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.

David Clark is a media artist interested in experimental narrative and cinematic use of the internet. Recent works include interactive narrative works for the web: 88 Constellations for Wittgenstein, Sign After the X, and A is for Apple and also the non-linear film Meanwhile and the feature film Maxwell’s Demon. His work has been exhibited at Sundance, SIGGRAPH, EMAF, Transmediale, and the Museum of Moving Images in New York. His work has won awards at FILE, Sao Paulo, and the SXSW Interactive Festival. 88 Constellations for Wittgenstein was included in the Electronic Literature Collection #2 and won the $25,000 2011 Nova Scotia Masterwork Award. He teaches Media Arts at NSCAD University in Halifax.

Jennifer VanderBurgh teaches film and media in the Department of English at Saint Mary's University (Halifax, NS). Her research investigates how Canadian films and TV shows "remember" ways of thinking and "leave footprints" on cultural understandings and built environments. Her manuscript, What Media Remember: Artefacts and Footprints of Television in Toronto, troubles the idea of “Canadian TV” by examining Toronto’s unique and mutually constitutive relationships with television.

Jennifer’s encounters with policies and practices that limit public access to Canada's TV heritage has led to a research and advocacy focus on how TV circulates outside of archives and institutions, particularly VHS recording, collecting, and preservation projects. Her research on the Margaret Perry case study excavates archival records and oral histories to expand the conceptual framework for the NS Film Bureau films beyond the limited scope of government propaganda and anti-modernism, to include women’s labour/cinema, progressive discourse, regional record, and aesthetics/artwork.
 

Andrew Burke is an Associate Professor in the Department of English at the University of Winnipeg. He is the author of The Past Inside the Present: Cultural Memory and the Canadian 70s, which will be published in the fall of 2019. His research on space, place, architecture, cinema, music, memory, and media formats have been published in a number of journals and edited collections. His current project, “Cinema and the Object World of Modernity,” examines how sixties and seventies cinema serves as an invaluable archive of the everyday, capturing the processes of postwar modernization in the incidental objects that populate screen space.

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).

Patrick Keilty is Associate Professor in the Faculty of Information and Cinema Studies Institute at the University of Toronto. He is director of the GLAM Incubator, a collaboration between the Faculty of Information and the Knowledge Media Design Institute. Professor Keilty’s research interests can be divided into two areas: the politics of digital infrastructures in the sex industries and the materiality of sexual media. He has published on embodiment and technology, data science, the history of technology, cataloging, archives, design and experience, graphic design, temporality, and sexual taxonomies. His work spans visual culture, sexual politics, science and technology studies, media studies, information studies, political economy, critical theory, and theories of gender, sexuality, and race. His research projects have been generously supported by multiple grants from the Social Sciences and Humanities Research Council (SSHRC). He is the editor or coeditor of Handbook of Adult Film and Media (Intellect 2025), Queer Data Studies (University of Washington Press 2023), and Feminist & Queer Information Studies Reader (Litwin 2013). He is currently writing a monograph about the politics of technology in the sex industries. 

He was previously co-chair of the Adult Film and Media SIG in the Society for Cinema and Media Studies (SCMS) from 2020 – 2023, archives director of UofT’s Sexual Representation Collection from 2018 – 2023, and co-lead editor for Catalyst: Feminism, Theory, Technoscience from 2017 – 2019. For his work with Catalyst, he was a co-recipient of the 2020 Society for Social Studies of Science (4S) Infrastructure Award. In 2017, he was the co-recipient of The J. Franklin Jameson Archival Advocacy Award from the Society of American Archivists as a co-organizer of “Guerrilla Archiving,” an effort to save U.S. environmental data. In addition to his primary appointments, Professor Keilty is a faculty member at University College, affiliated with the Women and Gender Studies Institute, and member of the Technoscience Research Unit. 

Professor Keilty teaches courses on technology studies, digital theory, feminist and queer studies, information infrastructures, and cinema studies. He holds a PhD in Information Studies, concentration in Women’s Studies (now Gender Studies), from the University of California, Los Angeles. He has lived in Toronto since 2012, and is originally from Alta Loma, California. Prior to academia, he worked in libraries and archives in Los Angeles, Washington, DC, and London, UK.

Heather Igloliorte is an Inuk Assistant Professor and University Research Chair in Indigenous Art History and Community Engagement at Concordia University, where she serves special advisor to the Provost on Advancing Indigenous Knowledges, and co-directs the Indigenous Futures Cluster of the Milieux Institute for Arts, Culture and Technology with Professor Jason Lewis. Her recent curatorial projects include SakKijâjuk: Art and Craft from Nunatsiavut (The Rooms Provincial Art Gallery, touring 2016-2020); Ilippunga: The Brousseau Inuit Art Collection at the Musée National des Beaux-Arts du Québec (permanent exhibition, opened 2016); and Decolonize Me (Ottawa Art Gallery, touring 2011 - 2015), and the forthcoming inaugural exhibition of the Inuit Art Centre at the Winnipeg Art Gallery. Igloliorte currently serves on the Board of Directors for the Inuit Art Foundation, Nunavut Film Board, Native North American Art Studies Association, and Faculty Council of the Otsego Institute for Native American Art History.
 

Paul Moore is Associate Professor of Communication and Culture at Ryerson University. Overall, his research argues that amusement and leisure help constitute modern publics by providing spaces, rhetorics, and logics for collective gathering. He has studied the history of early cinema publicity and exhibition across Canada and North America, with a focus on rural spaces "in between," and with special attention to how viewing publics are premediated as reading publics through news and advertising.

Aleksandra Kaminska is Assistant Professor in Media Studies and Research-Creation in the Department of Communication at the Université de Montréal, where she also co-directs the Artefact Lab. She has an ongoing interest in how communities are formed through activities of publishing and curation. Current projects include a SSHRC-funded media history of authentication, security printing, and high-tech paper as well as FRQSC-funded research on the technologies and practices of recognition in the media arts. Her first book is Polish Media Art in an Expanded Field (Intellect, 2016).