Projects

Artengine/Electric Fields [www.artengine.ca]

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Mixed Media Talk
Event Organization

“Artengine is an Ottawa-based collective of artists, technologists and interested members of the general public with strong ties to the local, national and international community of technologically-based artists. Electric Fields is Artengine’s annual festival of digital arts.” For the 2010 edition of Electric Fields I developed a multimedia talk on various facets of my research on bass and the materiality of sound. Discussion spanned the physics of acoustic vibration, pipe organs, burial mounds, “vibratory arts,” and contemporary bass culture. The festival’s 4000-watt sound system ensured that it was an intensely physical experience for the audience.

Writing
Publication Editing
Panel Chair
Event Organization

For Electric Fields 2012, I co-organized an international symposium called Surrounding Sound which brought together artists, architects, scholars, and critics to discuss questions of sound and space. How does space shapes sound? How does culture shape sound? How does sound shape knowledge? And can sound be spaceless? The multi-part event was hosted by Artengine, the Arts Court, and the Carleton University School of Architecture. In 2013, Surrounding Sound became the basis for an online publication authored by the four panel chairs and edited by myself.

Carleton Immersive Media Studio (CIMS)/BSL-Pose [www.cims.carleton.ca]

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Field Recording
Sound Design for Immersive Animation

“Carleton Immersive Media Studio (CIMS) is a Carleton University research centre dedicated to the advanced study of innovative, hybrid forms of representation that can both reveal the invisible measures of architecture and animate the visible world of construction.” The BSL-Pose project centred on a collection of highly detailed, 3D-animated rendering of Montreal’s Lower St. Laurent neighbourhood, meant to convey its contemporary daily life, meshed with elements of history and local legend. My contribution was sound design for a set of immersive installations, staged in the neighbourhoord, at Montreal’s Société des Arts Technologiques and outdoors in the adjacent Parc de la Paix. These recordings – most of them heavily layered, edited, and processed – were derived from field recordings captured in the area.

Cybercartography [gcrc.carleton.ca]

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Studio Recording
Sound Design
Module Conceptualization
Interface Protoyping

“The Geomatics and Cartographic Research Centre at Carleton University focuses on the application of geographic information processing and management to the analysis of socio-economic issues of interest to society at a variety of scales from the local to the international and the presentation of the results in new, innovative cartographic forms. Cybercartography is a new multimedia, multisensory and interactive online cartography and its main products are cybercartographic atlases using location as a key organizing principle.” From 2005 to 2007, I worked with the GCRC Sound Sub-cluster, helping to develop the theoretical, methodological, and technological foundations for sound’s integration in to Cybercaertography projects (see Publications). Our main focus was the Cybercartographic Atlas of Antarctica, a multimedia hypernarrative for which I did studio recording, editing, and sound design. I also led a second project – which sought to map diasporic musical cultures – contributing research, module conceptualization, and interface prototyping.

Audio Production / DJ [listen]

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Audio Production
DJ Performance
Digital DJ Mixes
Podcasts / Radio

I began making beats in the early-1990s, with drum machines, samplers and tape. By 2000, I moved to computer-based systems combined with a small collection of outboard tools, focussing increasingly on heavily processed compositions derived mainly from found sources. I’ve also been a DJ (vinyl and digital), on and off, for much of that time, beginning with Hip-Hop, and more recently playing variants of UK Garage. In 2004, I began a popular series of studio mixes called Autonomic Computing that combine soundscape techniques with passages of intense layering and editing that would be impossible with turntables. These mixes have been featured on radio in several countries, as well as in the acclaimed Blogariddims podcast series. Recent efforts have adapted this approach to mixing experimental musics and non-musical sources. In the last several years, I’ve also begun building my own electronic instruments and effects.

Web [deeptime blog] [riddim.ca]

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Writing
Design / Coding
Online Communities
Promotion

I’ve been building and maintaining sites for myself and others since the early days of the Web. These days, I keep two of my own. Deeptime.net has been home to my erratically updated blog since 2006. Riddim.ca was founded in early-2005 as a hub for North Americans interested in emerging forms of underground music from the UK. We’ve helped promote events across the continent, and for a time hosted the busiest web forum of its kind. Since 2007, Riddim.ca has also hosted the archives of Hyperdub.com (now Hyperdub records). Mostly dormant now, Riddim.ca remains one of the web’s largest collections of writings on UK Garage, Grime and early-Dubstep, including articles, interviews and reviews by a dozen contributors from around the world.