Jessica Jacobson-Konefall is Assistant Professor of Canadian Art and Theory at the School of Fine Art and Music, University of Guelph. Her research interests include Canadian and Indigenous art, Marxist feminism, Critical Theory, Indigenous and critical race theory, and poststructuralist theories. Her current SSHRC Insight Development project focuses on ecological aesthetics in Treaty 1 and Treaty 3 territory (Manitoba/Ontario). She is Collaborator on the SSHRC Partnership Grant Archive/Counter-Archive out of York University, with Anishinaabe artist and cultural worker Angelina Mcleod (Shoal Lake 40 First Nation) and Urban Shaman: Contemporary Aboriginal Art Gallery, working on an art/academic project relating birchbark scrolls with civic/reserve archives. She is working on two book chapters on the relationship between energy "resources" and contemporary arts in Canada, and writing a monograph focused on the art of Rebecca Belmore and other contemporary artists in light of the question: "what does it mean to be here in a good way?" She is a practicing artist.

Born 1948, London, Ontario. Graduate of Guelph Collegiate, Western University, and Columbia University. Teacher, programmer, writer, critic, activist, swimmer, cyclist, cook, pianist, and sauna aficionado. Retired in 2017 after 41 years teaching film studies and sexuality/queer studies at Concordia University.

Author, compiler, or editor of 14 books, the most recent being Confess: Constructing the Self in Media and the Arts within the Third Sexual Revolution (co-edited with Brandon Arroyo, McGill Queen's University Press, 2019).

Co-editor with Matthew Hays of 19-book series Queer Film Classics (Arsenal Pulp Press, Vancouver 2008-2019).

Winner of SCMS Katherine Singer Kovacs Book Award (Society for Cinema and Media Studies, 2017) for the monograph The Conscience of Cinema: The Work of Joris Ivens, 1912-1989 (Amsterdam University Press). Founder of Concordia AIDS Project/Community Lecture Series on HIV/AIDS (1993-2017), and of Queer Media Database Canada Quebec (2006+).

Visiting Professor, Film Studies, English and Foreign Languages University, Hyderabad (2018-19).

Laura Horak investigates the history of transgender and gender-nonconforming film and media in the United States and Canada, and the history of sexuality in U.S. and Scandinavian cinema. Supported by a SSHRC Insight Development Grant, Horak is researching the history of trans, Two-Spirit, and gender-nonconforming filmmaking in Canada and the United States, and creating a pilot online database to promote these filmmakers.

She is author of Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934 (Rutgers University Press, 2016), co-editor of Silent Cinema and the Politics of Space (Indiana University Press, 2014), and Unwatchable (Rutgers University Press, January 2019). She also co-edited a special issue of Somatechnics on trans cinematic bodies. She regularly curates film screenings in Canada, Europe, and the United States.

Peter Dickinson is a Professor at Simon Fraser University, with a joint appointment in the School for the Contemporary Arts and the Department of English. He is also directs SFU’s Institute for Performance Studies. A performance studies scholar, Peter has published extensively on theatre, dance, film, and performance art, and he is the author, editor, or co-editor of ten books and special journal issues. Peter’s own plays include The Objecthood of Chairs (SFU Woodward’s, 2010), Positive ID (Berkeley Theatre, Toronto, 2012), Long Division (Pi Theatre, 2016/17), and The Bathers (excerpt, Zee Zee Theatre, 2017). As a writer, researcher, facilitator, outside eye, collaborator, and occasional mover, Peter has worked with several Vancouver-based dance artists and companies, including Justine A. Chambers and Alexa Mardon, plastic orchid factory, Ziyian Kwan/dumb instrument Dance, Tara Cheyenne Performance, Kokoro Dance, Vanessa Goodman/action at a distance, Lesley Telford/Inverso Dance, and Rob Kitsos.

Ryan Conrad is Adjunct Research Faculty at the Feminist Institute for Social Transformation at Carleton University and previously held a SSHRC postdoctoral fellowship with Archive/Counter-Archive from 2019-2022. He is currently working on his manuscript entitled Radical VIHsion: Canadian AIDS Film & Video. He holds a PhD in Cultural Studies from Concordia University and an MFA from Maine College of Art. He is an active film and video maker.

The recipient of the 2000 Toronto Arts Award for film/video and the 2007 Bell Award in Video Art, John Greyson is a filmmaker, video artist, writer, activist and educator whose productions have won accolades at festivals throughout the world.

Feature films include: Urinal (1988 – Best Feature Teddy, Berlin Film Festival); Zero Patience (1993 – Best Canadian Film, Sudbury Film Festival); Lilies (1996 – Best Film Genie, Best Film at festivals in Montreal, Johannesburg, Los Angeles, San Francisco); Uncut (1997, Honourable Mention, Berlin Film Festival); The Law of Enclosures (2000, Best Actor Genie); Proteus, co-created with Jack Lewis (2003); and Fig Trees (2008 – Teddy Award for Best Documentary, Berlin Film Festival). Film/video shorts include: The Kipling Trilogy (1984-5), The ADS Epidemic (1987), The Making of Monsters (1991 – Best Canadian Short, Toronto Film Festival; Best Short Film Teddy – Berlin Film Festival), Herr (1998) and Packin’ (2001).

As a director for television, his credits include episodes for such series as Queer as Folk, Made In Canada (Best Director Gemini, 2002), Drop the Beat and Welcome to Paradox.

Professor Greyson’s publications include Urinal and Other Stories (Power Plant/Art Metropole) and co-editor of Queer Looks, a critical anthology of gay/lesbian media theory (Routledge). He is a co-investigator on York’s Future Cinema Lab, a joint research project with Film Professors Janine Marchessault and Caitlin Fisher. Supported by the Canadian Foundation for Innovation, the Future Cinema Lab is a state-of-the-art media research facility into new digital storytelling techniques and how these can critically transform a diverse array of state-of-the-art screens.

John Greyson is active in various anti-censorship, AIDS, peace and queer activist media projects, including The Olive Project, Deep Dish TV, Blah Blah Blah and AIDS Action Now. His contributions as a member and through service on the boards of arts organizations include V/Tape Distribution, Inside Out Film/Video Festival, the Euclid Theatre, Trinity Square Video, Charles St. Video, LIFT (Liaison of Independent Filmmakers Toronto) and Beaver Hall Artists Housing Co-op.

Professor Greyson has taught film and video theory and production in Canada, the United States, Cuba and South Africa. He joined the full-time faculty in York’s Film Department in 2005.

Dave Colangelo is Assistant Professor of Digital Creation and Communication in the School of Professional Communication (FCAD) at Ryerson University, Director (North America) of the Media Architecture Institute, and a founding member of Public Visualization Studio. His work as an artist, educator, and researcher focuses on urban media environments as sites for critical and creative engagements with the city, public art, and information. He is the author of The Building as Screen: A History, Theory, and Practice of Massive Media (Amsterdam University Press, 2020).

Dr. Stacy Allison-Cassin is an Assistant Professor, Teaching Stream at the Faculty of Information at the University of Toronto. Her work is centered in the areas of knowledge organization, metadata, and knowledge equity, with a particular focus on linked data and music. A Citizen of the Métis Nation of Ontario, she engages in work and research related to Indigenous matters in libraries and the larger cultural heritage sector. With a deep interest in increasing access and visibility for non-textual materials and marginalized knowledge, Allison-Cassin is a passionate advocate for change in information structures and metadata systems within the library profession and across the wider GLAM sector. As an Associate Librarian at York University she has held positions as music cataloguer, digital humanities librarian, and as a member of the Department of Student Learning and Academic Success she focused on critical pedagogy with collection responsibilities for Philosophy and History.

Dr. Aceves Sepúlveda’s research bridges the histories of art, media, and technology with gender and women studies, and art and design practice. She is the author of Women Made Visible: Feminist Art and Media in post-1968 Mexico (University of Nebraska Press) and several peer-reviewed articles, book chapters, and research-creation projects on feminist media in Latin America, global networks of artistic exchange, aging and activism, and the histories of immersive technologies in the Global South. Currently,  she is working on a book manuscript which explores the work of four Latin American composers working at the intersections of visual and sound art to suggest an alternative history of electronic music and twentieth-century avant-gardes. Her video and sculptural installations that explore the body as a site of cultural and gender inscriptions have been exhibited in Canada, Mexico, France, India, and Chile.

Claudia Sicondolfo lives and works as a guest in Tkaronto. She is a PhD Candidate in Cinema and Media Studies department at York University who held the Vanier CGS from 2017-2021. Her research projects address topics ranging from film festivals, screen publics, youth and digital media cultures, decolonizing research methodologies and affect in the creative industries. Her doctoral research project examines curatorial modes in pedagogy, community outreach, and audience engagement within contemporary digital screen initiatives and film festivals in Canada. Her writing has been published in ESSACHES, Public Journal, and Senses of Cinema, in addition to various book anthologies. Claudia has worked intimately with educational communities across Canada and has published educational companion curriculum for documentaries. Prior to beginning her PhD, Claudia worked with the National Film Board of Canada for almost a decade.

In addition to holding an Assistant Professorship Arts Management Program in the Department of Arts, Media, and Culture at UTSC, she is also a co-researcher in the Archive/Counter-Archive SSHRC Partnership Project, in the Fair Play Connections grant, as well as the Research Associate for York University’s Digital Justice Research Cluster.