October 11, 2021

Day 1 - 6pm

@MTL-Connecte
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.

Program
L'alter-monde
(2020), 24’

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.


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

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
AV creation







                       

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
Creation






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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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.


Photo credit : André Parmentier

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.

Program 
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.






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.

Program
Tenir à un fil (2021), 10”




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.


Photo credit : Luc Sénécal

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 [...] (2019), 15’’

Website / ︎




Martin Rodriguez

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. 


Photo credit : Jose Garcia-Lozano


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. 

Program

Freely improvised spatialised live set.





October 13, 2021

Day 3 - 7pm
Bloc_1


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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).



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
Spéléogenèse (2020-21), 10’’

Creation


Photo credit : Carl Lessard

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.

Program
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
Bloc_2 


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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. 

Program
Concrete Studies — Seven Concrete Studies in Nine Movements (2008-09)
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.



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).

Program
Voies crépusculaires (2014), 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.

Program
Bulle d’air (2021) 8”59’






October 13, 2021

Day 3
Bloc_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. 

Program
Terrains vagues
(2018), 9’’30




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.



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
NO AGE, KNOW AGE, NEWS AGE MUSICMusical short-termism in the extreme in 15 minutes or else