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.

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).

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).

Michael Zryd is Associate Professor in Cinema & Media Studies at York University in the Department of Cinema & Media Arts (School for the Arts, Media, Performance, & Design), and is appointed to the Graduate Programs in Cinema and Media Studies, Humanities, and Communication & Culture. Zryd is a researcher in experimental film and media (including video art, installation, and new media) with foci on its institutional ecologies, and the history of its intersection with the academy and the art world. He was founding co-chair of the Society for Cinema and Media Studies (SCMS) Experimental Film and Media Scholarly Interest Group (ExFM), and the Toronto Film & Media Seminar. In 2020, he was awarded the Faculty of Graduate Studies Teaching Award. He is currently undertaking SSHRC Insight Grant-funded research on the history of film co-ops in Canada.

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.

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.

Andrew Burke is a Professor in the Department of English at the University of Winnipeg. His research focuses on Film and Television Studies, Critical Theory, Cultural Studies, and Popular Music Studies.

Champion of residual media, supporter of melancholic musical forms, lover of slow cinema, digger in the unofficial archives, devotee of the odd and obscure.

His book, Hinterland Remixed: Media, Memory, and the Canadian 1970s, is available from McGill-Queen’s University Press.

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).

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.

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.