Summer Workshops with Tim Tracey

Need a little extra technical knowledge to kick-start that animation project you’ve been working on? Need help making a low budget explosion? This August join us for two new workshops by Tim Tracey! We’re offering a special deal attend both workshops for $60 (member rate)! or $80 for non-members.

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Hands-On Stop Motion Animation
Saturday, August 12th 2017. 1 – 4pm.
In this workshop try your hand at stop motion animation with award-winning animator Tim Tracey. Tim will be teaching the basics of Animation software Dragon Frame and the techniques that create the seamless movements and polished technical style he’s become known for. (You can check out some of Tim’s animation work at this link!) This is a learn-while-doing class, so come prepared to play with some toys! This workshop is open to everyone and all skill levels.

$35 for Members

$45 for Non-Members

Practical Magic – Practical Effects on a Shoe String
Saturday, August 19th 2017. 1 – 4pm.
In this workshop award-winning filmmaker Tim Tracey will explore the world of affordable practical effects.  Tim will delve into his own experiences creating practical effects on micro budget films, demonstrate how he has crafted some amazing props and provide some of the tricks and tips he has picked up over the years. Tim will be happy to provide guidance for any concerns or question you may encounter on your own project so come with some ideas! For examples of some of Tim’s practical effects check out his feature film Canadian Ninja!

$35 for Members

$45 for Non-Members

You must pre-pay to reserve your spot in these workshops. Do not wait! We expect it to fill up quickly! Drop by the centre to pay or contact with questions.



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Still from The Grand Tour by Kasia Klimpel, 2015

Team CFAT is going on a road trip!

Join us as we head on down to Mahone Bay for our upcoming screening Retro Tape! Retro Tape is a collection of works from the past decade of our Media Art Scholarship program curated by our Technical Director Tom Elliott. The screening will include works by:

Susan Wolf
Ruth Marsh
Kasia Kilmpel
Tamar Dina
Anna Taylor
Amélie Proulx
MJ Sakurai
Kira Daube
Kate McKenna

Retro Tape is free to attend and will take place at the Mahone Bay Centre (45 School St, Mahone Bay NS) on Friday July 7th at 7pm. Hope to see you there!

Monitor 12 at HIFF!

monitor 12 image Still from Landscape Series no. 1  by Nguyen Trinh Thi. Vietnam, 2013, 5 MINS.

CFAT is proud to partner with the South Asian Visual Art Centre to present Monitor 12: Figures Pointing Outside the Frame at this years Halifax Independent Film Festival. This collection of short videos has been curated by Toronto-based curator and artist Oliver Husain as well as Jakarta-based programmers Otty Widasari and Yuki Aditya.

The screening will be immediately followed by a discussion between Rajee Paña Jeji Shergill, CFAT Programming Committee member and SAVAC member, and Sanaz Sohrabi, one of the featured video artists.

The screening will take place on Saturday, June 10th at 9pm at the Scotiabank Stage Theatre. Pick up your tickets at the link.

CALL FOR SUBMISSIONS: 2017/18 Media Art Scholarship


Detached Objects, Kate Ward, 2017 Out Of The Centre Presentation. Photo by Stoo Metz

The CFAT Media Arts Scholarship program is a rigorous six-month education and mentorship opportunity for people new to media arts. Selected applicants are required to make a media art piece in a medium in which they have little to no previous experience. CFAT provides mentorship through an established media artist working in the scholars selected medium, in kind use of all of CFAT’s gear and facilities, workshops in all necessary skills to complete the project, one on one tutorials and a final presentation of their work including a presenting artist fee.

The Scholarship program will consider any project that falls under the umbrella of ‘media arts’ this includes but is not limited to: video, recorded sound, animation, interactive presentation, electronics, media performance and installation.

The Media Art Scholarship Program is open to any member of the public who is not currently attending a similar program. (The program is not open to students). You do not need to be an artist to apply, but you do need to have a clear vision/concept for your art project.

Scholars must be prepared to attend ALL workshops, monthly mentor meetings, scheduled critiques, and other related events. The majority of workshops and critiques take place on weeknights. While the Centre will try to arrange classes and meetings with the schedules of the Scholars in mind, it is expected that Scholars will dedicate at least six hours per week to the program.

To apply please submit:

  1. The application form found here
  2. CV or Resume
  3. Support materials. Your support materials can be anything that might help the submissions jury better understand your proposal. These can be sketches, photographs, audio or video clips, examples of past work, etc. Please only submit up to 10 pieces of support material. All audio and video clips must come in the form of a url (vimeo link, soundcloud link, etc.) and be less than 3 minutes.
  4. A corresponding list of support material

Submissions are due by midnight on Thursday, June 15th, 2017.

All submissions must be submitted by email to with the subject line “Media Art Scholarship Submission.” Late submissions will not be considered.

If you have any questions about the program or submission process call Tori Fleming, Programming and Communications Director at (902) 422-6822 or email

Sound Etiquette: Sonia Boyce MBE | Christine Sun Kim | Benny Nemerofsky Ramsay

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March 27 @ 5:30pm – April 24 @5:00pm

The Centre for Art Tapes is pleased to present Sound Etiquette, an international group exhibition curated by Amanda Shore, featuring works by Sonia Boyce MBE, Christine Sun Kim, and Benny Nemerofsky Ramsay.

Through lyric, babble, slam poetry, and soundless closed-captioning, the three video-based works in the exhibition unravel social norms associated with sonic communication. In situations where comprehensible language proves to be insufficient—too linear, too gendered, too exclusionary—these three artists turn to new communication methods.

Christine Sun Kim coined the term sound etiquette: the social do’s and don’ts of the hearing world that Deaf people are expected to follow, in order to exist quietly and discreetly. In the exhibition, Christine Sun Kim, Sonia Boyce MBE and Benny Nemerofsky Ramsay challenge conventional communication systems by testing the limits of vocal, textual, and gestural languages.

All are welcome to the opening reception on March 27 from 5:30pm – 7:00pm, and there will be a tour with the curator on Sunday April 2 at 1pm.

For press inquiries please contact the curator at The online catalogue will be viewable at, and you can join the conversation using #SoundEtiquette.


Notes on Accessibility:

In this exhibition of sound and video art, all works with English audio are closed-captioned, and descriptive aids accompany sonic works that cannot be closed-captioned. The space will be dimly lit to accommodate the video-based artworks, but a gallery attendant will be available to guide any visitors who require assistance. There will be ASL interpreters present at the tour with the curator on Sunday April 2.
The main entrance to the Khyber is up 2-steps from the sidewalk on Hollis St., however there is the mall entrance further down the block towards Duke St. that can be used for ground level entry. The door does not open automatically but we are happy to provide assistance as you approach the Khyber. There is an all genders wheelchair accessible washroom down the hall, and all gender washroom stalls up a set of 10 stairs. Please contact with any questions.

Artist Talk: Merle Harley

Artist Talk: Merle Harley

IMG_6134Join us on Thursday, March 23rd at 7pm at the Khyber Centre for the Arts for an artist talk from our E-Lab Artist in Residence Merle Harley!

Merle will be discussing her most recent work exploring the parallels between codes, algorithms, and systems within electronics, and those used within knitting and weaving patterns.

Thursday March 23rd, at 7pm
Khyber Centre for the Arts
1880 Hollis st.

Moving Forward: What Came From Our Visioning and Where Do We Go From Here

Dear CFAT Membership and Community,

A few weeks ago CFAT held a gathering inviting members and interested community to discuss how our centre can be of better service to artists (and those who want to be artists) working with digital and electronic technologies. This gathering helped give CFAT a clearer picture of how our communities understand the centre’s value and where the centre should prioritize its efforts to be of even greater relevance and service.

The following information is a summary of key themes that came from the discussions throughout the evening. This input is critical for assuring that those of us working on behalf of our members as board and staff are steering the organization in a way that reflects and is worthy of the artists we serve.

To those who were able to join us for the meeting, we are grateful for your generosity of time and spirit and we thank you for your help.

Couldn’t make the meeting? Want to give your thoughts? It’s not too late to contribute. Feel free to contact the CFAT board of directors directly ( or complete this brief survey (

In the coming months, CFAT will use this input as a lens through which we will re-articulate our organization’s mission and goals. Please keep in touch and look out for more information on how else you can be involved!

Becka Barker

Chair, Board of Directors


Theme 1: Membership, Access, and Community

  • What does it mean to belong or be ‘of’ the centre? Should a fee constitute membership? If not, what should?
  • Membership fees are a barrier to economically-marginalized artists (ie most of us).
  • CFAT dollars are great for offsetting equipment rental expenses, but can’t be used for membership.
  • More transparency/feedback loops for membership are needed to ensure will, direction, and activities undertaken by the centre reflect what members want and need.
  • Members need to feel they have ownership of the organization.
  • Membership needs to be more diverse and inclusive; membership and interested community identify the membership fee itself as an economic barrier to participation in the organization.
  • How can we be a group and a space that makes media artists want to get together, share their work, and support each other? Can we improve the space we’re in? What are our priorities for physical space?
  • How can we better connect artists to funding opportunities that support the creation and dissemination of their work?

Theme 2: Representation and Diversity

  • There was widespread acknowledgement by all present that CFAT must prioritize needs of historically-marginalized and -racialized artists, as we are missing out on stories, voices, and points of view that push, challenge, and help shape our understanding of art and the world.
  • Many articulated the concern of tokenism and thinking of this particular issue in terms that are accidentally exclusionary (i.e. framing this ‘issue’ only as outreach, or in terms of special programs).
  • The reason for increasing participation by artists who are racialized and/or otherwise marginalized should be to promote a broader array of stories, voices, and perspectives still missing from much of local contemporary art and the arts in general.
  • People of colour seeing themselves in stories/ideas explored by artists of colour is crucial to eventually normalizing such diversity.
  • The need for inclusion of racialized and other marginalized artists at CFAT must exist in all aspects of the organization: from governance, to staff, to membership activity, to participation in programming and production support/professional development programs.

Theme 3: Employment Fairness/Respect for Artists and Cultural Workers

  • Staff employed at CFAT need to be paid a living wage.
  • Artists’ work and art-related contributions outside of their studio practices (such as participation on juries) should be compensated, as it negatively impacts the artist’s ability to make a living otherwise.
  • That artist-run centre staff positions are normalized as ‘burn-out’ jobs (ie extremely high responsibility and highly-specialized expertise for very low wages) is problematic and needs to change.
  • Ensuring adequate support for staff to ensure a healthy and equitable working environment should be a priority.

Theme 4: Organizational Transparency and Funding

  • CFAT must strive for excellence not only in the artwork whose production and dissemination we support, but also excellence in organizational practices and policies.
  • CFAT should increase its organizational transparency at all levels (board, staff, committees, etc.) and improve communication with community.
  • CFAT needs to work toward becoming a more sustainable organization in terms of how it allocates its funds toward programs and projects, and it should become more open to unorthodox funding sources (such as crowdfunding).
  • CFAT needs to investigate anti-oppression and decolonization as positions to help us critique how the very manner of its existence might inadvertently contribute toward oppression rather than equitable access.
  • There was significant hope that Canada Council’s new funding model will give us an opportunity to reconsider our organizational structure.

Collaborations and Community Involvement

  • Artistic production through CFAT would benefit from collaborations with disciplines outside of CFAT’s usual ‘comfort zone’; increasing porosity (or even total dissolution!) of disciplinary distinctions with respect to media arts.
  • Partnerships CFAT establishes should be ones that help the organization grow and lessen organizational burdens for both parties.
  • Keeping relationships with ‘sister’ organizations healthy will strengthen our community.
  • CFAT has been sought out to help support the development and growth of media arts spaces for/with emerging projects, festivals, and groups. How can we best support such growth? What should CFAT’s role be when it comes to offering indirect support?