Visual artist and photographer, interested in still and moving images, extended fiction, narrative, memory and archive.
Raymonde April was born in Moncton and raised in Rivière-du-Loup in Eastern Quebec. She lives in Montréal where she has taught photography at Concordia University since 1985. Her work has been exhibited in Canada and internationally in various solo shows, such as: Tout embrasser (2001), Leonard & Bina Ellen Art Gallery, Concordia University (curator: Régis Durand); Les Fleuves invisibles (1997), Musée d’art de Joliette (curator: Nicole Gingras); Jour de verre et autres fictions (1992), Canadian Museum of Contemporary Photography, Ottawa; and Voyage dans le monde des choses (1986), Musée d’art contemporain de Montréal (curator: Josée Bélisle). Her works are part of several important public and private collections in Québec, Canada and abroad. In 2003, she was awarded the prestigious Prix Paul-Émile Borduas (Ministère de la culture et des communications du Québec). More recently, in 2005, she received the Paul de Hueck and Norman Walford Career Achievement Award for Art Photography from the Ontario Arts Foundation in recognition of her lasting contribution to contemporary photography in Canada.
Raymonde April is a pioneer in what recent art criticism has termed “auto-fiction.” Her photographic work has persistently embraced performance for the camera, scenes of personal experience which sometimes include close friends and family, pictorial narratives of the self in which the boundaries between storytelling and autobiography, life writing and the writing of photography as fiction are purposely left unresolved. It can be said that all her work pertains specifically to the vision of an “I,” if only because it nevertheless critically “frames” the act of speaking, writing and making images from the standpoint of the first person singular.
Equivalences 1 – 4 is a project by Raymonde April developed in collaboration with curator Eduardo Ralickas. It consists of three distinct series of photographs and one video work shown in three Montréal spaces: Occurrence, espace d’art et d’essai contemporains; Les Territoires; and Galerie Donald Browne. Most of the photographs, which contain a significant number of landscapes, are unpublished and were taken between 2005 and 2009. The project also includes found images and some older works. Each of the three exhibitions contains ten to fifteen images, including landscapes, portraits and scenes of everyday life captured with large-format, 35mm and digital cameras in a variety of urban or rural settings such as Montréal, Beijing, Buenos Aires, Eastern Québec and Southern Alberta. While foregrounding landscape (and, occasionally, figures within space), these series also contain prosaic elements that assume poetic form by means of the transformative power of photography. This project grew out of a desire to understand April’s creative process and to translate it into spatial terms. It is a topography of sorts which brings to the fore the way in which April’s photographic work functions by spatializing meaning—a process that is unique in the contemporary photographic landscape.
Noemie da Silva
Exploring representations of disability and identity through collaborative, community-based animated documentary media.
Shira Avni holds an MFA in Film/Video/New Media from the School of the Art Institute of Chicago (2003). She has been creating animated shorts with the National Film Board of Canada since 1997, where she has directed four films and assisted on a number of other projects. Her films have been exhibited at over 100 film festivals worldwide, and have been supported by the National Film Board of Canada, the Canada Council for the Arts, the Quebec Arts Council, Frameline and Bravo!FACT.
Shira Avni’s current research explores the intersection of disability, identity and independence through a combination of animation and documentary media and collaborative, community-based animation films. Avni's films address questions of difference and social justice in ways that gently break down the viewer's habitual barriers. Her studio practice involves photography as well as clay-on-glass animation and painting, back-lit to create the shimmering effect of stained glass in motion. Presented in a cinema or darkened gallery space, the work engages the spectator in a highly personal, emotionally cathartic experience. Films Tying Your Own Shoes (2009), John and Michael (2005), and From Far Away (2000) have garnered over 30 grants and awards, including the prestigious DOK Leipzig Golden Dove and the NHK Japan Prize, and have screened in over 100 festivals worldwide, as well as on CBC, PBS, CTV and TV5 television networks.
Petra’s Poem (2012), follows Toronto artist Petra Tolley as she performs a candid soliloquy about what it feels like to be “in the middle.” Petra, who has Down Syndrome, draws from her emotional experiences of living and working in the flux between societal order and personal chaos. Employing rotoscopy, hand-drawn animation techniques and subtle stereoscopic 3D, the film captures Petra as she engages the camera with unflinching directness and dignity. Petra’s Poem premiered at HotDocs in May 2012. Avni is beginning production on a new film further exploring themes of disability and the social self.
Institute of Everyday Life (IEL)
The Institute of Everyday Life (IEL) is an art-ideas studio/lab. IEL looks at the everyday as a site to generate, create and present artworks.
Ingrid Bachmann has presented her multidisciplinary work nationally and internationally at exhibitions and festivals in Belgium, the U.S., Estonia, Singapore, Peru, the UK, and Cuba. She has lectured at art schools and museums worldwide, including Goldsmiths College, London; University of Wollongong, Australia; Southern Alberta Art Gallery; University of Maryland at Baltimore; the Banff Center; and The School of the Art Institute of Chicago; among many others.
She is the co-editor of Material Matters (YYZ Books, 1998, 1999, 2011), and has contributed essays to several anthologies and periodicals including The Object of Labor, (MIT Press 2007). She is also a founding member of Hexagram: Media Arts Institute and is the director of the Institute of Everyday Life, an art/ideas lab based in Montreal, Quebec.
Institute of Everyday Life (IEL)
IEL is an art/ideas lab that explores the everyday as a site to generate, create and present artwork. It is seen as a think tank and as a forum for ideas. Working with all levels of technology from redundant to new media, IEL installations inhabit spaces where different levels of interactions and interventions can take place. These spaces include physical sites and the less tangible space of ideas and ideology, and associative and memory space. Bachmann has worked in existing sites or with found or discarded objects, as well as with life forms such as humans, hermit crabs and tectonic plates. She tries to highlight the extraordinary in the everyday and is interested in the idea of tender, even pathetic, technology, to use technology for ends that are not necessarily productive in the usual sense of the word. She is interested in the technology of magic employed by amusement parks, traveling circuses and nomadic evangelical tent preachers.
Hybrid Bodies (in process): Four internationally exhibiting artists, Alexa Wright (UK), Catherine Richards (Canada), Andrew Carnie (UK) and Ingrid Bachmann (Canada), have been accessing an interdisciplinary research study into the emotional and psychological effects of heart transplantation as a basis to create artworks. The aim of this project is to bring these issues into the public realm and to provide a language and a context to explore these ideas.
Pelt (Bestiary) involves the creation of material surfaces that change their form in response to external stimuli. These stimuli include touch, proximity, movement and light. In this project Bachmann wanted to give digital technology back its fur: to bring the bestial and the messiness of the world back into the realm of digital technology and to continue her work in grounding the digital experience in the material realm.
Fur and hair are unique materials, existing simultaneously inside and outside of the body, liminal sites between the internal and external, the private and public realms. They are inescapable reminders of our animal nature and highlight the often conflicted responses we have to that association.
Dana Dal Bo
XS Labs is a design research studio with a focus on innovation in the fields of electronic textiles and reactive garments.
Joanna Berzowska is founder and research director of XS Labs, a design research studio that innovates in the area of electronic textiles and responsive garments. A core component involves the development of enabling methods, materials, and technologies – in the form of soft electronic circuits and composite fibers – as well as the exploration of the expressive potential of soft reactive structures. Her art and design work has been shown in the Cooper-Hewitt Design Museum in NYC, V&A in London, Millenium Museum in Beijing, various SIGGRAPH Art Galleries, ISEA, Art Directors Club in NYC, Australian Museum in Sydney, NTT ICC in Tokyo, and Ars Electronica in Linz among others. She lectures internationally about electronic textiles and related social, cultural, aesthetic, and political issues. She was selected by Maclean's Magazine as one of "thirty nine Canadians who make the world a better place to live in." She is an Associate Professor of Design and Computation Arts at Concordia University.
XS Labs, founded in 2002, is a design research studio that develops innovative work in the area of electronic textiles and reactive garments. The studio’s work is informed by the technologies and techniques of craft-based practices – weaving, stitching, embroidery, knitting, beading and quilting – and by the exciting possibilities afforded by modern materials with various electro-mechanical properties. XS Labs projects often critique the traditional task-based and utilitarian definitions of functionality in HCI. In the construction of garments, the soft, playful and magical aspects of materials are considered, so as to better adapt to the contours of the human body and the complexities of human needs and desires. The studio’s approach often engages subtle elements of the absurd, the perverse and the transgressive. Design innovation is propelled through the construction of narratives that involve dark humor and romanticism, allowing the creation of composite textiles with complex functionality and sophisticated behaviors. This is predicated on a deeper understanding of the materiality and the physicality of computing technologies. XS Labs is particularly concerned with the exploration of interactive forms that emphasize the natural expressive qualities of transitive materials.
SKORPIONS are a set of kinetic electronic garments that move and change on the body in slow, organic motions. They have anthropomorphic qualities and can be imagined as parasites that inhabit the skin of the host. They breathe and pulse, controlled by their own internal programming. SKORPIONS use the shape-memory alloy Nitinol, mechanical actuators such as magnets, soft electronic circuits, and traditional textile construction techniques such as sculptural folds and drapes of fabric across the body. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation and unpredictability. They have their own personalities, their own fears and desires.
“Captain Electric” is a collection of electronic garments that both passively harness energy from the body and actively allow for power generation. Reflecting fashion’s historic relationship between discomfort and style, the dresses restrict and reshape the body in order to produce sufficient energy to fuel themselves and actuate light and sound events on the body. Itchy, Sticky, and Stiff conceptually reference safety apparel and personal protection as well as our fears of natural disasters and other states of emergency, personal phobias, anxieties and paranoia. Using inductive generators, we convert kinetic energy from the human body into electric energy and store it within a power cell integrated into the garments. Rather than attempting to conceal the generators and their operation, we chose to overtly integrate them into the garment concept and design.
matralab is a space for research-creation and theory in interdisciplinary and media-troph performing arts.
Sandeep is an Indian-German composer of mostly stage, chamber and multimedia works that have been performed worldwide; he is also active as a university researcher, conductor, theatre director, writer, curator, performer, and visual artist. He was first the Chair, then the first Director of Hexagram-Concordia Centre for Research-Creation (2008 to 2011).
Among his numerous honors are the European Composition Prize from the Academy of Arts Berlin (1991, for Variations) and the Ernst-von-Siemens-Förderpreis (1992, 2003). He has served as a fellow at IRCAM (1997-98) and ZKM in Karlsruhe (1998-99) and has served as composer-in-residence at Royaumont (1997), the Abbaye de la Prée (1997) and Darmstadt (2003), to the Beethoven Orchestra Bonn (1999-2000), at the Villa Concordia Bamberg (2004/5), to the California Institute of the Arts (2007), to Turku Music Academy (2009) and to Heidelberg University (2009).
Since 2006, he is Canada Research Chair for Inter-X Art at Concordia University in Montréal where he directs matralab, a research node for interdisciplinary, intercultural, intermedia art. He taught as Professor für Komposition und Multimedia at the Musikhochschule Karlsruhe from 2000-2003. He also taught as a visiting professor of electronic music at the Institut für Elektronische Musik of the Universität Graz in 1998.
Sandeep Bhagwati's current work centers on three main axes:
I) COMPROVISATION techniques, technologies and theories for comprovisation, composition, computer improvisation and the theory and practice of nonlinear interactive music notation,
II) AESTHETIC ECOLOGIES inter-traditional aesthetics, the theories of second orality/aurality in music, as well as the aesthetics of interdisciplinarity;
III) EXPERIMENTAL PERFORMANCE research-creation and technologies for non-visual theatre, gestural theatre and experimental music and sonic theatre.
Research-Creation in these three axes is often closely intertwined, and cross-fertility between different projects is not only frequent, but also strongly desired by all matralab researchers.
Key projects since 2009 include:
NEXUS (pied-piper musicians in urban space connected by wireless network)
NATIVE ALIEN (computer as co-improviser with musicians from different traditions)
ALIEN LANDS (interactive score for percussion quartet)
TRANSIENCE (non-linear comprovisation score for musicians from 2 different traditions)
RACINES EPHEMERES (Gestural Theatre/Spatial Music/Video Installation)
LES GESTES DEPLACEES
MONOCHROM (interactive on-screen scores for comprovising string quartet)
Steven High (Concordia)
Christopher Jackson (Concordia)
Annette Bhagwati (Concordia)
Jean Gervais (Hexagram UQAM)
Nicolas Reeves (Hexagram UQAM)
Marcelo Wanderley (CIRMMT)
Patrick Leroux (Concordia)
Edward Little (Concordia)
Robert Reid (Concordia)
Ricardo Dal Farra (Concordia)
Eric Lewis (McGill)
Bozzini String Quartet
Rohan de Saram
1515 Sainte-Catherine Ouest, EV 4.520
514-848-2424 ext 3187
Schema Hypercinema lab
Schema works in redefining the place of cinema in a society where moving images appear on increasingly varied screens.
Jean-Claude Bustros is Associate Professor at the Mel Hoppenheim School of Cinema since 2000. Since 1987 he has created several film pieces that have established him as one of the key figures in contemporary experimental cinema in Canada. His work has been screened internationally and was showcased amongst other things in the landmark exhibition « Les Cinémas du Canada » at Centre Georges Pompidou in Paris. He was one of the founders of Dazibao photo gallery and of Main Film independent film cooperative in Montreal and the creator of the massive “Pierre et Lumière” photography exhibition, hosted by the Palais de la Civilisation as part of the 350th anniversary celebrations of the city of Montréal. In the late 90’s his practice migrated towards new and augmented forms of cinema, where he now explores the potential of spatialization, ubiquitous computing, reactivity and moving image agency.
Schema Hypercinema lab
Schema lab research takes into account an active, moving spectator, an environment that allows free movement, a screen “conscious” of surrounding movements, and a narrative image stream that can be transformed instantaneously, thus developing a different type of cinema, with its own rules and constraints, whose elements are open-ended and ready to react to any new data introduced into the system. Schema is a collaborative space, where all research assistants are involved in idea development, conceptualisation, design and construction. Each person, depending on his or her skills, participates equally in the project.
Schema-lab.com (launching March 2012)
514-848-2424 ext 4666
Schema Hypercinema lab
1515 Sainte-Catherine Ouest, EV 11.435
Art education researcher studying complex learning systems through social and mobile media.
Juan Carlos Castro is Assistant Professor of Art Education at Concordia University. His research focuses on the dynamics and qualities of knowing, learning and teaching art through social and mobile media as understood through complexity thinking and network theory. His current research examines how mobile media coupled with creative production networks knowledge production in urban environments to create educational and civic engagement with teens and young adults.
Over the past five years, Castro’s research interests have focused on knowing, learning and teaching in visual art contexts. He has researched innovative curriculum approaches (Castro, 2007 & in-press) with teens in art classrooms and now focuses primarily on the shifts that social media provoke in art education contexts such as secondary public school settings (Castro, 2009 & 2012) and community centres (Castro & Grauer, 2010).
Castro is currently engaged in a number of research projects. The first is entitled MonCoin, a research project on using mobile media with at-risk teens in an alternative school for high school dropouts who wish to finish their degrees. The project seeks to research the effectiveness of mobile media, creative practice and ubiquitous learning technologies to increase educational engagement. The second research project is a collaboration with Clayton Funk (Ohio State University). The project, entitled: Parallel Discourses: Visualizing Themes of the NAEA Annual Convention (1951-2012), is a qualitative meta-analysis of the persistent and divergent themes within the NAEA National Convention catalogs. The meta-analysis stems from aggregated and visualized proposal titles and catalog descriptions in the form of word clouds to identify patterns, divergences, and absences through the history of the organization and, inferentially, the field of art education.
Associate Professor of Music, electroacoustics and advanced recording arts. Recording engineer, producer, sound designer.
Dr. Corwin is an Associate Professor of Music at Concordia University, teaching electroacoustic studies and recording arts. He was the Chair of the Music Department from 1995 through 2003, and is the Coordinator of the Electroacoustic Studies program. He obtained his DMA in Composition from the University of Wisconsin-Madison. He has engineered, edited and produced over 35 commercial CD recordings including a number of children’s book recordings in collaboration with the Greek community of Montreal. As an artistic collaborator, his sound designs and recordings span the gamut of the music industry from folk, pop, ethnic, contemporary, musical theatre, spoken word and orchestral. He is active recording concerts for a number of Montreal ensembles and is a sectional violist in I Medici di McGill.
Dr. Corwin's most recent creative activity has been as the producer of a variety of music recordings, predominantly with choirs and orchestras. He is interested in not only capturing the best sound being produced by the musicians he works with, but in sculpting the sonic space they perform in so that the performer's musical signature is reinforced by that space. He has developed special relationships with Montreal ensembles such as Studio de musique ancienne de Montreal, Concerto Della Donna, the Saint Lawrence Choir, L'Orchestre Symphonique de L'Isle and L'Orchestre symphonique de musiciens du monde. He continues to produce for solo artists in jazz, contemporary, classical and folk genres. Recent collaborations include working with composers John Plant, Roddy Ellias, Wolfgang Bottenberg and Barbara Lewis, pianists Yaron Ross, Lauretta Milkman and Max Lifchitz, and vocalists Elizabeth Turnbull, Valery Kinslow, Aline Kutan and Donna Brown. An emerging area of interest stemming from his life-long interest in acoustical spaces is in surround recordings and the difficulties of producing faithful reproductions of surrounded ensemble performances.
Over the last 10 years, amongst a total of 35+ recordings, Corwin has produced 7 commercial recordings, including 4 Greek children's books in collaboration with Montreal's Chroma Musica. These CD recordings that accompany the books contain narrations, orchestral recordings and sound plays of the text. Of special note is the collaboration with the Greek composer Giannis Georantelis.
Corwin is currently also producing a large recording collection with pianist Yaron Ross of the complete Sonatas by Mozart (19 with the Fantasia). This multiple CD set of 5.1 recordings are being released as one of only a few known releases of the full collection performed by one pianist. Work is expected to conclude in 2014.
514-848-2424 ext 4743
Electroacoustic music composer and new media artist in interactive performance, arts & environment, and visual music.
Dr. Ricardo Dal Farra has been conducting activities in the merging fields of arts, sciences and new technologies as a composer and multimedia artist, researcher, educator, performer and curator, focusing mainly on new media arts and electroacoustic music, for more than 30 years.
He has been national director of the Multimedia Communication program at the National Ministry of Education in Argentina; Coordinator of the Documentation and Conservation of the Media Arts Heritage (DOCAM) international research alliance; and UNESCO’s consultant and researcher for the Digi-Arts project.
His music and new media works have been presented in over 40 countries, and there are 20 international editions with recordings of his music. Dal Farra's work has been distinguished by the International Computer Music Association, the International Arts Biennial of San Pablo - Brazil, the National Endowment for the Arts - Argentina, and the Concours International de Musique Electroacoustique de Bourges - France, among others.
He is an active member of the Editorial Board of Leonardo (MIT Press) and Organised Sound (Cambridge University Press). Dal Farra has also served on the Editorial Board of Leonardo Music Journal and the Journal of New Music Research, and is a member of ISEA’s International Advisory Committee.
Dal Farra has been Director of Hexagram-Concordia (2012) and Co-director of Hexagram-CIAM (2012-2013) and is currently Associate Director of Hexagram-Concordia.
Dal Farra’s research and creation work is focused on: arts, society and the global environmental crisis; visual music; electroacoustic and mixed media composition; digital arts resources and virtual communities; interactive performance; sound art; sound installation; e-learning and new media education; multimedia communication; synthetic images and digital image processing; sound design; and documentation and preservation of the electroacoustic music and media arts heritage.
The Balance-Unbalance research and creation project has its focus on using art as a catalyst, exploring intersections between NATURE, ART, SCIENCE, TECHNOLOGY and SOCIETY as we move into an era of both ecological threats but also rich transdisciplinary possibilities. Examples are the Balance-Unbalance 2011 conference held at Concordia and the Balance-Unbalance 2013 conference held at the UNESCO designated biosphere reserve in Noosa, Australia.
During the event, artists were together with scientists, economists, philosophers, sociologists, engineers, and management experts with the common intent of engendering a deeper awareness and creating lasting intellectual working partnerships in solving our global environmental crisis. This conference opened the possibility of developing artistic works that large humanitarian organizations are finding significant in their daily fight against natural catastrophes and changes being produced as a consequence of climate change.
The Latin American Electroacoustic Music Collection is being developed as an effort to preserve, document and disseminate electroacoustic music created by Latin American composers. Currently at The Daniel Langlois Foundation for Art, Science and Technology and La Cinémathèque québécoise, this collection has: 1,723 compositions from 390 composers and +200,000 words (program notes, bios, etc.) together with scores, photographs and audiovisual interviews in its database. A selection of 231 compositions is fully available for listening online.
Electroacoustic music composition
Arts, society and environmental crisis (Balance-Unbalance 2011 / Balance-Unbalance 2013)
Visual music (Understanding Visual Music - UVM)
Live and interactive electroacoustic music (CLIEC)
Latin American Electroacoustic Music Collection (The Daniel Langlois Foundation for Art, Science and Technology - Montreal)
UNESCO / Digi-Arts: English, Spanish
redcatsur - Red Latinoamericana de Arte, Ciencia y Tecnología / Latin American Arts, Science and Technology Network
Amauta - Andean Media Arts Center (Cusco, Peru)
CEIARTE - UNTREF (Buenos Aires - Argentina)
BADARTE (Media Arts Resource Database)
EARS: ElectroAcoustic Resource Site (MTI Research Centre - Leicester, UK)
Can the Arts Help to Save the World? (Leonardo/ISAST)
Women Filmmakers’ Virtual Archive
Guylaine Dionne has been working on the research development project Women’s Cinema: A Virtual Archive.
Guylaine Dionne has been working in film and television for more than 20 years. She has directed numerous projects, including the short films Les Frissons d’Agathe and Les Mercredis de Rose, as well as Les rêves secrets des Tarahumaras, part of a documentary series nominated for a Gémeaux. Americas 500 brought her a Gémeaux nomination for Best Research and a Gémeaux award for Best Documentary Series. Her first feature-length fiction film, Les Fantômes des Trois Madeleine, premiered at the Director’s Fortnight of the Cannes Film Festival in 2000, and went on to play festivals all over Europe, and North and South America. Her 2004 docu-drama Mary Shelley won the Lanterna Magica award for best documentary in Tours, during the Festival l’Encre à l’écran. Guylaine was the recipient of the 2006 Don Haig Award in celebration of her work as a creator both in fiction and in documentary. Her latest feature film is Serveuses Demandées, a compassionate, complex drama. Currently, she is an associate professor at Concordia University, where she is also Head of the MFA Film Production Program of the Mel Hoppenheim School of Cinema. She has two feature films in development: Tango and The Last Harvest.
Women Filmmakers’ Virtual Archive
The project Women’s Cinema: A Virtual Archive examines the relationship of women fiction filmmakers to post-feminism within a time frame (the 1980s-on) marked by the advent of global new media, from within an international perspective. The premise is that this period is exemplified on the one hand by the decline of feminism as a political praxis and of gender as a personal standpoint, and on the other hand by the predominance of a global media industry and culture. One of the main issues at stake here is to verify how new media may enhance women’s accessibility to film production, as well as their visibility within the public sphere. The project’s objective is to produce a multi-media platform including an itinerant film and video installation, and an interactive website, using the most recent and innovative tools, conceptual frameworks and technological resources available in academic research and audiovisual creation.
The overall purpose is to create a virtual archive of women’s cinema and about women filmmakers’ artistic and professional achievements and roles during the past three decades. In deploying new media technologies, the intention is to disseminate research and creative work by and on women filmmakers that traditionally circulates in selective and restricted circuits of film distribution and exhibition, such as art film theatres, international film festivals, film archives, museums, and academic or cultural institutions, to a large and diversified audience, including film scholars and film students, as well as a wider spectrum of film spectators.
Gina Haraszti (Research Assistant, MFA student)
Andrew Covert (Research Assistant, PhD student)
Marianne Ploska (Research Assistant, BA student)
Karen Kraven (Research Assistant, MFA student)
Pei-Wen Liu (Research Assistant, MFA student)
Women’s Cinema: A Virtual Archive website under development
Fluxmedia is a network of researchers engaged with interdisciplinary research across art and the life sciences.
Tagny Duff is an interdisciplinary artist working across bioart, video, performance, net art and installation works. Her recent works, including The Cryobook Archives (2010-ongoing) and the Living Viral Tattoos (2008), have been exhibited in the following solo and group exhibitions; "Cellular Memorabilia" (FoFA Gallery, Montreal Canada 2011), "Visceral: The Living Art Experiment "(curated by Oron Catts and Ionat Zurr at Science Gallery, Dublin Ireland 2011), and "Evolution Haute Couture" (Moscow Biennial (2009) and National Centre for Contemporary Art (2008) in Keliningrad, Russia and IX MediaForum and Moscow International Film Festival (2008) as part of the group exhibition curated by Dmitry Bulatov). Duff's publications include “Cryobook Archives” in Media Arts Revisited in Canadian Journal of Communication, Spring 2012, "Living Viral Tattoos. Crisis Alert!" in Total Art Volume 1. No. 1. 2011, “How To Make Living Viral Tattoos”. Leonardo Journal of the International Society for the Arts, Sciences and Technology (ISAST) 2010 and “Going Viral: Live Performance and Documentation in the Science Laboratory” in Performance Journal 2009, and “Living Viral Tattoos” in EVOLUTION HAUTE COUTURE: Art and Science in the Post-Biological Age, edited by Dmitry Bulatov, published by the Kaliningrad Branch of the National Centre for Contemporary Art 2009. Tagny Duff is Assistant Professor in the Department of Communication Studies at Concordia University and founder/director of Fluxmedia Research-Creation Network.
Fluxmedia Research-Creation Network brings together artists, scholars, graduate students and research labs engaged with interdisciplinary research across art and the life sciences, including biology, digital and electronic media art, art/sci and transdisciplinary art practices. Research projects initiated through Fluxmedia explore how emerging technologies and biomedia intersect with new modes of artistic practice and cultural theory. Fluxmedia also facilitates spaces of applied and conceptual exploration across scientific and artistic techniques to reflect on the socio-political, aesthetic, ethical and environmental dimensions implicated through the use of new bioimaging and visualization technologies.
Recent project highlights include the SSHRC funded project titled "Going Viral Constructing, manipulating and generating forces of infection across digital and biological media". This project explores how the concept of the viral may offer us new insights into the intersection and symbiosis between digital and biological media. Another recent project includes FQRSC funded research-creation project WetNet (Part of the larger Viral BioreMEDIAtion project). WetNet explores the relationship between contamination, bioremediation and sustainable living systems. This work in progress features the creation of wet sculptures made out of agar in the form of disposable science equipment. The interaction between the mycelium, viral cells and agar are considered as a network challenging the logic of aseptic technique and sterile containment that justifies the need for disposable plastics and metals used in the science and media production laboratories.
Genevieve Ruest (PhD Humanities Program)
Antonia Hernandez (PhD Communication Studies)
Tristan Matheson (MA Communication Studies)
Kendra Besanger (MA Communication Studies)
Artist-researcher at the intersection of performance, choreography and installation.
k.g. Guttman is Assistant Professor in the Contemporary Dance Department at Concordia Unversity since 2008. Her work considers and experiments with an interdisciplinary position inside both the visual arts and dance contexts, often taking form in installations, videos and performances. She completed her Masters in Fine Arts in Open Media at Concordia University in 2007, included a term as an exchange student in Amsterdam at DasArts, Advanced Studies in Performance, Module: The Political Body.
k.g. Guttman has exhibited and presented choreographic work in various national and international residencies and festivals, including the 2012 edition of Visualeyez Performance Festival, a choreographic commission in 2010 So you think the spectacle does not love you for the company Dancemakers, Toronto, premiering at the Canada Dance Festival, Ottawa, and Enwave Theatre, Harbourfront, Toronto, and a video solo installation entitled Tromperie, in residence at Budakunstencentrum, Belgium, 2011, and Tangente Theatre, Montreal. Her projects have been exhibited internationally including at the Palais de Tokyo, Paris, and Mediamatic, Amsterdam, and funded by the Conseil des Arts et des Lettres du Québec, The Canada Council for the Arts, Les Pépinières européennes pour jeunes artistes and Culturesfrance; bourse d‘accueil.
k.g. Guttman’s current project-based research considers the relationship between live performance and pre-recorded materials, improvisation and score (script) based events. Projects explore the impact of the process of recording the live event, and the problematic potential between ephemeral action and the document. Her research is often based on the physical and ethical sphere of interpersonal relationships, and her subjective encounters in public and private space.
Recent projects include the video The Night Forever Unfinished (Désordres Festivale, Lille, France, 2011) in the use of appropriated footage from 1961 as spatial environment for an inserted contemporary figure to activate. Accumulative Interview, in development, examines the representation of a seven day performance-interview between herself and her mentor.
Current new media performance research explores the “experiential breakdown” of actual and virtual action. The project entitled Transparence/ Tromperie Montreal, Canada/ Courtrai, Belgium/ 2010-12 explores the optical play of the physical action on stage with the virtual live feed presence of video. Work references the history of stage scenography and mecanisms for stage illusions, and scrutinizes the different modalities of connection, vulnerability and access in the audience / performer relationship modulated by the screen and camera.
“Escorte”, recently in the group exhibition Ça et Là at the Fondation Ricarde, Paris, and VisualEyez, Edmonton, 2012, is an ongoing practice of approaching strangers on the street and offering to escort them to their destination. Documentation of the work manifests in writing, drawing, and photographs. Document materials recycle to become the source of a new media performance.
TAG Research Centre
Co-founder of Technoculture, Art and Games Research Centre, fostering cross-disciplinary research in games studies and design.
Lynn Hughes’s educational background includes degrees in Art and English Literature and in the History and Philosophy of Science and Technology, with a concentration in the History and Philosophy of Mathematics. She currently holds the Research Chair in Interaction Design and Games Innovation at Concordia University.
Beginning in 2000, she was instrumental in the conception, structuring and funding of Hexagram, and, within Hexagram, co-directed with Jean Dubois (UQAM) the inter-university new media research/creation group Interstices (2000 to 2010.) More recently, she founded with Bart Simon (Sociology, Concordia) the Technoculture, Art and Games (TAG) Research Centre at Concordia. TAG also promotes collaborations beyond the university – in particular with independent games designers and small studios. Lynn has worked consistently (through the university network and with federal and provincial funding councils) to promote the recognition of both new media work and research-creation more broadly, as important ways to develop and disseminate contemporary knowledge.
TAG Research Centre
Lynn's current production and curating activity looks at where the aesthetics and concerns of interactive art might be crossbred with emerging game forms.
Joue le jeu / Play Along (June 20 – August 17, 2012): Co-curating with Heather Kelley and Cindy Poremba, a major exhibition of current game culture at La Gaîté lyrique, a new high profile venue in Paris.
Propinquity (2011-12): With Bart Simon and the Propinquity team, a full body game for two players wearing sensors. Players gain points by staying as close as possible to active sensors on the other participant’s body, but lose if they touch. This performance/game explores very physical, electronically enhanced games as well as the ambiguous territory between fighting and dancing.
Fabulous / Fabuleux (2007-09): another interactive game using a custom physical interface in which the real space of the room is activated as much as the virtual space on the large projected screen. The game also uses spatialized sound to direct the players’ movements in the room.
Bérengère Marin-Dubuard (PhD Humanities)
Sylvain Payen (Ph, SIP)
Adam Van Sertima (PhD, SIP)
Adrian Freed (PhD, SIP)
Julie Hétu (PhD, Humanities)
Will Robinson (PhD, Humanities)
Michael Wozniewski (PhD, SIP)
Morgan Rauscher (PhD, SIP)
Andrew Forster (MA , SIP)
Christian Pelletier (MA, SIP)
Carolyn Jong (RA, MA, Comm)
Salvador Garcia-Marquez (RA, PhD, Education)
Contemporary art historian and curator researching on new media arts in Asia and Canada from a global perspective.
Dr. Alice Ming Wai Jim teaches courses on contemporary art, media art, ethnocultural art histories, international art exhibitions and curatorial studies in the Department of Art History. Her main fields of research are in contemporary Asian art and Asian Canadian art with a particular interest in recent media arts, theories of representation, and the relationship between remix culture and place identity. She has presented at numerous national and international conferences and her writings have been published in various journals, exhibition catalogues, and book anthologies. Jim received her MA (1996) from Concordia University and her PhD (2004) from McGill University. Prior to joining Concordia University, she was Curator of the Vancouver International Centre for Contemporary Asian Art (Centre A) in Vancouver from 2003 to 2006. Since 2004, she has convened major academic symposia in her areas of specialization and curated over a dozen exhibitions since 2004. She is a Research Associate with the Centre for Transnational Cultural Analysis at Carleton University and a member of the Screen Culture Research Group at Concordia University.
Publications include texts in Ciel Variable (CV Photo), Journal of Visual Culture, Amerasia Journal, Positions: East Asia Cultures Critique, Yishu Journal of Contemporary Chinese Art, Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture (2008), Reel Asian: Asian Canada on Screen (2007), Encyclopedia of Contemporary Chinese Culture (2005), and Racism, Eh? A Critical Inter-Disciplinary Anthology of Race and Racism in Canada (2004). Conferences and exhibitions include the conference "Can-Asian, Eh? Diaspora, Indigeneity and the Transpacific" for the Canadian Asian Studies Association (Vancouver: CASA, 2009), the symposium "Comics, Japanese Popular Culture, and Contemporary Art" (Montreal: Concordia University, 2009), the exhibition "Rearranging Desires: Curating the 'Other' Within" and the symposium "About Culturally-Specific Exhibitions" (Montreal: Concordia FOFA Gallery, 2008), and the exhibition "Redress Express: Chinese Restaurants and the Head Tax Issue in Canadian Art" and symposium "Current Directions in Asian Canadian Art" (Vancouver: Centre A and the Vancouver Chinese Cultural Centre, 2007). . Exhibitions include: "Container Culture" for ISEA2006; "Yoko Ono: Mending Peace" (2006); "Neighbourhood", a video exhibition and film screening of thirteen Canadian artists (2005); with Viet Le, "Charlie Don't Surf: Four Vietnamese American Artists" (2005); and "Mutations<>Connections: Cultural (Ex)Changes in Asian Diasporas" (2004).
Jim's current research projects include essays on The Retreat: A Position of dOCUMENTA (13), Robert Lepage’s The Blue Dragon (Le Dragon Bleu) and new media arts and human rights in China; a book manuscript which examines the ways in which Hong Kong has been represented in urban-themed international art exhibitions from 1997 to 2007 (research funded by FQRSC); and an ongoing SSHRC-funded study on the recent history of contemporary Chinese art exhibitions in relation to transnational urbanism, participatory media and issues of cultural representation. She has been studying the pedagogical direction of global art histories in Canada as part of her ongoing research project since 2008 to assess the curriculum development of ethnocultural art histories in the Canadian and Quebec context.
Valérie Cools (PhD Humanities; Manga, Anime and Videogames)
Joanne Joe Yan Hui (PhD Humanities; Graphic Novels, Transnationalism and Diaspora studies)
Rajee Jejisher Gill (MA Art History; Partition of India/Pakistan, Diaspora and Art History)
Devora Neumark (PhD Humanities; Community Arts, Performance and Migration Studies)
Jaclyn Meloche (PhD Humanities; Performance and Art History)
Charles Patrick Leonard (MA Art History; Contemporary Chinese Art)
Mikhel Proulx (MA Art History; Network Theory and New Media Art History)
Marc Schilling (PhD Humanities; Cinema and Art History)
Olivier Sorrentino (PhD Humanities; Remix Culture and Art History)
Music & Research.
Finnish composer, performer and researcher in digital arts. He holds a doctorate in music from Paris 8 University and has led a myriad of crossover artistic projects over the past ten years. His collaborations include musical ensembles, multimedia projects, music-poetry, installation art and music for dance performances. An international figure, he lives and works between Finland, Canada, Belgium and France. He has performed around Europe, Canada, U.S.A., toured Korea, and India.
Otso Lähdeoja is a postdoctoral researcher at the Matralab, Concordia University. His research record shows internationally recognized work on augmented instruments and sonic spaces (12 publications, French Computer Music Association 1st research prize, a number of recordings and performances). Currently he is working on the creative possibilities of structure-borne sound in music and intermedia performance. “Structure-borne sound” refers to sound waves induced into solid elements via acoustic transducers. The resulting resonating elements act as loudspeakers, giving rise to “air-borne” sound diffusion via the structures of the performance space (e.g. walls, seats, windows, scenographic elements), as well as to “audiotactile” perception when these elements are brought in physical contact with the spectators. Dr. Lähdeoja’s research investigates the simultaneous use of “sonic objects” (objects made sonic with structure-borne sound drivers), loudspeaker configurations (ambisonics) and acoustic sound (instruments, voice). His research aims to create a new type of acoustic space where instruments, loudspeakers and sonic objects coexist and may be included in a composition process as three complementary “dimensions” of sound.
The Augmented Instruments research work focuses on the means and ways to extend the sonic possibilites of traditional instruments by introducing a technological "graft" into the instrumental environment, producing an "augmented instrument". A joint methodology building on a theoretical approach to augmentation and the actual design and musical use of augmentations on the electric guitar is applied. Dr. Lahdeoja has designed a number of successful augmentations for the electric guitar and contributed to the establishment of a general theory of instrument augmentation in published articles. In 2008, he was awarded the “young researcher of the year” prize by the French Association of Computer Music for the high quality of his work. Numerous music and intermedia compositions and collaborations have been completed and presented between 2008 and 2013.
BEYOND SIGHT – TIME X SPACE
Research in cinema: In-camera Special Effects.
Louise Lamarre directed her first short film titled LE VERNISSAGE in 1980. Since then, she has worked as director, scriptwriter and/or producer on more than 40 productions of all types, ranging from fiction to documentary, music video to advertising, and corporate films to television series, including ARE YOU AFRAID OF THE DARK? and LES NOUVELLES AVENTURES DES INTRÉPIDES. She has also authored several important studies and reports for the Government of Quebec on Independent Filmmaking.
Since the beginning of her career, Louise has conducted research in the field of cinema special effects. Her research under the title FX PROJECT led her to discover a new in-camera special effect technology for which an American patent was awarded. She named this invention the Holo Editorial Layering Process (H.E.L.P.), and as a spin-off from Concordia University, it is currently at the commercialization stage.
BEYOND SIGHT – TIME X SPACE
The objective of filmmakers is to shoot films, but problems always arise at the financing stage. The goal of Louise Lamarre’s research is to find technological ways to lower production budgets without affecting the production value of films. The Holo Editorial Layering Process (H.E.L.P.) developed in her lab is an original shooting methodology that allows filmmakers to beat time and space limits. H.E.L.P. is a High Technology rear projection system that instantaneously produces final composited images that do not require further work at the post-production stage. It creates visible composited true-to-scale imagery, with dynamic control over the depth of field on set and in real time. It allows the making of visual effects in any medium and leaves to filmmakers the full spectrum of aesthetic choices in framing, subtle lighting, freedom of camera movement and staging possibilities, while reducing film budgets by up to 50% in the most costly departments. As a continuation of this research, Louise Lamarre’s lab has also started developing a virtual sets collection that can be used both with H.E.L.P. and/or with any Chroma-key post-production approach. This plate bank in HD already encompasses more than 40 hours of different exterior locations. It has been named the Cinematographic Atlas.
For its professional road test, the Holo Editorial Layering Process was used for a television series titled The Phantom, produced by Muse Entertainment. Excerpts of this TV series as well as other tests can be screened, using the password: demo-help at www.h-e-l-p.ca.
While many film projects are in development in the lab, a Sci-fi documentary using the H.E.L.P. process and titled Beyond Sight / Voir l’invisible is presently at post-production stage. This film takes interest in the transformative perspectives of the Inuit people’s way of life, their homes, their landscapes and their entities, both visible and imaginary, in reaction to the opening of the North West Passage to maritime navigation. We want to overlay within the actual Inuit landscape cinematographic representations that foreground the people’s fears with respect to their changing environment, as well as their aspirations to a better future. The project’s aim is also to support the cause of Canada in its battle for the international recognition of its sovereignty in the Great North. The film is being produced in collaboration with the Arctic Research Group, of which Louise Lamarre is a member, lead by Professor Frederic Lasserre in the Department of Geography at Laval University.
Information on the Holo Editorial Process and different demos can be viewed using the password: demo-help at www.h-e-l-p.ca.
514-848-2424 ext 4791
Studio subTela develops intelligent cloth structures for the creation of artistic, performative and functional textiles.
Barbara Layne is the director of Studio subTela, creating interactive textile arts that combine traditional materials and digital technologies. Her research has been supported with numerous grants including The Canada Council for the Arts, SSHRC, Hexagram, and the Conseil des arts du Quebec. She is the Principal Investigator on two Canadian Foundation for Innovation infrastructure grants. She lectures and exhibits internationally, most recently in The 2012 Kaunas Biennale of Textiles in Lithuania, the Sensual Technologies exhibition at the International Symposia of Electronic Arts in Istanbul, This Pervasive Day at the Edinburgh Science Festival and Electromode at the 2010 Olympics in Vancouver. She has been a Professor of Fibres at Concordia University since 1989.
Natural materials are woven in alongside microcomputers and sensors to create surfaces that are receptive and responsive to external stimuli. Innovative textiles feature a flexible array of Light Emitting Diodes that present changing patterns and texts through the structure of cloth. Wireless transmission systems have also been developed to support real time communication. In both wearable systems and site related installations, textiles are used to address the social dynamics of fabric and human interaction.
The Touchpad Dress involves the development of a system for direct writing (or drawing) of texts and designs onto a flexible LED array. Conductive threads have been embroidered onto the cuff of the dress and when touched, can sense the position of the finger. The x-y coordinates are transmitted through stitched data lines in the sleeve to a microcontroller located on the waistline of the dress. A wireless device transmits that information to a corresponding LED display in real time.
Currente Calamo is a system of handwoven garments that include their own flexible LED message board. Each has their own Bluetooth address printed on a section of the garment. Transmitting to that address will change the images and texts in the LED array in real time. The intimacy of personal messaging can suddenly becomes public.
Professor Janis Jefferies, The Digital Studios, Goldsmiths College, UK
Professor Mohammed Reza Soleymani, Electrical Engineering, Concordia University
514-848-2424 ext. 4259
Leroux investigates how theatre can be mediated through technology without being upstaged or obliterated by it.
Dr. Louis Patrick Leroux is an associate professor in both the Department of English and Département d’études françaises at Concordia University in Montreal. He is a member of Hexagram-Concordia and an Artist-in-residence with Matralab.
His academic research has focused on self-representation in Québec drama, cultural discourse and circus, with publications in L’Annuaire théâtral, Cahiers de théâtre JEU, alt.theatre, Québec Studies, Spirale, and Voix et images. In 2010, Concordia awarded Dr. Leroux its Emerging Scholar Award in the Strategic Cluster "The Person and Society" and he was named University Research Fellow for 2010-11. He was also awarded the 2010 Prix Jean Cléo Godin for scholarship on theatre published in French.
Over thirty of his plays, radio plays and film scripts have been performed. Recent published plays include Ludwig & Mae (Talonbooks, 2009), Se taire (Prise de parole, 2010), and Dialogues fantasques pour causeurs éperdus (Prise de parole, forthcoming 2012).
His research-creation focuses on multidisciplinary theatre production and playwriting as well as resonant response and dialogue with existing work.
Leroux’s research-creation process stems from theatrical performance and working against theatre’s conventions. It also follows the principle of resonant response to source texts, whether one’s own or by others. Louis Patrick Leroux feels that creation is an act of reading and opportune misreading. No work of art is truly original; it is always tributary to a sequence of earlier works. As a playwright, director, artist, and very much as a teacher of literature and of creative writing, he is especially interested in engaging in a series of resonant responses to source texts — exploring intertextuality, intratextuality, citation, pastiche, emulation, deconstruction. If theatre is, indeed, a dialogue with the dead as Antoine Vitez and Tadeusz Kantor would both have it, the dialogue to explore should spans many lives and many more deaths to be replicated in as many variations as can be explored, from straight theatre to circus, through installation and performance.
Hypertext and Performance: A Resonant Response to Joanna Baillie’s Witchcraft
Montreal Working Group for Circus Research
Shakespeare and Story: Cymbeline Materials
Dialogues fantasques pour causeurs éperdus
Sandeep Bhagwati (Concordia)
Erin Hurley (McGill)
Paul Yachnin (McGill)
Michael Sinatra (Montreal)
Patrice Aubertin (National Circus School)
514-848-2424 ext 5617
1515 Sainte-Catherine Ouest, EV 10.755
Game designer, researcher and historian.
After working some time in the game industry as a designer, Jonathan Lessard moved on in 2001 to found Absurdus, his own independent studio. Filling the roles of designer, 3D artist, programmer and writer, he published two humoristic adventure games that were translated into eight languages. In the meantime, he participated in the foundation of the Ubisoft Campus where he taught 3D modelling and shading to hundreds of students, most of whom have gone on to careers in the industry.
In 2009, Jonathan began a PhD on the history of adventure games at the Université de Montréal under the supervision of game studies specialist Bernard Perron. He then broadened his teaching to subjects of game design and game studies at UdeM as well as UQAT. He is now a full-time professor in Concordia’s Design and Computation Arts department.
The bulk of Jonathan’s research in the past years concerned video game history and culminated in his PhD dissertation, Histoire formelle du jeu d’aventure sur ordinateur (le cas de l’Amérique du Nord de 1976-1999).
His new endeavour, the FRQSC-funded Conversations Vidéoludiques, aims at investigating new methodologies and techniques to design interesting non-player character interactions. This project stems from the following observations and hypotheses:
1. Dialogues with NPCs haven’t changed in the past 30 years of video game history.
2. Conversations can be modeled as games.
3. To afford finer exploration of conversation-space, players should be able to communicate with language.
4. The objective-driven structure of games and their narrow fictional domain should allow sufficient understanding of player commands with basic technology.
Its intended objective is a game entirely constituted of a conversation with a virtual character via a natural language interface.
On a smaller scale, Jonathan has launched a tentative project to find and collect Québécois BBS (Bulletin Board Service) backups that might still be gathering dust on floppy disks, in order to preserve that portion of local early digital culture before it is too late.
Obx Labs experiments with digital text and typography and hosts the Aboriginal Territories in Cyberspace research network.
Jason Edward Lewis is a digital media artist, poet and software designer. He founded Obx Laboratory for Experimental Media, where he directs research/creation projects devising new means of creating and reading digital texts, developing systems for creative use of mobile technology, designing alternative interfaces for live performance, and using virtual environments to assist Aboriginal communities in preserving, interpreting and communicating cultural histories. He co-founded and co-directs the Aboriginal Territories in Cyberspace research network that is investigating how Native people can participate in the shaping of our digital media future, and co-directs the Skins Workshops on Aboriginal Storytelling and Digital Media. Lewis is committed to developing intriguing new forms of expression by working simultaneously on conceptual, creative and technical levels. His creative work has been featured at the Ars Electronica Center, ISEA, SIGGRAPH, Urban Screens and Mobilefest, among other venues, his writing about new media has been presented at conferences, festivals and exhibitions on four continents, and his work has won festival awards at Ars Electronica, imagineNative and the Electronic Literature Organization. He is currently an Associate Professor of Computation Arts at Concordia University in Montreal.
Beth A. Lameman
Nancy Elizabth Townsend
1515 Sainte-Catherine Ouest, EV 11.615
514-848-2424 ext 5935
Experimental media and contemporary art; transnational feminism; the politics of visibility; witnessing and spectatorship.
Krista Geneviève Lynes is an Assistant Professor in Communication Studies at Concordia University. She has a PhD from the History of Consciousness Program at the University of California, Santa Cruz, and held a previous position as Assistant Professor, History & Theory of Contemporary Art at the San Francisco Art Institute. She has published in the journals Signs and Third Text, among others. An article recently appeared in the book Space (Re)Solutions: Intervention and Research in Visual Culture (Peter Mörtenböck & Helge Mooshammer, Eds.). Her first book, entitled Prismatic Media, Transnational Circuits: Feminism in a Globalized Present is forthcoming in Palgrave MacMillan’s ‘Global Cinema’ series (2013).
Krista Geneviève Lynes’s research examines the intersections of video art and documentary in making visible emergent feminist political subjects, as well as multiple visions of social life under conditions of duress, political struggle, human rights abuse or super-exploitation. Her focus on the politics of visibility engages feminist and queer theories, theories of the body and gender (as articulated through and in contemporary art and media), postcolonial and transnational examinations of culture (nationalism, belonging, border politics), questions of witnessing, spectatorship and encounter, psychoanalysis and semiotics. Her current research examines the aesthetics of ‘groundedness’ in representations of popular struggle and protest.
Her current research project, entitled Alter-mediatisation: Feminist Media on a Global Scale, examines how contemporary artworks visualize the complexity of gender in the context of globalization, particularly around the circuits of female migrancy, the character of labour in emerging service industries, and the channels of transmission of gendered ideologies across cultures. The project asks the following questions: How do feminist experimental media conceptualize social space on a global scale? How might aesthetic strategies create new sites of contact between women around the globe?
Momoko Allard, "Ethics of Visual Representation in Independent Pornography"
Rébecca Lavoie, "Rearticulating Politics Through Art, and Vice-versa: Feminist Video and Film Practices"
Dayna McLeod, "Mid-Life Crisis in Performance Art: Over 40 Feminist Artists Using the Body"
Pamela Lamb, "Narrating the Archive: A Digital Oral History of Feminist Pedagogy"
Katerina Symes, "Eccentricity, Spectatorial Desire, and The L Word: Toward a Theory of Identification"
The Sense Lab
The Sense Lab is a working environment supporting research at the intersection of the senses, art, philosophy and politics.
Erin Manning holds a University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts at Concordia University. She is also the director of the Sense Lab, a laboratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement. In her art practice she works between painting, dance, fabric and sculpture. Current iterations of her artwork explore emergent collectivities through participatory textiles. Her project Stitching Time was presented at the 2012 Sydney Biennale and The Knots of Time will open the new Flax Museum in Kortrijk, Belgium, in 2014. Her writing addresses movement, art, experience and the political through the prism of process philosophy, with recent work developing a notion of autistic perception and the more-than human. Publications include Relationscapes: Movement, Art, Philosophy (Cambridge, Mass.: MIT Press, 2009), Politics of Touch: Sense, Movement, Sovereignty (Minneapolis: Minnesota University Press, 2007) and Ephemeral Territories: Representing Nation, Home and Identity in Canada (Minneapolis: Minnesota University Press, 2003). Her forthcoming manuscript, Always More Than One: Individuation’s Dance, will be published by Duke University Press in 2012 as will her forthcoming co-written manuscript (with Brian Massumi), Thought in the Act: Passages in the Ecology of Experience (Minnesota UP).
The Sense Lab
The Sense Lab is a working environment composed of students and researchers who situate their practice at the intersection of the senses, art, philosophy and politics. Work undertaken in The Sense Lab involves the integration of new technologies that incorporate or address the senses (in conjunction with technologies available at Hexagram and SAT), a computer-based environment for hands-on manipulation of data and image-text, and a theoretical environment (including a seminar series in conjunction with SAT and The Radical Empiricism Laboratory directed by Brian Massumi at the Université de Montréal). The Sense Lab meets on the second Wednesday of each month, comprises several reading groups (one for the whole Sense Lab and smaller reading groups directed toward particular research projects), coordinates the Bodies/Bits-Corps/Données Lecture Series and organizes international research-creation events. As of 2007, The Sense Lab also hosts an online journal entitled Inflexions and runs two blogs and one online hub. In 2007, The Sense Lab also launched a book series (edited by Erin Manning and Brian Massumi) at MIT Press entitled Technologies of Lived Abstraction. The focus of the book series is on the intersection between art and philosophy.
Erin Manning’s recent work focuses on textiles as part of a relational art practice that creates participatory platforms for group experimentation and collective expression. Her project Folds to Infinity (2008–ongoing) features a textile collection made up of serged pieces of fabric, cut to the shape of hundreds of pattern pieces that connect through magnets, buttons and buttonholes to create constellations both architectural and wearable. The collection is presented in site-conditioned installations whose purpose is to rethink the relationship between fabric, the body and the environment. Participants are invited to explore how collective practices of folding-in, to create clothing, and folding-out, to create architectural environments, can provide a springboard for re-experiencing what a body can do. The emphasis on collective expression is always interwoven with an emphasis on re-examining the role time plays in creative encounters. Folds to Infinity is a slow piece that has evolved over many years through sewing circles in Canada, Australia and Finland. These sewing circles are weekly gatherings that have, over the years, become central to the art practice. They are not simply a preparation for the dissemination of the work – they are the ongoing genesis of a relational practice.
Soundwalk artist and researcher.
Andra McCartney is an associate professor of Communication Studies at Concordia University, where she teaches courses on sound production, reflexivity studies and sound theory. She is a soundwalk artist, leading public walks and creating gallery installations, recordings, performances and radio works. Her works can be heard on the internet, on CBC radio and on CDs produced by Deep Wireless, Terra Nova and the Canadian Electroacoustic Community. McCartney has published writings with the Electronic Music Foundation, Organised Sound, Leonardo Music Journal, Musicworks, Axis Voor de Kunsten V/M, Contact!, Array, Resources for Feminist Research, and Borderlines, as well as several edited volumes on gender, technology and creation: Gender and Music, Ghosts in the Machine, Canadian Music: Issues of Hegemony and Identity, and With A Song in Her Heart. In 2002, she edited an issue of the journal Organised Sound on the topic of soundscape composition. In 2006, she co-edited with Dr. Ellen Waterman a special issue of Intersections Journal of Canadian Music, based on papers presented at the In and Out of the Sound Studio Conference on gender and sound technologies, which she directed at Concordia University in July 2005.
Soundwalking Interactions is a research-creation project led by McCartney and financially supported by the FQRSC. The objective of the project is to explore the use of soundwalks and interactive installations to engage audiences and raise issues about various locations and their histories. A large number of soundwalks are organised by members of the research team in different locations around Montreal as well as across Quebec and internationally. These soundwalks and the discussions they engender are recorded and edited before being posted online to further exchanges and encourage feedback from participants as well as visitors. Additionally, an interactive audio-visual installation is designed in which movements of participants in a specific space mix sound excerpts from previous soundwalks diffused over a set of speakers as well as images of their movements projected on a large screen. These investigations are being published through articles as well as conference presentations and international exchanges with related research groups.
Documentary-maker exploring innovative approaches to connect personal stories with larger social concerns.
Elizabeth Miller is a professor in Communication Studies at Concordia University where she teaches courses in video production, participatory media, food and film ethics, Latin American films, and research-creation. She holds an MFA in Electronic Arts from Rensselaer Polytechnic Institute and an undergraduate degree in social thought and political economics. Her films on timely issues such as water privatization and immigration have been screened in festivals, broadcast on television, won awards and influenced decision-makers. Miller provides training in media advocacy to educators, feminist journalists and human rights organizations around the world. She currently serves on the board of the International Association of Women in Television and Radio.
Miller's research-creation involves place-based participatory media, non-linear documentary, digital mapping, and media advocacy. Miller has been interested in non-linear storytelling and web documentary since she launched her first interactive documentary, Moles, in 1999. Since then she has developed several place-based collaborative non-linear projects including Going Places a memoryscape of Montreal and Queer is in the Eye of the Newcomer a physical and virtual walking tour of Toronto. Through Mapping Memories: Experiences of Refugee Youth, a SSHRC-funded participatory media project exploring digital storytelling and Do-it-Yourself cartography, she developed eleven projects with over 150 youth participants. The resulting book/DVD/website involves twenty films and digital stories and is a resource for teachers, social workers, activists and academics interested in participatory methods. The cross-platform resource is being used to raise awareness about refugee youth in Montreal. Millers’ film, The Water Front, a feature documentary film on water privatization, involved a multi-platform outreach strategy including a forty-city film tour and online remix competition. The documentary won seven awards and has influenced policy-makers, educators and environmental justice activists.
Mapping Memories is a collaborative media project that uses personal stories and a range of media tools (video, sound walks, mapping, photography) to better understand the experiences of youth with refugee experience in Montreal. The objective is to produce creative works that influence policy, education and the lives of the youth involved.
An UnConventional Soap: It's not every day that a TV drama gets produced in a small, Central American country like Nicaragua, which is still reeling from the effects of decades of dictatorship, revolution, and war. It's not every day that scriptwriters work hand in hand with on-the-ground organizations to develop storylines designed to combat such complex problems as the commercial sexual exploitation of adolescents. It’s not everyday a women’s crew comes together to “make the personal political” both on and off screen. “An Unconventional Soap” gets behind the scenes to show how Puntos de Encuento, a Nicaragua feminist organization is combining TV with social movements across the Americas to build awareness and incite action around one of the most complex issues of our day - the commercial sexual exploitation of adolescents. See the trailor here.
Composer, musicologist and inventor of IMP-NESTAR, a platform/environment for exploring sound-image-terminology.
Rosemary Mountain is a composer, musicologist and researcher who returned to Canada and her hometown of Montreal in 1999 after several years of teaching in Europe. Since the mid-1980s, she has been developing new tools and strategies for examining music that resists the traditional score-based Western harmonic analysis: rhythmic complexities, multiple-layered works, electroacoustics, non-Western, and music in multimedia contexts. Her methodology incorporates current research from perception and cognition as well as educational psychology. Since 2002, she has been developing a unique research platform now in Phase III: NESTAR - a Network of Exploratory Spaces for Temporal Arts Research - designed to stimulate and refine our discourse about sound and multimedia. She is a member of various international editorial boards, scientific committees and organizations including the Electroacoustic Music Studies Network, the Centre for Interdisciplinary Research in Music Media and Technology, the International Journal of Cinema, and the International Society for the Study of Time. An Associate Composer of the Canadian Music Centre, she composes acoustic, electroacoustic, and mixed works and continues to explore the microtonal expressive potential of violin and santur. She also collaborates with her husband Harry Mountain, sculptor and Celtologist, on a variety of artistic research projects.
NESTAR - a Network of Exploratory Spaces for Temporal Arts Research - consists of a set of networked environments designed to heighten the awareness of the role of sound in art and research contexts. It centres on a testing platform for investigating sound and its latent and potential correlations with space, light, movement, image and words, and facilitates investigation of auditory and multimodal perception and the degree to which such perceptions may be shared. It also focuses attention on the potentials and shortcomings of various classification systems. The platform is characterized by a mixture of technology and traditional aspects in a playful and easily-navigated environment, and is set up to link closely with relevant research on an international level. Its versatility enables it to function within a variety of contexts: research labs, festivals, galleries, schools, and museums; it is also showing potential for such diverse uses as translation studies, market analysis, and artistic collaboration. A virtual version under development will facilitate communication between network nodes and thus promote trans-cultural research. NESTAR is supported by an international, multi-disciplinary team of experts for advice on content, design and interpretation of data, and funded by SSHRC.
The Interactive Multimedia Playroom is celebrating its 10th anniversary in Iberia in 2012 where the first offspring IMP3 ('IMP-cubed') will be inaugurated as a pilot year-long exhibit in the Fábrica Ciência Viva science museum, Aveiro (Portugal). It will also be returning to the Avanca (Portugal) film festival / in conference in July, and installed in Madrid (Spain) for incorporation into graduate teaching and research in the Music Department of the Universidad Autonoma and the Architecture Department of the Technical University.
Harry Mountain (co-inventor)
Dr. Ana Veloso
Dr. Frank Dufour
Dr. Ricardo Dal Farra
Dr. Rolf Inge Godøy
Dr. Sudhir Mudur
Dr. Annabel Cohen
Dr. Louise Poissant
Dr. Marcelo Wanderley
Dr. José Luis Carles & Cristina Palmese
Dr. Luis António Gutierrez
Dr. Erin Manning
Dr. Stephen McAdams
Dr. Oscar Mealha
Transportation research for integrated planning.
Zachary is Tier-II Canada Research Chair in Transportation and Land Use Linkages for Regional Sustainability. He received his BA (Honours Anthropology) from McGill University in Montreal, his Master's (Economics) from Simon Fraser University in Vancouver and PhD (Geography) from McGill. He was also a postdoctoral researcher at the Ecole polytechnique fédérale de Lausanne in Switzerland in the Transport and Mobility Laboratory (TRANSP-OR). Professionally, he worked as an economist at the NAFTA Commission for Environmental Cooperation and as transportation modeler at the Montreal regional public transportation planner, l'Agence métropolitaine de transport.
Zachary's research focuses on the modeling of transportation, the environment, land-use and their linkages. He has recently begun creative collaborations through the medium of smart phone applications with Owen Chapman and Kim Sawchuk, also Hexagram members.
office: 514-848-2424 ext 3492
lab: 514-848-2424 ext 3310
Portraiture, the representation of women, narrative and autobiography are major and recurrent themes within Marisa Portolese’s work.
Marisa Portolese is of Italian origin but was born in Montreal, Quebec. She is an associate professor in the photography program in the Faculty of Fine Arts at Concordia University.
Since graduating with an MFA degree from Concordia University in 2001, she has produced many photographic projects that have received critical acclaim. She has exhibited widely in Canada, Europe, the United States and Asia. In 2007, she was invited to participate in the prestigious international biennial of contemporary photography Le Mois de la Photo à Montréal. She has also curated several exhibitions and helped organize the McGill street project entitled Inspirations - A Dialogue with the William Notman Archives, a McCord Museum initiative. A monograph of Antonia’s Garden was recently published by UMA - La Maison de l’image et la Photographie.
Alongside of her exhibitions, critics have written about her work in publications such as Canadian Art, Border Crossings, Ciel Variable magazine, ETC Montreal, as well as other journals, magazines, newspapers and art books. In addition, Dazibao publications published a book of her photographs. She is the recipient of several awards and numerous grants from the Canada and Quebec Arts Councils. Her work is part of private and public collections. She is represented by Gallery Lilian Rodriguez (Canada) and Charles Guice Contemporary Art (USA).
Marisa Portolese’s studio practice centers on large-scale colour photography that juxtaposes the human figure with landscape and still life. Her images concentrate on elucidating facets of human experiences in relation to psychological and physical environments, linking to larger themes concerning identity and spectatorship. She attempts to weave together gesture, affect, and the nuances of her subjects’ gazes to create an immersive and emotional landscape for the viewer. She is interested in the relationship between the fixed photographic portrait and the moving image, and often uses the gallery space for creating narrative. Borrowing from cinematic strategies, Portolese constructs introspective poses that suggest a story. Through the physiognomy, expression and the staging of her subjects, she tries to capture the narrative potential within each still image. Bodies of work like Belle de Jour (2002), Un Chevreuil à la Fenêtre de ma Chambre (2003), The Recognitions (2005) and Breathless (2007) have dealt with questions of feminine beauty, youth and aging. The Dandy Collection (2003-2008) applied a similar approach to portraits of men and boys. More recently, She has been producing projects such as Antonia’s Garden (2007-2011) and Pietà (2010) that center on her own family, her Italian heritage and most especially the complex relationship between mother and child.
Goose Village - Marisa Portolese is currently conducting research for a documentary film that she wants to produce and direct on Italian immigration in Montreal, specifically focusing on a small community of Italian immigrants that lived in a neighborhood known as the Goose Village.
Hair Re-imagined - She is also working on a new photographic body of work that will address the loss of hair and how identity is transformed through the use of wigs. The Musée d’art de Joliette in Joliette, Quebec, currently has in their collection a selection of seven eccentric wigs that were designed by Bernard Perreault, a famous hairdresser living in Montreal in the 60’s and 70’s. Perreault was renowned for his original creations and created seven wigs with outrageous hairstyles. Portolese will be working with the wigs in the museum collection to produce this new body of work.
Dr. Loren Lerner (Concordia, Art History)
Geneviève Cadieux (Concordia, Photography)
Patrick Traer (Concordia, Painting and Drawing)
Eric Simon (Concordia, Painting and Drawing)
David J Romero
Designer exploring the potential of technologies such as rapid prototyping and 3D scanning for sustainable design.
As a researcher, Martin Racine focuses his interests towards the potential of new technologies (3D scanning, rapid prototyping) for sustainable design. Trained as an Industrial Designer in Montréal (Université de Montréal) and in Paris (École nationale supérieure de création industrielle), his experience covers furniture, product, lighting and exhibition design. Associate Professor in the Department of Design and Computation Arts since 1999, he holds a PhD specialized in Design Theory and History and a Master's degree in Communication Sciences, where he oriented his research in the field of visual semiotics and cognitive sciences. His research has been featured extensively in the media, namely in the Discovery Channel, The Globe and Mail, Radio-Canada, Télé-Québec, l’Actualité, Le Devoir and The Gazette, and his team won an international award at the Sustainable Innovations Conference in Stockholm. Martin Racine has presented his research at a number of international conferences, including in France, England, Germany, Italy, the Czech Republic, Turkey, Mexico, Sweden and the United States, and he has published articles and book chapters on the history of design in the Design Issues Journal (MIT Press) and in the book Expo’67 – not just a souvenir (Toronto University Press).
As the instigator of Hexagram’s Rapid Prototyping Lab, Martin Racine has led major research projects that focus on the exploration of new technologies for sustainable design. Throughout his research, Racine questions the current economic model and attempts to address fundamental issues related to the role of design for the implementation of sustainable development principles. How can we create objects that have less negative impacts on the environment? How can we extend the lifespan of the objects we use? Is it possible to design objects that could evolve through time and adapt to new technologies? Could we “print” parts on demand to rapidly fix broken objects? How can we evolve from a production-based economy to a service-based economy? How can interactive technologies facilitate the exchange of creative ideas concerning sustainable design? Racine and his team imagine prospective scenarios and attempt to develop conceptual approaches that lead to innovative solutions for sustainable development.
The PRéco project explores the potential of Rapid Prototyping as a method to repair, adapt and extend the lifespan of objects. PRéco was awarded best project at the Sustainable Innovations conference in Stockholm.
The METAMORPHOSE project aims to establish the foundations of a new approach to product design based on the potential of rapid prototyping (RP). The objective is to design new products while anticipating their eventual transformation, either by personalizing, or updating their function or style with RP in order to give them new life. This evolution of shape, function, texture, and color aims to extend products' lives by offering an alternative to the planned aesthetic and technical obsolescence that prevails today. This new 'organic' mode of design offers unexplored potential to develop a new vocabulary of form and leading edge design.
Metacycle aims to optimize the creative potential of artists and designers by reuniting them within a virtual community serving the common objective of prolonging the lifespan of consumer products. The goal of this project is to develop an interactive framework through which consumers can benefit from unique and innovative updates to products whose usefulness is being put into question. The implementation of such a new virtual community describes a new paradigm for the creation of objects in which users can participate themselves in the formulation of their material world.
Philippe Lalande, Directeur, École de design industriel, Université de Montréal
Hybrid Control Systems Lab engages in multidisciplinary research on new control algorithms applied to flight simulation.
Dr. Rodrigues is an Associate Professor at the Department of Electrical Engineering of Concordia University and at the Concordia Institute of Aerospace Design & Innovation. He received his PhD from the Department of Aeronautics and Astronautics of Stanford University in June 2002. During the last two years of his PhD research, Dr. Rodrigues worked as a visiting student at the Department of Aeronautics and Astronautics of MIT. He received his Masters and his “licenciatura” degrees from the Technical University of Lisboa, Portugal. Prior to joining Concordia, Dr. Rodrigues worked as a consultant for speech recognition at Eliza Corporation, USA, and as a project manager for flight simulation applications at Ydreams, Portugal. At Concordia University, Dr. Rodrigues has been awarded grants from the Natural Sciences and Engineering Research Council of Canada (NSERC), the Fond Québecois de la Recherche sur la Nature et les Technologies (FQRNT), the Mathematics of Information Technology and Complex Systems (MITACS) and the Consortium de Recherche et d’Innovation en Aerospaciale au Québec (CRIAQ). He is a member of the Institute of Electrical and Electronics Engineers (IEEE), a lifetime member of the American Institute of Aeronautics and Astronautics (AIAA) and a professional engineer registered in the Professional Engineers of Ontario (PEO). Dr. Rodrigues is the founder and director of the HYbrid CONtrol Systems (HYCONS) Laboratory and the leader of the FLIght CONtrol and Simulation (FLICONS) Laboratory at Concordia University. He is a member of the Centre for Research-Creation in Media Arts and Technologies (HEXAGRAM) at Concordia University and an affiliate member of the Centre for Interdisciplinary Research in Music Media and Technology (CRMMT) at McGill University.
One of the main research goals of Dr. Rodrigues is to develop an optimized, integrated and unified computer aided controller synthesis methodology for complex systems, with a particular interest in the aeronautical and automotive industry. Applications range from autopilots for single vehicles that can steer themselves autonomously in the air, on ground or at sea to multi-agent system applications, such as cooperative (music) robotics, automated highways and formation flying. Another important research goal of Dr. Rodrigues is to apply control theoretical methods to biological systems, with an emphasis on biomedical applications, such as speech perception and recognition. Applications range from automatic speech recognition to automatic detection of speech anomalies and diseases related to speech anomalies, such as Parkinson’s disease. His ultimate research goal is to use technology to contribute to an increase in the quality of health and the quality of life in our society. He intends to reach this goal by bridging the gap between art and engineering/technology.
xmodal is an interdisciplinary, research-based studio-lab focused on the development of dynamic, performative environments.
Christopher Salter is an artist, Director of Hexagram-Concordia (on sabbatical through 2012) and Associate Professor for Design + Computation Arts. Salter studied economics and philosophy at Emory University and received his Ph.D. in the area of theater with a second concentration in computer-generated sound from Stanford University. He was also a visiting professor at Brown University, the Rhode Island School of Design (RISD), the Kunsthochschule für Medien in Cologne, Germany, and the MA in MediaArtHistories, Danube University. After collaborating with Peter Sellars and William Forsythe/Ballett Frankfurt, he co-founded and directed the art and research organization Sponge (1997-2003). His solo and collaborative work has been seen at major international exhibitions and festivals in over a dozen countries including the Venice Architecture Biennale (Venice), National Art Museum of China (Beijing), CTM (Berlin), Ars Electronica (Linz), Villette Numerique (Paris), EMPAC (USA), Transmediale (Berlin), EXIT Festival (Maison des Arts, Creteil-Paris), Place des Arts (Montréal), Elektra (Montréal), Todays Art (The Hague, Netherlands), PACT Zollverein (Essen, Germany) and v2 (Rotterdam), among many others. He regularly presents at national and international conferences, has given invited talks at universities and festivals worldwide and has sat on numerous juries including NIME, ISEA and the Prix Ars Electronica. He is the author of Entangled (MIT Press, 2010).
xmodal is dedicated to a deeper exploration of the concept of interaction that goes beyond the traditional one-to-one relationship between user and computer and instead towards that of the embodied inhabitant in complex, dynamic environments. To accomplish this, xmodal focuses on interdisciplinary research-based practice involving theory/practice and collaborations from the visual and performing arts, design, engineering and computer science, computer music, anthropology, architecture, sociology, philosophy and techno-cultural studies. xmodal produces three outcomes from its research:
1). Artistic performance/installation/research projects that tour internationally and explore the intertwining of human perception and technical systems.
2). Scholarly work in the form of books, essays, conference presentations and technical proceedings.
3). Development of hardware and software tools for sensing and dynamic control of media environments.
xmodal is funded by SSHRC, FQRSC, Hexagram, CINQ, CALQ, Canada Council for the Arts, Concordia University and other sources.
Mediations of Sensation is a research-creation program bringing together artistic work in “multimodal” environments using new technologies with anthropological research into the varieties of human sense experience across cultures. The main objective is to explore if such environments can be used as an instrument for new forms of anthropological inquiry, particularly in relation to sensory anthropology and how sensory anthropology can influence new multi-modal models of immersion beyond strictly audio-visual perception. The first public iteration of the project, Displace, was a performative environment designed and shown in the context of the American Anthropological Association’s annual conference in Montreal in November 2011. The project is being developed for its European premiere in 2012.
Just Noticeable Difference is a sensory environment for one person at a time lying in total darkness. The installation is based on Gustav Fechner’s concept of the Just Noticeable Difference: the ability to perceptually detect the smallest changes in sensory stimuli. During a set time period, visitors experience an extraordinarily wide range of visual, auditory and tactile sensations that challenge how we perceive the smallest degrees of change in sensory stimuli over different levels of intensities. JND explores the gaps in seeing, hearing and feeling and the play between sensation and sense-making directly taking place at the level of bodily experience.
Dr. David Howes (Anthropology, Concordia)
Dr. Marcelo Wanderley (Music, McGill)
Dr. Erica Lehrer (History, Concordia)
Dr. Marije Baalman (STEIM, Amsterdam)
Dr. Andrew Pickering (STS, University of Exeter, UK)
Prof. Sam Auinger (Sound Design/Composition, UdK Berlin)
Bruce Odland (Independent Composer/Sound Designer, Croton on Hudson, NY)
Tez (Maurizio Martenucci) (Audio-Visual Performance/Research, Optofonica, Amsterdam)
Dr. Ionat Zurr (Biological Arts, SymbioticA, University of Western Australia, Perth, Australia)
Prof. Zhang Ga/TASML (Curator/Director, Tsinghua Art Science Media Lab, Tsinghua University, Beijing)
Jayachandran Palazhy (Choreographer/Dancer/Director-Attakkalari, Bangalore)
Erik Adigard (Design/StrategyM.A.D., San Francisco)
Harry Smoak (PhD, SIP; Responsive Environments/STS)
Sofian Audry (PhD Humanities; Machine Learning/Ubiquitous Computing)
David Szanto (PhD SIP; Food Studies and Gastronomy)
Florencia Marchetti (PhD Humanities; Anthropology/Ethnography/Documentary Film)
Mike Wozniewski (PhD SIP; Engineering/Augmented Reality)
Patrick Harrop (PhD Humanities; Architecture)
Jaclyn Meloche (PhD Humanities; Performance and Art History)
Natalie Doonan (PhD Humanities; Performance and Sensory Studies)
Adam Basanta (MA SIP; Music Composition/Media Environments)
Shannon Collis (MA SIP; Printmaking/Sound)
Matthieu Tremblay (Design Grad Certificate/Computation Arts; Media Design)
Brett Bergman (Undergrad IMCA; Media Design and Management)
Elio Bidinost (MS Computer Science)
Christian Pelletier (MA SIP; Artificial Intelligence/Dynamic Environments)
Katie Jung (Manager)
514-848-2424 ext 5261
office: 1515 St. Catherine Street West, EV 6.789
lab: 1395 René Lévesque West, VA 018 (basement)
Animated filmmaking addressing themes such as immigration, discrimination, feminism and racism.
A graduate of the Film Animation and Communication Studies programs at Concordia University, Cilia Sawadogo is an associate professor and has taught film animation at the Mel Hoppenheim School of Cinema at Concordia University since 1999. Her areas of expertise include animated filmmaking, traditional drawn 2D animation and 3D computer animation. Her films, shown in international film festivals, use several animation techniques and aesthetics and address themes such as immigration, discrimination, feminism and racism.
Cilia Sawadogo worked as a freelance animator for CBC/Radio Canada, a director at the National Film Board of Canada (NFB) and an independent producer/director. Working for UNESCO, Cilia Sawadogo gave intensive animation workshops to African artists in Kenya and South Africa and supervises several animation workshops in Burkina Faso and Ghana.
Current projects include animated shorts addressing immigration, migration and slavery. These subjects explore, in a contemporary context of technically mixed animated films, the ties binding people of African origin from the American continent to their point of origin and to each other. The animated films use 3D computer animation, 2D drawing, object and “junk animation” inspired by original African Street Art, ancestral sculptures and artisanal cloth work with specific meaning in their ethnic context.
Luigi Allemano (music composition)
Beatriz Falleiros Rodrigues Carvalho
Topological Media Lab
PhD Mathematics (Stanford), Canada Research Chair in New Media, Associate Professor of Design & Computation Arts.
Trained in mathematics at Harvard and Stanford, Dr. Sha worked for more than twelve years in scientific computation, mathematical modeling and visualization. Sha was among the first inventors of creative research software frameworks ranging from object-oriented visual programming and symbolic manipulation to distributed multimedia and gesture-based murals. Sha led the Stanford Interactive Media Group. In 2001, Dr. Sha founded the Topological Media Lab at Georgia Tech's GVU as an atelier researching gesture and materiality from computational and phenomenological perspectives. In 2005, as Canada Research Chair in New Media, Sha brought the TML to Montreal thanks to support from the Canadian Foundation for Innovation, Concordia and Hexagram.
Sha's artistic work includes the TGarden responsive environments (Ars Electronica, DEAF, MediaTerra Athens, SIGGRAPH); Hubbub speech-sensitive urban surfaces; Softwear gestural sound instruments; WYSIWYG gesture-sensitive sounding weaving (ICMC, Copenhagen); Ouija movement studies; Cosmicomics video installation (Elektra Montreal); eSea reactive wall (eArts Shanghai); and IL Y A video membrane (San Francisco).
Dr. Sha is an editor of AI & Society, IJCGCI, FiberCulture, the Experimental Practices Rodopi book series, and founding editor of Transmutations. He has been Visiting Scholar at Stanford, MIT, Harvard and Aberdeen. His book Poiesis, Enchantment, and Topological Matter will be published by MIT Press in 2013.
Topological Media Lab
Dr. Sha’s current scientific research includes realtime, continuous mapping of gesture into continuous modulation of video, sound and physical materials. With the TML, Sha creates responsive environments for ethico-aesthetic improvisation, and as experiments for a topological approach to process philosophy.
The TML studies the phenomenology of gesture and performance, how media can be tangible, and how people inhabit spaces made of responsive matter. Based on such studies, its goal is to create modes of performance and responsive environments with ethico-aesthetic impact.
The TML invents gesturally nuanced, time-based media and expressive instruments in novel responsive architectures, based on a topological approach to image, sound or tangible media that evolve continuously under continuous gestural input. Research projects include Ouija movement studies and the Frankenstein’s Ghosts SSHRC creation research performance work in collaboration with Michael Montanaro and the Blue Riders chamber ensemble.
Support has included: Canada Foundation for Innovation, SSHRC, FQRSC, FQRNT, Concordia University, Langlois Foundation, LEF Foundation, Creative Work Fund in New York, Future Physical UK, Rockefeller Foundation, IBM, Intel, Sony and Apple.
Researchers from fine arts, electronic music, dance, theater and architecture, electrical engineering, computer science, philosophy, anthropology, geography, physics and business all have places in the TML.
Frankenstein’s Ghosts is a collective creation-research project funded by SSHRC- and Concordia to build a hybrid critical discussion and performance work based on substantive issues raised in Mary Shelley’s Frankenstein. Questions include the distinctions between the living, the once-alive, the never alive and the machine, and the ethical relationship between creator and created. In terms of craft, we have forged new kinds of realtime media instruments and performance techniques based on realtime responsive media that hybridize refined theatrical, movement and computational arts into a new ensemble form.
Ouija was a month-long set of experiments with dancers and realtime responsive media exploring two questions: (1) When is a movement accidental, volitional, cited? (2) When is a set of movements a single gesture? Michael Montanaro and Sha Xin Wei designed a set of movement exercises with and without computational media augmentation that systematically explored these questions in movement form. Backed by six months of preparation, Ouija exemplified dance / movement studies that simultaneously generate philosophical insight.
Topological Media Lab
1515 Sainte-Catherine Ouest, EV7.725
514-848-2424 ext 4351
TAG Research Centre
TAG aims to explore and create games as exemplary objects and experiences of contemporary digital culture.
Bart Simon is Associate Professor in the Department of Sociology and Anthropology. He is co-founder and current director of the Concordia Research Centre for Technoculture, Art and Games (TAG). His background is in the areas of cultural sociology, science and technology studies and the sociology of knowledge and he has developed research projects and expertise in game studies and design, surveillance studies and material culture. While generally interested in questions of new media art and design as it pertains to human (and non-human) social interaction his current research is focused on digital game cultures and design.
Some of this current work is represented in journals such as Games and Culture, Game Studies and Loading…. His current research on gestural and physical gaming is funded by the Social Science and Humanities Council of Canada. He is a project leader and network investigator for the Canadian NCE network on Graphics, Animation and New Media (GRAND NCE), he is a co-director of the ‘Montreal Games Incubator’ project, and he is a collaborator in the Waterloo based Interactive & Multi-Modal Experience Research Syndicate (IMMERSe) as well as the SSHRC project, “Investigating the civic potential of video games” (with David Waddington, PI).
TAG Research Centre
Bart’s game studies research crosses a variety of game genres, platforms and modalities looking at the relation of game cultures, socio-materiality and everyday life. His current projects include:
Play and Performance Interfaces for Culture and Games – A collaboration geared towards creating new experimental and performative interfaces for games, investigating embodiment and gesture in play, and understanding the situatedness of play in digital game cultures.
Techniques of Social Imagination – A series of case studies looking at digital games and play as social-material infrastructures for forms of human and posthuman collective imagination.
Indie Eh? – A national collaboration exploring and innovating on game development processes and education and studying the history, organization and cultural economic value of the independent games movement in Canada.
Propinquity (2011-12): With Lynn Hughes and the Propinquity team, a full body game for two players wearing sensors. Players gain points by staying as close as possible to active sensors on the other participant’s body, but lose if they touch. This performance/game explores very physical, electronically enhanced games as well as the ambiguous territory between fighting and dancing.
Montreal Games Incubator Pilot (Summer 2011): With Lynn Hughes, Shawn Bell (Dawson College) and the MGI team; a collaboration between Concordia University and Dawson College. The Montreal Games Incubator provides a creative space at the intersection between university-level interdisciplinary digital games research and creation programs, technical college-level programs, the independent game development sector, and the video games industry.
Lynn Hughes (Fine Arts, Concordia)
Mia Consalvo (Communications, Concordia)
Darren Wershler (English, Concordia)
Jason Camlot (English, Concordia)
Sudhir Mudur (Computer Science, Concordia)
David Waddington (Education, Concordia)
Jason Lewis (Design and Computation Arts, Concordia)
Bernard Perron (département d'histoire de l'art et d'études cinématographiques de l'Université de Montréal)
Shawn Bell (Dawson College)
Angelique Manella (Decode Global)
Jason Della Rocca (Perimeter Partners)
Jennifer Whitson (SSHRC Postdoc, TAG/Sociology)
Orlando Wilson (MA, Sociology)
Will Robinson (PhD, Humanities)
Joachim Despland (MA, SIP)
Carolyn Jong (RA, MA, Comm)
Salvador Garcia-Marquez (RA, PhD, Education)
Researcher of Japanese animation and visual culture, digital media economies, and the contents industries in Asia and North America.
Marc Steinberg holds a PhD from Brown University in Modern Culture and Media. He works on Asian media with a focus on Japanese animation and media cultures. He recently published a book entitled Anime’s Media Mix: Franchising Character and Toys in Japan (Minnesota University Press, 2012) and has published essays in Japan Forum, Animation: An Interdisciplinary Journal, Parachute and Theory, Culture & Society on topics ranging from media architectures to contemporary art to animation to media theory.
Combining media industry history and aesthetic analysis, with some media archaeology thrown in for good measure, Anime’s Media Mix is an attempt to see what makes the economic behemoth of Japanese animation and its particular brand of media convergence tick. Recent works prolong this line of investigation of the media mix, from analyzing particular animation television series that emblematize media mix logic (“Condensing the Media Mix”) to examining the phenomenon of art toys or urban vinyl (“Vinyl Platform for Dissent”) to charting the aesthetically provocative uneven use of 3D animation with traditional cel-style animation in anime (“Inventing Intervals”). Current research interests include tracking the rise of the term “content industries” in North America, Japan, and South Korea. A project on Japanese media theory from the 2000s is in the works, and Steinberg just launched a repeating special issue of the journal positions: asia culture critique, entitled positions: asia media critique. Steinberg is also a member of the Concordia-based research group, ARTHEMIS (Advanced Research Team on History and Epistemology of Moving Image Study).
An exploration of interactive stereographic 3D video projections and installations, working with space in material ways.
Leila Sujir is an artist and a professor at Concordia University in the Intermedia Cyberarts BFA program and Open Media MFA program in the Studio Arts Department. She has a twenty-five year practice as a media artist. In 2005-2006, she was a Distinguished Visiting Scholar at the University of Calgary, a one year research position as an artist in the Interactions Lab in the Department of Computer Science. A solo exhibition which has toured Canada, Luminous Stories, initiated by the Art Gallery of Peterborough, covered ten years of her video production, from 1989 to 1999. Her video works have been shown in group shows at the Museum of Modern Art in New York and the Tate Gallery in Liverpool, U.K., as well as galleries and festivals all over the world. New Republics, a group exhibition out of the U.K., toured Canada and Australia in 1999-2000. Her video works are in a number of collections, including the National Gallery of Canada, who own four of her artworks, including video art productions from the mid-eighties through to the present. Sujir's video artwork has also been shown on educational television in Canada.
Paul Kroiter, Janro Imaging Lab
Theatre artist and performance scholar in the animation of public space and the mix of old and new technologies.
Mark Sussman is a theatre artist and performance scholar, working on the animation of public space and the mix of old and new technologies in live performance. He is a founder and Co-Artistic Director of GREAT SMALL WORKS, a theatre collective based in Brooklyn, and earned his Ph.D. from the Department of Performance Studies at New York University, where he received the Michael Kirby Memorial Award for his doctoral dissertation on 18th and 19th century stagings of the new technology of electricity. He came to Concordia in 2005 as a full-time professor in Theatre and is currently Associate Dean, Academics & Student Services, in the Faculty of Fine Arts.
Over the years, Sussman has been engaged in performance research using objects and automata, beginning with his role in the Mabou Mines adaptation of Samuel Beckett’s novella IMAGINATION DEAD IMAGINE, which featured a holographic performer in conjunction with manipulated sound, light and animated sculpture. In 1999 he was the solo performer of THEATER OF THE EARS, a radiophonic play for electronic marionette with texts and manifestos by French playwright Valère Novarina, performed at the Jim Henson International Puppetry Festival in New York before touring France in 2000-2001.
In Montreal, he is the principal organizer of Café Concret, a cabaret of experimental puppetry and object-based performance and a forum for new works in a variety of media. He is continuing work, with co-director Roberto Rossi, on SOIL DESIRE PEOPLE DANCE, a tabletop object theater performance using live and pre-recorded video, inspired by the writings of W.G. Sebald and most recently performed at The Velaslavasay Panorama in Los Angeles. With Great Small Works, he organized a retrospective exhibition of their collectively created news serial THE TOY THEATER OF TERROR AS USUAL: EPISODES 1-12 for the FOFA Gallery in 2012.
His writing has appeared in The Drama Review, (ai) performance for the planet, Connect, Cabinet, Puppetry International, Radical Street Performance (Routledge, 1999), and Puppets, Masks, and Performing Objects (MIT, 2001). He is currently preparing an anthology (edited with Susan Simpson) provisionally titled Automaton to Zombie: a Dictionary of Performing Objects.
Explores textile practices, narratives of location, traces, and the intersections of traditional and 21stC technologies.
Kelly Thompson was born in California and grew up in New Zealand, after a decade of sailing with her family on tall ships in Europe and the Pacific. As an adult she has continued a nomadic life, living in New Zealand, Australia, England and in Montreal since 2009. She teaches contemporary textile practices as an expanded field within art practices and discourses. Kelly Thompson is an Associate Professor at Concordia University in the Faculty of Fine Arts – Studio Arts. She previously taught at Goldsmiths, University of London, UK, and in New Zealand for many years. She has a BFA from the California College of Arts and Crafts, Oakland, and an MA Visual Art from the Australian National University, Canberra Australia.
Research interests are explored through intersections of digital imagining and material engagement with hand and jacquard technologies to produce new cloth experiences, embedded with narrative content. Themes include notions of location, site, mobility and identity; travel and material culture read through postcolonial and border theories; and textiles as cultural signifiers. Her art practice explores fast and slow means of weaving translations, and material or structure relationships in objects and installations. Her artwork has been exhibited in group and individual exhibitions internationally. Most recently this includes: Fanciful: Small Media Moments Media Gallery, Loyola Campus, Concordia University 2012, Vanish/Survive Vilnius, Lithuania, VI Bienal Internacional de Arte Textil Contemporåneo - held in Xalapa and Mexico City 2011, Fiberart International 2010 Pittsburgh and touring to Rochester University Gallery, Fibreworks 2010 and 2012 Cambridge Galleries Fibres Biennial, Ontario, Canada, tattered cultures:mended histories, at the Academy Art Center, Honolulu, Hawaii 2008, Global Intrique - Tradition and Innovation 3rd European Triennial Textile and Fibre Art, Riga, Latvia, 2007.
here, there, everywhere is a project that continues Thompson’s experience of locations, explored through the medium of weaving. Issues of place, translation and communication have become increasingly central as a resident of Montreal. here, there, everywhere examines the role that Google translator plays in assisting or hindering the dissemination of texts. The notion of here, there, everywhere also foregrounds a “slow form” of communication: the weaver and loom literally re-constructs language, and this short phase, row by row. This pace, and the labour of weaving is in stark contrast to a technological environment of wireless interconnectivity where we are surrounded by the speed of interactions across both space and time.
Ephemera Traces (ongoing) uses jacquard weaving to capture elements of the everyday, transitory or throwaway and to draw attention to the visual and hidden coding that surrounds us. The ubiquitous marks of contemporary consumption, such as café and hardware receipts, stock price numbers, and news chatter columns are expanded and digitally translated into large-scale cloths.
Founder and director of the Concordia Laptop Orchestra (CLOrk); developing specialized aural training for electroacoustics.
Dr. Eldad Tsabary is the founder and director of the Concordia Laptop Orchestra (CLOrk), which has performed since 2010 in a variety of formats, including collaborations with symphonic, chamber, and jazz orchestras, telematic performances, and dance shows. In the past few years, he organized many local and telematic electroacoustic concerts, interdisciplinary shows, and symposia, including Concordia Live and Interactive Electroacoustic Colloquium (CLIEC 2011), Understanding Visual Music conference (UVM 2011), Hug the World (2012)—a worldwide telematic jam session hosting musicians in over 50 locations all around the world—and 60x60 Order of Magnitude at the FOFA gallery (2010)—a 10 hour long dance, video and music performance that included minute-long pieces by 600 composers (a world record).
Since 2005, Eldad has been developing a specialized ear training method for electroacoustics at Concordia, has completed his doctoral dissertation on the topic (Boston University), and has written a chapter about it in the book Sound Musicianship (Ed. Andrew Brown, Cambridge Scholars, 2012), among other articles.
As a composer, Eldad’s works have won prizes and mentions in WPA and Kraft Media prize, Miniaturas Electroacústicas, NAISA/CBC, IMEB, Madrid Abierto, ZKM, Harbourfront, and others. His compositions have been released on Confluencias, ERMMedia, Capstone, NAISA, Musicworks, ElektraMusic, Vibrö, VoxNovus and JAZZIS, and published by Editions BIM. Tsabary's piece Creation for symphonic and laptop orchestras was performed in March 2013 by Orchestre symphonique de l'Isle (OSI) and CLOrk at the Oscar Peterson Concert Hall.
Eldad is the president of the Canadian Electroacoustic Community (CEC).
Eldad’s work centers on two axes:
1. Laptop orchestra: including collaborative live electroacoustics, telematics, improvisational conducting techniques, instrument design (live sound generation and manipulation, programming, human-machine interface, GUI optimization, mapping), network music, synchronization, and interactivity.
2. Aural training for electroacoustics: including exploring methods for determining the necessary skills, developing pedagogical models and educational approaches for teaching these skills, action research, auditory scene analysis, psychoacoustics and development of new training tools.
CLOrk consists of performers with a wide variety of hardware, software and skills – a non-uniformity that is an important part of its character. In every piece, the resources available in the orchestra are utilized differently through a pre-compositional process, such as dividing the orchestra into sections based on spectral, gestural or textural content, and inviting the performers to design specific control of certain parameters, to design specific processes, or to prepare for an improvised solo performance. These pre-composed elements are then performed live guided by soundpainting conduction.
CLOrk also specializes in networked beat-based performances utilizing a wifi metronome designed by Tsabary on Pure Data. This metronome drives a proprietary step sequencer and is also converted on each machine into MIDI sync, allowing sync with mainstream DAW. Presently, Tsabary is developing a mechanism for performing telematic beat-based music in collaboration with other ensembles over the internet.
Ricardo Dal Farra
D. Andrew Stewart
Eldad Tsabary on Academia.edu
CLOrk with Orchestre symphonique de l'Isle
Concordia Laptop Orchestra’s Soundcloud page
CLOrk in Penta Locus - a five-city telematic performance with chamber and jazz ensembles in NYC, San Diego, Hamburg, and Belfast.
CLOrk in a Concerto for T-Stick and two laptop orchestras, with the McMaster Cybernetic Orchestra and D. Andrew Stewart as T-Stick soloist
Artist and art educator, exploring new and traditional media worked together in collage, solo and in collaboration.
Kathleen Vaughan works in arts, culture and education via entwined practices as a visual artist in mixed media, educator in communities and schools, and consultant and writer in broadcasting and cultural policy. Her work has been shown in galleries and museums in Canada and the Netherlands, and has been published in journals and book collections. Building on her undergraduate studies in English Literature and Art History (U of T) and Painting and Drawing (OCAD), Kathleen pursued an MFA in Studio Arts at Concordia before deepening her exploration of art as a mode of knowing with a PhD in Education (York University). A native Montrealer, Kathleen lived and worked in Toronto for two decades before returning to Montreal in 2008 to take up her position at Concordia, where she is Associate Professor of Art Education.
Kathleen's interdisciplinary research explores the notion of 'home' -- how one finds and re-finds a home -- and belonging, with specific reference to the city, walking and the map. Her work takes up the meanings of her neighbourhood of Pointe-Saint-Charles in particular and of Montreal in general. Linking her own creative practice with community art education, Kathleen is developing research projects that explore collaborative mapping via textiles and photography, and the possibilities of interlinked art-making and storytelling practices. This participatory stream of her work aims to demystify creative practice as well as celebrate the achievement of others and the potential of arts engagement for self-knowledge, community-building, and social change.
Kathleen is also profoundly engaged with questions of the animal, that is, the ethics, aesthetics and pedagogies of humans' relations with non-human animals. This stream of research is inspired by her interest in and love for her standard poodles, Auggie and Baloo. That she once wrote a children's television series about a purple poodle from outer space is just a coincidence!
Kathleen works in photography, video, textiles, drawing, painting, and text, usually brought together in a form of collage, and is articulating specifics of collage as a method for research-creation.
Currently, Kathleen is engaged in a research-creation project that maps dog walks through urban woods and city parks, using digital and hand embroidery, other textile practices, and video to explore questions of access to and use of public spaces, the animal in the city, and considerations of cosmopolitanism and hospitality. Another on-going project, Made Flesh, uses the graphic novel form -- a version of digital collage -- to explore issues of mourning and representation. As well, she is part of an Art Education team (with Anita Sinner and Linda Szabad-Smyth) that has just received SSHRC funding to research community art education as a 'third space' of learning, based in three of Concordia's teaching sites, integrating traditional and new media in collaborative art education practices.
Research-creation on large scale robotic art installations and performances involving interactive machines, sound and light.
Bill Vorn has been active in the field of Robotic Art for over twenty years. His installation and performance projects involve robotics, motion control, sound, lighting, video and cybernetic processes. He conducts research on artificial life and agent technologies through artistic work based on the "Aesthetics of Artificial Behaviors." He holds a Ph.D. in Communication Studies from UQAM (Montreal).
His work has been presented in international events including Ars Electronica, ISEA, DEAF, Sonar, Art Futura, EMAF and Artec, and has been awarded the Life 2.0 award (1999, Madrid), the Leprecon Award for Interactivity (1998, New York), the Prix Ars Electronica Distinction award (1996, Linz), the International Digital Media Award (1996, Toronto), as well as numerous awards from Le Conseil des arts et des lettres du Québec, the Canada Council for the Arts, and the Fonds québécois de recherche sur la société et la culture. He has collaborated with artists such as Edouard Lock, Robert Lepage, Gilles Maheu, Istvan Kantor and Louis-Philippe Demers, and was cofounder of the electronic pop music band Rational Youth with Tracy Howe in 1981. Vorn teaches in the Department of Studio Arts at Concordia University as a Full Professor, and is responsible for the alab, a Robotic Art research-creation studio within Hexagram.
Focusing on the creation of large scale robotic installations and performances, Vorn's research involves development of hardwares and softwares, including Max/MSP externals as well as robotic control and sensor interfaces.
Current projects include:
DSM-VI: This installation project stages creatures expressing symptoms of "abnormal" psychological behaviors and stuck with serious "mental health" problems, such as neurosis, psychosis, personality disorders, etc. Exploring psychological projection, performance and failure, this project aims at the development of machines which perform behaviors evoked by the American Psychiatry Association as dysfunctional, irrational and absurd. Assisted through Le Conseil des arts et des lettres du Québec.
Protozoic Machine: an installation project in collaboration with IntRoLab (Université de Sherbrooke). This interactive machine will employ movement, audition and vision to expressing behavior controlled through various algorithms.
Inferno: Assisted by the Canada Council for the Arts. In collaboration with roboticist Louis-Philippe Demers, this project is inspired by Dante's Inferno, as well as Singaporean Haw Par Villa's Ten Courts of Hell. In both of these cultural expressions, "levels of hell" correspond to particular sins where external punishments imply internal, psychological agonies. This project will create machines for direct installation on the viewers' body, coercing the viewer into certain movements and physical reactions to evoke psychological affect.
Hysterical Machines (2002-2010) is a robotic installation project that explores human perception of machine behavior. Each Hysterical Machine is equipped with a sensory-motor control system which causes robots to respond to the presence of viewers, as well as respond to their own robotic movements. Ten machines have been developed to create this group environment, as well as a giant version of this robot, the Mega Hysterical Machine. The behaviors and physicalities of these machines inevitably trigger anthropomorphic responses from viewers who are challenged to make sense of seemingly emergent robotic behavior.
Grace State Machines (2007-2009) is a stage performance for human and machine performers linked via motion capture system. By using these sensors to transpose information related to the human performer's movements to the robot body, a dynamic and symbiotic relationship is established between the two actors. The machine's movements are both reactive and non-reactive, and thus sometimes induce a response from the performer. This project addresses kinaesthesis not only as an internal proprioceptive mechanism, but as an exterior phenomenon actualized through the robotic extension of the body, challenging dichotomic correlations between the mind and the body, as well as self and other.
Martin Peach, technician
Erin Gee, studio assistant
Beatriz Herrera, studio assistant
Aurélien Monsarrat-Chanon, studio assistant
Mark Lowe, studio assistant
Csenge Kolozsvari, video editing
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