Angus Tarnawsky


PhD, Communication, Concordia University, 2020–present
MFA, Interdisciplinary Art, Media and Design, OCAD University, 2018–20
BMus, Performance (Honours), University of Melbourne, 2006–09

Expertise and Interests

Media Production

︎︎︎    Audio recording, editing, arranging and mixing
︎︎︎    Creative use (and strategic misuse!) of analog and digital technologies
︎︎︎    Lathe cut records and DIY record culture


︎︎︎    Improvised drumkit and percussion works
︎︎︎    Improvised electronic and electroacoustic works
︎︎︎    Site-specific participatory events


︎︎︎    Practice-based or practice-led approaches to research
︎︎︎    Sound installations in mixed-used and shared urban spaces
︎︎︎    Community engagement and co-creation

Sound Studies

︎︎︎    Contemporary aural cultures and everyday listening practices
︎︎︎    Colonialism and settler colonialism vis-a-vis sounding and listening
︎︎︎    Urban soundscapes, location recording, and soundwalking

Research Experience

SpokenWeb, Concordia University, 2021–present 
Landscape of Hope, Concordia University, 2020–present
Centre for the Study of Learning and Performance, Concordia University, 2021
Podcasting for Art and Design Public Engagement, OCAD University, 2019–20
Embodying Algorithms Through Performance, OCAD University, 2018–19

Teaching Experience

Instructor: Communication Media: Sound I, Concordia University, 2022–present
Teaching Assistant: Communication Media: Sound III, Concordia University, 2022–present
Teaching Assistant: Communication Media: Sound I, Concordia University, 2020–2022
Teaching Assistant: Global Visual and Material Culture to Present, OCAD University, 2019–20
Teaching Assistant: Global Visual and Material Culture to 1800, OCAD University, 2018–20


Nothing to Hear, So to Speak, The Journal of Media Art Study and Theory 2, no. 2 (2021)
Variable Frequencies, Panic at the Discourse: An Interdisciplinary Journal 1, no. 2 (2020)



Sonic Encounters and Settler Colonial Perception in Urban Spaces, 4S, Cholula, MX
Sound, Sound(s), Sound(ings), NYU Neil Postman Graduate Conference, New York, NY
Acoustic Graffiti and the Uncertain Potential of Re-Sounding Spaces, Convergence, Leicester, UK


Research-Creation Methods in Communications, CCA Congress, Online, 2021
Unsettling Spaces, SFU Communication Graduate Conference, Online, 2021
Sonic Matter(s), Université de Montreal Arts and Medias Annual Symposium, Online, 2020
The Hum, Royal Musical Association (UK) 56th Annual Conference, Online, 2020
Improvisation for Computer Musicians (with Adam Tindale), ICMC, New York, NY, 2019
Sound, Affect, and Installation Art, UnDisciplined Conference, Kingston, ON, 2019
Embracing Imperfection, Music in New Technologies Forum, Halifax, NS, 2018
Spaces and Rituals (with Adam Tindale), Music in New Technologies Forum, Halifax, NS, 2018

Invited Talks

Sonic Encounters (artist talk), Concordia University, 2021
Lathe Cut Records, Concordia University, 2021
Critical Spatial Sonic Practices (artist talk), Concordia University, 2021
Uncommon Sounds in Common Spaces (artist talk), Concordia University, 2020
Synthesis Techniques, Concordia University, 2020
Sonic Interventions in Public Spaces, OCAD University, 2020
Soundwalking in Cities, OCAD University, 2019
Subtractive Synthesis 101, Brooklyn College, 2017
Audio Recording and Editing, The New School, 2014

Workshops (Led)

Walking and Listening on the Lachine Canal, SpokenWeb Institute, 2022
Drone Music for Ambient April, CJLO, 2022
Soundwalk Remix, Soundwalk Symposium, 2022
Critical Listening Positionality, Lesson Play, 2022
Listening Together While Apart, Listening Practice, 2022
Noticing, Noting and Notating Sound, SpokenWeb Symposium, 2021 
Soundwalk Mapping Techniques, Listening Practice, 2021
Sonic Arts For All, Brooklyn College, 2017
Street Studio, Skill Mill NYC, Make Music Festival, 2017

Working Groups / Collectives

Feminist Media Studio (FMS), Concordia University, 2021–present
Concordia Sound Studies (CSS), Concordia University, 2021–present
Soundwalk Symposium, Concordia University, 2021
Culture and Technology Discussion and Working Group (CATDAWG), McGill University, 2020–present

Installations (Selected)

Nothing to Hear, So to Speak, 100 McCaul Street, Toronto, ON, 2020 
Refrain, Roundtable Closing Exhibition, Toronto, ON, 2019
For Pauline, 205 Richmond Street West, Toronto, ON, 2019
Variable Frequencies, Harvestworks Gallery, New York, NY, 2019
H/A, Open Space Gallery, Toronto, ON, 2019
Relative Distance, Het Nieuwe Instituut, New York, NY, 2018
Held Together, 205 Richmond St West, Toronto, ON, 2018
Timestreams, Wave Farm, Acra, NY, 2018
Sound + Signal, Smartgeometry, Daniels Building, Toronto, ON, 2018

Performances (Selected)

Radiophonic Dreamscape No. 1, Failure: Systems at their Limit, Montreal, 2022
No Way Around It, Crutch Contemporary Art Centre, Toronto, ON, 2019
Ra-dio-in, The Sunview Luncheonette, Brooklyn, NY, 2019
Chase / Tarnawsky (with Brian Chase), Various Locations, 2014–18
Times Square, Pioneer Works, Brooklyn, NY, 2017
Untitled (Solo), Fridman Gallery, New York, NY, 2017
Round Robin, The Great Hall, Toronto, ON, 2018
Untitled (Solo), Various Locations, 2012–18.
Artifacts (with Nathan Liow), West Space Gallery, Melbourne, AU, 2014


Roundtable Residency, Toronto, ON, 2019 
Wave Farm Transmission Arts Residency, Acra, NY, 2018 
Pioneer Works Music Residency, Brooklyn, NY, 2017
RBMA Residency, Montréal, QC, 2016


In Context Music (ICM), Record Label, 2013–present
Listening, Sound, Agency: Soundworks and Transcriptions (2021-22), Exhibition, 2022


Listening Sound Agency (7”), SpokenWeb Sounds, 2022
Colony of Desire (soundtrack), Charlotte Ballet, 2020
Subconscious Self Sabotage (7” with 1000 Petal Lotus), ICM, 2019
Live at Secret Project Robot (7” with Brian Chase), ICM, 2018
Hero Complexities (soundtrack), Theatre of Movement, 2017
Surface to Air (7”), ICM, 2016
Artifacts (7” with Nathan Liow), ICM, 2014
Pitched (12”), Inner Surface Music, 2014