Record Release (7-inch) Huronia


VINYL + AIFF + MP3 – Cdn$ 17

AIFF + MP3 – free

Publication (vinyl object and digital) contains 2 tracks, total running time 20:45.

Vol. 5 (out of a series of 7)

       Huronia (short) (8:06)
       Huronia (long) (12:39)

Home page for the project here.

Related pages: PHOTO SERIES: 21C,
Harbourfront, Imprévu, Oaxaca, Seoul, Tokyo, USA. AUDIO PUBLICATIONS: Avatar, Fin, Huronia, Kunstradio, Power Plant, Scratch, Silo City. OTHER: Sillons, Sweet Gongs Vibrating.

A collaboration with Marla Hlady.

Part of the “Recounting Huronia: A Participatory Arts-based Research” project. Recordings made in fall 2014 at the Huronia Regional Centre in Orillia, Ontario, Canada. Mixed and edited summer 2016.

See Soundfull: A Wall Speaks, A Door Shakes, A Floor Trembles for an extended artist statement on the project.

Audio mastering by Harris Newman/Grey Market Mastering.

Scroll down for REVIEWS.

Design concept: Jennifer Martin and Christof Migone. Layout: Jennifer Martin.


“Editorial Introduction” (excerpt), discussing the Soundfull: A Wall Speaks, A Door Shakes, A Floor Trembles intervention done with Marla Hlady as part of the Recounting Huronia project, Canadian Journal of Disability Studies, Vol. 6 No. 3 (2017), by Jen Rinaldi, Katherine Rossiter, Liza Kim Jackson
We end with Marla Hlady and Christof Migone’s piece Soundfull: A Wall Speaks, A Door Shakes, A Floor Trembles, which describes the sound amplifying interactive installation that they set up in the rooms of the Huronia Regional Centre during a site visit in October 2014, which was attended by survivors and researchers of the Recounting Huronia project. As professional individualist artists, Hlady and Migone brought their sound expertise to bear on the physical architecture of Huronia, where the memories absorbed in the walls reflect and speak back . By creating an audio apparatus by which survivors could, in turn, speak back to the walls of t he institution and tell their stories of pain and trauma, Hlady and Migone took on the role of creative guides. As moments unfolded of walls and survivors speaking through the sound equipment, feedback loops occurred which amplified and distorted the sound, pushing the limits and bringing the audience/participants into a crisis moment, channeling the intensity of violence that had occurred within this building and thus evoking the survivors’ calls to tear the place down. Here, again, survivor testimony is inscribed into space, reverberating against and off walls that held the life stories erased from social memory.