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Deep Wireless

DeepWirelessLargeDeep Wireless Festival of Radio and Transmission Art

NAISA is proud to announce the 21st annual edition of the Deep Wireless Festival of Radio & Transmission Art with installations, performances, radio programs being transmitted from and hosted at the NAISA North Media Arts Centre in South River.

“Over the past 20 years of Deep Wireless, NAISA has presented experimental radio works that have reflected the adaptation of radio production to digital platforms, such as podcasting and internet streaming. In turn, NAISA has also observed how the conventions of radio have been incorporated into digital platforms. By contrast, the experimental side of transmission art presented at Deep Wireless continues to take us back to the physical and tactile aspects of radio transmission, where the fuzz and noise of the radio medium filters the contact between listener and artist.”

Art's Birthday Mesh Jam
January 17, 2021 at 2PM EST (-5 UTC)
Listen/Watch the celebration on Art’s Birthday Mesh Network. To participate with your own sounds images, create an account on the Mesh!

Celebrate Art's Birthday by participating in a multi-media jam taking place with artists and musicians from around the world online on the Art’s Birthday distributed mesh system. Deep Wireless artists James Bailey and Shaughn Martel will join the mesh at 2PM EST to contribute sounds and images, but the mesh can be accessed at any other time. Art’s Birthday is an annual exchange art event celebrated internationally by the arts community. Happy 1,000,059th Birthday, Art!

Winter Diary Revisited - Listening Event #1
By Claude Schryer
Group listening with a Q&A - Feb 5 at 7PM EST (same event as the Feb 6 at 2PM EST event)
General $10, with Advance Registration

Claude Schryer will present his new soundscape composition and podcast program featuring excerpts from an unpublished essay that R. Murray Schafer wrote after a 10-day field recording trip that Schafer undertook with Schryer in rural Manitoba in February 1997. The recordings made on the trip were produced and edited for a radio piece for the program Akustische Kunst on Westdeutscher Rundfunk Köln (WDR). Schryer ‘revisits’ this trip by mixing Schafer's writing with archival soundscapes as well as new winter soundscapes recorded in Ontario and Quebec in 2022.

This new piece forms episode 99 of the conscient podcast series produced by Claude Schryer. The French language version of this piece is episode 100 of the conscient podcast: Journal d'hiver revisité - Hommage à R. Murray Schafer. The final mix was realized as part of a residency at the New Adventures in Sound Art (NAISA) in South River, Ontario (Darren Copeland, artistic director).
Winter Diary Revisited - Listening Event #2
By Claude Schryer
Group listening with a Q&A - Feb 6 at 2PM EST (same event as the Feb 5 at 7PM EST event)
General $10, with Advance Registration

Claude Schryer will present his new soundscape composition and podcast program featuring excerpts from an unpublished essay that R. Murray Schafer wrote after a 10-day field recording trip that Schafer undertook with Schryer in rural Manitoba in February 1997. The recordings made on the trip were produced and edited for a radio piece for the program Akustische Kunst on Westdeutscher Rundfunk Köln (WDR). Schryer ‘revisits’ this trip by mixing Schafer's writing with archival soundscapes as well as new winter soundscapes recorded in Ontario and Quebec in 2022.

This new piece forms episode 99 of the conscient podcast series produced by Claude Schryer. The French language version of this piece is episode 100 of the conscient podcast: Journal d'hiver revisité - Hommage à R. Murray Schafer. The final mix was realized as part of a residency at the New Adventures in Sound Art (NAISA) in South River, Ontario (Darren Copeland, artistic director).
The Garden of Earthly Delights - A Comic Opera
By Trevor Wishart
Group listening with Q&A - February 13, 2022 at 2PM
General $10, with Advance Registration
Trevor Wishart will present his hour long radiophonic electroacoustic work in a new binaural audio version adapted from the 8-channel surround version. “The Garden of Earthly Delights” is a 70 minute journey through the landscapes of the human predicament. Free archival recording available on NAISAtube shortly after February 13.
Learn More


The libretti is by Katrina Porteous, Martin Riley and Trevor Wishart. Recordings were made at the Royal Conservatory, Den Haag, and at Leeds and Durham Universities, and the project received support from the Konrad Boehmer Foundation. Featured performers include Lore Lixenberg and First Year Choir of the Royal Conservatory, Den Haag along with the voices of Marie Guilleray, Áslákur Ingvarsson, Martin Riley, Jacqueline Wishart, Luke Dickson, John Mee, Rebecca Riley, Maggi Stratford. Additional music was composed by Ben Eyes and Brass music was performed by Honor Hornsby, Martha Dean and Samuel Gibb. The binaural adaptation from Trevor Wishart’s 8-channel Surround version is by Ben Eyes.

Trevor has produced a booklet about the origins, history and technical aspects of “The Garden of Earthly Delights” and includes a stereo version of the complete piece on CD. It is available on Bandcamp from Integrated Circuit Records.

The labyrinth shown in the accompanying image has been adapted from the original Bosch painting by Istvan Brecz-Gruber.

Trevor Wishart is based in York (UK), composes with digital audio media, both fixed and interactive. He has also written extensively on the topic of what he terms "sonic art", and contributed to the design and implementation of software tools used in the creation of digital music; notably, the Composers Desktop Project. Although mainly a freelance composer, he holds an honorary position at the University of York with composer-in-residence appointments at the University of Durham in 2006, andUniversity of Oxford Faculty of Music in 2010–11, supported by the Leverhulme Trust. Wishart's compositional interests deal mainly with the human voice, in particular with the transformation of it and the interpolation by technological means between human voice and natural sounds. He is also a solo voice performer and an improviser of extended vocal techniques, using the recordings of his own improvisations to compose his electroacoustic pieces as well, like he did for Red Bird and Vox 5. Wishart has written two books, On Sonic Art and Audible Design. On Sonic Art puts forth his theoretical and philosophical ideas, while Audible Design deals mainly with the practice and technique of composing with digital audio.
Constellations Online Listening Party
By Michelle Macklam (Curator), Arif Mirbaghi, John Hill and Sophia Steinert-Evoy
March 26, 2022, 4:00 pm
General $10, with Advanced Registration
Constellations is a sound art and experimental narrative podcast and event series co-founded by Michelle Macklem and Jess Shane. Works by John Hill, Arif Mirbaghi, Sophia Steinert-Evoy and Nicole Pingon are presented along with discussion about the themes and processes that guided their creation. Also, all 60+ episodes of Constellations are broadcast on NAISA Radio at 12PM Thursday to Sunday.

An archive of the event recording will be available on NAISATube shortly after March 26.

Program:
I. Speak(er) to the Land by John Hill
: Speak(er) to the Land was produced by John Hill. Aliya Pabani provided editorial support on behalf of Constellations. Thanks to the University of Wisconsin Oneida Language Dictionary Project.

This piece is dedicated to Maria Hinton, the Oneida speaker heard at the end of the piece, and to Ima "Akoh" Johnson, Mohawk-Cayuga faithkeeper and language teacher. This piece is also dedicated to the land and its defenders everywhere.

“This piece is a prayer and poem which speaks directly to the ancestors and the future generations through language. A prayer and a promise.

It's goal is to send a message to generations passed and generations to come in the Oneida language, which is endangered by settler-colonial violence. The piece features two voices, the English voice which is static and unmoving, and the Oneida voice, which moves in a counter-clockwise motion, representative of traditional Haudenosaunee dance practices. When Sky Woman, our great-grandmother, danced on the great turtle's back, she did so in a counter-clockwise motion, and so the Haudenosaunee people do so to honour her.

Haudenosaunee people understand our responsibility to the land that gave birth to us, and so this piece is an address to not only the generations that have long since returned to the land, but those who are set to inherit this land. Across Turtle Island, Indigenous people are fighting to protect their ways and the land, and this poem is a message, a promise, to the next seven generations that we will not stop fighting on behalf of the land and the water and the non-human beings.” - John Hill
II. Pointing At Canopus by Arif Mirbaghi
"The tortoise, you know, carries his house on his back. No matter how hard he tries, he cannot leave home." - The Anv?r-i Suhayl? or Lights of Canopus

Pointing At Canopus is a meditation on the nature of home, not in the brick-and-mortar sense, but the broader idea: a place of rest. Children of immigrants often separately compartmentalize these ideas. Home is a place we live but heritage is a space we occupy. There is a daily pivot between the cadences of interaction with our family and those of our friends or co-workers. Inevitably the lines blur, and as individuals we find ourselves on different points along a gradient.

Coming to Iran reversed this pivot for me. The language of my home life suddenly spilled out in the streets, flooded my conversations, my day to day. For the first time I was utilizing Farsi beyond the comfort of my family home— I became a Farsi speaker.

At the same time, English became a place of thoughtful saudade. I would be lulled to sleep by audiobooks. The meter and ornamentation of the language felt familiar but distant like a kind of reverb— I became an English listener.

Pointing At Canopus explores the waxing and waning of home and heritage. I hope to evoke in listeners a sense of transit. A feeling neither here nor there. The idea that home is the pivot, not the point. Sounds of moving vehicles. Extra-lingual umms & ahhs while a speaker connects sentences. 'Here' is a space, but 'there' is a mythology, a fable. We orbit our fables like atoms around a nucleus. Wherever we go, there we are again.

Pointing At Canopus was composed by Arif Mirbaghi and edited by Michelle Macklem and Jess Shane. It was made with the voices of over a dozen friends. Special thanks to Michael Eckert for his pedal steel improvisation and Parva Karkhaneh for her patient guidance.
III. I don't think it's my place by Sophia Steinert-Evoy
: an interpersonal, theoretical, and material exploration of climate change and complicity

This piece was produced by Sophia Steinert-Evoy with original boops by William Smith and help and trust from her anonymous friend, and editorial support from Jess Shane and Michelle Macklem.

"Energy usage and sound are two omnipresent components of our daily life. We're constantly trying to weigh our own wants and complicities against individual sacrifices and the perceived "difference" our actions can make. In this piece I wanted to capture an interpersonal interaction about climate and personal responsibility, so I spoke with a friend who works in the oil and gas industry. I found he has many of the same moral quandaries as those of us who consider ourselves to be less directly implicated in the production of fossil fuels, which brought up questions of personal responsibility. I captured sounds of latent energy usage in my daily life: the stove, the laundry machine, a lawnmower, my car, the garage door, the shower to highlight how integrated energy usage and thus destruction is. - Sophia Steinert-Evoy
IV. The Mystery Box by Nicole Pingon
This is a new work with notes to be released at a later date.
Arif Mirbaghi is a Canadian-born composer & arranger based in Tehran, Iran. He has performed with dozens of ensembles throughout the world, in styles varying from folk, jazz, progressive rock, and beyond. His work explores the relationship of disconnection and reconnection for communities in the diaspora. More from Arif on his Soundcloud and on Spotify.
John Hill (he/they) is a queer artist and working class poet from Hamilton, Ontario, Canada. He is of the Oneida nation and Turtle clan, from Six Nations of the Grand River. His work deals with themes of colonialism, enchantment, justice, solidarity and magic.
Sophia Steinert-Evoy is a student and audio editor and producer living in Brooklyn. You can also find her on Instagram here.
The Piano Travels
By James Bailey
February 3 – April 4, 2022, Thursday to Monday, 10am – 4pm
NAISA North Media Arts Centre, 313 Highway 124, South River
Pay by Donation

The Piano Travels is an interactive sound installation by James Bailey that uses radio transmission and amplification to modify and extend the capabilities of a 1864 Armand upright piano. In this installation, sounds from various parts of the piano will be amplified by different means, including instrument amplifiers and radios, the latter receiving their signals via small low-power transmitters.

Learn more

The upright piano has been an entertainment fixture in homes, even those of modest means, for well over a century and has provided music in a way that its manufacturer, as well as tradition, has dictated for many years before that. There are a few adventurous souls however, who have, on occasion, seen fit to extend the instrument's capabilities by modifying its sounding methods by means such as inserting objects between the strings at specific points to alter the tonal properties (John Cage), attaching long lengths of wire to certain strings that are sounded by means of weather events (wind, rain, etc.) (Gordon Monahan), or collecting instruments that have been left to the elements until on the verge of no longer being playable (Ross Bolleter). I myself have engaged in the latter, with a piano that had formerly been used in a NAISA installation by Michelline Roi, wherein she had inserted small speakers inside the body which played recordings of various peoples memories of their experiences with one in their home. In this installation, sounds from various parts of the piano will be amplified by different means, including instrument amplifiers and radios, the latter receiving their signals via small low-power transmitters designed by Tetsuo Kogawa. These external sounding devices will be distributed around the exhibition space as much as cabling and transmission range will allow.

James Bailey is a sonic explorer who has been recording sound pieces since the mid-'70s and performing on occasion since the early '80s. Tape recorders and their manipulation were prominent in the beginning, but eventually electronic modification devices ("stomp boxes") joined the arsenal, and computer effects used in post-recording processing. He has also been known to play objects unmodified by electronics, even "real" instruments, though rarely in a conventional manner.
EMF Turntable
By Shaughn Martel
February 3 – April 4, 2022, Thursday to Monday, 10am – 4pm
NAISA North Media Arts Centre, 313 Highway 124, South River
Pay by Donation
Grounding electronic and technological materials in nature, the EMF Turtable is an interactive sound sculpture by Shaughn Martel that amplifies the electromagnetic fields generated by mobile phones and other small electronic devices.
Learn More
By pushing the electromagnetic emissions of these devices into the human hearing range the flow of electricity between the components and data transfer between them generates a droning static sound. By spinning the turntable and using the touch screens, visitors can modify the waveform of the electromagnetic field and the resulting sound material of the EMF Turntable. The sculpture was created initially as an instrument to strip the social associations of small consumer electronic devices; to understand them instead as tone generating machines as part of a manual analog instrument.
Shaughn Martel is a Sudbury born and Tkoronto (Toronto) based new media artist. Focusing in the performance of electricity, electronics and human collaborations with it. Their work extends to grounding the mystification of technology in natural phenomena and attempting to augment sensory perception of spaces and forces normally outside the faculties of the body.
Electromagnetic Composition Workshop
By Dan Tapper
Workshop sessions take place February 20 and 27, 2022 at 2 pm (UTC -5) with a shared listening session on March 6, 2022 at 2 pm (UTC -5)
General $30, with Advanced Registration.


Discover and tune into the hidden electromagnetic soundscape around you by building your own DIY wire coil inductors.

This online workshop will take place on the meeting platform Whereby. In it you will learn how to build custom wire induction coils that allow the electromagnetic spectrum to be translated into sound. With these devices you can explore the electromagnetic landscapes around your everyday environment in order to create a short audio composition that we will share on the last workshop meeting.

Learn more


Participants will learn:

- How to create a simple induction coil and convert this into an audio capture device.
- Where best to look for interesting electromagnetic sounds in the house and outside
- Methods of digitally processing and composing with electromagnetic sounds.

Meeting Dates:

February 20 at 2 to 3:30 pm (UTC-5)
February 27 at 2 to 3:30 pm (UTC-5)
March 6 at 2 to 3:30 pm (UTC-5)

Items supplied by participants:

- Portable Sound Recording device (Zoom H4n, etc)
- Electromagnetic Coil wire
- 1/4” or 1/8" audio jack (whichever is compatible with your sound recording device)
- solder
- soldering iron
- 2 Alligator clips

Recording devices can be rented or purchased from music and audio retailers. Other materials can be acquired from electronics retailers.

Dan Tapper is an artist who explores the sonic and visual properties of the unheard and invisible. From revealing electromagnetic sounds produced by the earth’s ionosphere, to exploring hidden micro worlds and creating imaginary nebulas made from code. His explorations use scientific methods alongside thought experiments resulting in rich sonic and visual environments. Dan also regularly uses his skills as a creative coder and interactivity designer to help artists and musicians facilitate projects. These range from building a 20 ton stone boat embedded with interactive soundscapes and pressure sensors to digital video feedback software and audio reactive light environments.
Conscient
By Claude Schryer
On NAISA Radio, 10AM Daily

The conscient podcast is a series of conversations and monologues about art and the ecological crisis presented and produced in English and French by Claude Schryer. It began in 2020 as a personal learning journey and knowledge sharing exercise that starts with the climate crisis as a touchstone and examines how arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast follows up on his previous podcast simplesoundscapes.
Constellations
By Michelle Macklem and Jess Shane (Curators and Hosts)
On NAISA Radio, 12PM - Thursday to Sunday

Constellations is a sound art and experimental narrative collective that illuminates international artists making sound works that convey meaning through evocation and abstraction. Co-founded by Michelle Macklem and Jess Shane, Constellations features a wide-range of audio works which unravel the distinctions between experimental documentary, sound art, soundscapes, fiction, and music. The pieces they air encourage listeners to expand their conception of narrative, musicality and attention.
Art's Birthday Mesh Jam
January 17, 2021 at 2PM EST (-5 UTC)
Listen/Watch the celebration on Art’s Birthday Mesh Network. To participate with your own sounds images, create an account on the Mesh!

Celebrate Art's Birthday by participating in a multi-media jam taking place with artists and musicians from around the world online on the Art’s Birthday distributed mesh system. Deep Wireless artists James Bailey and Shaughn Martel will join the mesh at 2PM EST to contribute sounds and images, but the mesh can be accessed at any other time. Art’s Birthday is an annual exchange art event celebrated internationally by the arts community. Happy 1,000,059th Birthday, Art!

Winter Diary Revisited - Listening Event #1
By Claude Schryer
Group listening with a Q&A - Feb 5 at 7PM EST (same event as the Feb 6 at 2PM EST event)
General $10, with Advance Registration

Claude Schryer will present his new soundscape composition and podcast program featuring excerpts from an unpublished essay that R. Murray Schafer wrote after a 10-day field recording trip that Schafer undertook with Schryer in rural Manitoba in February 1997. The recordings made on the trip were produced and edited for a radio piece for the program Akustische Kunst on Westdeutscher Rundfunk Köln (WDR). Schryer ‘revisits’ this trip by mixing Schafer's writing with archival soundscapes as well as new winter soundscapes recorded in Ontario and Quebec in 2022.

This new piece forms episode 99 of the conscient podcast series produced by Claude Schryer. The French language version of this piece is episode 100 of the conscient podcast: Journal d'hiver revisité - Hommage à R. Murray Schafer. The final mix was realized as part of a residency at the New Adventures in Sound Art (NAISA) in South River, Ontario (Darren Copeland, artistic director).
Winter Diary Revisited - Listening Event #2
By Claude Schryer
Group listening with a Q&A - Feb 6 at 2PM EST (same event as the Feb 5 at 7PM EST event)
General $10, with Advance Registration

Claude Schryer will present his new soundscape composition and podcast program featuring excerpts from an unpublished essay that R. Murray Schafer wrote after a 10-day field recording trip that Schafer undertook with Schryer in rural Manitoba in February 1997. The recordings made on the trip were produced and edited for a radio piece for the program Akustische Kunst on Westdeutscher Rundfunk Köln (WDR). Schryer ‘revisits’ this trip by mixing Schafer's writing with archival soundscapes as well as new winter soundscapes recorded in Ontario and Quebec in 2022.

This new piece forms episode 99 of the conscient podcast series produced by Claude Schryer. The French language version of this piece is episode 100 of the conscient podcast: Journal d'hiver revisité - Hommage à R. Murray Schafer. The final mix was realized as part of a residency at the New Adventures in Sound Art (NAISA) in South River, Ontario (Darren Copeland, artistic director).
The Garden of Earthly Delights - A Comic Opera
By Trevor Wishart
Group listening with Q&A - February 13, 2022 at 2PM
General $10, with Advance Registration
Trevor Wishart will present his hour long radiophonic electroacoustic work in a new binaural audio version adapted from the 8-channel surround version. “The Garden of Earthly Delights” is a 70 minute journey through the landscapes of the human predicament. Free archival recording available on NAISAtube shortly after February 13.
Learn More


The libretti is by Katrina Porteous, Martin Riley and Trevor Wishart. Recordings were made at the Royal Conservatory, Den Haag, and at Leeds and Durham Universities, and the project received support from the Konrad Boehmer Foundation. Featured performers include Lore Lixenberg and First Year Choir of the Royal Conservatory, Den Haag along with the voices of Marie Guilleray, Áslákur Ingvarsson, Martin Riley, Jacqueline Wishart, Luke Dickson, John Mee, Rebecca Riley, Maggi Stratford. Additional music was composed by Ben Eyes and Brass music was performed by Honor Hornsby, Martha Dean and Samuel Gibb. The binaural adaptation from Trevor Wishart’s 8-channel Surround version is by Ben Eyes.

Trevor has produced a booklet about the origins, history and technical aspects of “The Garden of Earthly Delights” and includes a stereo version of the complete piece on CD. It is available on Bandcamp from Integrated Circuit Records.

The labyrinth shown in the accompanying image has been adapted from the original Bosch painting by Istvan Brecz-Gruber.

Constellations Online Listening Party
By Michelle Macklam (Curator), Arif Mirbaghi, John Hill and Sophia Steinert-Evoy
March 26, 2022, 4:00 pm
General $10, with Advanced Registration
Constellations is a sound art and experimental narrative podcast and event series co-founded by Michelle Macklem and Jess Shane. Works by John Hill, Arif Mirbaghi, Sophia Steinert-Evoy and Nicole Pingon are presented along with discussion about the themes and processes that guided their creation. Also, all 60+ episodes of Constellations are broadcast on NAISA Radio at 12PM Thursday to Sunday.

An archive of the event recording will be available on NAISATube shortly after March 26.

Program:
I. Speak(er) to the Land by John Hill
: Speak(er) to the Land was produced by John Hill. Aliya Pabani provided editorial support on behalf of Constellations. Thanks to the University of Wisconsin Oneida Language Dictionary Project.

This piece is dedicated to Maria Hinton, the Oneida speaker heard at the end of the piece, and to Ima "Akoh" Johnson, Mohawk-Cayuga faithkeeper and language teacher. This piece is also dedicated to the land and its defenders everywhere.

“This piece is a prayer and poem which speaks directly to the ancestors and the future generations through language. A prayer and a promise.

It's goal is to send a message to generations passed and generations to come in the Oneida language, which is endangered by settler-colonial violence. The piece features two voices, the English voice which is static and unmoving, and the Oneida voice, which moves in a counter-clockwise motion, representative of traditional Haudenosaunee dance practices. When Sky Woman, our great-grandmother, danced on the great turtle's back, she did so in a counter-clockwise motion, and so the Haudenosaunee people do so to honour her.

Haudenosaunee people understand our responsibility to the land that gave birth to us, and so this piece is an address to not only the generations that have long since returned to the land, but those who are set to inherit this land. Across Turtle Island, Indigenous people are fighting to protect their ways and the land, and this poem is a message, a promise, to the next seven generations that we will not stop fighting on behalf of the land and the water and the non-human beings.” - John Hill
II. Pointing At Canopus by Arif Mirbaghi
"The tortoise, you know, carries his house on his back. No matter how hard he tries, he cannot leave home." - The Anv?r-i Suhayl? or Lights of Canopus

Pointing At Canopus is a meditation on the nature of home, not in the brick-and-mortar sense, but the broader idea: a place of rest. Children of immigrants often separately compartmentalize these ideas. Home is a place we live but heritage is a space we occupy. There is a daily pivot between the cadences of interaction with our family and those of our friends or co-workers. Inevitably the lines blur, and as individuals we find ourselves on different points along a gradient.

Coming to Iran reversed this pivot for me. The language of my home life suddenly spilled out in the streets, flooded my conversations, my day to day. For the first time I was utilizing Farsi beyond the comfort of my family home— I became a Farsi speaker.

At the same time, English became a place of thoughtful saudade. I would be lulled to sleep by audiobooks. The meter and ornamentation of the language felt familiar but distant like a kind of reverb— I became an English listener.

Pointing At Canopus explores the waxing and waning of home and heritage. I hope to evoke in listeners a sense of transit. A feeling neither here nor there. The idea that home is the pivot, not the point. Sounds of moving vehicles. Extra-lingual umms & ahhs while a speaker connects sentences. 'Here' is a space, but 'there' is a mythology, a fable. We orbit our fables like atoms around a nucleus. Wherever we go, there we are again.

Pointing At Canopus was composed by Arif Mirbaghi and edited by Michelle Macklem and Jess Shane. It was made with the voices of over a dozen friends. Special thanks to Michael Eckert for his pedal steel improvisation and Parva Karkhaneh for her patient guidance.
III. I don't think it's my place by Sophia Steinert-Evoy
: an interpersonal, theoretical, and material exploration of climate change and complicity

This piece was produced by Sophia Steinert-Evoy with original boops by William Smith and help and trust from her anonymous friend, and editorial support from Jess Shane and Michelle Macklem.

"Energy usage and sound are two omnipresent components of our daily life. We're constantly trying to weigh our own wants and complicities against individual sacrifices and the perceived "difference" our actions can make. In this piece I wanted to capture an interpersonal interaction about climate and personal responsibility, so I spoke with a friend who works in the oil and gas industry. I found he has many of the same moral quandaries as those of us who consider ourselves to be less directly implicated in the production of fossil fuels, which brought up questions of personal responsibility. I captured sounds of latent energy usage in my daily life: the stove, the laundry machine, a lawnmower, my car, the garage door, the shower to highlight how integrated energy usage and thus destruction is. - Sophia Steinert-Evoy
IV. The Mystery Box by Nicole Pingon
This is a new work with notes to be released at a later date.