Formed in 1996 as the Canadian Affiliate Organization of the World Forum for Acoustic Ecology (WFAE), The Canadian Association for Sound Ecology/ Association canadienne pour L’écologie sonore is a coalition of Canadian individuals and institutions concerned with the state of the soundscape.
As Acoustic Ecology is the study of the relationship between living organisms and their sonic environment (or soundscape), it is the CASE mission to draw attention to unhealthy imbalances in this relationship, to improve the acoustic quality of a place wherever possible, and to protect and maintain acoustically balanced soundscapes where they still exist.
As a multidisciplinary organization CASE includes those who are committed to caring for the quality of the acoustic environment through their respective fields. If they are creators of sound, for example, they are sensitive to the relationship between their sound production and the acoustic environment. (CASE recognizes and supports the principle of sexual equality, and of English as its principal language of communication and of French as an official language).
Andrea Dancer, Chair
Andrea Dancer is a soundscape composer, radio feature producer, writer, and acoustic arts educator. She produces independent soundscape compositions, radio features and radio art for the Canadian Broadcasting Corporation (Vancouver, Toronto); National Public Radio (USA), Ars Acoustica (EU), and Radio Vltava (Czech Republic). With an MFA in poetry (mentored by George McWhirter, past Poet Laureate of B.C.) and radio-documentary feature (mentored by Don Mowatt), she has now completed a Ph.D in Cross-Faculty Inquiry at the University of British Columbia. Her research interests cluster around acoustic arts-based research and listener-to-soundscape relationships as expressed by soundwalking, soundscape composition, literary genres, scholarly exposition, radio and sound art. Her dissertation, which discusses these themes through multiple audio and textual means, is available at http://hdl.handle.net/2429/50833 (cIRcle library repository. She resides in Halfmoon Bay on the Sunshine Coast and in Vancouver, B.C.
Carmen Braden, Vice-Chair
Carmen Braden is a composer from Yellowknife, Northwest Territories. She received her Master’s of Music in composition at the University of Calgary in 2015 and her Bachelor of Music from Acadia University in 2009. Her Yellowknife-based company Black Ice Sound creates compositions, soundscapes, film scores and field recordings. Carmen’s music includes soundtracks, theatre sound design, works for spoken word, choral, and solo voice, electroacoustic installations, and jazz performance. Carmen has had works performed by the Gryphon Trio, the Penderecki Quartet, the Elmer Iseler Singers, and works have been performed at the 2010 Vancouver Olympics, the National Arts Centre’s Northern Scene Festival and at the 2012 Global Composition conference in Dieburg, Germany. Her work is heavily influenced by the sonic environment of the Canadian sub-Arctic, in particular, of the soundscape of ice.
Mathew Griffin, Treasurer
Matthew Griffin is a musician and composer from Kitchener, Ontario, Canada now living and working in Montreal. He holds a BFA from Simon Fraser University’s School for the Contemporary Arts and an MFA from The School of the Art Institute of Chicago. He is the co-founder and co-Artistic Director of Electricity is Magic, an arts organization and gallery now based in Montreal. He was the head curator for the 2011 and 2012 seasons, and has also served as curator for LiveBox Gallery in Chicago. His work includes recordings, performances and installations, which have been presented throughout the world. www.electricityismagic.com
Carol Anne Weaver, Secretary
Carol Ann Weaver is an eclectic composer, pianist, and Professor Emerita of Music at Conrad Grebel University College/UW, having retired July, 2014, where she taught composition, theory, jazz, women and music, and African music. Her genre-bending music, performed and aired throughout Canada, USA, Europe, Africa, Korea and Paraguay, results in new fusions of roots and art music, often environmentally themed and coloured by African music. Her seven CDs include songs and soundscapes for those whose stories speak of struggle and hope – African AIDS-infected children, victims of wars and atrocities, people whose stories need to be told. As a composer, she is a member of the Canadian Music Centre which houses and distributes her compositions. She has led a number of University of Waterloo students groups to Durban South Africa on music and culture study trips. She has also led three Sound in the Land festivals, the most recent being Sound in the Land – Music and the Environment Festival/Conference (June 5 – 8, 2014, at Grebel/UWaterloo) https://uwaterloo.ca/grebel/sound-land-2014 at which keynote speakers were Canadian composer R. Murray Schafer and South African carnivore researcher Gus Mills. The upcoming (2015) publication will include essays presented at this conference. Her recent book, Departure and Return, (Waterloo: Stonegarden Studios, 2014) gives perspectives on growing up in a Mennonite setting, leaving for Africa, and returning. An avid canoeist, wilderness camper, and traveller, she has made countless field recordings of natural sounds from Canada’s crickets and Cerulean Warblers to Kalahari’s Jackals and Barking Geckos, many of which find their way into her music. Her Kalahari Calls brings the wilderness into a scored orchestral setting. As well, she is once again Chair of ACWC, Association of Canadian Women Composers.
Sarah Brown, Membership Secretary
Sarah Brown is a PhD student in the School of Planning at the University of Waterloo. Her previous education in landscape architecture has inspired her interest in sensory aspects of design other than the visual – in particular, sound as an unseen but vital contributor to people and place relationships. Her present doctoral research focuses on soundscape preferences and the ways sound influences perception of urban spaces. Sarah’s research also explores visualization techniques in order to better incorporate the consideration of sound in urban planning and design processes.
Eric Powell, World Forum of Acoustic Ecology Representative (and WFAE Co Vice President)
Eric Powell is a sound artist and composer working with a wide variety of presentation methods including stereo and multi-channel tape composition, performing with integrated live electronics, as well as creating site-specific and interactive installations. His work is examines the intersection points between space, place and sound. Eric holds an MFA from Simon Fraser University and is currently working towards a PhD at Concordia University. He is also a founding member of the sound-art organizations Electricity is Magic and Holophon Audio Arts. His work has been heard throughout North America, Europe and Asia with recent presentations in Montreal, Prague, Limerick, and Dubai.
Raylene is a sound artist who embraces various creative practices including accordion improvisation, composition, performance art, sound and image, public intervention, and Deep Listening. She studied/worked as a freelance artist in New York and Montreal from 2000 to 2009, has a Master of Fine Arts degree from the Milton Avery Graduate School of the Arts at Bard College, and taught in the Department of Music at Concordia University. The focus of Raylene’s creative process involves explorations of acoustic ecology, psychogeography, architecture (acoustic and social spaces), computer interactive technology, and audience interactivity in both performance and installation environments. Raylene is currently based in Edmonton.
Randolph Jordan, blogmaster
Randolph Jordan is a film and media scholar/practitioner working at the intersections of soundscape studies, eco-media criticism, and critical geography. His work begins with a fundamental question: what can ecological perspectives teach us about the roles of sound/image media in facilitating human engagement with particular places? In the book he’s writing for Oxford University Press, entitled An Acoustic Ecology of the Cinema, he argues for the value of situating soundscape research within the discursive framework of film sound theory to generate what he calls “unsettled listening”: a method for attuning both researchers and practitioners to the role of sound in the enmeshing of media and place. The last chapter is informed by his recently completed postdoctoral research fellowship with Barry Truax at Simon Fraser University in which he investigated how the sound aesthetics and practices in Vancouver-based film and media can be informed by the 40 years of research on the city conducted by the World Soundscape Project (and vice versa). And from his base in Montreal he is continuing his affiliation with SFU as Research Associate to develop the “Mapping Audiovisual Vancouver” project, exploring the potential for digital cartography to assist research into the longitudinal relationships across media content in the collections of several of the city’s archives. The first stage of this project was to plot the recording locations of the WSP archive into Google Maps and interlink the relevant pages in the WSP database, a process that has raised questions about digital archiving that he’s now exploring as member of the WFAE Committee for Best Practices on Metadata for Sound Archives. This work has also fueled a multimedia project, entitled Bell Tower of False Creek, which enacts reflective audioviewing as a creative practice that can engage the complex dynamics of contested spaces in the area surrounding Vancouver’s Burrard Bridge. The initial component, a “soundwalk composition”, was presented at the Lisbon Triennale in 2013 and the Invisible Places / Sounding Cities symposium in 2014.