CAN was all over the recent International Marketplace for Digital Arts (IMDA) event that took place as part of the first edition of the International Digital Arts Biennial (BIAN) in Montreal. These speed talks allowed a global roster of artists, curators and organizers to discuss their current projects for the assembled audience and—fueled by a lot of coffee—approximately two dozen practices were presented over the course of two days. For the next week and a half, I'll be pointing out some of the artist and projects that were discussed during these sessions and the first up is Montreal's Darsha Hewitt.
Hewitt describes her practice as being invested in exploring "the ways in which electricity is experienced and perceived in domestic environment" and she presented three projects during her talk, two of which are showcased in the below video. Electrostatic Bell Choir is a kinetic sound installation consisting of small bells and pith balls that are 'played' by static electricity emitted from salvaged CRT monitors that cycle on and off and Feedback Babies deploys an array of low-cost Fisher-Price nursery monitors from the 1980s as a squawky phase piece.