This Working Group will explore issues regarding media migration and media translation as various forms of analogue AV art moves into the digital.
Themes addressed by this group include:
- Metadata - what kind of metadata makes sense to your community?
- Tech/Interactivity - how do you preserve programmatic, dynamic, or interactive work?
- Materiality - how do we accommodate work where the materiality, form, or medium is integral to the work?
- Research & Analytics - what do you think artists and curators need to make work from the archive?
- Access - are there specific concerns around access to the archive?
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.
Tamara de Szegheo Lang
Tamara de Szegheo Lang is Project Manager of the Vulnerable Media Lab and Postdoctoral Fellow in the Department of Film and Media at Queen’s University. She holds a doctorate in Gender, Feminist, and Women’s Studies from York University. Dr. de Szegheo Lang’s research takes up queer history, community-based archives, visual culture, and the affective relationships between LGBT2Q people and the past. Her publications have appeared in the Journal of the Canadian Historical Association, the Journal of Lesbian Studies, and the Journal of Homosexuality. Dr. de Szegheo Lang is also active in curatorial and programming roles. She is a member of the programming committee for the Reelout Queer Film Festival in Kingston, a co-programmer of the Born in Frames Screening Series at Queen’s University, and past curatorial committee co-chair of the Canadian Lesbian and Gay Archives.
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.
Monika Kin Gagnon
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.
Kate Hennessy is an Associate Professor specializing in Media at Simon Fraser University’s School of Interactive Arts and Technology (SIAT). As an anthropologist of media and the director of the Making Culture Lab at SIAT, her research explores the role of digital technology in the documentation and safeguarding of cultural heritage. Her multimedia research-creation works and exhibitions investigate documentary methodologies to address Indigenous and settler histories of place and space. She is a founding member of the Ethnographic Terminalia Collective, which has curated exhibitions and projects at the intersection of anthropology and contemporary art since 2009.
A film artist of memory and association, Philip Hoffman has long been recognized as Canada’s pre-eminent diary filmmaker. Notable works include What These Ashes Wanted, All Fall Down, and Slaughterhouse. He currently teaches at York University in Toronto, and since 1994, he has been the artistic director of the Independent Imaging Retreat (Film Farm), a 1-week workshop in artisinal filmmaking which occurs on his farm in southern Ontario every summer. He has also given these 'Process Cinema' workshops in Cuba (EICTV), Spain, Helsinki, London, Halifax, Calgary, and Dawson City. In 2016 Hoffman received the Governor General’s Award in Visual and Media Arts. His new film,Vulture, uses several processing methods including flower/plant hand-processing, and follows grazing farm animals in their minute inter-species exchanges.
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).
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.
Brenda teaches in the Department of Cinema and Media Arts at York University and has published extensively on documentary, feminist film theory, and Canadian and Québec cinema. Her documentaries have been screened and broadcast internationally winning awards including Best Cultural Documentary for Tina in Mexico (2002) at the Havana International Film Festival, a Canadian Genie for Shadowmaker/Gwendolyn MacEwen, Poet (1998), and the Grand Prix at Oberhausen for Our Marilyn (1988).
Her work has included feminist archival projects as well as a series of short films, and a television documentary exploring the tenacity of fossil fuel addiction. Her interactive documentary, Offshore (2012) is available at http://offshore-interactive.com. She is currently working on a co-created documentary project and installation with formerly incarcerated women in Vancouver.
Dorit Naaman is a documentarist and film theorist from Jerusalem, and a professor of Film and Media and Cultural Studies at Queen’s University. In 2016 she released an innovative interactive documentary, Jerusalem, We Are Here, offering a model for digital witnessing. The project creates a novel platform that documentarist Liz Miller claimed “will become a ‘go to’ reference for educators working on the intersections of new media, oral history, geography and more.” Jerusalem, We Are Here was presented to live audiences thirty times, won two awards, and was written about in half a dozen languages.
Dorit’s publications focus on Israeli and to a lesser extent Palestinian cinemas and media (primarily from post-colonialist and feminist perspectives).
Kim Tomczak is a multidisciplinary artist primarily known for his work in performance, photography, video, and photo/text work. Since 1983, he has worked exclusively in collaboration with Lisa Steele. They have received numerous grants and awards including the Bell Canada prize for excellence in Video Art, a Toronto Arts Award and in 2005, a Governor General’s Award for lifetime achievement in Visual & Media Arts.
Tomczak is a co-founder of Vtape and teaches at the University of Toronto in the Visual Studies program, Daniels Faculty of Architecture, Landscape and Design. Steele and Tomczak were awarded an Honorary Doctorate by the University of British Columbia (Okanagan) in 2009.
Anne-Marie Trépanier is an artist-researcher, editor and MA student in Media Studies at Concordia University, where she previously completed a BFA in Intermedia/Cyberarts. Her research-creation practice focuses on the mediation of experience through language and technology. Her work has been presented in group exhibitions and public screenings at AXENÉO7, Eastern Bloc, Fonderie Darling and other venues in Canada. Her writing has been published in esse, Spirale, Synoptique: Online Journal of Film and Moving Image Studies, Architecture | Concordia and the Concordia Undergraduate Journal of Art History. She is the co-founder and co-editor of Cigale, a bilingual biannual journal dedicated to the production and dissemination of artists’ writings. Trepanier’s current research interests include cyberfeminism, experimental publishing and archiving practices, shadow libraries and documentary practices in the arts.
Stacy Allison-Cassin is an associate librarian in the Student Learning and Academic Success Department at York University Libraries, where she has a specialized focus on digital pedagogy. She has previously held the position of the W.P. Scott Chair in E-Librarianship as well as positions in digital humanities and metadata. Her research focuses on the intersections of digital structures, media, and critical theory and forthcoming work is analyzes the interrelationship between affect, digital networks, and the librarian body. With training in orchestral performance, Allison-Cassin frequently focuses on music and is currently completing a PhD in Humanities at York University. Her dissertation utilizes the information theory of Niklas Luhmann to analyze the music of Arcade Fire. As a citizen of the Métis Nation of Ontario, Allison-Cassin also works on issues related to Indigeneity, libraries and digital culture, with a specific focus on knowledge organization and metadata. A passionate advocate for social justice and knowledge equity, Allison-Cassin is an active member of the Wikimedia and open access communities.