©Tu M’, 2009

Sublimation: An Exercise in the Immersive

March 3 – April 7, 2012

Saturday, March 3, at 5 pm

Audio Screening
Studio 04
Saturday, March 3, from Noon to 7:30 pm

Live Performances
Studio 01
Saturday, March 3, from 7:30 pm to 8:30 pm
(pass required, available at OBORO from Tuesday, February 28)

Helen Frosi, France Jobin and Yann Novak

Sublimation: An Exercise in the Immersive is an exhibition featuring a range of audio-visual works  that respond to the idea of the sublime. The exhibition presents eight international artists: Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (TW, UK) and Tu M’ (IT).  These works saturate the sonic and visual landscape, drenching and enveloping the audience and must be experienced to be truly understood.

The six audio-visual works on view in Sublimation: An Exercise in the Immersive explore the sublime through their creation of expansive, saturated and meditative environments.  Each artist’s work accentuates an understanding and appreciation of multi-sensory experiences.

The artists in this exhibition explore a wide range of artistic styles and practices, from audio and video field recordings (Morning by Mimosa|Moize), the utilization of broken lenses for light and sound manipulation (Letterlens to Kid Eyes by Ryan Connor), and the incorporation of ceremony and ritual (Provody by Gary James Joynes/Clinker).

One of the more well know works in the exhibition comes from artist duo Tu M’ (Rossano Polidoro and Emiliano Romanelli) who contribute a work from their Monochrome series: Monochrome # 09+V06, a reductive landscape that has been distilled down to fragile atmospheric shades of blue. Robert Crouch pushes the idea of traditional landscape further with his work Dusk, which presents an impossible landscape where a single surface shifts from land formation to skyline and back again.  Landscape leads to location based work in Mark + Laura Cetilia’s Visiting Hours where the piece is formed from recordings within the Museums of Bat Yam, Israel where the piece was first exhibited.

The opening night of Sublimation: An Exercise in the Immersive is accompanied by two complementary programs; an audio screening including works by: Katherine Bennett (US), Celer (US, JP), Stéphane Claude (CA), Heribert Friedl (AT), Robin Parmar (UK, CA, IE), Tomas Phillips + Craig Hilton (US), Scant Intone (CA) & Tom White (UK); and a concert consisting of live performances by:  Robert Crouch (US), David Kristian (CA) and Mimosa|Moize (UK).  The audio screening serves to highlight a larger range of work that fits into the idea of the sublime.  The live performances is a chance for both artist and audience to be consumed by the same visceral experience, to be drawn into and among the same heights and depths of the sonic and emotional spectrum.


Mark + Laura Cetilia (US), Ryan Connor (US), Robert Crouch (US), Gary James Joynes/Clinker (CA), Mimosa|Moize (UK, TW), & Tu M’ (IT).

Sound Diffusion:
Katherine Bennett
(US), Celer (US, JP), Stéphane Claude (CA), Heribert Friedl (AT), Robin Parmar (UK, CA, IE), Tomas Phillips + Craig Hilton (US), Scant Intone (CA) & Tom White (UK).

Sound Performances: 
Robert Crouch
(US), David Kristian (CA) & Mimosa|Moize (UK).



Helen Frosi is an artist and curator with an interest in sonic and olfactory arts, currently based in London (UK). Helen is co-founder and creative director at SoundFjord the UK’s first sound-devoted gallery and research unit. As a serial collaborator with nomadic tendencies, Helen has programmed internationally for organisations and festivals as well as creative and unconventional arts spaces. Recent projects include screenings, performance and installations for, among others, Apiary Studios (UK), Café Oto (UK), Dragonfly Festival (SE), Galerie8 (UK), Gorey Arts and Film Festival (IE), ICA (UK), Pigeon Wing (UK). Helen is currently a nominator at Supersonix (UK).

France Jobin (1958) is a sound/installation artist and curator residing in Montreal. She has created solo recordings for ROOM40 (AUS), nvo (AT), ATAK (JP), murmur records (JP) and LINE (USA). Her sound installation Entre-Deux presented within the new media exhibit DATA/FIELDS, was met with critical acclaim in Washington DC. Curated by Richard Chartier, DATA/FIELDS included Ryoji Ikeda and Mark Fell among others. As a curator, she has presented several events, amongst those: emptiness at Monkeytown, New York (2006), Nocturne 3, Mutek in 2007 (co-curator) and her latest endeavour Immerson (2011) at OBORO, a concert event/philosophy which she initiated and is curating.

Yann Novak is a sound, video and installation artist based in Los Angeles. He has presented his installation work through solo exhibitions at 323 Projects (CA), Armory Center for the Arts (CA), Las Cienegas Projects (CA), Lawrimore Project (WA), Soundfjord (London, UK) and in two person exhibitions at the Henry Art Gallery (WA) and  Pøst (CA). In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye has published over 60 releases and has received critical acclaim.


Stéphane Claude, France Jobin, Yann Novak

See photos below

Thursday, February 24 and Friday, February 25, 2011, at 6 pm, limited seating!

Two “consuming” evenings of minimal sound art with Yann Novak, Stéphane Claude and i8u in which both artists and audience are mutually drawn into the same heights and depths of the sonic/emotional spectrum.

This sound art will be felt as well as heard.

Tickets on sale at OBORO for $10 (cash only), from Tuesday to Saturday, noon to 5 pm.
You can also dial 514 844-3250 to hold tickets for 24 hours.

Oboro, 4001, rue Berri, local 301, Montréal (Québec) Canada H2L 4H2

The Artists :

Stéphane Claude is an electronic_acoustic composer and sound engineer.

His research is based on integrating a conceptual and physiological framework of audio recording and sound installation for different diffusion contexts in the electronic arts. His interests gravitate around the communication of a formal aesthetic, of a transductive experience of the electronic medium, an exploration of digital signal processing, the parameters of acoustic and sound in spaces.

His work has been published by ATAK(JP), LINE (US), ORAL (CA), among others.

He is the co-founder of the art research unit Ælab with artist and professor Gisèle Trudel. The work of Ælab has been shown internationally. Upcoming projects include a workshop and performance in New-Zealand at the SCANZ Eco Sapiens residency and an exhibition at Fonderie Darling in march 2011.

As an audio consultant, he participates in the conception, production and integration of presentation spaces, of specialized analog and digital creation and production studios for artist run centers, institutions and independant sites.

France Jobin  is an audio / installation artist, composer and curator. Her audio art, qualified as “sound sculpture”, distinguishes itself in a minimalist approach of complex sound environments at the intersection of analog and digital. She participates in festivals, as well as presents installations and events internationally. Jobin has produced numerous solo albums with renowned labels such as ROOM40 (AU), LINE (US), popmuzik records and ATAK (JP).  France Jobin was a Sonic Arts Awards 2014 finalist in the category Sonic Research.


Yann Novak (b. 1979 Madison, WI) is a sound, video and installation artist living and working in Los Angeles. His work utilizes different forms of digital documentation as a point of departure. Through the digital manipulation of these sound and image files, his works serve as a translation from documents of personal experiences into an open ended autobiographical narrative. By choosing subject matter that is also relatable to the audience, Novak’s work creates a hybrid state, balancing between his own personal history and that of the audience.

His recorded works have been published by Dragon’s Eye Recordings (US), The Henry Art Gallery (US), Infrequency Editions (CA), Koyuki (IT), LINE (US), Mandorla (MX), smlEditions (US), White_Line Editions (UK) and others.

Novak’s installations and performances have been presented internationally at prestigious events and venues including American Academy in Rome (Rome, Italy), Blim (Vancouver, BC), Decibel Festival (WA), Ersta Konsthall (Stokholm, Sweden), Fiske Planetarium (CO), Henry Art Gallery (WA), Hit Art Space (Gothenburg, Sweden), Kasini House (VT), Las Cienegas Project (CA), Lawrimore Project (WA), Los Angeles Contemporary Exhibitions (CA), Mutek Festival (Montreal, QB), San Francisco Museum of Modern Art (CA), Seattle Lesbian and Gay Film Festival (WA), Soundfjord (London, UK), Soundwalk (CA), Suyama Space (WA), TBA Festival (OR), Torrance Art Museum (CA), Western Bridge (WA) and others.

As a result of these endeavors, Novak had been invited to numerous Residencies including the Environmental Aesthetics Residency (WA), the Espy Foundation Residency (WA), the Jental Artist Residency (WY) and the Kasini House Studio A Residency (VT).

In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye Recordings has published over 25 releases and has received critical acclaim. In 2009, Infrequency Editions, curated by Jamie Drouin, was integrated into Dragon’s Eye’s operations and distribution.

In recent years Novak has collaborated through select installation, performance and recorded work with Gretchen Bennett, the Crispin Spaeth Dance Group, Robert Crouch, Jamie Drouin, Will Long, Marc Manning, Alex Schweder and others.

Artist Statement

My work is an exploration of incident, process, and narrative. Central to my practice is the capture and manipulation of audio recordings and photographs. Through various types of digital media, I collect material from a range of sources, initially selected because of the subject matter’s emotional content. The content of these documents is used as a point of departure and a catalyst to recall the experiences; it is never used or excluded because of aesthetics. These documents then become highly charged fragments of an ongoing autobiographical text. Dramatic events like relocating from one city to another, or simple day-to-day incidents like being trapped inside during a strong rain, can be equally compelling. I am interested in reconfiguring documents of moments such as these into abstract, open-ended narratives. My intent is to create experiences that give the audience a window into my own personal experiences, but leave enough to the imagination that the viewer has room to relate their own experiences.

By subjecting these selected recordings to a series of erasures and treatments, a delicate palette of textures, drones, and subtle melodies emerges. When photographs are incorporated into my work, similar treatments and erasures are used to shape them into videos of slow moving or static color fields intended to tint the listening experience. Each piece is then composed from numerous variations from a single source, meticulously sculpted to highlight some aspect of the original document. Although significant details and artifacts are deliberately eliminated, the narrative and structural elements of the source material are left intact. The final form of my work may be realized as sound installation, sound performance, large-scale projection, video work or recorded work.

Each of my works is an investigation into presentation, composition and perception, not just to be heard, but to be felt. By creating situations the audience can relate to, a hybrid state is created, existing somewhere between my own personal history and that of the audience.

Recorded Work Description

My recorded work functions in a number of ways, all with the final goal of re-presenting my work in a format that is more easily accessible to a larger audience. One way I take advantage of the recorded format is to explore and further expand on themes and ideas present in installation or performance work. In these instances, fragments of, or source material from previous installations or performance works are reworked to further explore the idea expressed in the original.

I also use recorded works as a way to catalogue and document my installation or performance work. When I use recordings for this purpose, each work is treated differently depending on its origin. Generally, the goal is to preserve as much of the original experience as possible or to simplify the piece to not detract from the original experience.

The final way I use the recorded format is to free my process from the dependence on an exhibition or performance space in order to explore concepts or techniques not suitable for those venues. In this final form, recorded works serve as a platform to sketch, experiment or collaborate with other artists and affords me more freedom while getting exposure and feedback from an audience. Publishing recorded work allows me to breathe new life and longevity into pieces that would otherwise not allow it due to their ephemeral nature.

Sound Performance Description

My sound performances utilize the same techniques as my recorded or installation work: transforming a simple environmental recording into a richly layered, and emotionally tense composition. Since each of my works is constructed out of numerous variations on a single recording, my performances are composed from a library, unique to that piece, of altered sounds. Through this process my performances can take on aspects of my recorded or installation works, while maintaining the flexibility to adapt to unique venues, situations, environments and the audience.

My performances are also adaptable through their presentation. Generally I will perform in stereo, but when possible, my performances can be expanded to up to 6-channel surround. My performances utilize darkness as a visual cue to draw the audience into a deeper listening experience. However, in some cases, video will be utilized as a focal point if the piece was originally conceived with a video element. The video paired with my performances is similar to my installation works, slow moving or static color fields projected behind me on stage or in multiple around the audience. Both of these elements can be discussed with the organizer and are expansions on the basic elements of my performance.


Novak does not waste his chance to make a first impression. In fact, with remarkable economy he transforms the three rooms he’s been given to work with into chambers where you can be transported into states of mind that feel both personal and familiar. Using digitally altered field recordings (in which the sounds are heightened but the time is real) and snapshots digitally stitched together and abstracted into gleaming videos, Novak both fills the work up with his subjective experience and empties it out to make room for you. There’s just enough specificity and just enough blankness.

I know, technically, how Novak made this work, but I don’t quite know how it works. The closest I can get to describing his approach is that it’s a combination of generosity and restraint. Each detail being so firmly in place means that the rest is open.
– Jen Graves , The Stranger (From “Yann Novak’s ‘Relocation’: All Kinds of Movings On” May 13, 2009)

The work is distinguished by its clean design, with its constituent parts meticulously woven into a seamless flow without a superfluous element in sight.
– Textura (CA)

Essentially, this is a drone workout, but in the hands of one of its most proficient exponents, becomes a glistening, precious sound work, unrivalled but by a handful of contemporaries. Novak has seemingly taken an obvious source sound, and with an exploratory and majestic treatment transmuted it into sonic gold. Masterful.
–BG Nichols

Novak creates a sense of distance by abstracting his source materials beyond recognition – whatever is going in is obscure, and far away. Hence the vague, rotorblading, respiratory effects of the first of these three tracks – the sound of systems ticking over, yet whose undulating motions are curiously involving.
–David Stubbs , The Wire (UK)


immersound is a concert event/philosophy initiated by France Jobin (i8u) which proposes to create a dedicated listening environment by focusing on the physical comfort of the audience through a specifically designed space. The premise for immersound is to seek out/explore new perceptions and experiences of the listening process by pushing the notion of “immersion” to its possible limits.

Montreal 10.19.2009 – Simulcast

still life by i8u

October 19.09

SIMULCAST - rebroadcast on Radio Jean-Talon

SIMULCAST info below...

SIMULCAST broadcast schedule:

15.10.09 Hélène Prévost
16.10.09 Harold Schellinx
17.10.09 GX Jupitter-Larsen
18.10.09 Mario Gauthier
19.10.09 i8u
20.20.09 Stéphane Claude
21.20.09 Martine Crispo
22.10.09 Magali Babin

All broadcasts begin at midnight (Montréal time).

Tune in!  106.7 FM

Presented by the Montréal-based organization Silophone.
Curator: Emmanuel Madan
Independent curatorial project for a series of audio web based and radio

Reacting to a radio culture which accustoms us to the division of time
into a grid of discontinuous slices, Simulcast proposes a renewal of
radio’s relationship with eternity. Four artists are asked to provide an
unchanging sound or soundscape. Each artist’s work is broadcast
continuously over seven consecutive nights.

By bathing listeners in an event which remains unitary for a period of
many hours, Simulcast suggests a simultaneity between all moments of a
broadcast: a collapsing of long periods of time into a single instant.

Simulcast 2.0 : Sackville

As late-night radio listeners well know, unusual things can happen on the
radio after ...
Emmanuel Madan, Hélène Prévost, Mario Gauthier, i8u, Stéphane Claude

Simulcast 1.0b: Saskatoon

Simulcast 1.0b : Saskatoon spanned twenty-eight ...
Emmanuel Madan, Magali Babin, Martine H. Crispo, GX Jupitter-Larsen ,
Harold Schellinx

New York 09.17.2009 – Simulcast 2.0

still life by i8u

September 17.09

SIMULCAST 2.0 at ((audience)) in Syracuse, NY (Festival schedule below)

SIMULCAST 2.0 : Four Canadian sound and radio artists were asked to provide a single, unchanging sound.

Presented by the Montréal-based organization Silophone this past July in Sackville, these  works will be re-broadcast as part of  the ((audience)) radio festival on Red House Radio

Featuring sounds  by Hélène Prévost, Mario Gauthier, i8u and Stéphane Claude.”

19|20.09.09 Hélène Prévost “12:00”
20|210.9.09 i8u “still life”
26|27.09.09 Mario Gauthier “Transparence”
27|28.09.09 Stéphane Claude “Waves Array”


Announcing the U.S Premiere of ((audience)), an international festival of
5.1 surround sound art presented in movie theaters as “cinema in the dark”

U.S. Premiere of ((audience))
Thursday, September 17 – Sunday, September 27, 2009
Red House Arts Center, Syracuse, NY

NEW YORK – Curators Alexis Bhagat and Lauren Rosati announce the U.S.
Premiere of ((audience)) at Red House Arts Center in Syracuse, NY,
launching with a two-week festival of art, experimental media, live music,
a radio program, and featuring works by seven international artists in the
2009 program of ((audience)).

Conceived in 2006, ((audience)) is an unprecedented project that explores
the cinema as a 21st century concert hall. Currently, sound artists must
“perform” what are essentially multi-track recordings, interpreting the
playback of their compositions to account for technical and acoustic
variations in different sites. ((audience)) bypasses this problem by
considering the cinema-hall as a standard technical and acoustic platform
and site.

The centerpiece of ((audience)) is a 2 ½ hour “film” of 5.1 surround sound
works by seven international artists intended for presentation in movie
theaters as “cinema in the dark.” This program will travel to partnering
organizations from Delhi, India to Providence, RI to Montreal, Canada —
accompanied by curatorial lectures, performances and screenings on a
city-by-city basis — through 2010.

The inaugural two-week ((audience)) festival features six nights of
programs, each exploring a different perspective on the cinema as concert

Thursday, September 17 / 5-8pm
A kinetic, in-the-dark installation consisting of several light
‘paintings’ opens in the Joan Lukas Rothenberg Gallery at Red House. The
kinetic paintings use handmade optical projectors, LED lights and open
source 8-bit controller technology to produce a constant moving image.

Friday, September 18 / 7pm
LIVE PERFORMANCES: Loud Objects and MV Carbon / Zach Layton
This evening of experimental music at the Red House features the Loud
Objects, performing live 1-bit circuit bending on an overhead projector,
MV Carbon and Zach Layton, performing on sitar, cello, electronics and

Saturday, September 19 / 7pm
SCREENING: ((audience)) Premiere
The centerpiece of ((audience)) is a 2 1/2 hour program of sound artworks
by eight international artists. Presented  “in the dark” with full 5.1
surround sound, the evening will be an immersive experience in cinematic
audio. The ((audience)) Main Program contains works by: Jamie Allen; Bryan
Jacobs; Loud Objects; Simona Brinkmann; Natasha Barrett; Emmanuel Madan
and Anna Friz; Cedric Maridet and a Syracuse exclusive by Uli Schuster.

Thursday, September 24 / 7pm
TAPE-MUSIC CONCERT: Music on All Sides
This “in the dark” evening explores the use of 5.1 surround sound in the
composition of experimental and new music. Featuring the work of John
Hudak; R. Luke Dubois; and Brett Balogh and Stephen Hastings-King.

Friday, September 25
7pm / SCREENING: Cinema for the Eyes and Ears
This “psychedelic video mix” is composed of fractals, stochastic
structures, autumn leaves, sprouting seeds, nebulae and one pumping stereo
soundtrack. Featuring work by Sean Niessen; Dave Fischer; Sam Pellmann and
Miranda Raimondi; and Michael Northam.

9pm / SCREENING: Psicklops
A rare screening of mudboy’s “dark cinema psycho drama.”
Sunday, September 27 / 2pm
Join the curators of ((audience)) and Red House staff for a very special
event combining live karaoke, coffee and waffles from Funk N’ Waffles. To
be broadcast LIVE on Red House Radio.

September 17 – September 27 / All day
For ten days, special programs on Red House Radio will be broadcast to
coincide with the ((audience)) festival, including live performances, DJ
mixes from contributing artists, artist talks and spotlights, and new and
historic works of radio drama.

Curated by Alexis Bhagat and Lauren Rosati.

For more information about ((audience)) at Red House Arts Center, please
visit or call 315-425-0405. Red House Arts Center
is open Monday through Friday from 10am -5pm. Festival passes allow
admission to each event and cost $20. Individual events cost $10. The
opening of Last Wishes by mudboy on September 17 is free and open to the
public. All events will be held at Red House Arts Center.

Red House Arts Center / 201 S. West Street, Syracuse, NY / 13202
315-425-0405 /

((audience)) is dedicated to the advancement of aural arts by providing
wide distribution and new contexts for works by emerging and established
sound artists and composers. For our first decade, ((audience)) will focus
on the cinema as a technical and distributive platform, organizing a
biennial nomadic art festival in partnership with select arts
organizations worldwide.

Conceived in 2006, ((audience)) will premiere in Syracuse, NY this year
and will continue to travel internationally through 2010. We are
partnering with local arts organizations in cities worldwide and expect to
hold 12 further screenings/  festivals. Curatorial lectures, performances,
artist presentations and exhibitions will coincide with screenings on a
city-to-city basis. For more information on ((audience)), please visit

((audience)) / mail: 39 Ave. A, Box 103, NY, NY 10009 /
temporary HQ: 125 Maiden Lane, 9th Floor, New York, NY 10038

((audience)) is a sponsored project of Fractured Atlas, a non-profit arts
service organization, and Lower Manhattan Cultural Council’s Swing Space

In composing “still life”, I  recalled a fascinating experience during a recent stay on the Frioul archipelago, near Marseilles.  While walking and recording sounds for various projects, I noticed a snail on the steps leading to my studio. Everyday I walked up and down those steps; I was constantly excited at the prospect of observing the progress this snail would manage.   It was very cold and it looked to me as if the snail wasn’t moving at all.  My enjoyment of the snail was the surreal concept that I could not observe its immediate progress but was aware of it by gauging how much progress it had made each day.

This project being in line with the minimal aesthetic I am interested in of late, i have decided  to approach the sound of imperceptible change as audio “still life” .

Sackville 07.28.2009 – Simulcast


Presented by the Montréal-based organization Silophone in association with CHMA 106.9 FM (Sackville), Ok.Quoi?! Arts Frestival (Sackville), & ( New York State).

SIMULCAST 2.0 : Sackville is a month-long radio art series about listening to  radio at night and exploring radio’s links with eternity. Four Canadian sound and radio artists are asked to provide a single, unchanging sound, which will broadcast continuously for four hours each night on Sackville’s campus/community radio station CHMA-FM  106.9. SIMULCAST 2.0 begins at 2 am on July 28, 2009. At 6 am on  August 24, 2009, after the twenty-eighth night, the series will have completed and CHMA’s regular programming will resume. Featuring sounds  by Hélène Prévost, Mario Gauthier, i8u and Stéphane Claude.”

still life by i8u

In composing “still life”, I  recalled a fascinating experience during a recent stay on the Frioul archipelago, near Marseilles.  While walking and recording sounds for various projects, I noticed a snail on the steps leading to my studio. Everyday I walked up and down those steps; I was constantly excited at the prospect of observing the progress this snail would manage.   It was very cold and it looked to me as if the snail wasn’t moving at all.  My enjoyment of the snail was the surreal concept that I could not observe its immediate progress but was aware of it by gauging how much progress it had made each day.

This project being in line with the minimal aesthetic I am interested in of late, i have decided  to approach the sound of imperceptible change as audio “still life” .

SIMULCAST 2.0 : Sackville

Four artists are invited to create an unchanging radio broadcast

nightly from July 28th to August 24th 2009

Hélène Prévost “12:00”                   July 28 to August 3
Mario Gauthier “Transparences”       August 4 to 10
i8u “still life”                                  August 11 to 17
Stéphane Claude ” Waves Array”     August 18 to 24

All broadcasts 2am to 6am, local time (Atlantic Daylight Time, UTC – 0300)

Listen on the radio: 106.9 FM, CHMA
Listen on line:
Listen to the archive anytime:

Presentation by Emmanuel Madan, Project curator, Tuesday July 28 at 2pm
Struts Gallery, 7 Lorne Street, Sackville, NB Canada,

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 :


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

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

Wednesday December 12,  2001

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
Navire Night (Radio-Canada)
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