Workshops

All workshops @ the NAISA space
(equipment provided)
Register on-line here,
call to register 416-516-7413
or email naisa@naisa.ca

September 13th, 10 am - 5 pm, $100
SOUND AS ART 1 Recording & Editing workshop with Darren Copeland

Geared towards the budding sound artist, the visual and media artist exploring sound, the community radio programmer wanting to expand their possibilities, and those with a general interest in sound, this workshop will teach basic recording, editing, processing and mixing practices.

September 14, 10 am - 5 pm, $100
SOUND AS ART 2 Advanced Recording & Editing workshop with Darren Copeland

The workshop will further explore the sound materials developed in the Sound As Art 1 workshop in order to uncover in more detail their inherent sound generation and compositional possibilities. Key focal points for the workshop include composition strategies, non-linear sound processing techniques and the associative qualities of sounds.

September 15, 10 am - 5 pm, $120 (price includes parts for building micro-transmitter and NAISAtron)
Building a Micro-Radio Transmitter and NAISAtron Workshop with Hector Centeno

This workshop facilitates the creation of a micro-radio transmitter (has a very small radius of transmission) and a NAISAtron.

Presenter Bios

Darren Copeland (website)

Darren Copeland is a soundscape composer, radio artist, sound designer and concert producer. He has studied electroacoustic composition under Barry Truax (Simon Fraser University) and Dr. Jonty Harrison (University of Birmingham). His concert works have received mentions in competitions (Vancouver New Music, Luigi Russolo, Hungarian Radio, La Muse en Circuit, and Phonurgia Nova) and appeared on compilation CD releases (Storm of Drones, Radius #3, DISContact I & II, Lieu - Non Lieu, and Soundscape Vancouver). Rendu Visible, a CD devoted to his work, is available on the empreintes DIGITALes label.

Other works combine his electroacoustic and theatrical backgrounds to break open disciplinary boundaries between electroacoustics, radio art, and theatre. Highlights include the adaptation of August Strindberg's A Dream Play (first radio drama at CBC conceived for broadcast in Surround 5.1), the soundscape documentaries Life Unseen and The Toronto Sound Mosaic, and a DORA nominated soundtrack for Samuel Beckett's That Time.

In addition to composing, he has written articles about listening and environmental sounds for Electronic Cottage, Musicworks, Contact! (CEC), Soundscape: Journal of Acoustic Ecology, and The Journal for Electroacoustic Music (Sonic Arts Network) as well as CD, concert and book reviews for Musicworks, The Whole Note, and Soundscape: The Journal of Acoustic Ecology.

Has a producer and administrator, fond memories lie with Wireless Graffiti, a live-to-air radio extravaganza in 1993 co-produced by Rumble Theatre and Vancouver Pro Musica. After active histories with Vancouver Pro Musica, the Standing Wave Ensemble, and the Communauté Électroacoustique Canadienne/Canadian Electroacoustic Community (CEC) from 1990 to 1996, he now serves on the board of the Canadian Association for Sound Ecology (CASE) and is the Artistic Director for New Adventures in Sound Art.