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.

WEBSITE

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.

WEBSITE

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
Bloc_1

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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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’)

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.

Program 
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
(15’)

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 (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
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 (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.

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 (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.

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 (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 (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. 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.

Program
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
NO AGE, KNOW AGE, NEWS AGE MUSIC (15’)


(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)