Venue: Articule Open-Access Artist-Run Centre (6282 Rue St-Hubert, Montréal, QC H2S 2M2) Date: October 4, 2026 Time: 1:00 PM – 2:30 PM
Facebook Event: https://www.facebook.com/events/2158535645081413
Co-presented with Articule Open-Access Artist-Run Centre and the International Institute for Critical Studies in Improvisation.
Join us for a book launch celebrating the publication of A Year of Deep Listening: 365 Text Scores for Pauline Oliveros (Terra Nova Press), edited by Stephanie Loveless. Host Katherine McLeod will lead a discussion of the collection and Deep Listening practice. This will be followed by brief performances of text scores by contributors to the book experienced in Oliveros’ performance practices and Deep Listening. Then join in by helping us perform some of these scores—all you need is a body and the interest!
Featuring performing artists and book contributors: Nik Forrest, Erin Gee, Ayelet Rose Gottlieb with Terri Hron and Eric Lewis, Ben Grossman, Kathy Kennedy, and Ellen Waterman.
Curated by Deanna Radford and Stephanie Loveless. With special thanks to Anne Bourne for her contributions.
Note: Live English-to-French translation will take place at the event. Librairie Résonance will be on hand selling copies of A Year of Deep Listening.
Stephanie Loveless is a sound and media artist whose research centers on listening, vocal embodiment, and place. Loveless’ sound, video, and performance work has been presented widely in festivals, galleries, museums and artist-run centers in North America, South America, Europe and the Middle East. She was a Senior Lecturer at Rensselaer Polytechnic Institute in the Department of Arts from 2018-2026, and Director of the Center for Deep Listening at Rensselaer from 2020-2026. In 2025, Loveless published A Year of Deep Listening: 365 Text Scores for Pauline Oliveros, which brought together a year’s worth of daily scores for listening, contributed by over 300 artists. Her co-edited volume, Situated Listening: Attending to the Unheard (2025), is a collection of essays that contribute theories and practices of embedded, contextual, and critical listening to growing literature in the field of sound studies.
Katherine McLeod is an academic and dancer based in Tiohtià:ke/Montreal. Alongside her project Literary Radio and publications on poetry and performance, she produced the series ShortCuts for The SpokenWeb Podcast and now co-hosts the podcast Literary Listening (with Jason Camlot).
Nik Forrest is an interdisciplinary artist based in Tio’tia:ke/Montreal. They recently completed a PhD in the Interdisciplinary Humanities program at Concordia University titled “Trans Sonic Practices: Listening and Sounding Livable Worlds”. Their sound, video, and installation projects have been shown at festivals, galleries and museums across Canada and internationally, including the Joliette Art Museum (Quebec), the Listening Biennale (Berlin), Oboro (Montreal) and Kunsthalle Mulhouse (France). They have also received artists’ residencies in Paris, Buenos Aires, Hamburg, Winnipeg and Saskatoon. Forrest’s recent projects explore experimental sound and listening as non-binary relational fields where emergence, mutation and interdependence can be sensed. They teach in the Media Arts Department at John Abbott College in Ste-Anne-de-Bellevue, Quebec. https://nikforrest.org
Erin Gee is a Canadian artist and composer whose work centers on voice, affect and technology. She develops custom biofeedback instruments that link the human body to sound and interactive systems. In creating these systems, she considers emotional manipulation as a technical layer alongside hardware and software in biofeedback systems, linking this to feminist theory. Using roleplay, ASMR and hypnosis, she explores intimacy and resonance while reimagining human–machine relations across AI, VR, and robotics. Her installation works have been presented at Ars Electronica, MUTEK, and the Toronto and Karachi Biennales, and she has performed at festivals such as MUTEK, Vancouver New Music, Sussurra Luce (Italy) and Music Gallery (Toronto). https://eringee.net
Jerusalem-born, Montreal-based vocalist and composer Ayelet Rose Gottlieb is an international performer and Deep Listener who blends jazz, Middle Eastern and Jewish music with conceptual improvisation. Winner of the 2026 Prix Opus for Album of the Year—World Music, she collaborates with innovative artists, including John Zorn, IONE and Naomi Shihab Nye. https://ayeletrose.com
Ben Grossman is a busy musician and sound artist: Improviser, studio musician, composer, noisemaker and curator. He toils in several fields, having played on over one hundred CDs and on film and television soundtracks. He has composed and designed sound for theatre, dance and installations; designed radio transmissions; and performs live, spanning early medieval music to experimental electronics. Ben’s tools of choice are electronics, percussion and especially the vielle à roue (hurdy-gurdy). www.macrophone.org
Terri Hron is a musician, performer and multimedia artist whose work explores relationships and belonging with places, people, and scores. Using historical performance practice, field recording, invented/augmented instruments and videoscores, she often works in close collaboration with others and produces performances, gatherings and events. She also works for the Canada Council for the Arts.
Kathy Kennedy is a sound artist with formal training in visual art and classical singing. Her art practice generally involves the voice and issues of interface with technology, often using telephony or radio transmission. She is active in community art and is a founder of the digital media centre for women in Canada, Studio XX (now called Ada-X), as well as the innovative women’s choral group, Choeur Maha. https://kathykennedy.ca
Eric Lewis is the president of Arts in the Margins and a professor of philosophy at McGill University, where he directs the Laboratory of Urban Culture. His academic interests centre on Black aesthetics, critical race theory, the philosophy of improvisation and the politics and ethics of new media art. He has decades of experience running community-facing art-centred projects, and a strong commitment to social justice and equity. He is also an active improviser on brass and reeds, and performs in numerous ensembles including Ton-e Rêve, the Free Jazz Messengers, the Murray Street Band and the Instant Synthesis Ensemble, among others.
Ellen Waterman is a flutist and vocalist who co-creates intersensory improvisations with environments. Bodily Listening in Place was developed in consultation with spill.propagation through a commission from New Adventures in Sound Art for World Listening Day, 2022. She wrote about it for Performance Matters journal (2023). Her definitions of intersensory listening and bodily listening in place are included in the new Listening Glossary (2026). https://carleton.ca/music/people/ellen-waterman