Deep Wireless 5 Compact Disc
The Deep Wireless 5 CD
will include works by Sarah Peebles, Elsa Justel, Christian Bouchard, Andre Bartetzki, Christiopher DeLaurenti, Moritz Eggert, Paul Collins, Dominique Ferraton, Thom Blum, Françoise Doherty, and many more.
by Dorothy Hindman 00:59 (listen)
2 Creatures of the Ice by Eldad Tsabary 04:39 (listen)
3 Rough Cuts from a Harsh Land: Tarset 2007 by James Wyness 11:35 (listen)
4 Jubilate with the help of garbage by solublefish 01:21 (listen)
5 Parcelles 1 (movements # 5,6, & 7) by Christian Bouchard 05:30 (listen)
#5 St-Malo/Intra muros; Va vient du midi
#6 Paril/le Concorde; En attendant le Boeing
#7 Tout près de mes microphones; À tous les passants, merçi!
6 All Over Again
by Sandeep Bhagwati 00:59 (listen)
by Roberto Santiguido 10:47 (listen)
8 W.B.Q. by Julia Norton 00:57 (listen)
9 Jazvuk by Andre Bartetzki 09:37 (listen)
10 Dididahdit by Solange Kershaw 00:59 (listen)
by Raphaël Neron 09:29 (listen)
12 Power Play (excerpts from Deep Wireless 2006) by Anna Friz, Richard Lee, Christine Duncan and Richard Windeyer 17:12 (listen)
13 The One Minute Piece That Took Me Ages To Do And Which Is Really Impressive
by Moritz Eggert 01:00 (listen)
14 End of Dinner
by Paul Collins & Jean-Jacques Palix 03:51 (listen)
Note: The One Minute Piece That Took Me Ages To Do And Which Is Really Impressive contains some strong language.
1 Parcelles 2 (2003) Movement # 11 & 12 by Christian Bouchard
#11 Bouldevard St-Laurent; Brazil wins
#12 Orly; Quleque chose de la solitude 06:36 (listen)
2 Hsintein, Santa Barbara by Hong-Kai Wang & Ben Gerstein 02:40 (listen)
3 Du libe tu? By Elsa Justel 02:11 (listen)
4 Lift (2006)
by Sarah Peebles 03:18 (listen)
5 There Must Be Silence by Karen Hay & Helen Newall 11:57 (listen)
6 White Noise / Neige de fond by Dominque Ferraton 03:52 (listen)
7 Summer BBQ
by Wendy Atkinson 01:19 (listen)
8 Maple Memory
by Laurie Taylor 07:42 (listen)
9 Song of the Brewery (excerpt # 5,6, & 7) by Jean-Phillipe Renoult & DinahBird 11:52 (listen)
by Lydia Ayers 00:56 (listen)
11 Les deux églises de Montmorillon, 9 pm by Christopher DeLaurenti 05:01 (listen)
12 Windowsill by Françoise Doherty 01:37 (listen)
13 Rajasthan Post by Thom Blum 05:48 (listen)
14 Nightmare by Mary Keily 02:42 (listen)
15 The Sands of Memory by Martin Desloovere 10:44 (listen)
** Note: Summer BBQ contains some strong language.
by Dorothy Hindman (0:59) (listen)
Seconds is a musique concrète work based on source material recorded during a single dinner with the family. 96 separate sonic events, each one second long, were combined and processed using ProTools to create a 5.0 surround file. This is the stereo version of that file. Seconds was composed and realized at the Visby International Centre for Composers’ Studio Alpha in June, 2005. Seconds was first published on the 60 x 60 (2005 edition) www.voxnovus.com/60x60.htm.
Critics have called Dorothy Hindman's music intense, gripping and frenetic, sonorous and affirmative and music of a terrific romantic gesture. Each piece explores her ongoing interest in issues of musical perception, beauty, timbre, contextual meaning and profundity. Hindman teaches music theory and composition at Birmingham-Southern college.
2/ Creatures of the Ice
by Eldad Tsabary
Unlike Katherine Norman’s Real-World Music, in which abstract and imaginative sounds enhance the experience of certain aspects of reality, this piece incorporates an absolutely fantastic story into the truthful field recording and could be described as a sonic tall-tale. The recording is made underneath the ice in the colony of the ice ants at Tasiujaq. Honestly!
The works of Montreal-based composer Eldad Tsabary have been presented at Carnegie Hall, ISCM and CCRMA, among others, recorded by the Bulgarian Philharmonic and published by Editions BIM. Eldad has won prizes at several competitions including Bourges 2007, Madrid Abierto 2007, ZKM’s Shortcuts:Beauty 2006, and Harbourfront Centre's New Canadian Sound Work 2006. He is a professor at Concordia University’s music department.
3/ Rough Cuts from a Harsh Land: Tarset 2007
by James Wyness (11:35) (listen)
Tarset is a remote valley in Northumberland, England. It is austere in its beauty and strong in community. This piece portrays the character of Tarset, its land, people and history. It uses environmental sound, the spoken word and the poetry of Basil Bunting read by the author himself.
James Wyness is a composer and sound artist living in Southern Scotland. He works as a composer in the acousmatic tradition and as a sound artist in the fields of documentary and archive.
4/ Jubilate with the help of garbage
Kurt Schwitters – poems, prose, plays, paintings, performance, collages, sculpture. Flight from tyranny, poverty, ill health; yet by all accounts, constant creativity, dada jubilation. A merz portrait using material to hand and mouse: my voice, computer voices, text fragments, samples from abandoned projects, iLife f/x, building work next door…
solublefish (Alexander Baker) - Freelance writer for television and radio
(mostly comedy). Free jazz/improv percussionist (mostly comedy). A few years teaching children (7-11) – drama, art, music, maths, PE…(mostly comedy). Two years ago began to play with ProTools Free (mostly not comedy, but working on it).
5/ Parcelles 1 #5, 6 & 7
by Christian Bouchard (5:30) (listen)
#5 St-Malo/Intra muros; Va vient du midi
#6 Paris/le Concorde; En attendant le Boeing
#7 Tout près de mes microphones; À tous les passants, merçi!
I have always been fascinated by the magical moments found in any sound environment, when from what appears to be chaos, sounds organize themselves and create a music I am often the only one to hear. I wanted to share these incredible moments. I recorded them. Then, I asked them to pose for me, just as if I were painting — landscapes, abstract forms, or by numbers. These pieces (ie. Parcelles 1 & 2) illustrate the results. But they also illustrate: the sound environment of a particular time, the chaos of the world, the rural calm, the urban swarms, the energy of the living. They imitate the mechanics of things, the hazards of life, the workings of luck. Fragments of moments. (c) 2002-03 Christian Bouchard (SOCAN) / 2004 YMX MéDIA (SOCAN).
Parcelles 1 (Fragments 1) was realized in 2002-03 at the composer's personal studio in Montreal and premiered on February 14, 2004 as part of the Rien à voir (15) concert series presented by Réseaux at Espace GO, in Montreal. Thanks to the Canada Council for the Arts. [English translation: François Couture, i-04]
Christian Bouchard completed his master’s degree under Yves Daoust and received the Prize in Electroacoustic Composition at the Conservatoire de Musique de Montréal. He received several awards in composition: the SOCAN Young Composers Competition (Canada, 1998); the Canadian Electroaocustic Community’s competition Jeu de temps / Times Play (CEC, Canada, 2000); the biennial acousmatic composition competition Métamorphoses 2002 (Brussels, Belgium). Bouchard recently won the Priz Opus for concert of the year with the electronic quartet Theresa transistor.
6/ All Over Again
by Sandeep Bhagwati (0:59) (listen)
All Over Again is an aerially foreshortened view of a poem with the same title by Louis MacNeice, read by another poet, Ulrike Draesner, and it excerpts just one strand on MacNeice's longer poem, an imagined love-story. The music in the background is my own, lifted from other pieces, cut and dried. All Over Again was first published on the 60 x 60 (2004 edition) www.voxnovus.com/60x60.htm.
Sandeep Bhagwati was born in Bombay, India and moved to Europe at the age of six. His artistic work spans music, theatre and art and has been performed by many leading ensembles and orchestras worldwide. He is also a prolific writer. He was artistic director of several festivals: RASALILA, KlangRiffe and A*Devantgarde, as well as Composer-in-Residence at CalArts, IRCAM and Beethoven Orchestra Bonn. He currently is Canada Research Chair for Inter-X Art at Concordia University Montreal.
by Roberto Santaguida (10:47) (listen)
When I was fifteen years old, I ran away from home. I set my sights on the Atlantic coast, and, outside of Drummondville, I started hitchhiking. In Moncton, New Brunswick, I had a fifteen-minute conversation with a woman in her rec room. After ten years, I’ll try to find her.
Since receiving his BFA in film production from Montreal's Concordia University, Roberto Santaguida has divided his time between microfiction, documentary filmmaking and his tabbies.
by Julia Norton
When I wrote this piece my son was a toddler. From him I continue to find inspiration, joy, harmony and purpose in my work; but at the time, there was also a sense of frustration because I felt like I never had enough time to simply sit and write. I chose to reflect the different desires of my son and I, by having us singing in different time signatures. My frustration is reflected in the highest pitched vocal line. My feeling is, however, that the overall tone of the piece is one that is melodic and harmonious. W.B.Q. was first published on the 60 x 60 (2004 edition) www.voxnovus.com/60x60.htm.
Originally from England, Julia Norton lives in the San Francisco Bay area where she composes vocal music for theatre and solo voices. She draws her inspiration from the emotional heart of a subject and uses extended vocal technique to seek out the edges of discomfort, irreverence and harmony. She found she had to somewhat limit her voice as a singer of folk, rock or even jazz, but in using her voice as a compositional instrument she has found the vocal freedom she always craved.
by Andre Bartetzki (9:57) (listen)
The sound sources used in this piece are a recording of the Czech tongue twister Strc prst skrz krk and recordings of the streets of Prague. I’ve decomposed these words consisting of almost only noisy consonants into single phonemes, which were treated by granular methods to develop various little sound scenes with different characters. The real-life street sounds, which are mainly characterized by the multilingual buzzing of the tourist’s voices, get shifted over and over into surreal soundscapes made out of the phonemes.
Andre Bartetzki studied sound engineering at the Musikhochschule Hanns Eisler in Berlin, where he founded and led the studio for electroacoustic music until 2002. From 1999 to 2004 he taught at the Musikhochschule and at the Bauhaus university in Weimar. He currently works as a programmer and sound engineer for contemporary music, sound and media art. Since 1997 he has been developing his own compositions, sound installations and video art and has collaborated with musicians, dancers and video artists. Bartetzki has received scholarships at the ZKM Karlsruhe and the Künstlerhaus Ahrenshoop. www.bartetzki.de.
by Solange Kershaw
Dididahdit was created for 60x60, repeating the word s-I-x-t-y in morse code and having a little fun building itself around the emerging pattern. Dididahdit was first published on the 60 x 60 (2004 edition) www.voxnovus.com/60x60.htm.
Solange Kershaw is a composer based in Australia and works mainly in radio, theatre and sound art installations.
by Raphaël Neron
The place: Earth. The time: 3.7 billion years ago. ExobiologY is a multidisciplinary field utilizing physics, biology and geology as well as philosophy to speculate about the arising of life on Earth.
Raphaël Neron has completed a Bachelor’s degree in electroacoustic composition at the Univeristé de Montréal. His main interest is investigating the formal possibilities of electroacoustic music. His work Toons has been awarded second prize at the JTTP 2006 contest and his work La nouvelle idole, received the Prix Marcelle Deschêsnes 2005.
12/ Power Play (excerpts from Deep Wireless 2006)
by Anna Friz, Richard Lee, Christine Duncan and Richard Windeyer (17:12)
Each year, New Adventures in Sound Art assembles an eclectic group of performers with skills in a number of arts disciplines for a blind date with live radio
performance. Together they craft a show that interweaves improvisation and prepared material, performing it in front of the Deep Wireless festival audience. In 2006, the group consisted of Richard Lee, Christine Duncan and Richard Windeyer as the expert mediums who channeled the ‘Spirits of Radio’s Past,’ and Anna Friz as the ‘Fabulous Host.’ The concept for this edition came from a series of performance instructions written for the group by Gregory Whitehead called the Power Plays. Radio
Theatre 2006 was directed by Mark Cassidy, who guided the improvisation process through the rehearsals to give the performance its extra edge.
Anna Friz is a sound and radio
artist who divides her time between Montreal and Toronto. Since 1998, she has predominantly created self-reflexive radio
for broadcast, installation or performance, where radio
is the source, subject, and medium of the work. She creates dynamic, atmospheric works equally able to reflect upon public media culture or to reveal interior landscapes.
Richard Lee is always grateful to be immersed in the wonderful world of sound. Richard is a sound designer and also works in theatre as a Fight Director and primarily as a Performer.
Christine Duncan has been singing professionally since the age of 15. She began performing on stage when she was 5 years old, with her family The Duncans and toured North America extensively until the age of 19.
Richard Windeyer creates music, sound and visuals for experimental theatre, radio, film, and integrated media projects. He is a member of the Dora Award-winning experimental performance collective Bluemouth Inc. Presents (www.bluemouthinc.com), and collaborates with a laptop music trio called Finger. His work has been heard across Canada, Europe, the UK, and over the Internet.
13/ The One Minute Piece That Took Me Ages To Do And Which Is Really Impressive
by Moritz Eggert (1:00) (listen)
Note: contains some strong language. The One Minute Piece That Took Me Ages To Do and Which Is Really Impressive was first published on the 60 x 60 (2004 edition)
German composer Moritz Eggert has covered all genres in his work – his oeuvre includes 8 operas and works for dance and music theatre, often with unusual performance elements. His column in the major German music magazine NMZ (titled Bad Boy Of Music) – has resulted in murder threats by some insulted old avant-gardists, whose clichés he loves to make fun of.
14/ End of Dinner
by Paul Collins & Jean-Jacques Palix (3:51) (listen)
This piece, extracted from Collins and Palix’s 2004 CD, Wipe Out!, started out as a recording of a conversation with French poet/philosopher, Marc Moret. We were eating in a restaurant. Music plays softly on the radio. Wine is poured. Out of the taped interview, Paul took a 2 bar sequence and riffed on those bars, using different instruments-settings on the synthesizer, to create a canon-like effect as more and more voices come into play. Palix riffs on the fork and knife cutting through dinner. We mixed down the knife scraping on the plate so that it is not quite nerve-wracking; it merely has an edge it.
Before moving to Paris in 1982, Paul Collins lived in Toronto where he worked at the Coach House Press, exhibited at A Space, YYZ, and Mercer Union, and played ‘no wave music’ at The Cabana Room. Upcoming projects include a solo piano concert at Museum London, a giant video projection in Toronto's Nuit Blanche 2008, and a CD
with Paris-based Ultradig.
Jean-Jacques Palix is a composer for the stage, a compiler and field recorder. Founding member of Radio
Nova, in 1981, he works now with contemporary dance, art, film, video, fashion and other events. He has published several records and has produced vocal concerts, noise events and sound installations in Art Schools and Art Galleries. More info: http://jjpalix.free.fr/bio-Palix.htm
1/ Parcelles 2 #11 & 12
by Christian Bouchard (6:36) (listen)
#11 Boulevard St-Laurent; Brazil wins
#12 Orly; Quelque chose de la solitude
Parcelles 2 (Fragments 2) was realized in 2003 in the composer's personal studio, in Montreal, and premiered on October 18, 2003 as part of the Rien à voir (14) concert series presented by Réseaux at Espace GO, in Montreal. Parcelles 2 was commissioned by Réseaux with the help of the Conseil des arts et des lettres du Québec. Thanks to Rachmiel, Timothy Lamb, and Polimorf for their Reaktor instruments. (c) 2003 Christian Bouchard (SOCAN) / 2004 YMX MéDIA (SOCAN) www.electrocd.com/en/cat/imed_0474/
See CD1 #5 for additional programme notes and for a bio of Christian Bouchard.
2/ Hsintein, Santa Barbara
by Hong-Kai Wang & Ben Gerstein (2:40) (listen)
Using old family cassettes recorded in the 1970s and 80s in Santa Barbara, California, this piece has been assembled by combining it with more recent ambient sounds from a marketplace in Taiwan. The English speech and activity with the casual chattering in Chinese merge naturally to become as musical and rhythmic as the percussive life sounds of the market.
Hong-Kai Wang is a sound artist based in Brooklyn, New York. Ben Gerstein is a trombonist / artist living and working in New York City.
3/ Du libe tu?
by Elsa Justel (2:12) (listen)
The Gods have become machines. And machines think. They do, therefore they are; they build, therefore they act; they act, therefore they live. They have the movement, breath and style of journey, the only thing that matters is courage, imagination, and intelligence; where Man shall stop, tired, uneasy with all his conquests; where he shall remember that a single word — the key to comprehension — means both to listen and to understand. That musician will make anything his own, be it God, table or toilet. With the same musical ear, he will spy on the nightingale’s modulations, the breath of machines; and from tropical birds, he will be able to create his own score. —Pierre Schaeffer, excerpt from the conference «Retour aux sources», Festival de la Recherche organized by RTF, Paris (France), May 26, 1960.
To you, o great provocative man, o boy looking for trouble, I answer back with the same breath of machines — those capricious Gods — untroubled by my foolish witticisms, because you gave me the crazy courage that carried the imagination, this boldness allowing me to create illusions, without restraint nor compromise.
The title Du libe tu? is an anagram on the title of Pierre Schaeffer’s work Bidule en ut, of which parts of the theme are quoted herein. - [English translation: François Couture, viii-07]. Du libe tu? was first published on the empreintes DIGITALes label on the CD
Mâts in 2007
(http://www.electrocd.com/en/cat/imed_0785/). (c) 1996 Elsa Justel (SACEM) / 2007 YMX MéDIA (SOCAN)
Du libe tu? was realized in 1996 at the composer’s studio in Paris (France) and was premiered in 1996 during the Tombeau de Pierre Schaeffer concert at the Synthèse Festival in Bourges (France). The work was commissioned by the Institut international de musique électroacoustique de Bourges (IMEB) for the anniversary of the death of Pierre Schaeffer. The recorded voice of Pierre Schaeffer was taken from the archives of the Institut national de l’audiovisuel (Ina).
Elsa Justel (Argentine-France) studied composition and electroacoustics in Buenos Aires, then she received her Doctorate in Aesthetics, Sciences and Technologies of Arts at the University of Paris. She has received composition awards in the Netherlands, France, Austria, Italy and Argentina.
by Sarah Peebles (3:18) (listen)
Lift is dedicated to the remaining indigenous plants and pollinators (both avian and insect) of Aotearoa - New Zealand, and was inspired by my experiences on Kapiti Island, in Paparoa park and the Wellington area. Lift is a reduction of a larger fourty-minute work entitled Clear Dawn, created for RPM/Radio
New Zealand and which will be released on Pogus in the upcoming year. You can't have flight if you don't have lift. (Special thanks to Frank Lindsay, Matthew Leonard, Veronica Meduna, Dean Hapeta and John and Sue Barrett.) (c) 2006 Sarah Peebles ASCAP for the World except Canada / SOCAN for Canada.
Sarah Peebles is a Toronto-based composer, improviser and installation artist, originally from Excelsior, Minnesota. Much of her work explores alternative performance settings and found sound manipulated via computer and physical objects, often combined with shoh (Japanese mouth-organ). Information about recordings, The Pollinator Series and other work can be found at www.sarahpeebles.net.
\5/ There Must Be Silence
by Karen Hay & Helen Newall (11:57)
There Must Be Silence is a sonic portrait of tinnitus, something which can drive sufferers to distraction. Using a fusion of the spoken word and electroaocustic music, the piece portrays some of these noises (and some are mesmerisingly beautiful), and the visions, images and landscapes that the synaesthetic brain constructs.
Works created by The Olmo Collective have been performed at conferences and showcases in the UK, Barcelona and Prague. The Collective consists of Karen Hay, a composer/sound artist, and Helen Newall, a writer, both of whom work at the experimental end of their fields.
6/ White Noise / Neige de fond
by Dominique Ferraton (3:52)
Concrete sounds and voice are layered to create a soundscape with the properties of snow and ice. Underneath the visual background noise of white, small elements stand out and subtle changes become visible. But with shifts in temperature, the muffled quiet of snow gives way to the clarity and sharpness of water and life above ground.
Dominique Ferraton is a multidisciplinary artist based in Montreal, Quebec. Her recent photography and sound work explores our relationship with and perception of our environment, focusing in particular on the natural world. She creates work for radio
because of the intimacy it provides with the listener and the subjective and varied listening experiences it allows.
7/ Summer BBQ
by Wendy Atkinson (1:19)
Summer BBQ is a story about my mother and her humourous and outrageous way of defending my sister against an over-bearing mother-in-law. Using just voice and ebow on an electric bass I wanted to evoke the tension in a family dinner. Note: contains some strong language.
Wendy Atkinson’s explorations of the low-end world of bass have charted on radio
across North America and been reviewed in Canada, US, China and Germany. She has performed at the New forms Festival, Olympia Experimental Music Festival, Ambient Ping, Western Front, Access Gallery’s John Cage Celebration and was selected for the Sonic Landscapes sound art exhibit (Michigan) and twice for Art in the Air audio art festival.
8/ Maple Memory
by Laurie Tyler (7:42)
Quebec City – captured as a magical place to engage in French culture. It’s heard by a first time middle-aged tourist, who adores the French language, but her tune is not so sweet…
Laurie Tyler is new to recording sound effects, but had fun doing this. She is a French teacher and thought it would be amusing to get a friend who is learning…and capture her excitement at trying to be understood.
9/ Song for the Brewery
by Jean-Phillipe Renoult & DinahBird (11:52)
Song for the Brewery is a radio
art piece inspired by the Beamish and Crawford brewery, Cork, Ireland. Using the built environment of the brewery as both the set and the inspiration for the installation, the piece sought to offer the public a subjective sonic portrait of the plant.
Jean-Phillipe Renoult and DinahBird are radio
producers and sound artists based in Paris. Together, and independently, they make radio
programmes, audio publications, installations and sound tracks. Recent collaborations include Public Works, an audiovisual work (with Anne Cleary and Denis Connolly) that looks at the urban regeneration of Northern Paris.
www.radio1001.org & www.jeanphilipperenoult.com
by Lydia Ayers (0:56)
Glassminute explores the potential of shrinking, stretching and transposing a bowed glass sound. Glassminute was first published on 60 x 60 (2005 edition) www.voxnovus.com/60x60.htm.
Composer Lydia Ayers has explored the possibilities that electronics, computers, traditional Pan-Asia Pacific acoustic and synthesized instruments such as the gamelan, Chinese, Native American and Australian instruments, the human voice, and in a word, anything capable of producing music has to offer to the creative artist.
11/ Les deux églises de Montmorillon, 9 pm
by Christopher DeLaurenti (5:01)
The small French community of Montmorillon has two churches, one in the center of town, the other across a river. With no edits, processing or overdubs, Les deux églises de Montmorillon, 9 pm captures both sets of bells at the (relatively) sleepy hour of 9 pm. One set is distant, per haps nostalgic, while the other is close-up, mechanical, and aggressively present.
Christopher DeLaurenti (1967-2071 USA) is a composer, improviser and phonographer. His solo work encompasses field recordings, electroacoustic and acousmatic music, text-sound scores, free-improvised low-tech electronics, and compositions for acoustic instruments. Christopher's music resides at www.delaurenti.net along with many music-related essays and articles.
by Françoise Doherty (1:37)
Windowsill is a haunting yet beautifully intimate story of a woman encountering a person breaking apart her windowsill. It is part film score, part song.
Françoise Doherty is a media artist whose work integrates critical fact with fiction. As a sound designer, musician and filmmaker her works have been played/shown in North America, Europe and Asia. She has taught at both Concordia University in Montreal and the University of Windsor. She received her MFA from Cal Arts in Los Angeles.
13/ Rajasthan Post
by Thom Blum (5:48)
Rajasthan Post is a short abstract travelogue. It is a rendering of my wanderings in Rajasthan, India spanning a week before and after the year 2000 Millennium. It moves at walking – sometimes running – pace through the territory and culture it explores.
Thom Blum has been composing electroacoustic music since 1972. His works have been presented in concerts, festivals and radio
broadcasts internationally. Residing in San Francisco since 1978, he was an Associate Editor for the M.I.T. Press Journals’ Computer Music Journal and a co-founder of the International Computer Music Association. He forms one-fifth of the San Francisco Tape Music Collective.
by Mary Keily
It made me physically sick to work with this piece over and over again. Such cruelty. I have met women from many countries who have similar stories, this one being from Melbourne. I wanted to create a mood for the words/actions to enhance the sadism, resignation and fear described – eg. the tearing sound of tape pinning her to the bed and the birdcage – denoting eventual freedom.
Mary Keily studied sound design in Melbourne, Australia and moved to Canada over a year ago. She has designed sound for short films and animation and has also worked as a sound recordist on many short films and a feature film in Toronto. She is now making her own documentaries, with sound and image equally sharing the spotlight. One, of a quirky elderly woman in Oakville who raised enough money to buy a house, but saved an old oak tree instead; and another of hundreds of soldier’s letters from WW2 found in a drawer in a Toronto antique shop.
15/ The Sands of Memory
by Martin Desloovere
The Sands of Memory is a ‘binaurally field-recorded’ radio
play, inspired by certain aspects of the story of the one-act play entitled MISTY ROOMS which I wrote and directed in the early 1990s. This soundwork presents a miniature story, interweaving the evocation of a particular place with emotions and thoughts about its symbolical and metaphorical ‘potential,’ about memories and how people try (not) to deal with them, about the spaces beyond the places…
Martin Desloovere (Gent, Belgium, 1963) studied English literature & Linguistics at the University of Gent. In 1994, after working as the head of educational projects and assistant to the dramaturge at the National Theatre in Gent, he set up his own touring theatre company & arts education organization De Verwondering, working as a director, writer, dramaturge, designer, technician, etc. Over the years his interest in sound art, installation art, video & photography has been leading to an increasing presence of those media in his theatre productions, recently resulting in separate activities and projects within those fields as such, presented under the banner/moniker Rite of Wondering.