tri.phonic: 07.15/17.03

allo, allo ...

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We're ecstatic to announce...or we're happy to announce...well, we're grooving over our summer schedule... OK: basically we think we've assembled a rather penultimate roster of excellent musicians, all performing live, all doing solo spots as well as integrating their musical ingenuities into the "jam_session" aspect of tri.phonic . So without further ado, a reminder that tri.phonic is FREE all summer long , here's the line-up... every 2nd Thursday, from 5-10pm Plus:

--->JULY 31 :

PHEEK [epsilon lab, montréal]
vitaminsforyou [intr_version records, winnipeg/montréal]
BLUNDERSPUBLIK [sfeericle records, winnipeg/montréal]

--->AUGUST 14 :

NAW [noise factory records, Clonk, montréal]
Colin the Mole [tracks on Mutek & Force Inc., montréal]
MITCHELL AKIYAMA [the man behind intr_version records, montréal]

--->AUGUST 28 :

DEADBEAT [intr_version, ~scape recording artist, montréal]
Colin the Mole [tracks on Mutek & Force Inc., montréal]
THOMAS PHILIPS [Trente Oiseaux, montréal]

with jam_sessions mercenaries: TOBIAS C. VAN VEEN & DANIEL GARDNER
--- > [see below for some biographical information on us two]

tobias: cut-up sounds, field/recordings, & techno-turntablism

Daniel (aka Frivolous): laptronic minimal house & techno, techno-turntablism

..the new SAT: 30 foot ceilings... ample red couches .. fully stocked bar
.. a whole wall of beautiful windows overlooking the park .. terrasse ..

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--- > [the mix of all three provides the basis for this "jam_session"]
--- > [the three elements of our art]:

1. (techno) turntablism:

the exploration of experimental beats & minimalism utilising the full art
of turntable techniques. hip-hop scratch-djs are not the only
turntablists: it's time to wrest the boring reputation & robotic motions
of the DJ. turntablism is EXPRESSIVE. it is an ART.

2. laptop [live] performance

the creation of one's own sounds via the technologies of the portable
computer, the ability to remix one's tracks on the fly, and jam with
others in an "electronic laboratory" setting. also: the combination of
laptop music with and net.sound.installation via WiFi
connections--the openings of transference & translation between & "electronic music." transactive sound.performance.

3. field recordings: the microphone

the recording of audio from the environment, the urban echoes resonating
via software, the incorporation of our environment as listening object, as
object of contemplation, as the subject of our passions & desires, as the
subject of our art, as art itself.


TRI.PHONIC owes its debt & gratitude to the development of the "Tri-Phonic" term by JANEK SCHAEFER, who coined the moniker for the world-premiere of his three-arm turntable in 1997. The three-arm deck claimed a Guinness World Record for "most versatile record player." Schaefer explains the concept in his paper for the Leonardo Music Journal:

"Instead of using lots of record players to play lots of different records I simply thought of combining several record players in one. The Tri-Phonic was born. As records can be easily accessed in many time frames/places simultaneously it was to be very efficient at maximising the potential of obscure vinyl discoveries. This invention could multiply, magnify and manipulate the essential physical surface of sound in as many ways as was practically possible."

To potentialise--to maximise--to maniplate sound at its limit--"as man ways as practically possible"--this is what we'd like to do with the basis of the term: TRI (three) PHONOS (sound). Three sounds: three arms: MUTANT SOUND, the three-armed beast of the turntablist- laptrician- phonographist, or net.artist-event producer-VJ, or producer-designer-artist, even.


We'd like to sample Janek's "tri-phonic" and scratch the hypen, replacing it with a DOT: "tri.phonic" -- TRI DOT PHONIC -- in this substitution we expand the term to resonate the general aspects of a growing digital arts practice which is not ours alone, nor which we could ever claim, but which sees its rise & occurrence globally among genres and practices including microsound, glitch, clicks and cuts, sound-art, sound installations, phonography, turntablism, laptronics, microsonics, lowercase, field recordings, and sonic

Thus the DOT is the break from the hypen, the TRI (three) from the PHONOS (sound) that also represents the influence of the digital tie or bond of today's media: NET DOT ART. TRI DOT PHONIC. The digital bond where "Today, music is information" (Achim Szepanski).

Janek begins his essay by saying:

"It has always been a principle of mine to not copy ideas, but to bounce from them in order to develop new ones instead. Not to xerox, but manipulate in order to produce something new and unique to yourself. As a result one develops one's own ideas which then form a series of personal stories which is much more rewarding an experience."

Here we wish not to claim "tri.phonic" as our own-- rather we'd like to sample the term, broaden it, and offer it to others. We're peforming a little bit of MUTATION upon the term. PER.MUTATION. We'd like not to copy or xerox Janek's specific usage but expand it, delight in it, cite it, reference it, jump from it, dive into it, really-- to encompass our common bond: the digital link.ages forming via, phonography (microphones),turntablism, VJing and laptronics ...

Thus we re.birth the tri.phonic .. and welcome a digital arts practice that seeks to incorporate, cut, scratch, cross-fade, granulate & otherwise MUTATE the digital & analogue sonic arts that remain "pure" & un-touched to & by each other..

tobias c. van Veen //

For more on Janek Schaefer's Tri-Phonic turntable, please see:


[tobias c. van Veen] is a sound & net.artist, techno-turntablist, and writer. He has been enmeshed with musikal resistance culture since 1993, curating and provoking via interventions & events, sounds & words. Hailing from Vancouver, BC, tobias was intricately involved in the West Coast anarcho-techno scene with the <ST> Projekt, curating and DJing over one hundred events. >>tobias is Editor and Columnist for several arts, music and politics publications including FUSE, e|i, Capital, and Discorder. He has freelanced for The Wire, the CBC and Austria Kunstradio. His tactical media & have surfaced on,,,,, at the Centre for Contemporary Culture in Barcelona, and the Museum of Contemporary Art, Denver. Tobias’ recent critical output can be found in the Leonardo Music Journal and Bad Subjects, and a DJ set still resides on He is author of the 2003 Canadian Electronic Music Directory and is currently writing a book on the politics of sound and subcultures. tobias holds a B.A. in English Honours from UBC and is wrapping his M.A. in Communications at McGill. His current and past projects as well as his blog can be found at: .

Daniel Gardner – Otherwise known as “Frivolous,” Daniel’s quirky minimal techno & house recordings can be found on Seattle’s Deluxe, Cologne’s Sub Static and Germany’s Background Records. As well as a producer, Daniel is a slice-and-dice DJ of 7 years who now makes his home in Montréal after moving from his native Vancouver. On the West Coast, Daniel hosted one of Vancouver’s sparse techno evenings at the Alibi Room, as well as designed promotion for and DJ’ed at events including tobias van Veen’s last <ST> gathering featuring Tomas Jirku and shows featuring Mike Shannon and Ben Nevile. Daniel has pushed to develop a bridge between Vancouver’s contemporary art and music culture with audio installations for the Intermission Arts Society as well as the Simon Fraser University student-run Gallery, Propaganda. Future plans include, well, more records. <>

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Posted: Mon - July 14, 2003 at 05:34 PM   tri.phonic     Email Comments

© tobias c. van Veen