Home Cart Listen Calendar Contact


Kinetic Transmissions
By Gordon Monahan
October 4, 2019 to January 6, 2020, Open 10 am to 4 pm everyday except Tuesdays and Wednesdays
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
Pay by Donation

This installation from 2016 uses audio signals to create kinetic movements in motors. The audio vibrations are transmitted through the motors and into resonant objects such as drums, which amplify the audio recordings. At the same time that the audio recordings are transmitted and amplified into the drums, they also cause other motors to tremble and shake in kinetic gestures. These audio-induced movements, in turn, provide kinetic motions that result in percussion events, such as motors that have bells or sea shells attached to them, or wires that play wine glasses or drums as percussion objects. The piece exists as a gallery installation that becomes an immersive kinetic audio environment that the audience can enter to experience.

Photo from 2016 exhibition at Galerie der Stadt Schwaz, presented by Klangspuren, Schwaz, Austria.

Off the Beat(en) Track
October 4, 2019 to January 6, 2020, Open 10 am to 4 pm everyday except Tuesdays and Wednesdays
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
Pay by Donation

NAISA completes its year long exploration of the theme "Off the Beat(en) Track" with a video installation screening of works exploring auditory and visual rhythms by Darsha Hewitt with Nelly-Eve Rajotte, Jaroslaw Kapuscinski, Myriam Boucher, Jeff Morris and an early film by Canadian animation pioneer Norman McLaren.

I. Side Man 5000 Project by Darsha Hewitt & Nelly-Eve Rajotte
The Wurlitzer Side Man 5000, created in 1959, is the world's oldest (and heaviest) commercially available drum machine. Darsha Hewitt explores the aesthetic and innovative potential of reviving the Side Man through her youtube series A Sideman 5000 Adventure. Meanwhile, Nelly-Ève Rajotte offers a lush and immersive audio-visual experience that exposes the complex and unique workings of the Wurlitzer Side Man 5000, accompanied by a composition of sound bites from this instrument.
II. Dots by Norman McLaren
The Canadian animation pioneer Norman McLaren was well known for the close relationship between image and sound in his films. This was a result in part of the fact that he worked directly on the film where he could jointly create both the image and the sound. Dots, and the companion film, Loops were made in 1940 prior to his work at the National Film Board of Canada when he was a penniless immigrant, short of cash and security, in New York. As Jaroslaw Kapuscinski relates in his essay Norman McLaren: Synergist, “Having no money for music he painted it directly on the optical track. To make them he would take strips of film, 60 frames in length, one at a time, and draw images and immediately after that sounds. He thought in single visual events with single sound events associated with them. He would say later with a synesthetic kind of humour that the sounds had resonance of kisses with a shade of raspberry.”
III. The Persistence of Elusion: Hard and Soft Dances by Jeff Morris
This work seeks the "native voice" of a classic drum machine by turning it on its head: manipulating its underlying clock, from which all rhythms and timbres are formed. Surprising sounds emerge from innocuous instruments, and complex “melodies” of temporalities emerge, playing between stability and surprise. The text meanders randomly (and shaped by the audio) through an essay on the aesthetics of the work, relating to Salvador Dalí’s fascination with what he called the “hardness” and “softness” of things (including time). The other video content gives fleeting, glitchy glimpses of me and my screen while performing this work, occasionally creating feedback loops that allow new shapes and effects to emerge.
IV. Cités by Myriam Boucher
Material to digital cities. the world is reversed
inhabited space dies and reborn ruin or dust
no matter
trace has resonance in us a noise that lasts
V. Variation III (Mondrian Variations) by Jaroslaw Kapuscinski
Variation III from a suite of audiovisual explorations of artwork by Piet Mondrian. The Mondriaan Variations were produced in 1992 at Institut national de l'audiovisuel (INA) in Paris and later revised in 2011. The work has awards from the Locarno VideoArt Festival (1992), the Festival du Film d'Art de l'UNESCO, and most recently First Prize at the Fresh Minds Festival.