Montreal 02.10.2002 – Maid in Cyberspace Festival

Maid in Cyberspace Festival – Les HTMlles: le Festival de Cyberart du Studio XX – February 6th -10th 2002- At the Societe Des Arts Technologiques (SAT), 305, Ste-Catherine West, Montreal (Quebec)

WEB JAM

Sunday February 10th, 2002

Symphony for the Devil –

(Tasmanian Museum and Art Gallery) in Hobart, Tasmania / Symphony for the Devil – between Maid in Cyberspace 5 (with the participation of Katherine Liberovskaya, i8u and Anna Friz) and the artists attending at the international media art event / wilderness residency Solar Circuit 2k2, in Tasmania, Australia, with the collaboration of TMAG (Tasmanian Museum and Art Gallery) in Hobart, Tasmania

also

NETWORK-ART

Marie-Christiane Mathieu, (Québec) Monument du vide : work in progress

Avec la participation de Stéphanie Lagueux, Julie Lapalme, laura-jeanne lefave,I8U, Elisabeth Mathieu, Claire Piché, Andrée Préfontaine, Léonie Clermont, Marie Sarah Gilbert – Deschesnes, Oana Spinu et Sean O’Hara . Avec la collaboration de Daimon, de l’Université du Québec à Trois -Rivières, de La Chambre Blanche et du Laboratoire de Poche.


Montreal 12.12.2001 – VOLT-AA: 3

Upcoming Performance

VOLT-AA: 3 audio programs of contemporary electronic music brought to your ears.

curator: Eric Mattson

dates: December 12 and 19 , 2001; January 16, 2002
hour: 8 pm (no admission after 8:30 pm)
location: O PATRO VY´S, 356 Mt. Royal E., one floor above Bily Kun Bar
Ticket : 7$ (at the door)

VOLT-AA diffusion project consists of 3 presentation-performances scheduled from December 12, 2001 to January 16, 2002. Each of these presentation-performances, approximately of two hours, will take place as following :

-Welcome

PART 1 is a deep listening audio program of known and recorded pieces, all related to a chosen theme
-pause

PART 2 brings the live interpretations of the theme by 3 Montreal composers
-sharing thoughts and drinks

Wednesday December 12,  2001
VOLT-AA (03) ­ SILENCE

Part one
Listening: LINE label and composers Richard Chartier, Bernard Gunther, Immedia + Hafler Trio, Morton Feldman, Kozo Inada, Francisco López . . .

Part two
LIVE sets: Alexandre St-Onge, I8U Ælab, and . . . the Silence.

VOLT-AA is produced in collaboration with
Artificiel.net
Mutek
Navire Night (Radio-Canada)
Oboro
O Patro Vy´s

VOLT AA thanks le Conseil des arts et des Lettres du Québec for the help and trust given to this project.

Eric Mattson, ORAL, Mutations Technologiques

Review – i8ub (bake) 2001 by WTB

i8u: b Bake Records  047  2001

i8u has been a guest on WtB? twice and is an important figure on the Montreal new music scene.   She deserves it.  She has a clear grasp of sound and her manipulations of deep sonic material are outstanding.  i8u is changing over time, and this latest offering gives us a glimpse into her new style. Bass pulses and granular, near distorted sounds throb away as i8u slowly performs some sonic tricks.   I like the disc, but there’s something a bit “incomplete” about it all.  As if i8u hasn’t quite got it all sorted out yet.  I’m looking forward to seeing where she’s headed.  I’d pick it up if you haven’t heard anything else, otherwise, hold out for what’s to come.

Montreal 11.03.20001 – Monument du Vide

November 3rd & 4th, 2001

ALICA
(Alliance for the circulation of art)

Monument du Vide – a work-in-progress
i8u and Claire Piché will be  providing the audio portion of Marie-Christiane Mathieu’s ambitious two-day project where artists, located in 4 laboratories in Montreal will be creating online web art by exchanging files and manipulating them.  The public is invited to log on to www.3e-imperial.org and www.ontogenetic.org for hourly updates, or to simply drop in at any of the laboratories to watch the artists “perform” this virtual piece live.

Review – i8ub (bake) 2001 – by Deanna Radford, Stylus

Repeated listens to B will present some kind of infusion of pressing atmospheric sounds, driving, nominal clicks and beats. This album is percussive and heavy in a way. The result doesn’t consist of heavy-handed or abrasive qualities, but those of subtlety in the utmost sense. Not unlike Pan Sonic sounds, there is some element of the heavy that is wonderful and inescapable on B…The track Sciatica is a quiet and dense track; it’s as if all of the reverb often expelled with a heavy dub sound has been sifted, as the dub sounds go on to explore on their own and turn up in a ringing and newly-shapen space. Mind though, there is no dub here. Montreal’s i8u has made some really lovely stuff. Her work has been suscribed to in the past as aloof or withdrawn sounding; however, what seems to equal to this listener is simply a rewarding challenge that is quite pro. (Bake/Staalplaat,www.i8u.com) – Deanna Radford, Stylus

Review – i8ub (bake) 2001 – by Phillip Sherburne, Needledrops

++ I8U, B (Bake/Staalplaat): Like Goem or early Panasonic, i8u‘s music sculpts carefully shuddering rhythms out of the clash of waveforms and undulating bass tones. It’s not quite repetition’s endgame, but it comes close; as with Noto or Thomas Brinkmann, you have to listen close to hear the variations as overlapping loops twine out to seeming infinity. For all its simplicity, B charts strikingly original territory; each track impresses its signal firmly in your perception, elevating the mathematics of sound to a more abstracted poetry. Music like this, ideally, is meant to be heard in an enormous space on military-grade speakers, so that the room becomes its own instrument. But this CD still suggests a vast, cavernous expanse of sound.

Review – i8ub (bake) 2001 – by I.Khider, Exclaim

Montreal-based i8u’s second release marks a departure from the her purely noise textured debut album. This time around, her music focuses on the development of rhythmic electronic structures. On “b”, i8u touches a variety of electronic styles, including atmospheric industrial, brooding dark techno and more textured noise, yet is not rendered as harshly as her earlier work. Some of the more splendid works are “Sortie”, with its steady, tense build-up that emulates a cyborg pulse, and “Senescence,” a menacing robotic gladiator of a track with its strutting reverberating rhythms. i8u developed these sounds as free from contemporary influence as possible, which explains the aloof feel of these pieces. Not to say that she cannot hold her own against them and perhaps even frighten them off. Indeed, i8u has evolved from the primordial vacuum of pure noise and the sonic forms of “b” are quite the departure, creating one of the rawest yet satisfying aggressively moody electronic albums of the year – I. Khider, Exclaim !