Deep Wireless 17 Compilation Album

This work creatively communicates the transmission of bison bloodlines and blood knowledge across time and space. Forced Migration, also transmits stories of the past, present, and future with bison. In particular the movement of five bison calves taken into captivity in the 1870s and then the transfer of their descendants and kin from owner to owner over the following century.

The audio stories in Forced Migration take as their focal point men who tried to control the bison establishing themselves as ‘saviours’, the bison who lived in reciprocity with one another and the Land, and the colonial system of conservation itself. In creating these affective, sound-designed audio works Wilson extracts archival narratives from a white supremacist, patriarchal written tradition for critical purposes. Sound design is by Angus Cruikshank.

Michelle Wilson is an artist and mother currently residing as an uninvited guest on Treaty Six territory in London, Ontario. She successfully defended her Ph.D. dissertation, Remnants, Outlaws, and Wallows: Practices for Understanding Bison in May 2022 at the University of Western Ontario.

The Filipino word ‘kinalugaran’ refers to the site where something is set in position. “Kinalugarán” highlights invisibility among inhabited places as it interrogates Filipino artists based in first-world diaspora: violinist Ramon Alfonso Soberano (Tempe, Arizona, United States); film composer Marie-Luise Calvero (Freiburg, Germany); and theatre creator Riley Palanca (Montreal, Canada).

“Kinalugarán” includes additional recordings of Philippine indigenous instruments (“Idaw,” “Dayaw”) by Jayson Palolan, used with permission. The creation of “Kinalugarán” is made possible with the support of the Ontario Arts Council.

After finishing studies at the University of the Philippines and McGill University, Toronto-based composer Juro Kim Feliz has premiered his work across Asia, North America, and Europe. Awards include the Goethe Southeast Asian Young Composer Award in 2009 and a “Highly Commended” distinction at the Ars Electronica Forum Wallis in 2018.

This work considers how bodies connect, congregate and organize themselves together. Paradoxically, the work was produced when governments regulated the proximity of social bodies, at a time when mass gatherings and protests were needed to facilitate social change. The protests addressed either national, transnational and international events as a way to connect, remotely, to a cause happening elsewhere.

The work is derived from a soundwalk project where listeners can experience the pieces by visiting the location and listening to the associated audio. For details go to: faisalkaradsheh.myportfolio.com/soundwalkin2021. In the soundwalk project the process of concentrating or suppressing “voices of protest”, as suggested by Hito Steyerl, is being explored formally. The site is composed of three distinct locations within a very specific region in Toronto. The three protests (Anti-Lockdown, Palestinian, Tamil) transpired at varying times during 2021, yet seem to align across a section of the city. The abstracted sound works examine the process of documenting and formally articulating protests, in connection to its position within the urban fabric and sonic landscape of the city.

Faisal Karadsheh is a Jordanian-born multidisciplinary artist. His oeuvre continually explores in-between spaces, where interior and exterior modalities can exist as one. By attempting to search for this mode of hybridized representation, different mediums unravel interrelated narratives, or imagined histories, revolving around the self and its body. As a result, these formal investigations into spatial possibilities always seem to be contingent on a somatic subject’s perceptions, as the producer or constructor of reality.

Inner Spaces is born of a parallel world to ours. It is the voice of revolution in a society gone mad, the voice of hope for the hopeless. It is the audio creation of GOODW.Y.N. and Face Mason, set in a backdrop of much needed rebellion and praise for courage.

Nicole Goodwin (aka GOODW.Y.N.) is the author of Warcries, and the poetic sequel Warcrimes as well as the photographic essay book Ain’t I a Woman (?/!): I Give of Myself based on the five year iterations of Ain’t I a Woman (?/!). They are a finalist for the CUE Foundation’s 2022 Public Programs Fellowship, as well as the 2020 Pushcart Nominee, 2018-2019 Franklin Furnace Fund Recipient, the 2018 Ragdale Alice Judson Hayes Fellowship Recipient, 2017 EMERGENYC Hemispheric Institute Fellow and the 2013- 2014 Queer Art Mentorship Queer Art Literary Fellow. They published the articles “Talking with My Daughter…” and “Why is this Happening in Your Life…” in the New York Times’ parentblog Motherlode. Additionally, their work “Ain’t I a Woman (?/!): Poems,” was longlisted for The Black Spring Press Group’s The Christopher Smart-Joan Alice Prize for 2020, and their work “Desert Flowers” was shortlisted and selected for performance by the Women’s Playwriting International Conference in Cape Town, South Africa in 2015.

Michael Carr (aka Face Mason), is the Co-founder and Executive Producer of The Broheim Sydicate, Inner Spaces, an upcoming podcast series featuring Nicole Goodwin aka GOODW.Y.N. As a Digital Designer you can find some of his works featured on websites such as KNICKS ANONOYMUS.

Sound Connections is constructed from 3 distinctive sounds. They are all from technologies that used sound to provide human connection across long distances. The sound sources include morse code, a dial up modem “handshake” and a shortwave interval signal from Radio Canada International.

Anton Pickard is a multimedia practitioner who uses images, video and sound for personal expression and has been doing so in various forms for over 45 years. He continues to explore new ways of expression with the emergence of new media tools and techniques. Some of his work is available at his website.

The Tracker is a binaural sound experience produced as part of the larger project “Circuits of Sand and Water.” The audio in this piece tells a story about a woman battling isolation in the pandemic. She starts watching her neighbours from her window. Soon, she is compelled to get closer and hacks into their devices. She witnesses each neighbour using their online presence as a salve for emotional wounds; they all indulge in mirages enabled by the very medium used to surveil them. The piece gives human form to the surveillance practices that exploit our desire for connection. It explores what it feels like to balance an animal urge for connection with the mechanical logic of progress.

Technology came to mediate every interaction in the pandemic. The intention of this project as a whole is to give a human form to surveillance practices that exploit our need for connection.

We give so much of our data over to multinational tech giants. What if a neighbour were to access our online activity? Most people would find it creepy. But why does spying through the window make us more uncomfortable than an abstract entity designed to extract and store our data forever? We make many tacit wagers for online connection, these were the starting point for the work of ambient literature I have developed.

The Voice in the piece is by Leni Parker and the sound design is by Julia Dyck.

Prachi Khandekar is a curator, designer, and writer. She conceives and creates exhibitions and multimedia projects. She examines our tech- and brand-driven culture, with a particularly interest in exploring the polarities of comfort and pain embedded in our digital interactions: laughter, isolation, nostalgia, anxiety, and everything in between.