtre (AQT) has given him two Masque Awards (“Best Music for Theatre”): one in 2002 for the play Malina and the second in 2005 for the play La cloche de verre, both directed by stage director Brigitte Haentjens.

Robert Normandeau is an award winner of numerous international competitions, including Ars Electronica, Linz (Austria, 1993, Golden Nica in 1996), Bourges (France, 1986, ’88, ’93), Fribourg (Switzerland, 2002), Luigi Russolo, Varese (Italy, 1989, ’90), Métamorphoses, Brussels (Belgium, 2002, ’04), Musica Nova, Prague (Czech Republic, 1994, ’95, ’98, 2012, ’13), Noroit-Léonce Petitot, Arras (France, 1991, ’93), Phonurgia Nova, Arles (France, 1987, ’88), Stockholm (Sweden, 1992), and Giga-Hertz (Karlsruhe, 2010).

He received commissions from The Banff Centre for the Arts, BBC, CKUT-FM, Codes d’accès / Musiques & Recherches, Jacques Drouin, Les événements du neuf, Groupe de recherches musicales (GRM), Groupe de musique expérimentale de Marseille (GMEM), Terri Hron, Claire Marchand, Musée d’art contemporain de Montréal (MAC), Open Space Gallery, Orchestre symphonique de Montréal (OSM) / Société de transport de Montréal (STM), Arturo Parra, Société Radio-Canada, Réseaux, Sonorities Festival, Vancouver New Music, and Zentrum für Kunst und Medientechnologie (ZKM).

He was a composer in residence in Banff (Canada, 1989, ’92, ’93, 2012), Bangor (Wales, UK, 2008), Belfast (Northern Ireland, UK, 1997), Bourges (France, 1988, ’99, 2005), Huddersfield (England, RU, 2015), Karlsruhe (Germany, 2004, ’05, ’10, ’11), Mons (Belgium, 1996), Morelia (Mexico, 2013), Ohain (Belgium, 1987, 2007), Oslo (Norway, 2015), Paris (France, 1990, 94), and Santiago (Chile, 2013).

Both pieces presented tonight are published on Normandeau’s album “Mélancolie” (empreintes DIGITales, 2021).

Program *creation
1. L’engloutissement (6’25”)

2013-17, 19
To Trudy Crane

The title L’engloutissement [The Engulfment] came to me from reading Francisco Goldman’s book Say Her Name, read in Mexico where the action largely unfolds. The story, about the death of his young wife on the seashore, sent me back to a personal event in the summer of 2012 where, although an excellent swimmer, I almost drowned. The engulfment relates to how I felt in the water, much like a prisoner of the water where, on three occasions, I managed to rise to the surface, only to then sink to the bottom, stuck in a structure that was too heavy. It’s an experience I never had and which, curiously, was free from the fear that one can imagine in such circumstances. I finally managed to get out of it safe and sound, with an intense migraine.

The only sound treatment used here was the extreme slow motion. It is a tribute to the American artist Bill Viola, whose retrospective viewed at the Grand Palais in Paris in 2014 deeply touched me.

L’engloutissement is an immersive work intended to be presented in a dome of loudspeakers.

2. Le ravissement (15’21”)

To Jorane

The word rapture can be defined in two ways: the spiritual meaning of being transported to a supernatural world, and to ravish, or take away something.

Musically, this piece borrows the idea of rolling, which is, on the one hand, a process of manufacture by plastic deformation and, on the other hand, figuratively, the action of reducing the importance of something or someone. What is distorted here is time. Time and spectra are stretched here beyond the thresholds of perception. And figuratively, what is reduced, what is ravished, is the identity of the musical sources used.

In 2018, I was invited to collaborate on the most recent project of singer and cellist Jorane. My composition work consisted of processing in real-time the musical material of the soloist, the singers, and the string quartet. It was a return to live electroacoustics for me, which had been at the heart of my first experiences and which I had neglected for the last thirty years…

This piece is the result of a mix between the materials created for the show presented in March 2019 and those that were created during two creative residencies. The first took place at the Virginia Center for the Creative Arts (VCCA) in Amherst (Virginia, USA) in October 2019, the second in Nice in November 2019.

Le ravissement includes nine movements: L’arrivée [Arrival]; Le doute [Doubt]; La crainte [Fear]; L’extase [Ecstasy]; L’agitation [Restlessness];L’appel [Call]; Le détachement [Detachment]; Le ravissement [Rapture]; La disparition [Disappearance].

Gilles Gobeil

Following a bachelor’s degree in compositional techniques, Gilles Gobeil undertook a master’s in composition at Université de Montréal under Serge Garant. In the final years of his studies, he was introduced to electroacoustic practices by Marcelle Deschênes and Francis Dhomont. This discovery stimulated in him a desire to commit entirely to the exploration of unfamiliar forms and original timbres that the mastery of the tools availed by the electroacoustic studio offered. Since the completion of his studies, he has directed his creative interests almost exclusively to the creation of acousmatic and mixed works. His practice falls within what is known as “cinéma pour l’oreille” (cinema for the ear). Many of his compositions are inspired by literary or cinematic works and seek to “visualize” them through the medium of sound. Although his catalogue is comprised mainly of acousmatic and mixed works, he has also made forays into the fields of dance and film. Oftentimes traces of his experiences with instrumental music can be discerned.

His work has been recognized internationally and has earned him a number of prizes and distinctions, among them Ars Electronica (Austria), Bourges (France), Ciber@rt (Spain), CICEM (Monaco), CIME, CIMESP (Brazil), Destellos (Argentina), Luigi Russolo (Italy), Métamorphoses (Belgium), Musica Nova (Czech Republic), Música Viva (Portugal), SOCAN (Canada), and Stockholm Electronic Arts Award (Sweden).

He is regularly invited to undertake residencies abroad in order to create new works (Belgium, Brazil, Luxembourg, France, Portugal, Sweden). Between 2005 and ’17, a close relationship was developed with the Zentrum für Kunst und Medientechnologie (ZKM) in Karlsruhe (Germany) through a string of residencies. In 2008 he was guest composer of the DAAD — Berliner Künstlerprogramm (Artists-in-Berlin Programme, Germany). Starting in 2011 Gilles Gobeil has gone on several tours in the UK, Germany, Canada, and the USA with ondist Suzanne Binet-Audet in order to present his trilogy of works for ondes Martenot and fixed sounds.

He has received commissions by groups and institutions such as Codes d’accès (Montréal), DAAD (Germany), empreintes DIGITALes (Montréal), Groupe de musique expérimentale de Bourges (GMEB, France), Groupe de recherches musicales (GRM, France), Musiques & Recherches (Belgium), Société Radio-Canada (SRC), Totem contemporain (Montréal), and ZKM (Allemagne), as well from individuals such as Uli Aumüller, Folkmar Hein, Camille Mutel, and Oscar Wiggli, and from performers such as Suzanne Binet-Audet, Yves Charuest, Arturo Parra, and Rick Sacks.

An amicable collaboration with guitarist and composer René Lussier led to the album titled Le contrat. Among his six solo releases, all published on empreintes DIGITALes, three were finalists in the Conseil québécois de la musique (CQM)’s Prix Opus for Disc of the Year and his disc Trilogie d’ondes won the Prix Opus 2004–05.

From 1991 to 2017 he was a professor of music technology at Cégep de Drummondville and has also been guest professor at the Université de Montréal and at the Conservatoire de musique et d’art dramatique de Montréal.

Gilles Gobeil is a member of the Canadian Electroacoustic Community (CEC), Associate Composer of the Canadian Music Centre (CMC), and co-founder of Réseaux, a presenter of media art events.

Program *creation
1. Sentinelle (15’31”)

The composition Sentinelle (2019-2020) is for alto saxophone and fixed sounds. It is a modest tribute to celebrate the 50th anniversary of « 2001 : A Space Odyssey » (1968), a film from Stanley Kubrick.

Sentinelle was realized at Musiques et Recherches (Belgium), Universitade Catolica do Porto (Portugal) and at the composer’s studio. This work was support by the Canada Council for the Arts (CCA). Many thanks to Yves Charuest (alto saxophone).

2. Un cercle hors de l’arbre (10’28”)

Pour sons fixés
À Flo Menezes

Librement inspiré du film La Jetée (1962) de Chris Marker (1921-2012).

Un cercle hors de l’arbre a été composée dans les studios PANaroma de l’UNESP à Sao Paulo au Brésil, avec le support du Conseil des arts du Canada (CAC).

La pièce a obtenu le Second Prix au 8e concours de composition électroacoustique Destellos à Mar Del Plata, Argentine, en 2015.

Photo credit : Isabelle Gardner