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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.”

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.
Deep Wireless 16 Compilation Album

The Deep Wireless 16 Compilation Album is comprised of radio art works curated on the theme "Digital in Nature." The album is produced by New Adventures in Sound Art (NAISA) for the 2022 edition of the Deep Wireless Festival of Radio & Transmission Art.



Editions 9 to 16 can also be accessed on the NAISA Media Archive and the NAISA Soundcloud page.

Copyright of the works belongs to the artists who have agreed to have their work on this compilation album.

Note that the Deep Wireless Albums are available for streaming only and not for download. Community and public radio or internet broadcasters should contact NAISA directly for download access to the works for airplay. Contact naisa@naisa.ca for more information.

Artistic Director: Darren Copeland
Executive Director: Nadene Thériault-Copeland
Image Illustration: Prashant Miranda

Program:
I. Sonik Boom by Janet Rogers
Origin stories and cosmology stories are important and generational hereditary tales which root us, as Indigenous people, in our identity reaching far beyond any land based migration legends and most certainly lives outside any notion of a land bridge. We know where we come from, and we know to where we will return. This track is a suite of three radio art pieces by Janet Rogers, which were presented in an online show for Deep Wireless 2021.

I. Stereo Ribbons
Stereo Ribbons was inspired by the announcement that NASA had released a new batch of (space) sounds for public consumption. Reading in their descriptions that some of the sounds were described/labeled as stereo ribbons, I thought this was a lovely title and produced a beautiful visual to think of this sound ribbons floating through space - in their own time, taking their own shapes and traveling or not traveling to whatever destination pleased them.

II. tsi tkaronhya ke
tsi takaronhya ke - in the sky - is a sound narrative featuring digital compositions by Haida/Cree musician Kristi Lane Sinclair and Inuit DJ Geronimo Inutiq (formerly known as madeskimo) featuring Sylvia Cloutier produced by Mohawk sound and radio artist Janet Rogers. This sound journey expresses challenges within change and transitional phases. Within Indigenous spiritual teachings and origin stories the sky and or space is where human spirit joins the physical realms and where our spirits also return. Transition almost always includes elements of chaos and confusion before understanding and acceptance is achieved. tsi tkaronhya ke is the sound journey of spiritual transitioning.

III. Sky Woman Falling
Two original poems revisiting the Haudenosaunee Creation Story, Sky Woman, with self-produced sounds and original music by Liv Wade.
II. Electromagnetic Nature by Anton Pickard
Electromagnetic Nature presents the sounds of the digital world. Electromagnetic energy converted into audio energy. This is the"nature" of the digital world that surrounds us. This piece incorporates electromagnetic sound recordings of electrical devices such as cell phones, tablets, keyboards, laptops, printers, hard drives, etc.
III. Speak(er) to the Land by John Hill
Speak(er) to the Land was produced by John Hill with editorial support from Aliya Pabani on behalf of the Constellations podcast series. Thanks to the University of Wisconsin Oneida Language Dictionary Project.

"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.

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. Without them, I would have no courage to speak. This piece is also dedicated to the land and its defenders everywhere." - John Hill
IV. EMF Turntable by Shaughn Martel
Grounding electronic and technological materials in nature, the EMF Turntable is an interactive sound sculpture by Shaughn Martel that amplifies the electromagnetic fields generated by mobile phones and other small electronic devices. By spinning the turntable and using the touch screens, Shaughn Martel modified the waveform of the electromagnetic field and the resulting sound material emitted from the EMF Turntable.
V. Colonial Conversation by Elizabeth Hill
Colonial Conversation is a sound art piece created to reflect Indigenous life before contact, during conflicts and changes, and what in our environment is still prevalent and relevant today. The piece was premiered at the Cold Waters Symposium, North Bay in 2019. Vocals were recorded in 2018 and are by Elizabeth Hill and Michelle McAfee.
VI. Sirens Dawn by Cecilia Tyrrell
Blurring the boundaries between land and sea, Sirens Dawn creates a seascape in constant flux with its identity—ever changing, always in motion. A sonic topography inspired and partly arranged from recordings made around a sound mirror on the South East coast of England (UK). The mirror, itself, stands dormant as it waits, facing outward away from land. Sound markers and siren warnings; still it listens, quietly detecting. This work aims to illuminate processes and frequencies that exist between the virtual and physical space surrounding a sound mirror on the South East Coast of England, a liminal space unnoticed by the human experience. The soundscape uncovers a dialogue woven through the natural and the man-made.
VII. Un/box: What is to be done with all that remains? by Anna Friz
This is a recording of a solo performance by Anna Friz for voice, radiophonic instruments, cottage-built electronics, and various boxes with their stuff. The piece was created for an online presentation in March 2021 to celebrate the 20th anniversary of New Adventures in Sound Art.
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
By Claude Schryer
Group listening with a Q&A - Feb 5 at 7PM EST and Feb 6 at 2PM EST
Online & In-person at NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
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
Online & In-person at NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
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.



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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 at 4PM EDT
Online & In-person at NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario
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.