Performances
Sandpaper Hammock
In-Person and Online Radio Art Performance
By Aliyah Aziz
February 21, 2026, 7:00 pm
Doors open at 6 pm for vegan meals and Gluten-Free baked goods.
In-Person at NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario, Canada.
Online audiences register in advance for access.
Tickets $15
Aliyah Aziz performs her work Sandpaper Hammock in-person and online at 7 pm on Feb 21 at NAISA. Aziz will be wearing custom-made gloves that will draw out electromagnetic sounds from old CRT monitors, a camera, and other electric signals. She mixes those sounds with spoken word, electronic pedals and loopers. See the artist's article Everything Has a Voice for more detail about the performance.
In-Person and Online Radio Art Performance
By Aliyah Aziz
February 21, 2026, 7:00 pm
Doors open at 6 pm for vegan meals and Gluten-Free baked goods.
In-Person at NAISA North Media Arts Centre, 313 Highway 124, South River, Ontario, Canada.
Online audiences register in advance for access.
Tickets $15
Aliyah Aziz performs her work Sandpaper Hammock in-person and online at 7 pm on Feb 21 at NAISA. Aziz will be wearing custom-made gloves that will draw out electromagnetic sounds from old CRT monitors, a camera, and other electric signals. She mixes those sounds with spoken word, electronic pedals and loopers. See the artist's article Everything Has a Voice for more detail about the performance.
Installations
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.
Broadcasts
Deep Wireless 20 Compilation Album
Click Here to Listen to this and other Deep Wireless Albums
The 20th edition of the Deep Wireless Compilation is produced by New Adventures in Sound Art (NAISA) for the 2026 edition of the annual Deep Wireless Festival of Radio & Transmission Art. The album includes sound art and radio art works that respond to the theme Sound Culture created by Cristian Gabriele Argento, Haley Sheppard, Linda Rae Dornan, Landforms (Gillis Van Der Wee and Lotte Nijsten) and Marco Neri. The artists draw from personal stories, memories and reflections in order to offer in their works alternative perspectives on how a sound environment or social context might be perceived or represented in art.
Deep Wireless 20 Credits for New Adventures in Sound Art (NAISA):
Artistic Director: Darren Copeland
Executive Director: Nadene Thériault-Copeland
Image Illustration: Prashant Miranda
Click Here to Listen to this and other Deep Wireless Albums
The 20th edition of the Deep Wireless Compilation is produced by New Adventures in Sound Art (NAISA) for the 2026 edition of the annual Deep Wireless Festival of Radio & Transmission Art. The album includes sound art and radio art works that respond to the theme Sound Culture created by Cristian Gabriele Argento, Haley Sheppard, Linda Rae Dornan, Landforms (Gillis Van Der Wee and Lotte Nijsten) and Marco Neri. The artists draw from personal stories, memories and reflections in order to offer in their works alternative perspectives on how a sound environment or social context might be perceived or represented in art.
Deep Wireless 20 Credits for New Adventures in Sound Art (NAISA):
Artistic Director: Darren Copeland
Executive Director: Nadene Thériault-Copeland
Image Illustration: Prashant Miranda
Program:
I. Diviso in due by Cristian Gabriele Argento
Diviso in due by Cristian Gabriele Argento explores a panic attack’s inner landscape, blending natural sounds from a botanical garden with emotional turbulence. The piece invites introspection, revealing fragility and resilience. The garden becomes a sonic sanctuary—a bridge between inner chaos and healing—reminding us that even in despair, renewal and peace remain possible.
Diviso in due by Cristian Gabriele Argento explores a panic attack’s inner landscape, blending natural sounds from a botanical garden with emotional turbulence. The piece invites introspection, revealing fragility and resilience. The garden becomes a sonic sanctuary—a bridge between inner chaos and healing—reminding us that even in despair, renewal and peace remain possible.
II. Transcription: LoveLanguageLoss by Linda Rae Dornan
Transcription: LoveLanguageLoss by Linda Rae Dornan is an audio art piece about dementia and caregiving recorded over many years as I cared for my partner, John Asimakos. The journal I kept was too emotionally difficult to read so I eventually transcribed it backwards to alleviate my own response. Transcription uses this reversed journal, cutup techniques and constant repetition collaged with John’s own voice as he tried to communicate. Constant repetition references the incomprehension and deterioration of language evident within the gradual decline of dementia patients. The audio piece attempts to share an interior space of intensity and tenderness within the isolated world of dementia and caregiving.
Transcription: LoveLanguageLoss by Linda Rae Dornan is an audio art piece about dementia and caregiving recorded over many years as I cared for my partner, John Asimakos. The journal I kept was too emotionally difficult to read so I eventually transcribed it backwards to alleviate my own response. Transcription uses this reversed journal, cutup techniques and constant repetition collaged with John’s own voice as he tried to communicate. Constant repetition references the incomprehension and deterioration of language evident within the gradual decline of dementia patients. The audio piece attempts to share an interior space of intensity and tenderness within the isolated world of dementia and caregiving.
III. “¿Aún recuerdas mi voz?” by Marco Neri
“¿Aún recuerdas mi voz?” by Marco Neri is a computer-assisted composition based on a Cardenche song from Durango, Mexico—a melancholic tradition named after a cactus whose spines hurt most when being removed. The piece reflects on vanishing cultures, evoking ancestral voices that echo through memory and digital transformation.
“¿Aún recuerdas mi voz?” by Marco Neri is a computer-assisted composition based on a Cardenche song from Durango, Mexico—a melancholic tradition named after a cactus whose spines hurt most when being removed. The piece reflects on vanishing cultures, evoking ancestral voices that echo through memory and digital transformation.
IV. The Loud Mechanical Hum that Seems to Be Getting More and More Frequent by Haley Sheppard
This work follows the Reddit threads of downtown Kitchener residents, perplexed by the mechanical and mythical hums of the city. By listening, one can contend with the hums as sonic traces of capitalism, settler colonialism, and ecological destruction. What might it mean to interrupt or counter these mostly unnoticed, yet ongoing signals of occupation, with the hum of a singular human body?
This work follows the Reddit threads of downtown Kitchener residents, perplexed by the mechanical and mythical hums of the city. By listening, one can contend with the hums as sonic traces of capitalism, settler colonialism, and ecological destruction. What might it mean to interrupt or counter these mostly unnoticed, yet ongoing signals of occupation, with the hum of a singular human body?
V. Liquid Polyphonies by Landforms (Gillis Van Der Wee and Lotte Nijste)
Liquid Polyphonies by Landforms (Gillis Van Der Wee and Lotte Nijste) is a sound composition that invites the listener on an acoustic journey throughout the polyphonic soundscape of the North Sea. By weaving together anthropophonic, biophonic, and technophonic sounds, and by searching for sonic analogies between the human and non-human through a combination of voice recordings, foley recordings, and field recordings, Lotte and Gillis create an electro-acoustic composition that emphasizes the interconnectedness between human and non-human entities at sea. Creating this piece, Lotte and Gillis reflected on interspecies listening, and their own position in the field as recordists: what can sound tell us about our relationship to the sea? And what role are we taking on as field recordists? Liquid Polyphonies was created during the residency program of Phonurgia Nova and GMEM Marseille.
Liquid Polyphonies by Landforms (Gillis Van Der Wee and Lotte Nijste) is a sound composition that invites the listener on an acoustic journey throughout the polyphonic soundscape of the North Sea. By weaving together anthropophonic, biophonic, and technophonic sounds, and by searching for sonic analogies between the human and non-human through a combination of voice recordings, foley recordings, and field recordings, Lotte and Gillis create an electro-acoustic composition that emphasizes the interconnectedness between human and non-human entities at sea. Creating this piece, Lotte and Gillis reflected on interspecies listening, and their own position in the field as recordists: what can sound tell us about our relationship to the sea? And what role are we taking on as field recordists? Liquid Polyphonies was created during the residency program of Phonurgia Nova and GMEM Marseille.