May Chew is an Assistant Professor at the Mel Hoppenheim School of Cinema and Department of Art History at Concordia University. Chew collaborates on Houses on Pengarth, a research and curation project centred on developing a socially-engaged, experimental art lab in Toronto’s Lawrence Heights community. Her recent work includes a chapter in the anthology Material Cultures in Canada (WLU Press, 2015); articles in Imaginations, the International Journal of Heritage Studies, the Journal of Canadian Art History; and Public 57: Archives/Counter-Archives, which she co-edited with Susan Lord and Janine Marchessault.

Jason Edward Lewis is a digital media poet, artist, and software designer. He founded Obx Laboratory for Experimental Media, where he directs research/creation projects exploring computation as a creative and cultural material. Along with the artist Skawennati, he co-directs Aboriginal Territories in Cyberspace, Skins Workshops on Aboriginal Storytelling and Video Game Design, and the Initiative for Indigenous Futures. Lewis is deeply committed to developing intriguing new forms of expression by working on conceptual, critical, creative, and technical levels simultaneously. He is the Concordia University Research Chair in Computational Media and the Indigenous Future Imaginary, as well as Professor of Computation Arts at Concordia University, Montreal. Born and raised in northern California, Lewis is Cherokee, Hawaiian, and Samoan.

Anna Hudson is an art historian, curator, and writer specializing in Canadian Art, Curatorial and Indigenous Studies. Hudson is currently leading Mobilizing Inuit Cultural Heritage, a SSSHRC-supported research/creation collaboration aimed at recovering, preserving, documenting, facilitating, and disseminating Inuit knowledge, culture, and creativity. Dr. Hudson’s curatorial credits include Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak (curated with Koomuatuk Curley, Taqralik Partridge, Jocelyn Piirainen, Laakkuluk Williamson Bathory, and Georgiana Uhlyarik, Art Gallery of Ontario, 2018); inVisibility: Indigenous in the City, part of INVISIBILITY: An Urban Aboriginal Education Connections Project (with Dr. Susan Dion and Dr. Carla Rice, Aird Gallery, Toronto, 2013); and Painting Canada: Tom Thomson and the Group of Seven (with Ian Dejardin and Katerina Atanassova, Dulwich Picture Gallery, London, UK, 2011). Professor Hudson continues to pursue research in the area of her doctoral dissertation, Art and Social Progress: the Toronto Community of Painters (1933-1950).

Heather Home has been the Public Services/Private Records Archivist at Queen's University Archives since September 2001. Prior to arriving at Queen's, she worked at the Provincial Archives of Alberta in the Private Records Division, as well as CBC Vancouver within the film archives. Heather holds a Master of Archival Studies (M.A.S.) from the University of British Columbia and a B.A. (Honours) in Cultural Studies from Trent University. Over the past decade she has served on a variety of local, and national, boards and committees for the Association of Canadian Archivists, the Cataraqui Archaeological Research Foundation, Archives Association of Ontario, Kingston Association of Museums, Art Galleries, and Historic Sites and the City of Kingston. Ms. Home’s research interests include the documentation and conservation of media arts heritage, early 20th century Canadian women artists archives, and the use of archival material in the creation of imaginative works.

Jessica Jacobson-Konefall is a SSHRC postdoctoral research fellow at the University of Toronto in the Department of History of Art. Her current interests are in contemporary art, care work, creativity, labour, and ecology. She works as assistant to artists Rebecca Belmore and Osvaldo Yero, and as instructor at University of Winnipeg and University of Manitoba. She has published in many scholarly journals and books.

As an archivist at Urban Shaman: Contemporary Aboriginal Art Gallery, working for Director Daina Warren and Dr. Sherry Farell-Racette, her dissertation focused on her work archiving the gallery's programming history from its inception in 1996. As archivist for artist Rebecca Belmore, she digitized Belmore's works from 1980s-present day. Her chapter "Here: Our Alienation and Transformative Agencies" is forthcoming in grunt gallery's anthology Wordless: The Performance Art of Rebecca Belmore (Vancouver, 2019). She is a member of Winnipeg-based solidarity group Friends of Shoal Lake 40.

Lisa Sloniowski has multiple roles at York University as a humanities librarian in the Scott Library, as a PhD candidate in Social and Political Thought, and as a faculty member in the Graduate Program in English. Her research examines the affective labour of librarians as knowledge and memory workers, from a feminist perspective. Her most current work explores the specific archival challenges posed by two special collections: the Barbara Godard library, and an archival collection of feminist pornography.

Catherine Russell is Distinguished Professor of Film Studies at the Mel Hoppenheim School of Cinema at Concordia University in Montreal, Canada. She is the author of five books, including Experimental Ethnography: The Work of Film in the Age of Video (1999), and Archiveology: Walter Benjamin and Archival Film Practices (2018). She has published articles on experimental film, Japanese film, and Hollywood cinema in Cinema Journal, Camera Obscura, Criticism, Visual Anthropology, Scope, Transformations, Framework, and she is a contributing writer for Cineaste Magazine.

Haidee Wasson is Professor of Film and Media in the School of Cinema, Concordia University, Montreal. She has taught also at the University of Minnesota and at Harvard University. She is author of the award-winning Museum Movies: The Museum of Modern Art and the Birth of Art Cinema. She is also co-editor of several volumes, including: Inventing Film Studies (with Lee Grieveson), Useful Cinema (with Charles Acland), and most recently a book on the American military and its use of film and film technologies, with University of California Press. She also co-edits the Cultural Histories of Cinema book series for the BFI, a series dedicated to analyzing cinema’s expansive role in the complex social, economic, and political dynamics of the twentieth and twenty-first centuries. Her current project maps the importance of portable projectors for the rise and spread of film as a dispersed technological platform, and as institutional and everyday media.