Deep Wireless Festival of Radio and Transmission Art
NAISA is opens its 22nd annual edition of the Deep Wireless Festival of Radio & Transmission Art on Feb 4, 2023 on the theme Remote Connections with and exhibitions, performances, artist talks, an online compilation and radio programs being transmitted from and hosted at the NAISA North Media Arts Centre in South River.
“Radio over its history has built societal connections across multiple and remote locations. Radio Art evolved by way of artists and writers across many disciplines adding their diverse approaches to the way time, space and content could be re-imagined over the airwaves and later over digital streaming formats. The content in this year’s festival adds to that tradition with stories told through digital interactivity, round table discussions, documentaries, interactive art, poetry and sound art on the theme Remote Connections.”
Uvattini Uqaalajunga - J' Appel chez nous - I Am Calling Home
By Geronimo Inutiq
February 18, 2023, 7:00 pm
Performance at NAISA North Media Arts Centre, 313 Highway 124, South River. Audio stream at NAISA Radio and broadcast outdoors at Ice Follies site at Shabogesic Beach, North Bay.
General $12, in-person tickets here. Free for broadcast.
Geronimo Inutiq will be in residence for the Deep Wireless Festival to create a new commissioned radio art performance based on his ongoing project "Uvattini Uqaalajunga - J' Appel chez nous - I Am Calling Home." The performance can be experienced live in three different ways. As an in-person performance at NAISA in South River, as a digital audio broadcast on NAISA Radio, and as a sited audio broadcast at Ice Follies.
The project was initiated by Geronimo Inutiq during a residency with the SAW Nordic Lab in 2020 and has evolved into an installation for the Canadian Centre for Architecture and also into a virtual broadcaster that transmits a community show in three languages - English, French, and Inuktitut. All of these have weaved together experiences of living in the north from multiple cultural perspectives.
The content of his performance at Deep Wireless will remix voices recorded at round table discussions on Feb 16 at 2 pm at NAISA in South River and 8 pm at the Digital Creator Lab in North Bay. The round table discussions will explore how notions of home are shaped by natural environments and how these are different across different regions and cultures in the Canadian North.
Inutiq's appearance is part of NAISA's Deep Wireless Festival of Radio and Transmission Art and is supported in part by funding from the Canada Council for the Arts. Thank you to Digital Creator Lab and Ice Follies Festival in North Bay for their support of the North Bay events in this project. Photo by Robert Geoffrion.
By Geronimo Inutiq
February 18, 2023, 7:00 pm
Performance at NAISA North Media Arts Centre, 313 Highway 124, South River. Audio stream at NAISA Radio and broadcast outdoors at Ice Follies site at Shabogesic Beach, North Bay.
General $12, in-person tickets here. Free for broadcast.
Geronimo Inutiq will be in residence for the Deep Wireless Festival to create a new commissioned radio art performance based on his ongoing project "Uvattini Uqaalajunga - J' Appel chez nous - I Am Calling Home." The performance can be experienced live in three different ways. As an in-person performance at NAISA in South River, as a digital audio broadcast on NAISA Radio, and as a sited audio broadcast at Ice Follies.
The project was initiated by Geronimo Inutiq during a residency with the SAW Nordic Lab in 2020 and has evolved into an installation for the Canadian Centre for Architecture and also into a virtual broadcaster that transmits a community show in three languages - English, French, and Inuktitut. All of these have weaved together experiences of living in the north from multiple cultural perspectives.
The content of his performance at Deep Wireless will remix voices recorded at round table discussions on Feb 16 at 2 pm at NAISA in South River and 8 pm at the Digital Creator Lab in North Bay. The round table discussions will explore how notions of home are shaped by natural environments and how these are different across different regions and cultures in the Canadian North.
Inutiq's appearance is part of NAISA's Deep Wireless Festival of Radio and Transmission Art and is supported in part by funding from the Canada Council for the Arts. Thank you to Digital Creator Lab and Ice Follies Festival in North Bay for their support of the North Bay events in this project. Photo by Robert Geoffrion.
Remote Connections Concert
March 4, 2023, 7:00 pm
Online Only - Click Here to Register
General $12, Click Here for Advance Registration
Three works from the Deep Wireless 17 Radio Art Compilation Album will be included in this online event on the theme _Remote Connections_. The presentation will feature a new work by Anton Pickard - this year's James Bailey award winner - as well as works by Juro Kim Feliz and Faisal Karadsheh.
Faisal Karadsheh's "to be heard (soundwalk’in_2021)" is derived from recordings of street protests in Toronto responding to national and international events. Anton Pickard features the sounds of dial up modems, morse code and the RCI shortwave interval signal. Juro Kim Feliz's "Kinalugarán" highlights the invisibility of Filipino artists based in first-world diaspora.
March 4, 2023, 7:00 pm
Online Only - Click Here to Register
General $12, Click Here for Advance Registration
Three works from the Deep Wireless 17 Radio Art Compilation Album will be included in this online event on the theme _Remote Connections_. The presentation will feature a new work by Anton Pickard - this year's James Bailey award winner - as well as works by Juro Kim Feliz and Faisal Karadsheh.
Faisal Karadsheh's "to be heard (soundwalk’in_2021)" is derived from recordings of street protests in Toronto responding to national and international events. Anton Pickard features the sounds of dial up modems, morse code and the RCI shortwave interval signal. Juro Kim Feliz's "Kinalugarán" highlights the invisibility of Filipino artists based in first-world diaspora.
Program:
I. to be heard (soundwalk’in 2021) by Faisal Karadsheh
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.
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.
II. Sound Connections by Anton Pickard
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.
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.
III. Kinalugarán by Juro Kim Feliz
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.
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.