ayaz kamani - point pelee

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Point Pelee was produced by Ayaz Kamani. It was edited by Jess Shane.


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Ayaz says:

A friend and I went to record birds at Point Pelee in Ontario. One morning, amidst our 5 am grogginess, all the birds exploded to life simultaneously, like someone was conducting them. Like they were all conducting each other. It was beautiful, symphonic.

Naturally, we tried to record it the next morning, and even more naturally than our urge to try to record it the next day, it didn't happen. So that was hilarious. We come with all this equipment, and the most amazing sonic experience, we missed. It felt like a prank - like the birds were doing a very good prank.

I decided to try to capture that moment post-mortem. I began the painstaking and enjoyably obsessive task of resurrection. And it was very difficult. I used recordings from Point Pelee as a blanket or a bandaid to help nurture the memory from its palliative state, because it's was degrading and morphing from its original state. Those Point Pelee recordings were like touchstones, and the closest thing that I had to documentation of that experience, but the vast majority of the sounds used in the piece were sound effects from a library.

I've been cutting a lot of background sound effects lately for visual media. In this field, you're manufacturing what's natural. I've said to myself often, 'oh this isn't natural.' Yet when all the birds came together in such a rare musical way, I thought about how although this movement is part of nature, it’s considered unnatural, or feels unnatural, if it’s not in service the story being told by the visual images, or of the dialogue. Background sound always must be isolated, controlled so that nothing competes with the story.

What I create through sound design is a false representation of nature, but a constant reminder that it exists, because you're like ‘oh shit this room, no one's going to believe this room if there is no air and room tone.’ So you have to put all this stuff in to sell the room. You're always walking a fine line.

While making this piece, I thought a lot about where my urge to recreate this moment at Point Pelee really came from. What evolutionary need does it serve?

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Inspiring Ayaz in sound and beyond:

The sound of the hotel room door in the movie Barton Fink, but more than that, people at work and listening to the city while walking. I'm not sure, maybe everything, and everybody, so I guess nothing specific except for trees.

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Constellations says by Amita Kirpalani

coming soon

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Ayaz Kamani is an artist and sound designer, primarily for film, based in Toronto.

“I was born in Winnipeg, but only lived there for six months as a child before moving to Vancouver, so I can't truly call my self a Winnipegger. But sometimes when I feel insecure about my Canadianity due to certain questions, I clearly state that I was born in Winnipeg. Not sure where I'm going to die though, ideally on a spit of sand while a lazy tide tickles my feet, and a sand flea drinks sweat from my belly button. Currently, work-wise, I edit sound, conform dialogue, type out ADR scripts and complete a litany of post production tasks for television and movies.”

amy hanley - H:O:M:E

Photo by Renee Stamatis Photography

Photo by Renee Stamatis Photography

H:O:M:E was produced by Amy Hanley, in collaboration with L&NDLESS collective — an interdisciplinary collective creating immersive, experiential encounters through durational performance, installation and text. L&NDLESS represents the juncture of individual and collective enquiry of its members, Devika Bilimoria, Luna Mrozik-Gawler and Nithya Iyer.


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Amy writes:

I explored holding and responding. I explored the possibilities of sound as a facilitator and communicator of memories, embodied and expressed. I explored themes of death, displacement, collective memory, and personal stories. These themes were informed by memories that were shared to an online portal – those stories of place and belonging were gathered by L&NDLESS and were used to create an immersive performance-based installation. This sound piece is a concentrated composition of live responses to the experiential landscape of storytelling woven by L&NDLESS collective.

For more on Amy’s process and thinking behind the making this piece, listen to an extended interview with Amy at the tail end of the episode.


Images from the durational performance of H:O:M:E in collaboration with L&NDLESS collective. Photos by Renee Stamatis Photography

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Constellations Says by Amita Kirpalani:

Coming soon


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Amy Hanley is a Melbourne based sound artist whose practice considers relations of space, bodies, technology and contemporary ecologies. Engaging forms of performance, installation, and collaboration, Hanley’s work often explores gender, sexuality and queer expression/s. Hanley’s practice is interested in listening as an affective practice and the possibilities of sound as a communicator for matter-cultural expressions between human and non-human bodies. Hanley holds a Bachelor of Media and Communication from RMIT University.

Amy Hanley is also the recent recipient of the Hearsay International Audio Arts Festival, Best Sound Art Award 2019. Hanley co-produced the CAPTURE PODCAST series and has featured work at Falls Festival (2018/19), Mapping Melbourne (2018), The Design Hub (2017), Crack Theatre Festival (2016), Melbourne Meat Markets (2016), 107 Projects (2016) and has been broadcast on Soundproof, ABC Radio National, 3RRR and FBi Radio.




sam leeds - that spiraling place

sam leeds

That Spiraling Place was produced by Sam Leeds and features the voice of Annie Lindsey. It was edited by Michelle Macklem.

It features folk singer Otto Bardarson’s unaccompanied vocals, recorded by Sidney Robertson Cowell in Carmel, California in 1939. Special thanks to the Free Music Archive and the Library of Congress.


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Sam writes:

I’ve been thinking a lot about the intersection of escape and bearing witness. And I keep coming back to that saying, “wherever you go, there you are.” This piece began because I wanted to document my trip to Iceland with one of my close friends. We booked it on whim after a breakup. We spent 10 days driving the country during a wintery March in 2018. It was an escape and a chance to exist outside the routines of home.

In working with the tape, though, the piece became more and more about witnessing my friend working through her mental health and all the ways that depression and anxiety don’t really look how you think they might.
The piece mimics the ebbs and flows of mental health and its nonlinear nature.

Sound design is very new to me. This is the first non-narrated piece I’ve produced. So, this piece is also an exploration of world-building through sound. The archival tape and music throughout the piece are both other musicians’ interpretations of Iceland. I feel very fortunate to have access to past and present pieces of art made in response to traveling through the country.

I am so thankful that Michelle and Jess created this platform and for their patience and guidance throughout the many iterations and stages of this piece. I also want to share my gratitude to my friend Annie, whose voice is woven throughout this piece. She drove us around Iceland for most of the ten days and was and is so open to sharing her journey with her mental health.

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Inspiring Sam in the world of sound:

Jeff Emtman and Bethany Denton’s Here Be Monsters, Phoebe Wang, Kaitlin Prest, Nicole Kelly, Phoebe Unter, Avery Trufelman, Chelsea Beck.

I also get nostalgic about sound. I’m moving soon and I’m already missing the whine of the bus passing the stop outside my window.

And beyond:

Andrea Long Chu, Ijeoma Oluo, Natalie Wynn, Jenna Wortham, Sudan Archives, Big Thief.

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Constellations Says by Amita Kirpalani:

Coming soon

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Sam Leeds is an independent audio producer and storyteller. She is a former UnionDocs and Transom traveling workshop student, and a future Salt student. You can find her on Twitter @samjleeds.