Material Transmissions
By Anju Singh
January 8 to March 30, 2026. Open 10 am to 4 pm Thursday to Monday
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario.
Admission by Donation
Material Transmissions is a machine-based sound sculpture that uses innate machine sounds and external sound sources infused back into the machine as sonic artifacts that are transmitted through transducers projected into a selection of found or hand made textile and industrial materials. This project is part of the MECHANICAL HYMNS project, a series of works developed by Anju Singh that explores the relationship between machines, industrial materials, and mechanical elements with sound, noise, and transmitted audio.
The artist's interest in these sounds began with her experience hearing hymns in temples as forms of music and then feeling there was a strong relationship between those drone sounds and machine noise, often droning and hypnotic in nature. She was curious about the acceptance of hymn-based drones while machine drones were considered purely noise, and this led her to better understand some underlying reasons for her aesthetic preference for noise-based textures that led her to become a noise artist. The MECHANICAL HYMNS series interrogates assumptions about the nature of noise, machine sounds, music, and mechanical silence.
By Anju Singh
January 8 to March 30, 2026. Open 10 am to 4 pm Thursday to Monday
NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario.
Admission by Donation
Material Transmissions is a machine-based sound sculpture that uses innate machine sounds and external sound sources infused back into the machine as sonic artifacts that are transmitted through transducers projected into a selection of found or hand made textile and industrial materials. This project is part of the MECHANICAL HYMNS project, a series of works developed by Anju Singh that explores the relationship between machines, industrial materials, and mechanical elements with sound, noise, and transmitted audio.
The artist's interest in these sounds began with her experience hearing hymns in temples as forms of music and then feeling there was a strong relationship between those drone sounds and machine noise, often droning and hypnotic in nature. She was curious about the acceptance of hymn-based drones while machine drones were considered purely noise, and this led her to better understand some underlying reasons for her aesthetic preference for noise-based textures that led her to become a noise artist. The MECHANICAL HYMNS series interrogates assumptions about the nature of noise, machine sounds, music, and mechanical silence.