Andrea Fatona is an independent curator and an associate professor at the Ontario College of Art and Design University. She is concerned with issues of equity within the sphere of the arts and the pedagogical possibilities of art works produced by ‘other’ Canadians in articulating broader perspectives of Canadian identities.  Her broader interest is in the ways in which art, ‘culture’ and ‘education’ can be employed by to illuminate complex issues that pertain to social justice, citizenship, belonging, and nationhood. She is the recipient of awards from Canada Council for the Arts, Ontario Arts Council, the Social Sciences and Humanities Research Council of Canada, and was the 2017/18 OCAD U-Massey Fellow. She is currently a Canada Research Chair II in the Faculty of Art. Fatona has published scholarly articles, catalogue essays, and book chapters in a range of publications.

Camille Callison, Tahltan Nation member, is the University Librarian at the University of the Fraser Valley (UFV) and a passionate cultural activist pursuing a PhD in Anthropology at the University of Manitoba. Her research critically examines the relationship between cultural memory institutions and the continued survival and activation of Indigenous knowledges, languages, and cultures. Current professional contributions, Camille serves as the Chair of the National Indigenous Knowledge and Language Alliance (NIKLA) and IFLA Professional Division H as well she serves on the Board of Directors of the Canadian Research Knowledge Network (CRKN), and as a member of IEEE P2890™ Recommended Practice for Provenance of Indigenous Peoples’ Data, OCLC Reimagine Descriptive Workflows Advisory Group, NISO Diversity, Equity, & Inclusion subcommittee and the Canadian Truth and Reconciliation Commission Taskforce on Archives. She is committed to being part of creating meaningful change related to equity, diversity, and inclusivity in the library, archival and cultural memory professions.

Patricio Dávila is a designer, artist, and educator. He is currently Associate Professor in Design at OCAD University, Co-director of Public Visualization Lab, and a member of the OCADU Mobile Media Lab and Visual Analytics Lab. His research focuses on developing a theoretical framework for examining data visualization as assemblages of subjectivation and power.

In his creative practice he has created mobile applications, locative media projects, essay videos, new media installations, and participatory community projects including: Powers of Kin, Chthuluscene, Tent City Projections, The Line, and In The Air Tonight. His curatorial projects, including Multiplex and Diagrams of Power, investigate the essay film, data, and critical media practices. His research and practice focuses on the politics and aesthetics of participation in the visualization of spatial issues with a specific focus on urban experiences, mobile technologies, and large-scale interactive public installations.

Dylan Robinson is a xwélmexw (Stó:lō/Skwah) artist, curator and writer. From 2015-2022 he was the Canada Research Chair in Indigenous Arts at Queen’s University. Dr. Robinson’s curatorial work includes the international touring exhibition Soundings (2019-2025) co-curated with Candice Hopkins. His current research project xoxelhmetset te syewa:l, Caring for Our Ancestors, involves working with Indigenous artists to reconnect kinship with Indigenous life incarcerated in museums.

His book, Hungry Listening (University Minnesota Press, 2020), examines Indigenous and settler colonial practices of listening, and was awarded best first book for the Native American and Indigenous Studies Association, Canadian Association for Theatre Research, and the Labriola Centre American Indian National Book Award. Other publications include the edited volume Music and Modernity Among Indigenous Peoples of North America (Wesleyan University Press, 2019); and Arts of Engagement: Taking Aesthetic Action in and Beyond the Truth and Reconciliation Commission of Canada (Wilfrid Laurier University Press, 2016). As co-chair of the Indigenous Advisory Council for the Canadian Music Centre, he is currently leading a process for the reparation and redress of music that appropriates Indigenous song, and misrepresents Indigenous culture.

Suzanne Morrissette is a Métis artist, curator, and scholar from Winnipeg who is currently based out of Toronto. Her research in the areas of Indigenous histories of resistance, and the development of liberal political philosophy in Canada have come together in the form of artworks, exhibitions, articles, and her forthcoming book which examines the progression of Indigenous relations in Canada since the early 1900s against the context of growing inclusion in the arts. She has taught liberal arts and studio courses at various universities since 2011, and currently works as Assistant Professor at Brock University in the Department of Visual Arts.

Monika Kin Gagnon is Professor of Communication Studies at Concordia University. She is author of Other Conundrums: Race, Culture, and Canadian Art (2000), 13 Conversations about Art and Cultural Race Politics (2002) with Richard Fung, and co-edited Reimagining Cinema: Film at Expo 67 (2014) with Janine Marchessault. She produced the DVD-catalogue restoration, Charles Gagnon: 4 Films (2009), on her late artist-father’s experimental 1960’s films, and related interactive Korsakow film, Archiving R69 (2011). She was co-curator of In Search of Expo 67 at the Musée d’art contemporain de Montréal for the 50th anniversary of Expo 67, including an expanded cinema program of digitally restored multi-screen films from Expo 67. She curated La Vie polaire/Polar Life, a digital simulation of the 11-screen Expo 67 film for Cinémathèque Québécoise (2014), and Theresa Hak Kyung Cha | Immatérial for DHC Art/Centre Phi (2015). She is working on Posthumous Cinema: Unfinished Films in the Archives.

Charles R. Acland is Professor and Chair of the Department of Communication Studies, Concordia University, Montreal. Acland has been a visiting scholar at McGill University, University of Minnesota, Harvard University, and University of California-Santa Barbara. His monographs include Youth, Murder, Spectacle: The Cultural Politics of "Youth in Crisis" (Perseus/Westview Press, 1995), Screen Traffic: Movies, Multiplexes, and Global Culture (Duke UP, 2003), and Swift Viewing: The Popular Life of Subliminal Influence (Duke UP, 2012). Acland’s edited books are Harold Innis in the New Century: Reflections and Refractions (McGill-Queen’s UP, 1999) with William Buxton, Residual Media (U of Minnesota Press, 2007), and Useful Cinema (Duke UP, 2011) with Haidee Wasson.

Most recently, he co-edited with Eric Hoyt the open-access Arclight Guide to Media History and Digital Humanities (REFRAME Books/Project Arclight, 2016). Acland was Concordia University Research Chair (2004-2015) and editor, with Catherine Russell, of the Canadian Journal of Film Studies (2008-2016).

I'm an Associate Professor in media studies, media arts, and research-creation at the Université de Montréal. I work primarily at the intersection of media aesthetics, material and visual cultures, and history and philosophy of science and technology. I’m particularly interested in my current research in print and paper histories, technologies, and practices.

I’m currently working on a book called High-Tech Paper: Security Printing and the Aesthetics of Trust, a historical and theoretical study of security printing and document aesthetics that investigates the material protocols of identification, authentication, and recognition.

I’m also co-directing a collaborative project on sleep. The Sociability of Sleep is an interdisciplinary research-creation project exploring the epistemologies and equities of sleep. We are interested in both the everyday and the exceptional experiences of sleep and its disturbances. Our approach is rooted in art-science experimentation, collaboration, prototyping, and various forms of “critical making” that integrate and engage with qualitative or quantitative research data. We aim for interventions into sleep in art, design, media, and performance to generate novel sleep situations that can enrich knowledge, understanding, and normative treatment of sleep conditions, as well as the collective care of all sleepers.