This past Saturday I decided that staying cooped up in my studio apartment for months was enough.
A unique video on the Toronto Star website regarding Dr. Steve Mann and his recently invented Andantephone was the primary reason I wandered out into the rain to the St. Andrew’s Lutheran Church - to see what weird and wonderful creations my long time ubergeek hero has bestowed upon an unsuspecting public.
To my delight, I was in store for much, much more than simply a century-old pipe organ controlled from a system of midi-enabled floor tiles. The evening centered around encouraging new and creative approaches to the idea of music and how we experience it, and a surprisingly large number of performers came out to demonstrate exactly what technological evolution meant to their respective art forms. One could make the argument the evening was just as much for them and their collaboration as it was for the audience - a unique twist indeed.
The evening began with Canadian native Brenda MacIntyre, who introduced the audience to the concept of channeling music through spiritual means. Although she was focused - during her song several patrons entered and shuffled to their pews in a manner most obtrusive. The organizers of the event no doubt anticipated this, as it did appear to be one of the less relevant performances of the night.
Following Brenda was Heiki Sillaste, a young musician with a long list of accomplishments who performed an electronic piece - the first of the evening to take advantage of the pipe organ. Sadly, his performance was severely lacking in the 'electronic department' which would later be explained my our emcee as a technical folly. Regardless, the champion stood his ground and finished.
Dr. Maria Karam, a PhD from Ryerson's Psychology department introduced the Emoti-Chair which was present in a trio the entire evening. The unexpected element of this presentation was that my Psych 308 professor, Dr. Frank Russo, had key involvement with the project. I was happy to experience this novel approach to human/machine interfaced pioneered by someone whom I have a personal connection. However, this did not bias my experience of what was essentially a frequency-tuned vibrating chair. I have no doubt the researched gleaned from the experiment is more valuable than the tool itself, but as far as a revolutionary method for helping the hearing impaired - like my step-mum - it seemed to fall short.
Notable electronic artist Stephane Vera took the stage after this short presentation and played an electronic piece using a grand piano, a midi keyboard and a laptop. The piece was composed to take full advantage of the Emoti-Chair and its narrow frequency band. Regardless of how it felt, it sounded quite amazing. So much so it prompted a search on iTunes for Vera and the subsequent purchase of one of his singles.
Leif Bloomquist was another electronic specific artist who focuses on cyberpunk-industrialism and electro-ambient. He performed a piece from his newest album which I sorely regret not purchasing after the concert.
Regardless, I am now a fan of his current album on Facebook and have my fingers crossed he will make his next show public. I highly recommend checking out this engineer-turned-musician.
Finally, Dr. Mann and Ryan Janzen spoke briefly on the andantephone and what its possible uses are.
Ryan came out and performed a unique piece on the andantephone after intermission and it was pretty well received. I enjoyed much of it, though hoping along these tiles seemed to take a rather alarming amount of balance.
The second half of the performance drifted from the technological evolution realm of the show and focused on the existence of Solfeggio tones which are somewhat unique in their frequency responses.
Vera performed once more with these tones in mind, followed by a rather complicated audio/video performance my an artist who goes by the Latvian moniker Dzintars Skrapjuvilis. I tried to give it the benefit of the doubt, but this was arguably the least focused showcase of the evening.
The evening trailed off after this and the show ran a complete hour and a half longer than anticipated. This was mostly due to technical issues as a few bands in the second half realized most unfortunately. For example when Fearful Symmetry performed and lacked the volume they expected the lead guitarist finished by dropping the rather lustrous instrument to the ground.
My conclusive remark is that I'm happy I was able to experience the show and see what Toronto has been working on. Before last night I had not expected such an event, but I am pleased I was able to experience it.
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