SCA News

Posted on 30 May 2017 in

Congratulations, Vanessa Goodman

Vanessa Goodman, who is an SCA BFA Dance graduate and the artistic director and choreographer of the Vancouver-based dance company Action at a Distance, has been selected to participate in the Yulanda M. Faris Choreographers Program, along with Daina Ashbee and Justine A. Chambers. Vancouver's Dance Centre describe the program, which they coordinate, as "an initiative designed to mentor and support choreographers who are ready to make a significant leap forward in their work, empowering artists and providing them with the tools to position their careers in a national and international context, through exchanges, networking opportunities, mentoring and professional skills development." Congratulations, Vanessa!

To find out more about Vanessa Goodman and her work with Action at a Distance, the Yulanda M. Faris Choreographers Program, the Dance Centre, and the other dancers, please click the links embedded above.

Vanessa Goodman and Action at a Distance
SFU Woodward's Developmental Residency Program

Posted on 29 May 2017 in

Congratulations, Adam Basanta

SCA BFA (music composition) graduate Adam Basanta has been awarded the Aesthetica Art Prize Main Prize of £5,000 by the British art and culture magazine Aesthetica. Basanta's winning work is his 2016 sound installation, Curtain (white), which features patterns of white noise playing back across a three-meter long array or 'curtain' of Apple EarPods headphones. Congratulations, Adam!

Visit Adam's website for more about him and his work.

Posted on 26 May 2017 in

Congratulations, Remy Siu

SCA BFA graduate Remy Siu has been selected as one of two composers for the first Carrefour Composers Residency, which is organized in partnership by the Canada Council and the National Arts Centre.

As well as his BFA (Hons) from the SCA in the Music Area, Remy is also currently the Artist-in-Residence for the Push International Performing Arts Festival, the Co-Artistic Director of Hong Kong Exile, and the Co-Director and Manager at the Gold Saucer Studio.

Click here for more information about Remy and his work.

Congratulations!

Here's the official press release from the Canada Council and the National Arts Centre:

For composers, the opportunity to work with a great orchestra can be life changing. That’s why, in January, the Canada Council for the Arts and the National Arts Centre (NAC) launched a call for applications for Carrefour, a professional development residency for 2 emerging, culturally diverse or Indigenous composers. It’s vital to nurture and mentor talent that will contribute to the long-term aesthetic and cultural diversity of orchestral and chamber music, and this initiative will provide support to new voices on the Canadian music stage.

Following a competitive selection process, we’re proud to announce the first 2 composers to take part in Carrefour.

Ian Cusson, Toronto

Ian Cusson is a composer of art song, opera and orchestral work. Of Métis and French Canadian descent, his work explores the Canadian Indigenous experience, including the history of the Métis people, the hybridity of mixed-racial identity, and the intersection of Western and Indigenous cultures.

Remy Siu, Vancouver

Remy Siu is a composer and new media artist of Chinese descent based in Vancouver. His work involves the construction of automated and variable performance apparatuses that use light, sound, software and the body.
About the residency.

This residency is part of an exciting, new 5-year partnership between the Canada Council and the NAC, which will highlight the national leadership role of both organizations and support professional development in composition for Canadian orchestras.


During their residency, the composers will work with and be mentored by Music Director Alexander Shelley, the NAC Orchestra musicians and administration, and will have access to the NAC's creative production and performance environment.

“I feel very excited by our choices as they offer a real spectrum of compositional styles.” - Alexander Shelley, Music Director, NAC Orchestra

“This is an exciting partnership between the NAC and the Canada Council. Carrefour will have a definite impact on emerging composers, the orchestral community and audiences.” - Simon Brault, CEO and Director, Canada Council for the Arts

Over a 2-year period, Ian and Remy will come to Ottawa 6-8 weeks per season. They will experience the day-to-day life of an orchestra, with access to rehearsals and concerts, as well as Canadian and international guest conductors and composers. In the first year, they will each write a work for chamber ensemble; and in the second year, a work for full orchestra. Congratulations to both!

Learn more about Carrefour.

Posted on 23 May 2017 in

Harbour Centre Public Art Installation

Our friends at SFU Vancouver have put together a nice video introducing a public artwork on part of the hoarding around Harbour Centre, which they note is undergoing "a period of restoration". Steven Hubert, who's a SCA MFA grad and sessional instructor, worked with SCA Visual Art students to develop a new work for the site. As Hubert describes, he and the students challenged the original brief for the project to produce a large-scale painting of abstracted text.

 

Posted on 08 May 2017 in

Cale Plut’s The Audience of the Singular

Created as part of Cale Plut's MFA thesis work, The Audience of the Singular explores the idea of the player acting as an active participant in the creative musical process. By playing the game, the player shapes and performs a uniquely generated musical score for a virtual audience.

AOTS uses a corpus-based, machine-learning system to generate music which attempts to emulate music from video games of the 1980s and 1990s. The system generates music in real-time to accompany the player's actions.

The player plays the part of the DJ, mixing this generated music to match the whims and wants of the audience. As the player mixes to their audience, the audience becomes more excited and grows.

Download Instructions

Download The Audience of the Singular here

For Mac: Download either the .app file from SFU Vault, or the .zip file from SFU Vault or Itch.io and extract the .app. Place this file anywhere except the downloads folder on your mac. Then simply run the .app, choose your settings, and enjoy!

For Windows: Download either the .exe file and _Data folder from the SFU Vault, or the .zip file from the SFU Vault or Itch.io and extract the .exe file and _Data folder into the same place. Then simply run the .exe, choose your settings, and enjoy!

If a security pop-up occurs: Control-click on the app, select “open”, and then select “yes” when prompted.

 

Posted on 08 May 2017 in

Congratulations, Alexandra Spence

Recent SCA MFA grad Alexandra Spence has been selected out of an "international open call" by "an esteemed panel of judges including sound artists Janek Schaefer, Annie Mahtani and publisher of The Wire, Tony Herrington" to be part of The Engine Room 2017: International Sound Art Exhibition, which "celebrates the most exciting sound art being produced right now by emerging artists from across the world." Spence's winning installation work, Listening to the sea from at least twelve points of hearing, is now on display at the Morley Gallery in London, UK.

Spence also presented Listening to the sea from at least twelve points of hearing as part of her work in her MFA Graduating Exhibition, will today be like yesterday – will yesterday be like tomorrow, at the Audain Gallery in 2016.

Find out more about Alexandra Spence at her website: alexandraspence.net

Photo credit: Lukas Engelhardt

Here's a short video Spence produced to document the work:

In this work I made twelve field recordings, one at each of Vancouver’s beaches, using a portable cassette player and hand-built tape loops. Each tape loop ribbon was removed from the cassette casing and buried in the location at which it was recorded. One to three months later they were dug up and placed back into cassettes. The obvious result is the physical deterioration of the tape, and degradation of the original recordings. And yet the deterioration of one thing is a transformation into another.

I decided to bury the tape to see how it might be affected by changes in temperature, the magnetism of the earth, as well as moisture and scratches from dirt and earth. Not only are the sounds of waves and wind recorded, the sand and dirt is embedded and etched into the tape too and thus affects the sound of the audio recording.

Listening… is also an attempt at collaboration, asking and prompting a place to affect its own sounding. Burying the tape seemed to give the places at which I was recording and burying a sense of autonomy over their own soundings. I imagined this as a collaboration of sorts – I made a recording and the physical variables of each place and location altered it. The decision to bury tape at each of Vancouver’s beaches became a way for me to connect the place I was in to the place I was from.