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Navid Navab, born and raised in Tehran (IR), is a Montreal-based media alchemist, tabletop cosmologist, antidisciplinary composer, and audiovisual sculptor, who investigates the forming-giving potential of chaotic material processes, in search of collaborative ethos for playful sense-making with ecological indeterminacies. Interested in the poetics of schizo-phonia, gesture, and materiality, for over a decade, Navab has been composing multi-sensory experiences, entangling humans, machines, and materialities both in-situ and in concert, in ways that enable critical engagement with excitable matters-of-process.
Navab’s artworks, which take on the form of gestural sound compositions, responsive architecture, site-specific interventions, participatory environments, and kinetic sculptures, have been presented internationally at festivals such as Ars Electronica (AT), Kapelica Gallery (SL), device_art triennial (HR), NEMO Biennale (FR), Sonica Biennale (BG), Eufònic (ES), Canadian Center for Architecture (CA), Japan Society (US), Contemporary Arts Museum Houston (US), ISEA (SP, CA), milanOltre (IT), HKW (DE), Kiblix (SL), Guelph Jazz (CA), and FIMAV (CA).
Michael Montanaro is a trans-disciplinary artist who is best known for his work in the field of contemporary dance and mixed media. A graduate of the Hartford Conservatory, he has performed with the Boston Ballet, Les Grands Ballet Canadiens and Le Groupe de la Place Royale where he also served for 5 years as co-artistic director. In 1985 he founded Montanaro Dance, developing a reputation for using cutting-edge technology to create theatrical environments for his choreography. Since 1996 Michael has worked as a choreographer, director and collaborator on numerous projects. A Professor Emeritus at Concordia University, Michael was Chair of the Department of Contemporary Dance from 1999 through 2014. As the co-director of the Topological Media Lab, since 2015, Montanaro is dedicated to the envisioning, design and creation of projects focused on evolving innovative ways in which new technologies are used to enhance the interactive experience.

Navid Navab & Michael Montanaro

Aquaphoneia is an alchemical installation centred around the poiesis of time and the transmutation of voice into matter.
A large horn floating mid space echoes the ghosts of Edison, Bell and Berliner’s machines. But unlike early recording, herding sound energy to etch pressure patterns in solid matter, this odd assemblage transmutes voice into water and water into air. Disembodied voices abandon their sources to cross the event horizon of the horn. Estranged, the schizo-phone falls into the narrow depths of the bell, squeezed into spatiotemporal infinity, calcinated, liquefied and released : the aqueous voice then flows into three alchemical chambers where inner time is surrendered to the tempi of matter : unbound, yet lucid and sound.
In one corner, voices bubbling inside a sphere of fire are brought to entropy and transmuted into a timeless concentration of spectral mist and phonetic vapor. An Ouroboros chamber twists fermented vowels into distilled consonants to release a thin blade of prosody. This viscous alchemical matter lowers itself to the terra beneath where matter dances to its own affective tonality. Another apparatus separates speech into vital elements a drop at a time: words into phonemes, into phono particles, and the invisible quanta of silence.

Aquaphoneia

Delta

Nyasha Kadandara is a Zimbabwean-born visual storyteller based in East Africa. She focuses on a 
broad spectrum of subjects including breaking news, climate change, education, migration, health, and conflict in various parts of Africa. Nyasha holds a master&#8217;s degree in journalism and documentary filmmaking from Columbia Journalism School. In 2015, she directed the award-winning documentary Through the Fire and her short documentary Queens &amp; Knights won first prize at the 2016 NBC Sports film contest. Recent works include Sex and the Sugar Daddy an extensive multimedia piece on transactional sex relationships in Kenya which was shortlisted for the One World Media Awards in the Popular Feature and Digital Media categories. And, her virtual reality documentary, Le Lac, which looks at 
the effects of climate change and the Boko Haram insurgency around Lake Chad and premiered at the 2019 Sheffield Doc/Fest receiving the Best Digital Narrative Award.

Nyasha Kadandara

(The Lake)
Le Lac is a dreamscape where liquid gives way to dust. The oasis of the Sahel, Lake Chad, is not who she used to be. Ninety percent of her water is gone, leaving her feeling depleted, wary, scared and insecure. Climate change has made the millions of people who depend on her vulnerable, and induced the threat of Boko Haram insurgency.
In this immersive documentary, step into the lives of Mahamat, a once-wealthy pastoralist, and Nassuri, a refugee-turnedfisherman, as the lake herself hopes for their survival amidst her scattered ponds.
Winner : Best Digital Narrative at Sheffield Doc/Fest 2019.

Le Lac

Ecole Sainte-Marie

Amos Peled is a Dutch multidisciplinary artist who focuses on performance art, experimental music and technologies. He holds an MA from ArtScience (2022), KABK, and a diploma in film and new media studies.
Peled introduces medical technologies into creative environments in order to raise doubt, challenge conventions and provoke reflections on what is considered normal or ordinary especially in medical terms.

Amos Peled

Phantom Limb (2023) is a project exploring the enigmatic and poetic relationship between a human being and the black box that is their interior through the use of a medical ultrasound machine. Amos Peled has been developing methods to perform audio-visual manipulations which transform the ultrasound machine into an instrument that illuminates the inside of the body and expands the space of the artistic act into the organs, under the skin. The work investigates conceptions such as the distance of the human body from the idea of oneself, the hierarchical relationship between the inside and the outside, pain as a poetic message, and the lack of internal symmetry.
In Phantom Limb the ultrasound medical technology is revisited in an art context, where the machine becomes a source for inductive, creative, and speculative investigation. By discovering the variety of possible sounds and images that the machine can produce and the use of a special made audio visual system, a playful framework for constructing imagination-evoking sequences and visual storytelling tools are established, this creates the conditions to reimagine medical technology.
Peleds interest in the theme of medical technology comes from the experience of growing up in a hospital environment, where he observed firsthand the working processes of the medical system.
Phantom Limb is commissioned by iii in collaboration with Rewire, Amare, and Tetem.
Artistic and production assistant : Andrejs Poikans
Software development and Artistic assistant : Daniel Treystman
Sound : Liza Kuzyakova, Amos Peled, and Andrejs Poikans