My intention with this piece was to create an audio account of three modes of industry/transportation/technology that were, and are important to the livelihood of Lunenburg, Nova Scotia. The emphasis is on the vehicular – waterborne (dorys and the Bluenose II), and airborne (aeronautical composites manufactured at the Stelia Aerospace North America plant in Lunenberg).

In my piece, the simple technology/craftsmanship of boat building for use in the fishing industry illustrates a lost source of livelihood. Dorys (small fishing vessels that have been used in coastal waters off Lunenburg since the 18th century) are still built in Lunenburg for sport fishing and recreation, but it is safe to say that only a handful of people derive income from the manufacture and upkeep of these vessels. Dorys, therefore constitute a symbol of the past.

The same can be said of the Bluenose II. This vessel is a replica of the original Bluenose, a two masted fishing and racing schooner built in Lunenburg in 1921. It is an emblem of pride for the region (it can be seen on the back of the Canadian dime). The Bluenose II was built in 1963 by the Oland Brewery (Halifax) as a promotion for their 'Schooner Lager' product. The ship is now a tourist attraction and, like the dory, an historical symbol.

Stelia Aerospace North America is a company that manufactures composite structures for aeronautic, defence and space industries. Some of these composites are parts for launchers, drones, aircraft structural components, and plastic fabricated materials. I arranged a meeting with a representative of Stelia who told me that recording audio on the 'shop floor' would be out of the question due to defence industry restrictions. I settled for recording the sounds of generators and ventilators located on the outside of the building. As it turned out these recordings served well as a static counterpoint to the sounds sourced from The Dory Shop and the Bluenose II berth.

Recording and Processing Specifications

Man scraping the paint off an old dory.
Recorded at the The Dory Shop, 132 Montague St. Lunenburg, N.S.

Assorted sounds (water, rubber against wood and metal, metal against wood, harbour ambience).
Recorded at the Bluenose II berth, Bluenose Dr. Lunenburg, N.S.

Outdoor ventilator and generator.
Recorded outside the Stelia Aerospace North America factory, 71 Hall St. Lunenberg, N.S.

The piece was composed on 16 audio tracks in Logic Pro 7 (digital audio workstation and sequencer).

Sounds for this project were recorded by Jon Goodman (http://rollsound.ca/) on a Sound Devices 744T digital audio recorder, using a Sanken CS-3e directional microphone.
Graham Meisner is a Vancouver based composer working mainly in the field of electronic music. As well as producing his own music/video works he has contributed sound and music for video artists such as Matilda Aslizadeh, David Clark, Randy Lee Cutler, Marina Roy, and Jeremy Todd. His interest in acoustic ecology stems from his studies at the fine arts department of Simon Fraser University, where he was introduced to the soundscape work of R. Murray Schafer, Hildegard Westerkamp, and Barry Truax. He completed a Bachelor of Music at Vancouver Community College where he studied with Peter Hannan, David Duke, Ken Morrison, and Giorgio Magnanensi. Graham was a sound artist and main collaborator on a multi-media SSHRC-funded web-art project from 2004 to 2009, resulting in Sign after the x signafterthex.net. A selection of his satirical, topical electronic 'pop' songs can be found at (https://www.youtube.com/user/bstedu). Graham is originally from Lunenburg County, Nova Scotia.
The audio for this postcard was recorded over twelve days on the beach at Bere Point in July 2015. I went there daily, attempting to catch sight of the Northern Resident killer whales that come to rub their bellies on the pebble shoreline. Beach rubbing is a rare behaviour unique to this particular population of orcas, and Bere Point has one of the few rubbing beaches in the world. Orcas, like most whales, use sound to communicate, hunt, and navigate. In an ocean increasingly polluted by the noise of marine traffic, Bere Point is an oasis of quiet.

Each morning—sometimes as early as 5:00 am—I carried my audio recorder and supplies to the beach, recording in all kinds of weather. When it rained I took shelter in an observation camp set up by Friends of the Wild Side, a volunteer organization that collects data on the whales for use in conservation efforts. The camp’s hydrophone is featured at the end of the piece, recorded through a speaker. For eleven days, I did not see any orcas. On the twelfth day, I was lucky enough to record nine orcas rubbing on the beach for about twenty minutes. As I watched from the surface, I saw and heard them only when they came up to breathe. On the shore, humans took pictures and whispered to each other, while the ocean churned and bubbled from underneath. During the beach rub, the hydrophone recorded only the sound of orca vocalizations, waves, and the friction of giant orca bodies against the rocks. In the layering of underwater recordings with the terrestrial soundscape, my postcard allows listeners to transcend the limitations of habitat and intimately witness an increasingly rare natural phenomenon.
Leah Abramson is a songwriter, multi-instrumentalist, writer, sound enthusiast, and instructor. As a songwriter and musician, Leah has received international critical acclaim and toured extensively throughout North America and Europe. Her new work includes creative non-fiction and a song cycle containing Northern Resident Orca vocalizations.

Along with her own study and research, Leah has studied classical voice at Capilano College, Old-Time Appalachian balladry in New York, and is finishing an MFA in Creative Writing at UBC.

The audio postcard Clock Bells, Toronto Old City Hall was recorded at 6pm on Sunday, September 20, 2015. Traffic, people and seagulls mingle with the bells echoing off high-rise glass buildings.

I love the sound of massive bells, and that they can still be heard. Clock towers with bells are old and uncommon. Long may they ring, standing against a trend toward digital playback from towers. Stopping, seeing and listening to the clock bells is a “take-away” experience, meaning I am moved, and when it’s over look around and feel: “oh, I’m back; that was nice”.

These mechanisms take special care and maintenance and I like that skilled hands keep them going. City Hall bells have been ringing since December 31, 1900, and one can imagine this sound being the same over all that time while the soundscape has changed. It is a pleasant thought and concept. I wish to actively “protect and maintain acoustically balanced soundscapes where they still exist” (as per CASE's mission), and remind people of the power of the bell sound, heard and felt even in the cacophony at this major intersection.

This recording is one of many made from various perspectives. It was a treat to set up just before the hours struck, and stare at the beautiful building. This take is from a raised walkway just across the street from the tower. It gives a mix of all the sounds present (stereo, unedited).

I prefer to put my recorder in a place and simply observe the world going by, then review and pull out fascinating moments.

This is an old time sound. A tradition, a reminder, a slow-down. Right in the middle of the noisy city.

Recording and Processing Specifications

Zoom H1 stereo mic/recorder, resting on railing, WAV file normalized to raise the volume in Audacity.
Sandy McLennan is a Media Arts graduate of Sheridan College. After thirty years as audio-visual/computer technician in schools he is now a full-time artist creating photographs, motion pictures, sound recordings, installations and performance. In 1981, he recorded the premiere of R. Murray Schafer’s “Princess of the Stars”. Sandy has a collection of sound from Muskoka, begun upon moving there in 1986. At that time, he received an Ontario Arts Council grant to teach pinhole photography. Having long been a recorder and creator, he is thrilled to be back working with analog media and equipment, including handmade pinhole cameras and a portable darkroom. In his home darkroom he makes gelatin silver prints and hand processes small-gauge motion picture film for projection. Employing relatively lo-fi tools (analog and digital), McLennan loves the hands-on process of projects. One idea leads to an action, leads to a revelation. Creativity lives, and gives life.

Recording frogs allows me to connect the Aboriginal teaching to the amphibian, thus acknowledging their critical role in sound ecology and audio storytelling.

I was born to protect frogs, and their role in our ecosystem is an integral part of our human and planetary existence. An impromptu field recording session took place because I could hear the loud croaks of frogs beckoning me to leave my car. I approached them peacefully and recorded their songs to share in my music and stories. It brought me back to a childhood moment when I used to bring frogs home in my lunch thermos. Although I was just a little girl, I later realized how impactful that was from an Aboriginal perspective. I felt remorse every since.

Frogs transition between land and water; this outlines their ability to live in two different worlds simultaneously. They adapt to their surroundings through balance and transformation. But at this particular location construction has moved into their territory and their home is filled with concrete boulders. All that remains are stored construction materials, a discarded coffee cup and hazardous cigarette smoke packages. In memory of their existence, I submit this recording as an example of a once thriving wildlife location. Where do the frogs go when we destroy their habitat?

Recording and Processing Specifications

This impromptu field recording was lightly mastered in Adobe Audition CC to boost the volume and reverb in order to hear the intricacies of the frogs’ tone and rhythmic pattern of their croaking calls. It was important not to alter the recording by editing in order to maintain the authenticity of this natural encounter. It was recorded exactly April 28, 2015 at 12:11am with an iPhone voice recorder in Squamish BC.
Crystal DJ Kwe Favel (Cree & Métis Nation) is an Awarding-Winning Multidisciplinary Aboriginal Sound Artist who has won two consecutive First Peoples’ Cultural Council Aboriginal Arts Development Awards for her motivational digital audio storytelling. She also won “Best Audio Work” at imagineNATIVE Film & Media Arts Festival 2015. Her evocative music composition and sound design inspired innovative audio works of art in order to preserve oral traditions and ancient languages. After 17 years in the music industry she has refined her skills, and has become the 1st Aboriginal Female to turn professional Music Producer – Vinyl DJ – Independent Record Label Owner in Canada. Her production style can be described as "remixing with respect" - acknowledging and validating the enriched cultural teachings of our community. Her mission - to contribute to the solidarity of her Peoples by carbon dating her music through sound ecology, audio anthropology & vinyl sovereignty.
I find the sonic narrative of public and private spaces fascinating. In #YEG Waiting I sought to combine four mundane, droll, and anxious happenings that I recorded in Edmonton, Alberta. Each time I was waiting to perform music at some well-documented public event, and I felt impressed to record the sounds I was listening to beforehand.

An oud player in University of Alberta's Middle Eastern and North African Music Ensemble (MENAME) warms up and tunes backstage before a big concert. He occasionally interacts with his young children who are restless in the dimly lit dressing room of the Winspear Centre for Music. The washed out din of anxious passenger conversations permeate Nisku International Airport. The tension is thick as flights are delayed and canceled due to snow. Individuals’ conversations are swallowed by the dull gray suppressive noises of the terminal. An elderly woman gives a speech at City Hall. She was the top fund-raiser for a walk-a-thon to help senior citizens get transportation around Edmonton. A crowd of happy families and friends listen attentively in the well-lit reverberant lobby. Standing on the sidelines of the same fund-raiser, a band meets the lead guitarist's parents. They banter idly and awkwardly, each knowing their much rehearsed acoustic heavy metal set will likely not go over well with the aged crowd.

I want to share the strange pairing tension and relaxation each of these recordings capture, while also highlighting the intriguing sound worlds always unfolding that we rarely attend to with our ears.

Recording and Processing Specifications

#YEG Waiting was recorded using a ZOOM H2n hand-held recorder and produced using Audacity. The four recordings were captured in Edmonton at the City Hall, the Francis Winspear Centre for Music, and Nisku International Airport in 2014 and 2015. Each recording was minimally processed, and then spatialized for optimal stereo listening.
Andrew Scott Israelsen is a composer, educator, and sound artist residing in Anaheim, California. His musical oeuvre includes handmade instruments, computer music, sound art, and chamber music. His creative output is highly diverse, often challenges the status quo, and he does not hesitate to be absurd or humorous.

Andrew draws inspirations for his compositions by gathering field recordings and embracing nature with Deep Listening practices. He is always looking forward to his next adventure.

He is currently engaged in a several years long audio documentary project with his partner Katie Kroko - the duo conducts interviews which are then embraced as source material to craft intimate and unique musical experiences.

He received his Master of Music in Composition from the University of Alberta in 2015. He was recently featured at Soundstreams 2016 Emerging Composer Workshop in Toronto where he studied with Steve Reich and Peter Hatch.

Five Roses is a small audio postcard showcasing the urban soundscape of Montreal. Five Roses explores and juxtaposes multiple acoustic realities revealing the urban life of the city throughout its four seasons.

As you listen to this piece, you will come across various sonic landmarks of the city like the Montreal's subway system, the Symphonie Portuaire in the old port of Montreal, the landscape of Chinatown, the bells from the Cathedral of Notre-Dame, the Tam-Tams of Mont-Royal park, a protest in front of Mont-Royal metro, a student crowd at Université de Montréal, a wrestling event near the St-Michel neighborhood, a crowd screaming in a heavy metal show, a violin player performing inside Sherbrooke's metro station, the murmur inside Schwartz restaurant, the sound of a thunderstorm in the southwest part of the city, a shopping mall in downtown during the holidays, a man shoveling the snow near Laurier street and much more -- to discover through the four seasons of the Montreal soundscape.

I create my work based on recorded sounds that I capture from landscapes, as well as any object that can excite sounds or that can be used to articulate and create a meaningful sonic experience using a portable recording device. These sounds are later transformed through various sound processing techniques revealing the hidden side of sounds which I can access through a digital interface. However, in Five Roses, I wanted to explore the territory of the phonoculture and the metropolis's soundscape by stitching together short fragments that I had recorded and collected through recent past years, thus offering in two minutes a small glimpse of Montreal's essence.

In Five Roses, I limited my composition methods to basic editing technique like cut and paste as well as the control of panning and volume. The short sound fragments were organized imitating the change of seasons. I became interested in phonoculture and soundscape since I had discovered the music of Luc Ferrari and the idea that music is going around us all the time and I was deeply inspired by the short film Listen. In the film, composer Murray Schafer explains that “the world is a huge composition going all the time without a beginning and presumably without and end”. It was precisely this idea that has motivated me to create this audio postcard made of short moments of the city in which I live.

Recording and Processing Specifications

Some recordings were made with a Zoom H4n and its on board microphones; some sounds were recorded with a Sound Devices recorder and a pair of DPA 4011tl and a pair of DPA omni microphones. The postcard was processed in Reaper.
David is a composer from Montreal interested in acousmatic and visual music, electronic music and soundscapes, mixing various mediums that can express meaningful and immersive experiences. His work has twice been awarded the Jeux des Temps Times Play, organized by the Canadian Electroacoustic Community, and it has been showcased internationally in over five countries. David has studied composition at Université de Montréal under the direction of Jean Piché, Robert Normandeau and Martin Bédard.
The natural soundscape is rich with color and nuance beyond imagination. It is from this sonic metaworld that I draw inspiration for my projects. My motivation for composing music stems from an insatiable love of sound and the nature of sound itself.

The human perception of sound has a relationship with the other senses. I grew to appreciate this relationship between the senses, an appreciation that was solidified in the early 70’s when I studied with George Crumb, a composer who is obsessed with the graphic element of his musical compositions. With the understanding that visual art has its own way of expressing rhythms and harmonies, I create separate works in both visual and sonic media that are representations of the same, intangible idea.

Mississagi Rocks is an aural portrait of a unique soundmark on the west end of Manitoulin Island on Lake Huron in Ontario, Canada. This rock outcropping, part of the Canadian Shield (Bouclier Canadien) formation, is the witness of many shipwrecks on the Mississagi Strait. I was drawn to the echoing sound of the waves whose action carved the very fissures and hollows in the rock outcropping that produces this unique ambience.

The Mississagi rocks are rich in history and legend. Purportedly, they are the resting place of the 1679 wreck of La Salle’s Griffon, the first European vessel to sail the Great Lakes. This windswept landscape, witness to natural violence and human suffering, is to me a resonant intersection of soundscape and landscape underscoring the rich cultural history of Manitoulin Island.

My accompanying visual artwork depicts a blending of an image of the Mississagi Rocks superimposed with a sonogram of the audio composition itself. This melding of visual and aural images to me visually describes this work.

Recording and Processing Specifications

Mississagi Rocks was composed using my field recordings of the Mississagi Rocks along with other collected audio samples. I recorded the audio on a Tascam DA-P1 digital audio tape recorder @ 44.1KHz at 16 bits. I used two AKG C100S microphones in hypercardiod mode as a stereo pair. The field recording was transferred digitally to a Mac Pro 2.8 GHz Quad Core computer with 12 GB RAM via a MOTU 2408 MKII. Peak PRO 7 (BIAS) was used for initial editing and for final mastering. MOTU Digital Performer 7 was used to construct the composition. For the visual image, I produced the sonogram using Amadeus Pro, transferring the image to Adobe Photoshop CC where it and the digital landscape image were combined and edited.
Richard Bitting is an artist, composer and teacher residing in Cincinnati, Ohio.

He makes soundscape-based audio compositions, concert music, visual artworks and sound art installations. His visual work is in museums and private collections across the United States; his music has been presented regionally, nationally and internationally. He was an Adjunct Professor at the Art Academy of Cincinnati where he taught Music in the 20th and 21st Centuries and Introduction to Music Composition.

Mr. Bitting was a National Teaching Fellow (Concord University, Athens, West Virginia) and recipient of grants from the Ohio Arts Council, Meet the Composer (New York) and Arts Wave (Cincinnati). He has lectured at Christopher Newport University (Newport News, Virginia), Miami University (Oxford, Ohio), Art Academy of Cincinnati and Cincinnati Art Museum (Cincinnati, Ohio) where his visual work is in the permanent collection.

He attended Philadelphia Musical Academy (Philadelphia, Pennsylvania). He holds a B.A. in Music Composition/Theory from the University of Cincinnati College Conservatory of Music. His music composition teachers include Scott Huston (Cincinnati) and George Crumb (Philadelphia).

The rhythmic sound of wood being chopped is an acoustic artifact of fall – a time when leaves turn from green to gold and chimneys emit sweet plumes of smoke. At our house, several cords of dry, white birch gets split and stacked each October before the snow flies. The long, cold days of winter are tolerable - even enjoyable - when the wood stove is roaring with activity. But firewood is about more than comfort. Firewood is synonymous with survival. Many Dene of the Northwest Territories learned to chop wood as children and continued swinging an axe long into adulthood. In the absence of electricity, firewood provided fuel to boil tea, bake bannock and dry meat. The relationship between firewood and survival is akin to how people experience their environments. Just as a campfire or cook stove depends on wood to produce heat, humans depend on words, sounds and thoughts to make sense of the world. Nature has its own language. It continually speaks to us, even if we don’t hear it. One day it might be through a glorious sunrise. Other times it might be the sound of an axe slicing through wood. By mixing ambient sound with spoken word, Woodchop creates a conversation about the hidden intersections between human and non-human organisms while considering history and culture.

Recording and Processing Specifications

The audio for Woodchop was recorded on a Marantz PMD620 with an external microphone. Multiple tracks were mixed, amplified, trimmed and faded in Audacity. The recordings of wood being split, sawed and stacked were gathered at a lakeside cabin 30 km north of Yellowknife in the fall of 2015. The sounds of the axe connecting with wood spoke to me and said they wanted a voice. That voice is that of Jimmy Hope who grew up chopping wood for pocket change in the Deh Cho region of the Northwest Territories. Jimmy’s recollections were recorded in Yellowknife in September 2015.
Kirsten Murphy attended the International Center of Photography (ICP) in New York in 2015 where she received the G&J Moss Scholarship for her photo essay about a seniors’ synchronized swimming team in Harlem. Kirsten’s work focuses on the hidden intersections between people and their environments. She is interested in themes of ritual and resiliency. She is a former CBC journalist and flight attendant. She lives in Yellowknife with her husband and two dogs.
On a damp morning in early March of 2015, I stepped out of my house to the sound of a woodpecker feverishly pounding away at the telephone pole towering above my backyard. The house is located just a few blocks south of Nose Hill and with many trees in the area makes it a relatively quiet spot nestled in the sprawling city of Calgary, AB. As I pulled my trusty Zoom H6 out of my bag, I couldn’t help but notice that the evenness, precision, and incisiveness of the woodpecker’s rhythm exceeded that of even the most accomplished percussionists.

This act, sometimes even called “drumming”, is performed not only for the purpose of obtaining food or boring a hole for a nest; it also serves as a way of attracting mates and establishing territory. Woodpeckers have evolved to communicate in this way rather than by singing like many other bird species. They even seek out resonant materials like metal or hard wood (such as the telephone pole) for amplification. In this way I feel very much akin to the woodpecker. As a percussionist, I too seek to communicate intent through the language of rhythm and utilize a variety of resonant materials to do so. I also prefer not to sing.

In creating the postcard I used Logic Pro to arrange and tweak the sounds. Pitch-shifted delay lines and a granulation-based delay were used in the sounds’ transformation. This was done to exaggerate the wetness of the wood and air as well as play with the notion of perspective. By listening, I learned the woodpecker and I share spheres of influence. Not only do we both have a vested interest in rhythm, we are also neighbors who share a backyard.

Recording and Processing Specifications

Zoom H6
Logic Pro
Ethan Cayko is a sonic artist, percussionist, researcher, photographer, and part-time farmer. He obtained a B.A. in Music Technology from Montana State University. There he performed as principle percussionist for many of the university’s top ensembles, wrote scores for student films, and composed works for the Spirit of the West Drumline and MSU’s Sunday Night Multimedia Series. He is currently pursuing a MMus in Sonic Art at the University of Calgary where his work focuses on multichannel sound-based music and network music performance. His network music research has been performed internationally between Canada, China, and USA and was recently demonstrated at the International Computer Music Conference. His interest in the art of sounds stems not only from his background in percussion but also from a deep curiosity about the physical world cultivated by his childhood on a farm in rural North Dakota.

Hornby Island, British Columbia, is well-known for its healthy bald eagle population and an "eagle nest cam" which has attracted a lot of online attention. This recording was made in early morning on the rocky flats of Little Tribune Bay, focusing on two adult eagles sitting in the scraggly bare branches of a tall pine tree on the cliffs above the rocks (with young nearby). At 0:15 we hear the eagles leave the tree and fly together, their wings producing a pronounced pitched tone. At 0:45 we hear their piercing calls traded back and forth. A fly zooms past the microphone at 0:57. Crows and other birds are also heard, against the background sound of the wind in the trees, and little trickles of water in the low tide zone.

I have lately been inspired by environmental sound recording through research into the life and work of early Canadian field recordist William W.H. Gunn, whose excellent birdsong recordings can be heard online at the Macaulay Library, Cornell University. I am currently working on a SSHRC-funded project with Dr. Laura Cameron (Geography, Queen's University) which will have as its outcome several installation works of research-creation as well as published articles. One of these installation works, Octet, will be presented in Summer 2016 as part of the Skeleton Park Arts Festival (Kingston ON), Electric Eclectics Festival (Meaford, ON), and exhibitions in coordination with 4elements Living Arts (Manitoulin Island ON) and the Hornby Island Arts Council (Hornby Island, BC).

Recording and Processing Specifications

This recording was made with a Telinga Stereo Parabolic microphone and a Tascam DR-680mkII recorder. The location of the recording is 49° 30' 53.6508'' N 124° 38' 19.9824'' W.
Matt Rogalsky works in the areas of live electronic music and sound installation, as well as the study and recreation of late 20th century live electronic music works by other composers. He teaches at Queen's University Kingston, where he is Director of the Sonic Arts Studio and leads courses in electroacoustic and radiophonic composition, 20th/21st century music history, musical acoustics and interdisciplinary collaboration. His work has been performed and presented broadly across Canada, the USA and Europe, most recently as part of the Toronto International Electroacoustic Symposium with a new multi-loudspeaker concert piece exploring the acoustics of Kingston Penitentiary.

Under the name Memory Device, Rogalsky has also recorded and produced albums for many artists including Charles Hayward, PS I Love You, Gary Rasberry, The Gertrudes, Old Haunt and Danielle Lennon. Several have been nominated for JUNO awards, Canadian Folk Music Awards, and the Polaris Prize. Photo credit: Brian Forbes.
This audio was recorded while in Victoria for an artist residency with the Seattle Phonographers Union at Open Space in 2010 http://www.openspace.ca/node/984). During the residency, I led a series of workshops on phonography and improvisation with unprocessed field recordings. I took the opportunity to explore Victoria’s rich soundscape and collect material for the workshops and resulting performance with the newly christened Victoria Phonographers Union. The Johnson Street Bridge stood out as a unique sonic landmark of the neighborhood and I made numerous recordings of the bridge. The current bridge is being demolished and replaced with a new bridge, and so having this recording be a part of this exhibition preserves an element of Victoria’s unique soundscape.

This recording now serves as a bridge between the past and present, reminding us of what use to be.

Recording and Processing Specifications

Recorded at 96kHz/24bit on Zoom H4 with a Rode NT4 Stereo microphone.
Steve Barsotti is a Seattle-based sound artist, phonographer, and educator. As an original member of the Seattle Phonographers Union, a group of field recording wielding improvisers, he has been responsible for many of the group's activities. The Union is described as "moving beyond the habitual experience of sound to uncover what is foreign in the familiar and familiar about the foreign." They have been performing together for 12 years. He is also a member of Mimeomeme, a record label that disseminates unusual sound art made by an eclectic collective of artists involved with phonography, no- and low-fidelity recordings, raw digital data, plunderphonics, primitive analog synthesis, noise, infrasound, tape cut-ups, as well as other oblique, not-yet-classified sonic epiphenomena. His two solo cds, Along These Lines and Say “tin-tah-pee-mic”, contain improvisations with object recordings, location recordings, phonography, and electro-acoustic processing. His work has been described as “quite cinematic and unsettling”, and as “ushering the listener across an ambient divide”.
This postcard consists of an untreated binaural field recording made on the shores of Toronto’s Lake Ontario during an extremely hot, late-summer day.

I have always been fascinated by the sonic characteristics of the liminal areas lying between urban and natural environments; city shorelines mark a particularly dramatic demarcation between a densely populated/constructed landscape and a void. Such specific recording locations tend to be revisited many times over the course of several seasons and years; as such, a catalogue of the acoustic changes a space undergoes is developed, revealing variations that arise due to urban development, change of season, weather, time of day and week, etc.

In this instance, I was particularly fascinated by the manner in which the atmospheric conditions (which were hot, hazy and humid at the time) affected the propagation of distant environmental sounds – airplanes, boats, voices or other. Several recordings were made at similar times on two consecutive days at different locations along Toronto’s waterfront; the recording in question was made at Toronto’s East-end beaches boardwalk at 3:30PM on September 2nd, 2015.

Recording and Processing Specifications

Weather conditions: sunny and hazy, with the temperature at 36C with the humidex.

Recorded on a Sony M10 with Roland CS10M binaural microphones.

No editing.
Michael Trommer is a Toronto-based producer and sound artist; his experimental work has been focused primarily on psychogeographical and acoustemological explorations via the use of field recordings, infra- and ultrasound, as well as multi-channel installation and expanded video techniques.

He has released material on an unusually diverse roster of labels, both under his own name as well as 'sans soleil'. His installation work has been exhibited at Australia’s ‘Liquid Architecture’ festival, Kunsthalle Schirn in Frankfurt, Cordoba’s art:tech and Köln’s soundLAB, among others. He has also performed extensively throughout North America, Europe and Asia. In addition to teaching sound design at OCAD University, he is director of Toronto-based AI collective 'i/o media'.
Students in the streets! A Montreal spring, a reawakening, a protest march against increasing university tuition fees. Media reports outside Québec tell of potential dangers, but this soundscape reports the order, camaraderie and that particular joie-de-vivre found in Canada’s francophone province. The enactment, again, of a rite of passage.

It was the end of the school year and I was headed south on rue Bishop, once called Bishop Street, and at the corner of rue Ste-Catherine, the couple of thousand noisy, blaring, almost dancing marchers were passing by. Different groups had drums and noise-makers, and the joyous cacophony would have put a smile under Charles Ives’ beard. Society, culture, identity and history echoing in time and place, with trendy clothing stores in all directions.

Coincidentally, having set out to record some ‘live sound’ of whatever I might come across, my SONY PCM-50 recorder – easy to use with decent in-built mics, and a home-made foam windscreen - came out in moments. Click-click-click, as always at 24 bit, 48kHz sampling, and the recorders very low-noise mic preamps would get a good, clean, above documentary quality recording from the two mics facing inwards in a coincident pattern.

I recorded about the last eight minutes of the marchers, their sound fading away from the whirring of the police helicopters following overhead. The very warming late-March sun on that Friday mid-afternoon contributed to this occasional spring-time ritual in Montreal.

Experience had taught me that there would be a number of technical problems to be fixed, either cut out, or corrected. I almost never crossfade between captured sounds. This recording was considered a snapshot – an audio postcard. The audio file was carefully reviewed. Using Amadeus Pro, a very basic audio editor, much of the first half was removed, and the ending shaped. There are perhaps four or five edits, edits being used to ‘focus’ the gestures of the event. An objective of much of my soundscaping is to create a ‘narrative’ memory, removing elements that do not support the ‘forward motion’ of the recollection.

Recording and Processing Specifications

24bit, 48kHz
Amadeus Pro
Kevin Austin is a Montreal-based composer and teacher. He started working in the studio at McGill University in 1969 and recorded his first soundscape material in May 1970. In 1976 he organized a large exposition of Montreal area soundscapes. His work in acoustic composition has included chamber music, vocal pieces, multi-ensemble work, and improvisation. In electroacoustics he has composed fixed media, soundscape, multi-media, mixed and improvisational pieces. His current work in soundscaping includes binaural and four-channel recording. Since the early 2000’s, he has composed pieces for Chinese instruments, and Chinese instruments with fixed media. He is noted for having co-founded the Canadian Electroacoustic Community, CEC, in 1984, and the Concordia University Electroacoustic Studios in 1970. While having taught in almost all areas of music, currently as a Full Professor, he continues to teach first-year electroacoustics courses at Concordia University in Montreal. Photo credit: Brian Campbell.
On a hot Sunday morning at the end of August, I set up for a walk along Leslie Street Spit, recorder in hand, to escape the heat of the city. Leslie Street Spit is an accidental wilderness on a man made headland in Toronto’s lakeshore, originally intended as an outer harbor for the city in the late 50s. Still a landfill site, the Spit is open to the public at weekends. Walking along one of the pedestrian trails off the main entrance, the oldest section of the Spit, one could forget its man made origin. The rubble, hidden below a thick layer of vegetation, has been rounded off at the shore of the Spit by the action of the water. Here I immersed myself in nature and its sounds; but sound was also the reminder of where I was, within the realm of the city. Sound blurred the entangled natural and cultural boundary of the Spit. Footsteps, voices, the sound of planes taking off and landing, mixed with the chirping of the crickets, the birdsongs and the waves, providing a rich and somehow relaxing soundscape to listen to. I took sound recordings and photographs along that walk. Whereas the photographs capture many features of the Spit, it is sound that showcases its richness by bringing the invisible into proximity. This audio postcard aims to grasp the essence of the Spit as both man made and natural, and transport the listener to that hot Sunday morning.

Recording and Processing Specifications

The postcard is a combination of three sound recordings taken within a short distance on that pedestrian trail off the main entrance. The recordings were simply amplified, cut and pasted together to create one audio file. All recordings were taken with a Zoom H5 with the standard 90 degree angle XYH-5 X/Y microphone capsule, and edited with Audacity.
Usue Ruiz Arana is a landscape architect, artist and PhD researcher at Newcastle University, UK. Usue was based in Toronto for a year in 2015 where she carried out a number of creative practice projects for her research inspired by the city and the long established practice of sound ecology in Canada.

At a time when the visual dominates in design and presentation tools, through her practice as a landscape architect, Usue has become increasingly interested in the creation of multisensorial spaces. Her research explores sound in the context of landscape identity and sound as a design tool for landscape architects. Her creative pieces use sound as a tool for exploring and overcoming the natural and cultural boundary of the city.
My piece for the Audio Postcards ​exhibition is a field recording from Days Beach, situated on the east side of Jackfish Lake in central Saskatchewan. This location was where our family would take summer holidays when I was growing up, close to a provincial park and two bird sanctuaries. I was visiting my parents a few years ago, and on one particularly windy afternoon there was an unusual, periodic humming sound inside of their house. I discovered that the gusts coming across the lake were entering the roof structure of the building through holes where the soffits were missing, apparently torn off during a previous storm. Effectively the structure of the house acted as an instrument for the air currents, creating an aleatoric composition of sorts. Waves lapping on the shore and the wind as it blew through the leaves of nearby trees can also be heard in the soundscape.

Recording and Processing Specifications

Captured using a Zoom H1, the recording was then edited using Audacity for basic operations such as fades and normalization. No other manipulation has been done to the sound.
Constantine Katsiris has been a composer of experimental electronic music for over two decades. An avid phonographer, he has conducted field recording expeditions around the world from urban settings like Prague and Paris to more remote regions such as the Brazilian Amazon rainforest. His compositions have been broadcast to listeners around the world from Concertzender Nederland to MTV Brazil. Katsiris has brought his live performances, installations and fixed media works to many notable venues, such as La Société des Arts Technologiques [Montréal], Whitechapel Art Gallery [London], Brut Konzerthaus [Vienna], and SESI Art & Cultural Center [São Paulo]. He is also passionate about showcasing, broadcasting, and disseminating sound works as a curator of exhibitions and concerts for festivals and galleries, as a programmer on community radio, and as the director of the Panospria record label for sonic experimentation. Having lived in five Canadian provinces, he calls Vancouver his home since 2008.

Coleman is a small town in the Crowsnest Pass, just east of the border with British Columbia. Founded in 1903 with the opening of a new coal mine, the town was a bustling mining town for decades. Since the mines have closed, Coleman has become a cozy and quiet small town nestled in the mountains. When the composer was younger, he never used to understand why his parents would always drag him away from the city to visit this apparently boring small town every weekend. But as he's grown up, he has come to appreciate the chirping grasshoppers and burbling creek, and all the other sounds that are drowned out deep in the city. This audio postcard is an acoustic snapshot that captures the composer's experience of the town's soundmarks and its overall character and feeling. The sound of the wind—in the trees, in the grass, blasting against the side of the house—is ubiquitous in the Pass. While it is only presented as is at the end of the piece, there is a sense of its characteristic presence throughout the postcard. Each sound seems to breeze from one into the next, taking the listener through the town one gust of sound at a time. Coleman, Alberta was composed to share the sound of the Crowsnest Pass, but perhaps also to preserve it in the composer's memory, since the drive is a bit longer from his current home in Montreal than it used to be from Calgary.

Recording and Processing Specifications

The source materials for Coleman, Alberta were recorded using a Zoom H4N field recorder over the course of a few hot summer days and one stormy night. Due to its central importance in the piece, particular care was given to record the sound of the wind passing through the grass and the trees. At one point the composer partially buried the field recorder in grass and bushes in order to shield the sensitive microphones from the strong wind. The piece was assembled in Ableton Live with minimal processing: some crossfades, eq, and dynamics mixing.
Jazz pianist turned electroacoustic laptopist, Travis West is a multidisciplinary composer-performer and life long learner. Fascinated by algorithms, instruments, and the soundscapes of every day life, Travis is interested in composing musical interactions, and interacting with musical compositions. His research explores electronic musical performance from the lowest level bits and bytes of digital musical instrument design up to the most abstract control over compositional structure. His compositions have been performed in festivals and conferences across North America such as the Young Songwriters Intensive in Calgary and N_SEME 2016 in Oklahoma. Travis is currently studying his BFA at Concordia University's department of music with his major in Electroacoustic Studies.


Dear Listener!

Hildegard Westerkamp

Dear Listener!

With this letter I want to invite you to slow down for a moment, breathe deeply, and make time for listening and immersing yourself into the marvelously engaging sound world of Audio Postcards Canada, offered here to all of us by the Canadian Association for Sound Ecology. It is an opportunity to become ‘ear-minded’ for a stretch of time and listen to what the creators of the audio postcards are sharing with you about the Canadian soundscape. These sixteen two-minute pieces are little jewels of sound. And like a diamond, they refract the soundscapes of Canada in multiple colourings and shadings into your listening ears.

Imagine moving through a day of your life listening with someone else’s ears. Imagine how you might perceive the world then, in a new way, noticing different sounds, hearing details never heard before, inevitably waking up to a sound world and to ways of listening, different from your own. Recording sounds with a microphone usually has this kind of effect on our listening, and so I imagine that the artists have had their AHA moments in the process of making the audio postcards - moments of deep perceptual immersion into the sounds and soundscapes, indeed into listening itself.

The microphone of course is a much cruder tool than our ears are, but no matter, our listening sense gets woken up precisely because of its exposure to the microphone’s different ways of ‘hearing’ the world. Inevitably the microphone draws us into the details of the soundscape and the ears are inspired to search, to seek out sounds, to be curious, to dwell inside the sounds. And that is always a pleasure. In effect when our ears listen on headphones to what the microphone records, we literally witness this microphone ‘ear’ and our own at the same time. It is this comparison, this difference, that highlights our own listening habits and inspires us to notice them, become aware of them.

The audio postcards actually invite us into this kind of wide-awake listening: that of its creators. They present to us a large range of note-worthy aural impressions from the vastness of the Canadian soundscape: short excerpts from various natural and rural environments, from urban places, as well as occurrences of specific sound events or situations. You will be hearing anything from straight field recordings, to pieces with minimal editing and mixing, to collages of sounds and soundscapes, to sound processing even, which explores sensitively the musical characteristics inherent in certain recorded sounds.

All of these pieces give us much more than the sounds alone: they speak of a lived and felt relationship between the sound artists and their environments. If upon first listening you do not connect to this deeper layer, listen again and read the artist statements that accompany the pieces. Slowly the deeper significance behind each audio post card will emerge and give you something formerly unimagined. In this way you are getting a glimpse into each artist’s ways of listening and recording, selecting and composing. More significantly perhaps, you get to experience your own ways of listening, to examine what draws you in, what fascinates or repels, what inspires you to listen further and deeper or what encourages you to even do your own recordings.

My first experience of this type of truly connected and awake listening occurred when I worked with R. Murray Schafer and the World Soundscape Project (WSP) at Simon Fraser University in the early 1970s. Portable recording equipment was rather new then and not available on a mass scale. It was also rather heavy and we could not record more than 15 – 30 minutes of uninterrupted time before the tape needed changing. These technological conditions of course determined styles of field recording and of listening. An audio postcard project like this one would have been impossible to launch. When members of the WSP had made new recordings, we would frequently gather in the Sonic Research Studio and listen together, often for hours, to every minute of what was captured on tape, discuss content, sound quality, what the recordings told us about the environment, where the sounds occurred, what they meant to us, and how we might integrate possible excerpts into projects such as the Vancouver Soundscape, Soundscapes of Canada or Five Village Soundscapes of Europe. These were unforgettable experiences of shared listening - in the same way shared soundwalk listening is unforgettable - and ensured that our ears would never close or go numb again, that indeed listening would become an integral practice in all aspects of our lives.

Audio Postcards Canada is an extension of this strong tradition that started in our country in the late 1960s: to open our ears to the sound environment, pay attention to the quality of our soundscapes, to learn to listen more deeply and understand the acoustic environment as an ecological entity that needs attention. Creating audio postcards allows its creators to shape what we hear, how sound affects us, and what is important or not. And the positioning and movement of the microphone – its ‘perspective’ - allows them to share with the audience how they listen and what fascinates them in the process of making the recordings. Additional editing, mixing and sound processing can extend that opening of perception and sharing, which in turn is fascinating precisely because it opens us up towards further sound impressions and resonances. Although most of you may be sitting in front of your computers listening to the audio postcards by yourselves, CASE has created this online sound ‘room’ as an opportunity to develop a community of interested individuals from across the country and all walks of life, sharing the listening experience, sharing our expanding awareness of the Canadian soundscape and its significance in our lives.

When I was young, sending picture postcards was associated with holidays, freedom from school and homework, and with wanting to share the joy of experiencing a new place. They were an expression of adventure, happiness, blue skies, and openness to discovering the world and oneself in new ways. In a way postcards still hold the same meaning today, are still sent via ‘snail mail’ despite the internet and social media that transmit text, photos and videos, sound and music over vast distances in a split second.

My favourite post cards were the ones that showed the wild North Sea surf, visible between sandy grass dunes in the foreground and the vast ocean horizon in the background, and above it all preferably a seagull. The image evokes even today, visceral memories of this place, its air, and its powerful natural energy. I can feel the warm sand under my feet, smell and taste the fresh, salty air, hear the intense, slightly muted roar of the sea beyond the dunes, and the high screech of the seagull. This silent image of the North Sea Island where we used to go on summer holidays, elicits memories of lived experiences there and exuberant times and thus still has the power to activate all my senses.

What do the audio postcards evoke in you? How do your senses get activated as you listen to these delicately created sound excerpts from the vastness of this country? What do you see, smell or taste, and does your sense of touch get activated? What memories do they elicit? Like the original picture postcards, these audio postcards present us with a clear frame, a theme, a limited time involvement of 2 minutes, a specific place or situation. Our ears are not in danger of getting lost in unknown and possibly endless journeys that might disorient us. Also like the picture postcards, they want to share with the recipient-listener special moments in life, connect us to concrete places in Canada, highlight significant sonic experiences, and want to elicit a sense of inspiration and curiosity, indeed a liberating perceptual opening towards the environment.

In a corporate world, dominated by the monetization of time and a 24/7 hectic pursuit of life, a project such as Audio Postcards Canada carries a deeper significance than might initially be apparent. If you are able to follow this letter’s invitation “to slow down for a moment, breathe deeply, and make time for listening”, it offers a rare opportunity for a change of pace and for creatively reversing the numbing of our senses that tends to result from a 24/7 life style. It also encourages us to focus our listening on sonic details which speak out strongly and with a difference: these audio postcards highlight sounds and soundscapes that may not be noticed in the habitual flow of daily life, especially if such a daily life is also perpetually overloaded with sound, noise and music and lacks times of silence and repose.

Imagine now, as my letter comes to an end, creating your own audio postcard. Imagine sharing your experiences of listening to water and wind, or hearing the sounds of birds, whales, or other animals. Or imagine connecting aurally to your own community and to other places full of meaning and life experiences for you. Which sounds would you share with us and why? Which ones would carry such deep significance for you – both personally and on a wider cultural scale - that you would want to share them?

Composer Hildegard Westerkamp focuses on listening, environmental sound and acoustic ecology. She was a researcher with R. Murray Schafer's World Soundscape Project, is a founding and board member of the World Forum for Acoustic Ecology and until recently was editor-in-chief of its journal Soundscape. She has taught courses in Acoustic Communication at Simon Fraser University; has conducted soundscape workshops, given concerts and lectures, and has coordinated and led Soundwalks internationally. See also: http://www.sfu.ca/~westerka. Photo credit: Andrew Czink.

Chers auditeurs,

Je vous invite à lever le pied, à prendre de grandes respirations et à prendre le temps d’écouter l’exposition Cartes postales sonores Canada et de plonger dans cet univers sonore captivant présenté par l’Association canadienne pour l’écologie sonore. Voici l’occasion de vous ouvrir au monde sonore pendant un instant et d’écouter des extraits du paysage sonore canadien que leurs créateurs ont choisis de partager avec vous. Ces seize extraits sonores de deux minutes chacun sont de véritables trésors. Tout comme des diamants, ils réfractent le paysage sonore canadien dans vos oreilles et le déclinent en de multiples nuances.

Imaginez pendant un instant le monde à travers les oreilles de quelqu’un d’autre. Imaginez maintenant votre environnement. Remarquez ses différences, les nouveaux sons et les détails qui vous avaient échappé. Vous prendriez inévitablement conscience d’un monde sonore inédit et d’une écoute différente de la vôtre. L’enregistrement de sons à l’aide d’un microphone a habituellement cet effet sur notre façon d’écouter; j’imagine donc que les artistes ont eu des moments révélateurs de ce type en créant leurs cartes postales sonores, des moments où ils se sont profondément imprégnés des sons et des paysages sonores, et du processus d’écoute lui-même.

Le microphone est bien sûr un outil bien plus sommaire que nos oreilles, mais qu’importe, notre capacité d’écoute est justement sollicitée par le différent mécanisme d’écoute du microphone. Le microphone attire inévitablement notre attention sur les détails du paysage sonore et nos oreilles curieuses cherchent les sons et s’attardent sur eux. C’est toujours si agréable. En réalité, quand nous écoutons avec un casque ce que le microphone a enregistré, nous expérimentons littéralement « l’oreille » du microphone et la nôtre en même temps. C’est cette comparaison même, cette différence, qui met en avant nos propres habitudes d’écoute et nous encourage à les remarquer, à en prendre conscience.

Les cartes postales sonores nous invitent en réalité à cette sorte d’écoute active, celle de leurs créateurs. Nous voici en présence d’une grande variété d’empreintes sonores remarquables provenant de l’immensité du paysage sonore canadien : de courts extraits de divers environnements naturels et ruraux, de milieux urbains, ainsi que de situations et d’événements sonores particuliers. Vous allez entendre toutes sortes de sons: des enregistrements directs sur le terrain, des morceaux ayant subi un montage et un mixage minimes, des collages de sons et de paysages sonores, et même des traitements de sons qui explorent délicatement les caractéristiques musicales inhérentes à certains sons enregistrés.

Tous ces extraits nous apportent bien plus que les sons eux-mêmes : ils témoignent de la relation vécue et ressentie entre les artistes sonores et leur environnement. Si vous n’êtes pas touché par cette relation profonde à votre première écoute, réécoutez les extraits et lisez les présentations des artistes qui les accompagnent. La signification profonde de chaque carte postale sonore s’imposera progressivement et dépassera tout ce que vous aurez pu imaginer. Cette écoute active vous permettra d’entrevoir la façon propre à chaque artiste d’écouter et d’enregistrer les sons, ainsi que de sélectionner et de composer sa carte postale. Ce qui est peut-être plus important encore, c’est que vous découvrirez votre propre façon d’écouter et d’examiner ce qui vous attire, ce qui vous fascine ou vous rebute, ce qui vous inspire à poursuivre et à approfondir votre écoute ou, même, ce qui vous encourage à réaliser vos propres enregistrements.

J’ai vécu ma première expérience d’écoute active et véritablement connectée au début des années 1970 quand je travaillais avec R. Murray Schafer sur le projet de paysage sonore mondial – World Soundscape Project (WSP) – de l’Université Simon Fraser. Le matériel d’enregistrement portatif était relativement nouveau à l’époque et n’était donc pas largement accessible au grand public. Il était également assez lourd et on ne pouvait pas enregistrer plus de 15 à 30 minutes de sons continus avant de devoir changer la bande. Bien sûr, ces conditions techniques déterminaient le style de prise de son sur le terrain et l’écoute. Il aurait été impossible de créer un projet de cartes postales sonores comme celui-ci à l’époque. Quand les participants au projet avaient recueilli de nouveaux enregistrements, nous nous réunissions dans le Sonic Research Studio de l’université et nous écoutions ensemble, bien souvent pendant des heures, chaque minute de son recueilli, discutions du contenu, de la qualité sonore, de ce que l’extrait nous apprenait de l’environnement et du lieu de la prise de son, de l’interprétation que nous faisions du son, et de la meilleure façon d’intégrer d’éventuels extraits dans des projets tels que Vancouver Soundscape, Soundscapes of Canada ou Five Village Soundscapes. Ces écoutes collectives étaient des expériences inoubliables, tout comme les balades sonores collectives; elles ont fait en sorte que nos oreilles restent ouvertes et alertes et que l’écoute devienne une partie intégrante de tous les aspects de notre vie.

L’exposition Cartes postales sonores Canada est une prolongation de cette importante tradition qui a émergé dans notre pays à la fin des années 1960 et qui visait à ouvrir nos oreilles à l’environnement sonore, à prêter attention à la qualité de nos paysages sonores, à apprendre à écouter de façon plus consciente et à considérer l’environnement acoustique comme une entité écologique qui mérite de l’attention. En créant des cartes postales sonores, leurs auteurs déterminent ce que nous écoutons, influent sur la manière dont le son nous touche et décident de ce qui est important ou ne l’est pas. De plus, le positionnement et le mouvement du microphone, c’est-à-dire son « point de vue » leur permettent de communiquer aux auditeurs la façon dont ils écoutent et ce qui les fascine dans le processus de la prise de son. Le montage, le mixage et le traitement de son supplémentaires peuvent approfondir la perception et le partage, ce qui est aussi fascinant précisément parce qu’ils ouvrent la voie à d’autres impressions et résonances sonores. Même si la plupart d’entre vous êtes assis seuls devant votre ordinateur pour écouter les cartes postales sonores, l’Association canadienne pour l’écologie sonore a créé cette « salle d’écoute » en ligne dans le but de former une communauté de personnes intéressées de partout au pays et de tous les milieux qui partagent leur expérience d’écoute et leur connaissance croissante du paysage sonore canadien et de ses répercussions dans nos vies.

Quand j’étais jeune, on envoyait des cartes postales, geste qui était associé aux vacances, à la libération de l’école et des devoirs, et à l’envie de partager cette joie de découvrir un lieu nouveau. Ces cartes exprimaient l’aventure, le bonheur, le ciel bleu et une curiosité pour explorer le monde et se redécouvrir soi-même. Les cartes postales ont d’une certaine façon la même signification aujourd’hui; on les envoie toujours par la poste malgré Internet et les médias sociaux qui permettent d’envoyer du texte, des photos et des vidéos, du son et de la musique en quelques secondes d’un bout du monde à l’autre.

J’avais une préférence pour les cartes postales illustrant les vagues tumultueuses de la mer du Nord que l’on distinguait entre les herbages de dunes sablonneuses au premier plan et le vaste horizon en arrière-plan, en particulier s’il y avait une mouette. Encore aujourd’hui, l’image évoque des souvenirs profonds de ce lieu, de l’air et de son énergie naturelle puissante. J’arrive à sentir le sable chaud sous mes pieds, à sentir et à goûter l’air salin, à entendre le mugissement intense de la mer légèrement étouffé au-delà des dunes, et le cri strident de la mouette. Cette image silencieuse de cette île de la mer du Nord où nous passions nos vacances d’été rappelle des souvenirs d’expériences vécues et de moments intenses, et a encore le pouvoir d’éveiller tous mes sens.

À quoi les cartes postales sonores vous font-elles penser? Comment vos sens sont-ils éveillés pendant que vous écoutez ces extraits sonores créés avec délicatesse dans l’immensité de ce pays? Qu’est-ce que vous voyez, sentez ou goûtez? Votre sens du toucher est-il éveillé? Quels souvenirs réveillent-elles? Tout comme les cartes postales traditionnelles, les cartes postales sonores présentent un cadre clair, un thème, une participation limitée de deux minutes, et un lieu ou une situation spécifique. Il n’y a pas de risque que nos oreilles se perdent au cours d’un voyage inconnu et possiblement sans fin qui pourrait nous déboussoler. De la même façon, les cartes postales sonores visent à partager avec l’auditeur des moments particuliers de la vie, à nous faire découvrir de véritables lieux au Canada, à souligner des expériences sonores importantes, et à susciter de l’inspiration et de la curiosité, le tout pour une ouverture perceptive libératrice à l’environnement.

Dans un monde des affaires dominé par la monétisation du temps et par un mode de vie actif jour et nuit, on pourra trouver une signification plus profonde qu’au premier abord dans un projet comme l’exposition Cartes postales sonores Canada. Si vous acceptez l’invitation de cette lettre « à lever le pied, à prendre de grandes respirations et à prendre le temps d’écouter pendant un instant », vous aurez une rare occasion de changer de rythme et de réveiller avec créativité vos sens engourdis par un mode de vie actif jour et nuit. C’est également une invitation à concentrer notre écoute sur des détails acoustiques qui s’expriment vivement et de façon différente : ces cartes postales sonores mettent en avant des sons et des paysages sonores que l’on ne remarque peut-être pas dans la vie quotidienne, en particulier quand cette vie quotidienne est surchargée de sons, de bruit et de musique et laisse peu de place aux moments de silence et de repos.

Alors que je termine cette lettre, imaginez-vous en train de créer votre propre carte postale sonore. Imaginez que vous partagez votre expérience d’écoute de l’eau et du vent, ou des chants des oiseaux, des baleines ou d’autres animaux. Imaginez encore partager les sons de votre communauté ou d’autres lieux qui vous tiennent à cœur et où vous avez vécu des expériences. Quels sons partageriez-vous avec nous et pour quelles raisons? Quels sons auraient une telle importance pour vous, tant sur le plan personnel qu’à une échelle culturelle plus large, que vous voudriez les partager?

Compositeur Hildegard Westerkamp se concentre sur l'écoute, le son de l'environnement et l'écologie acoustique. Elle était un chercheur avec le World Soundscape Project de R. Murray Schafer, est membre fondateur et conseil d'administration du Forum mondial de l'écologie acoustique, et jusqu'à récemment a été rédacteur en chef de son journal Soundscape. Elle a enseigné les cours de communication acoustique à l'Université Simon Fraser; a menées des ateliers de soundscape, a données des concerts et des conférences, et a coordonné et dirigé les soundwalks internationalement. Voir aussi : http://www.sfu.ca/~westerka

Cultivating Listening

Andrea Dancer

What is an Audio Postcard?

Ironically, postcards are about nostalgia for a time of pre-internet discovery and connection. The idea of the road trip is similarly nostalgic. And yet, we are using new technologies and virtual experiences to open an ageless way of knowing and being – that of listening. The simple act of listening, like recording sound, locates us in some sense of place. In the past, this was critical knowledge --to be able to hear what was approaching and passing, close and distant, silent and loud in one’s environment. The Audio Postcards Canada exhibition seeks to bring distinct sounds back into listening awareness in the richness of their articulations and to be reacquainted with their meaning and signification.

Like a postcard or road trip map that brings some seemingly exotic place we wish we could visit, a holiday from our mundanity, these audio postcards are about a listening version of experiencing time out of time and place out of place while connecting different people in different parts of Canada and worldwide. And yet, like the postcard, we are still sitting in our living rooms or at the kitchen table or standing transfixed at the mailbox in our own everyday lives while being present to something that, extraordinarily, brings us more into presence with ourselves wherever we are.

Curating Toward Sustainable Sound

Listening to the sound environment in everyday life is an art and a practice. Sound is fluid and dynamic. It either immerses us in a type of forgetting or challenges us to pay attention as we position our sense of selves, our attention, and our bodies in time and space through converging sounds. It all is fleeting -- like moments themselves – and, like the moments of our lives, we can choose to bring greater awareness to those moments or let them pass habitually and into obscurity. Listening to the soundscape models how to stay present in our lives.

Audio Postcards Canada is about nurturing that type of awareness. The artist-listener has activated listening with their microphone to capture the moment-to-moment minutia of sound, something expressive, and to share it with every recipient-listener who listens to their piece. Of course, the hope is the listener will bring high fidelity headphones or speakers to the experience, and also reflect on the texts and become acquainted with the artist -- but whatever the circumstance of listening, the aim is for a heightened awareness of sounds, the soundscape, and listening.

Multifaceted Listening

In curating this audio exhibition, my considerations are about creating a multifaceted listening experience for a wide-ranging public.

As we live in a visual and text bound world, there are choices built into the website around how it is entered and navigated. Do you want to listen first? Or go to the postcard to read about the artist’s intent and know who created it before you listen to the piece? Do you want to experience the sounds as sounds bringing your own context to them or frame your experience with that of the artist? At what point do you want to know about the adjudication process and what informed the juror decisions through their first-person interviews? Do you want to take the road trip first and use Google maps as the framework, grounding yourself in popular geographic media? What about Hildegard Westerkamp’s letter to you as a listener or even this curatorial framing? Perhaps you will go back and forth noting how the experience of listening changes with new contextualization. There is an element built into how the exhibition is designed that questions habits of perception and invites playful discovery.

As listening typically doesn’t happen outside of visual contexts, each artist submitted an image that is referential to their piece -- referential but not prominent in the website. The artist statements reveal something of the artistic intention, meaning-making, and focus with each piece. It’s exciting and revelatory to read how differently everyone approaches and perceives sound. The artist biographies also tell of diverse backgrounds, experiences, and interests in field recording, artistic practice, use of technology, story-telling, and emphasis in their process.

Each work is geographically located in Canada and this location is integral to the work. Listeners often bring a sense of location to a sound whether through memories, associations or the actual soundscape. Is there a quintessentially Canadian soundscape? That is an interesting question to consider as some sounds are soundmarks (signature sounds) of a place, but most sounds are strangely universal and particular at the same time.

It was also important, along with artistic audio and word-based voices, to add a face to all the contributors. Connection is also about embodiment, the sense of who someone is that’s often assigned to face to face encounters. Reinforcing everyday contexts in this virtual listening space is an important curatorial aspect of the experience -- so that you will take it into your own everyday listening, connect to creators, thinkers, practitioners and the listening itself in as many ways possible.

Some Thoughts About the Works

Each postcard is unique and conveys a different way of attending to and working with sound. Sounds presume a kind of simplicity that belies layers of history, culture, time and knowledge. Crystal DJ Kwe Favel’s Midnight Frogs in Squamish BC speaks to First Nation sensibilities around habitat preservation and how the simple act of listening carries complex intersections of mythology, culture, story and ecology. Kirsten Murphy’s radio piece, Woodchop, tells of age-old practices of subsistence culture, their everyday listening familiarity, that extend from the land into the body through a lifetime, through differently marked time into contemporary life. Travis West’s Coleman, Alberta is a composition that pinpoints a resident’s acoustic knowledge of his home town and is most reminiscent of a postcard. Arana Usue Ruiz’s Leslie Street Spit is a collage of field recordings from a neighborhood haven that takes the listener on a summer’s evening stroll. Ethan Cayko’s Spring Woodpecker shows how field recording can enhance understanding of non-human animal roles in a soundscape (biophony) and how processing can enhance that understanding. In Matt Rogalsky’s Bald Eagles, Hornby Island, the precision of research field recording carries such detail and clarity that the attending soundscape foregrounds the subtlety of bodies in flight.

Sometimes, the simplest listening moments are the most profound. It’s easy to miss them. Constantine Katsiris’ Missing Soffits models the art of field recording through an overlooked everyday acoustic event -- the missing soffits on his house. Intriguingly, the recording renders the wind as static and creates an opportunity for ethereal listening somewhat like an Aeolian wind harp. Michael Trommer’s Long Beaches Binaural uses a binaural microphone to capture movement of water, people, boats and the recordist in relationship to the landscape. Binaural technology creates the 3-D effect represented in locational, directional, distance, and proximal listening. Leah Abramson’s Beach Rub highlights aural forms of storytelling through the use of a hydrophone to investigate underwater research and artistic subjects, killer whales. She brings awareness to presumed silent worlds and their vulnerability, mystery, and complexity. The carefully crafted ambience of Rich Bitting’s Mississagi Rocks epitomizes how an iconic geographic feature, in its unique watery gurgling, holds local history, culture and story.

Listening to contemporary life and urban soundscapes carries different considerations. Graham Meisner’s electroacoustic composition, Lunenburg, captures how the sounds of machineries and materials also trace histories, cultures and technologies - an important aspect of sound ecology. David Arango-Valencia’s composition, Five Roses, is a richly crafted romp through Montreal’s urban soundscape. What might be construed as freneticism or noise turns on juxtaposed musical elements -- all part of a lively city. Andrew Scott Israelsen’s #YEG Waiting keeps meaning hovering around the voices and languages that share equal space with a musical instrument (an oud) to mimic chance street encounters. Sounds can also evoke memories and associations, such as in Kevin Austin’s composition, In The Streets, where the dynamic sounds of a boisterous crowd position the listener as a participant like the recordist and thereby keep attention riveted. Bells around the world are symbolic -- and unique in their signature tones and resonances. Sandy McLennan’s Clock Bells, Toronto Old City Hall locates the listener specifically at one point in the soundscape where the bells disrupt ambient city sounds. Another instance of the artistic potential of field recoding is Steve Barsotti’s Victoria Johnson Bridge. What might be passed-by as dull traffic exposes a unique musicality in tires passing over a specific part of the bridge. This recording also references the sounds and technologies of acoustic features that are now archaic or extinct.

These are the remarkable ways in which sounds, live or recorded, communicate time out of time and place out of place. Curating Audio Postcards Canada has been a remarkable journey for me as well, and now I leave you to find your own meanings and have your own experience of each audio postcard. Please let us know, through social media or email, about what you discover about your own journey into listening to an emerging sense of a Canadian soundscape and an awareness of sound. Enjoy!

Andrea Dancer, Ph.D., is an acoustic arts-based researcher, radio documentarian, sound artist and soundscape composer whose works have premiered in North America and Europe. She has designed sound-based educational programs for museum and galleries, and curated audio and multi-media exhibitions internationally. She is the Chair of the Canadian Association of Sound Ecology. http://www.andreadancer.wordpress.com

Cartes postales sonores Canada: cultivez l’écoute

Qu’est-ce qu’une carte postale sonore?

Paradoxalement, les cartes postales traditionnelles étaient un moyen d’explorer et de communiquer avant l’arrivée d’Internet. Nous en gardons une certaine nostalgie, à l’image des voyages en voiture. Toutefois, pour l’exposition Cartes postales sonores Canada, nous utilisons les nouvelles technologies et profitons des expériences virtuelles pour explorer un mode d’apprentissage intemporel propre à notre manière d’être : l’écoute. Le simple fait d’écouter, de percevoir des sons, nous inspire un sentiment d’appartenance. Autrefois, l’écoute était essentielle; elle nous permettait d’entendre les choses qui passaient, qui s’approchaient ou qui s’éloignaient, silencieuses ou bruyantes. L’objectif de l’exposition virtuelle Cartes postales sonores Canada est de réintroduire des sons distincts dans notre conscience sonore afin d’éveiller notre écoute à leur précision et de favoriser la redécouverte de leur signification.

Comme les cartes postales traditionnelles ou les cartes routières qui illustrent des endroits exotiques que nous aimerions visiter pour rompre avec notre routine, les cartes postales sonores nous permettent de voyager dans le temps et dans l’espace. En effet, elles nous relient à différentes personnes de partout au Canada et dans le monde. Pourtant, elles nous aident, de façon presque surnaturelle, à reprendre contact avec nous-même peu importe où nous nous trouvons, soit bien installé dans notre salon, à table ou, captivé devant notre boite aux lettres.

Conservation durable des sons

Il s’agit d’un art de prendre conscience de son environnement sonore, et cela demande beaucoup d’entraînement. Le son est fluide et dynamique, il vous imprègne et vous procure une certaine distraction, ou vous incite à être attentif à la façon dont vous vous percevez vous-mêmes et percevez votre corps dans le temps et l’espace, là où les sons convergent. Il est éphémère, tout comme chaque moment qui passe. Déciderez-vous, alors, de prendre davantage conscience de ces moments? Les laisserez-vous tomber dans l’oubli, comme vous en avez pris l’habitude? Écoutez les paysages sonores pour vous ancrer dans votre vie.

Carte postales sonores Canada vise à encourager cette prise de conscience. À l’aide d’un microphone, l’artiste-auditeur écoute et capture, instant après instant, des sons particuliers qui lui parlent pour, ensuite, en faire part aux auditeurs. Bien entendu, l’expérience de l’auditeur est optimale s’il porte un casque d’écoute ou utilise des haut-parleurs haute-fidélité, s’il médite sur le texte de l’artiste, et s’il se familiarise avec ce dernier. Or, quelles que soient les conditions d’écoute, l’objectif reste le même : prendre conscience des sons, du paysage sonore – de l’écoute.

Écoute multidimensionnelle

En choisissant les œuvres de cette exposition, je souhaite créer une expérience d’écoute multidimensionnelle pour un vaste public. Comme nous vivons dans un monde d’images et de textes, il a donc fallu choisir comment le public naviguerait sur le site Web et le consulterait. Souhaitez-vous, auditeurs, écouter d’abord les extraits et lire les intentions de l’artiste ensuite ou vice versa? Souhaitez-vous écouter les sons sans contexte pour ne pas être influencé par l’expérience de l’artiste ou souhaitez-vous les écouter, tout en étant guidé par son expérience? De plus, à quel moment de votre navigation souhaitez-vous connaître le processus d’évaluation et les critères de sélection qui ont orienté la décision des juges après leurs entrevues individuelles avec chaque participant? Autrement dit, ferez-vous le voyage d’abord et utiliserez-vous Google Maps ensuite pour baliser vos déplacements? Vous ancrerez-vous dans les médias géographiques populaires? Qu’en est-il de la lettre de Hildegard Westerkamp et du présent cadre de sélection? Que représentent-ils pour vous en tant qu’auditeur? Peut-être ferez-vous la navette d’une page à l’autre et réaliserez-vous que lorsque le contexte change, l’expérience sonore change également. La conception de l’exposition vous permettra de remettre en question vos habitudes de perception et de découvrir tout en vous amusant.

En règle générale, les contextes sonore et visuel vont de pair; alors, nous avons d’une part affiché sur le site Web une image, obtenue de l’artiste, qui, tout en demeurant en second plan, renvoie à l’œuvre. Le mot de l’artiste, d’autre part, divulgue l’intention artistique de l’œuvre, sa signification et son point central. Cela dit, il est très excitant et très révélateur de constater que la perception des sons varie d’une personne à une autre. Donc, dans leur biographie, les artistes font part de leurs antécédents et de leurs expériences dans le domaine de l’enregistrement sonore; des raisons pour lesquelles ils s’y sont intéressés; de leurs pratiques artistiques, et de leur utilisation de la technologie. Ils y racontent également des anecdotes et mettent l’accent sur le processus qu’ils ont entrepris.

Toutes les œuvres ont été enregistrées au Canada. Le lieu fait partie intégrante de chaque pièce. Il est vrai que les sons suscitent, en général, un sentiment d’appartenance chez les auditeurs, et ce, grâce aux souvenirs et aux liens qu’ils établissent ou tout simplement grâce au paysage sonore lui-même. Existe-t-il un paysage sonore typiquement canadien? Il s’agit ici d’une question intéressante. Effectivement, certains sons servent de point de repère sonore (un son caractéristique) d’un lieu, mais la majorité d’entre eux demeurent à la fois étrangement universels et particuliers.

Il était aussi essentiel de personnaliser ces œuvres d’art sonores et ces textes. Les liens interpersonnels se créent, entre autres, lorsque nous pouvons mettre un visage sur un nom. L'identité se forge, souvent, plus facilement par une rencontre en personne. Un important objectif de l’exposition est de renforcer l’écoute des sons de tous les jours à l’aide de ces œuvres en ligne. De cette façon, les auditeurs peuvent les intégrer dans leurs habitudes d’écoute et créer un lien avec les artistes, les théoriciens, les professionnels et avec l’écoute, elle-même.

Quelques réflexions sur les œuvres

Chacune des cartes postales est unique et exprime une façon différente de traiter et de modeler le son. Les sons osent, par leur simplicité, contester l’histoire, la culture, le temps et les connaissances. L’œuvre de Crystal DJ Kwe Favel, Les grenouilles de minuit à Squamish, C. B., témoigne du sujet délicat de la préservation des habitats pour les Premières Nations et montre que le simple fait d’écouter peut nous transporter au carrefour de la mythologie, de la culture, des récits et de l’écologie. L’œuvre de Kirsten Murphy, La mélodie du bûcheron, illustre, à l’aide de sons familiers, d’anciennes pratiques qui ont permis d’utiliser la nature pour subvenir aux besoins du corps pendant des vies entières et d’ère en ère jusqu’à aujourd’hui. L’œuvre de Travis West, Carte postale sonore de Coleman, Alberta, témoigne bien de la connaissance acoustique qu’a Travis de son village natal : une véritable carte postale. Leslie Street Spit d’Arana Usue Ruiz consiste en un montage d’enregistrements qui convie l’auditeur à une promenade d’été en soirée dans un havre paisible. Un pic-bois au printemps d’Ethan Cayko fait la preuve que l’enregistrement et le traitement du son peuvent améliorer la compréhension du rôle des animaux dans les paysages sonores (la biophonie). Dans l’œuvre de Matt Rogalsky, Les pygargues à tête blanche de l'île Hornby, la précision de l’enregistrement est tellement détaillée et claire que le climat sonore vole pratiquement la vedette au vol subtil des oiseaux.

Parfois, les sons les plus simples sont les plus évocateurs. Il est si facile de ne pas les entendre. Avec Les soffites manquants, Constantine Katsiris, cultive son art en enregistrant un évènement sonore jugé banal et qui peut être si facilement ignoré : le son des soffites manquants de sa maison. Étrangement, l’enregistrement illustre l’inertie du vent, ce qui rend le son irréel, comme la musique d’une harpe éolienne, en quelque sorte. Dans Longues plages en binaural, Michael Trommer utilise un microphone binaural pour enregistrer les mouvements de l’eau, les gens et les bateaux ainsi que pour capturer la relation entre l’enregistreur et le paysage sonore. La méthode d’enregistrement binaural cherche à reproduire les sons pour qu’ils soient perçus comme étant en trois dimensions, grâce à la localisation, la direction, la distance et la proximité sonore. Dans Massage sur les galets, Leah Abramson, raconte une histoire sonore sous-marine à l’aide d’un hydrophone; son sujet artistique : les épaulards. Elle donne la parole à un monde supposément silencieux empreint de vulnérabilité, de mystères et de complexité. L’atmosphère que Rich Bitting a soigneusement confectionnée dans Les rochers de Mississagi illustre bien comment un repère géographique célèbre et ses gargouillements singuliers font maintenant partie de l’histoire, de la culture et des récits locaux.

Divers facteurs doivent être pris en compte pour que nous puissions être à l’écoute de la société moderne et des paysages sonores urbains. La composition électroacoustique de Graham Meisner, Lunenburg, illustre bien que les sons de machines et de matériaux retracent l’histoire et que les cultures ainsi que la technologie s’y intègrent – un important aspect de l’écologie sonore. La pièce de David Arango-Valencia’s, Five Roses, consiste en une danse chorégraphiée dans le paysage sonore montréalais. Les sons, qui pourraient être perçus comme frénétiques et bruyants, s’unifient avec les éléments musicaux et se mêlent à la voix de cette ville dynamique. L’identité de l’œuvre d’Andrew Scott Israelsen, Escale à YEG, repose sur les voix, les langues et l’instrument de musique (un oud) qui se partagent l’espace de façon homogène pour imiter les rencontres fortuites de la rue. Les sons peuvent aussi évoquer des souvenirs et nous permettre de faire des associations, comme la pièce de Kevin Austin, Dans la rue!, dans laquelle l’auditeur est transporté au cœur de la foule bruyante et dynamique comme s’il y était, envouté. Les cloches sont symboliques, peu importe où elles se trouvent dans le monde. Chaque cloche possède une tonalité et une résonance unique. Dans l’œuvre de Sandy McLennan, Les cloches de la tour de l’ancien hôtel de ville de Toronto, l’auditeur se retrouve à un endroit précis du paysage où les cloches perturbent les sons ambiants de la ville. Un autre bon exemple artistique de traitement du son se trouve dans l’œuvre de Steve Barsotti, Le pont de la rue Johnson à Victoria. Les sons musicaux des pneus qui passent à un endroit précis pourraient facilement être perçus comme de banals sons de circulation routière. Cet enregistrement renvoie également à des sons et à des techniques de nature acoustique qui sont archaïques et révolus.

Ces enregistrements illustrent bien que le son, naturel ou enregistré, nous transporte, dans le temps et dans l’espace. Cette sélection fut une remarquable aventure pour moi. Maintenant, c’est à votre tour de tirer vos propres conclusions et de vivre vos propres expériences sonores. Racontez-nous, à l’aide des médias sociaux ou par courriel, vos découvertes et votre parcours dans le monde émergeant des paysages sonores canadiens. Prenez conscience du son et profitez-en!

Andrea Dancer, Ph.D., est un artiste sonore et compositeur soundscape, documentariste radio, et chercheur basée sur les arts acoustique dont les œuvres ont été présentés en Amérique du Nord et en Europe. Elle a conçu des programmes audio et expositions multi-médias à l'échelle internationale, incluant des programmes sonores éducatifs pour musées et galeries. Elle est présidente de l'Association canadienne de l'écologie sonore. Visite : http://www.andreadancer.wordpress.com

Audio Postcards Canada is a curated exhibit of sounds from across Canada, and reflections on those sounds. The online exhibit features 16 exceptional pieces of audio art selected from 87 eclectic works submitted to Canadian Association for Sound Ecology. Just like postcards sent through the mail, these Audio Postcards are short explorations and celebrations of the varied soundscapes found in Canada. Text-based reflections from curator Andrea Dancer and guest commentator Hildegard Westerkamp bring the listener deeper into the exhibit. With this project, CASE invites heightened listening awareness through multiple means: the use of the microphone, the sense of place, the audio narrative, and also artistic expression. Audio Postcards Canada showcases pieces that create an intimacy between the artist and the listener in unanticipated ways.

If you are captivated by these sounds and the ideas they present, we invite further creative, educational, festival, exhibition, presentation, as well as artistic investigation and production. For information about how to access or use these sounds in these ways, please email postcards@soundecology.ca. For more information about the Canadian Association for Sound Ecology, how to contact and join CASE, visit www.soundecology.ca.

The Audio Postcards Canada Team
Carmen Braden – Project Lead
Andrea Dancer – Curator
Matt Griffin – Web Developer
Andrea Schmidt - Web Designer, A-Schmidt.com.
Eric Powell – Audio Mastering
Randolph Jordan – Technical Advisor
Sarah Brown – Promotion
Raylene Campbell - Administration

Cartes postales sonores Canada est une exposition virtuelle de sons provenant de partout au Canada et des réflexions qu’ils inspirent. Elle réunit 16 œuvres sonores remarquables sélectionnées parmi un répertoire éclectique de 87 œuvres qui ont été soumises à l’Association canadienne pour l’écologie sonore. Comme les cartes postales traditionnelles, ces cartes postales sonores peignent divers paysages sonores du Canada et soulignent leur beauté. Andrea Dancer, qui a veillé à la sélection des œuvres, et Hildegard Westerkamp, commentatrice invitée, vous offrent également leurs commentaires pour que vous profitiez de l’expérience en profondeur. Ce projet de l’Association canadienne pour l’écologie sonore vise à éveiller votre conscience sonore, et pour y arriver, il fait appel aux microphones, au sentiment d’appartenance, aux récits sonores et à l’expression artistique. L’objectif des œuvres présentées par Cartes postales sonores Canada est de créer une intimité entre l’artiste et l’auditeur de façon inédite.

Si vous êtes fascinés par les sons de cette exposition et par les sentiments qu’ils vous inspirent, nous vous invitons à approfondir vos recherches créatives, éducatives et artistiques; à participer et à assister à davantage de festivals, d’expositions et de présentations, et à continuer de créer. Pour de plus amples renseignements sur la façon de consulter et d’utiliser les sons de cette exposition, faites parvenir un courriel à postcards@soundecology.ca. Pour de plus amples renseignements sur l’Association canadienne pour l’écologie sonore, et pour la contacter, visitez le www.soundecology.ca.

L’équipe de Cartes postales sonores Canada
Carmen Braden – Responsable de projet
Andrea Dancer – Organisatrice
Matt Griffin – Concepteur Web
Andrea Schmidt - Concepteur Web, A-Schmidt.com.
Eric Powell – Responsable du mastering
Randolph Jordan – Conseiller technique
Sarah Brown – Responsable de la promotion
Raylene Campbell – Responsable de l’administration

Juror Interviews

Moderator Carmen Braden sat down with each Audio Postcards Canada adjudicator to discuss their process in choosing the final 16 compositions out of 87 submissions. The conversations are insights into how different acoustic ecologists, sound artists, and electroacoustic composers think about sound and how they engaged with the audio compositions.

Tyler Kinnear
The Interview

Tyler Kinnear is a PhD candidate in musicology at the University of British Columbia. His work focuses on contemporary sonic art, with particular interest in conceptualizations of nature, soundscape documentation and composition, modes of listening, and alternative performance spaces. Tyler has contributed to the Ecomusicology Newsletter, Music & Politics, Organised Sound, and Soundscape. In his spare time, Tyler organizes public listening walks and performs and composes with the sonic environment.

Stephanie Loveless
The Interview

Stephanie Loveless is a Montréal-born artist who works with sound, video, film and voice. She makes soft-speakers out of paper cups, performance prescriptions for audience-identified ailments, and sound works that channel the voices of plants, animals, and musical divas. Her work has been presented in festivals, galleries, museums and artist-run centers worldwide. She holds MFAs from Bard College and Rensselaer Polytechnic Institute, and a certification in Deep Listening. www.stephanieloveless.ca

Charlie Fox
The Interview

Since the early 1970’s, Charlie Fox has created and exhibited audio art, experimental film, video art and multimedia installation artworks in Canada and abroad. As a multidisciplinary artist, he has also been integral to theatre, dance and music productions and performances, directed arts documentaries for broadcast television, curated art exhibitions and, through his artistic practice, has developed internationally prominent research in immersive sound. Photo Credit Loretta Paoli

Carmen Braden

Neutral Moderator and Interview Host Carmen Braden is a composer from Northern Canada, who has lived most of her life in Yellowknife, Northwest Territories. Many of her works incorporate environmental elements that reflect the sub-Arctic environment. Carmen’s works have been performed throughout Canada by internationally-acclaimed performing ensembles including the Elmer Iseler Singers, the Gryphon Trio, the Land’s End Trio, GroundSwell and the Penderecki Quartet. Carmen is the vice-chair of the Canadian Association for Sound Ecology.



These audio works are best experienced using good quality headphones and speakers. We invite you to explore these sounds and writings in any order you choose!

L’expérience de ces compositions audio est optimale si l’auditeur porte un casque d’écoute où utilise des haut-parleurs haute-fidélité. On vous invitez d’explorer les sons et les écritures en l’ordre de votre choix!