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WAVES Playground and Table Piece
Presented for Culture Days
By Petra Dubach and Mario van Horrik
September 28 – 30, 2018, Friday to Sunday, 10:00 am to 4:00 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
The Culture Days presentation at NAISA North Media Arts Centre features two interactive works ‘WAVES Playground’ and ‘Table Piece’ by Dutch multi-disciplinary artists Petra Dubach and Mario van Horrik. The interactive audio-visual experience will teach you how sound travels through space and different materials. Fun for the entire family!

Dubach and van Horrik are a Dutch multi-disciplinary media art duo that have been combining movement, sound and architecture in every thinkable way since 1983.

The presentation of Dutch multi-disciplinary sound art duo Petra Dubach and Mario van Horrik at NAISA is supported by a financial contribution from the Consulate General of the Netherlands in Toronto in order to increase partnerships between Canada and The Netherlands and to showcase Dutch knowledge, innovative solutions and presentations within the creative industries.

The Sunday presentation includes a free artist talk at 1:30 pm.

I. WAVES Playground by Petra Dubach and Mario van Horrik
WAVES Playground is an interactive work exploring standing waves through a double feedback system. The physical presence of the audience and the performers in the space creates standing waves and interfearance patterns, which through the feedback process produces sounds heard from the spiraling sculptures that are suspended in the air. In this work, as audience members shift around the space, the sounds also change.
II. Table Piece by Petra Dubach and Mario van Horrik
Table Piece is an improvised performance performed by Dubach and van Horrik using one of NAISA's cafe tables amplified with a contact microphone to become a resonating chamber for sounds triggered by found objects, kitchen tools, their voices and small instruments.
Videomusic 'Screaming'
By Christine Webster, Chris Malloy, Geronimo Inutiq and Pierre-Luc Senécal
October 26, 2018, 7:00 pm to 9:00 pm
Go here for Advance Tickets
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
A videomusic screening and performance reflecting on periods of political menace and large scale disasters that sonically has moments of both pensive quiet and intense noise and that concludes with an intimate portrait of a heavy metal screaming face. Works by Christine Webster, Pierre-Luc Senécal, Chris Malloy and Geronimo Inutiq.

I. Operation Deep Pockets by Chris Malloy
Operation Deep Pockets contemplates the decisionmaking of a curiously loud, arrogant President of the United States. In August of 1964, President Lyndon Baines Johnson made a series of phone calls to direct airstrikes in Vietnam, and to order trousers. In Operation Deep Pockets, we hear audio derived from those phone calls, while wartime images punctuate the president’s dialogue with Secretary of Defense Robert McNamara.
II. these apples by Geronimo Inutiq and Taqralik Partridge
'these apples' is a video by geronimo inutiq that combines digitally treated film of a navajo household - courtesy of the prelinger archives - and a spoken word piece with taqralik partridge, and ambient music.
III. a recurrent dream while driving west near Sand Creek by Chris Malloy and Leanna Kirchoff
On November 29, 1864, when the sun came up over a Cheyenne and Arapaho camp at Sand Creek (in present-day southeastern Colorado), most of the men were away for a hunt. United States Army Colonel John Chivington ordered five battalions — with more than six hundred soldiers — to attack the camp. Over two hundred victims were slaughtered as they desperately sought cover in the vegetation near the creek. Most were women and children.

Captain Silas Soule ordered his men not to fire. Soule later contributed eyewitness testimony to the subsequent Army investigation, which led to Chivington’s resignation. Five months after the Sand Creek Massacre, Soule was assassinated in Denver.

In November 2014, on the 150th anniversary of the Sand Creek Massacre, Colorado Governor John Hickenlooper issued a formal apology to the victims’ descendants.

A recurrent dream while driving west near Sand Creek juxtaposes images from the massacre site with scenes from modern Denver. The sounds are derived from Sand Creek wildlife; a rifle from the period of the massacre; Governor Hickenlooper’s apology; Chippewa teenager Matene Strikes First reading “from Sand Creek,” by Pueblo Acoma poet and ASU professor Simon Ortiz; and California College of the Arts Professor Caroline Goodwin reading “i will not say,” her poem about the role of her great-great-grandfather, John Evans (Colorado’s governor at the time of the massacre).
IV. Fukishima Days by Christine Webster
Fukushima Days is an experimental audio-video project created after the Fukushima nuclear disaster on March 11, 2011 in Japan. Footages have been manipulated with Rutt Etra and Super 8 FX effects by graphic artist Kantoh and edited to fit with the sound work previously created in 2011 by Christine Webster. The whole project confines to a dark and oppressive feeling but not without a sense of tragic beauty. This project is in support of Fukushima’s ongoing list of victims and a warning about the worldwide permanent nuclear threat we have to cope with.
V. cyber.hate.machine - In(side).Your.Face by Pierre-Luc Senécal
In this video, a blend between the aesthetics of heavy metal and the craftsmanship of electronic music, I have explored the powerful appeal of a screaming face, especially the one of three friendly death metal singers. The scream, a cornerstone of the death metal genre, is an excessive gesture, which, far from being an advocacy from hatred, somehow echoes the surreal reality in which we live. Thus, In(side).Your.Face is a very loud joke, a shout of celebration and gratefulness for being alive.

Special thanks goes out to Etienne Roy-Bourque (Nephilim), Laurent Bellemare (Basalte, Tribunal), Yann "Stormblood" Saint-Pierre (Distoriam) and Jean Piché.
A Listening Voyage Through Gaming
By Christine Webster and Eddo Stern
October 27, 2018, 7:00 pm to 9:00 pm
Go here for Advance Tickets
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
This presentation is somewhere between a lecture, performance and an installation which is appropriate since the world of gaming operates outside of the traditional definitions and rituals of arts presentation. The intersection of art and gaming is has relevant to sound art as it is to other sectors of contemporary media art. In this presentation NAISA Artistic Director will lead you through a guided tour of interactive gaming works that place primary emphasis on musical and sonic interaction. The Empty Room by Christine Webster from Paris is conceived as a work of electroacoustic music that uses Virtual Reality as a means for listeners to experience her composition. Eddo Stern's classic series Dark Game uses a customized head-mounted interface and addresses the inherent visual bias of gaming culture. Dark Game is a sensory deprivation experience where the user gains more powers the weaker the visual sense becomes for the character he or she is playing.

I. The Empty Room by Christine Webster
Empty Room is a project dedicated to the exploration of new musical composition and spatialization methods in virtual 3D spaces. The user moves freely trough a virtual plateau in the middle of a giant hypercube orbiting over the earth. All around and inside the plateau a genuine 64-channel audio spatializer is combined to create an abstract and ever changing organic visual environment. Empty Room is a real VR experience – not a 360° film.
II. Dark Game by Eddo Stern
Darkgame is a sensory deprivation computer game. The game plays on physical manipulation of the player’s senses as the central focus of game strategy. The gameplay is based upon the experience of communication and conflict under stress of sensory deprivation and sense isolation. During the game the player is equipped with custom made head gear, applying different sensations to the head that allow for non visual and auditory navigation the virtual world and interaction with other players over the internet. Darkgame is designed to include both vision and hearing impaired players, and was developed and play-tested in part with the Los Angeles Braille Institute. There are four discreet versions of the game (v1 2006, v2 2007, v3 2012, v4 2014).