Year: 2019

Art, web & feminisms – roundtable

Le 23 mai 2019, de 14h à 17h, aura lieu la Table ronde « Art, web et féminismes » au local N-7050, à l’UQAM. Co-organisée par le RéQEF et Julie Ravary-Pilon(Boursière postdoctorante du RéQEF 2018), cette activité sera précédée par la deuxième version des Ateliers méthodologiques du RéQEF. J’animerai la table ronde « Art, web et féminismes » sur l’histoire des activismes et des arts féministes sur le web. Cette activité réunira les professeures Joanne Lalonde (histoire de l’art, UQAM), Krista Lynes (communications, Concordia), Rosanna Maule (cinéma, Concordia) ainsi que l’artiste de performance et sculpture Algonquine Anishinaabe mixte et bispirituelle Faye Mullen pour une conférence-performance. Cette activité bilingue, ouverte et accessible se veut un lieu de partages et de réflexions sur l’histoire de l’art cyberféministe, les potentiels du web pour la création artistique des femmes, les esthétiques des contestations (dissent) LGBTQI+ en ligne et hors ligne ainsi que la création numérique féministe en écrans. Les questions du public pourront être traduites sur place si nécessaire. Conférencières : Faye Mullen Murs trans-spatiaux, cérémonie et résistances Résumé …

Don’t Copy That: Security Printing and the Making of High-Tech Paper

Abstract Printing is not a new media technology, but it is continuously being renewed. In this sense, it is an example of novelty going largely unnoticed, woven into the quotidian and ordinary in unassuming ways. One reason for this is the incomplete way we tell the story of printed paper, which privileges narratives of readings, access, and dissemination. To complicate the way media scholars think printing, this article turns to the case of security printing, which produces objects like banknotes and passports that circulate with trust and authority. Here, printing emerges through the specific need to print securely, offering a narrative based on the need for order and protection. The work of security printing, always straddling between art and science, produces artefacts understood as authentic copies. Such a transformation of paper into valuable object relies on the technical artistry of the security printer, who sets the aesthetic and material standards of authenticity through physical features like watermarks, engravings, holographs, special substrates, threads, or inks. Drawing on a close reading of informational materials produced by the …

Archive/Counter-Archive website is live

Archive/Counter-Archive: Activating Canada’s Moving Image Heritage brings together over 25 co-investigators, a dozen collaborators, and a network of Partners from across Canada to research and remediate audiovisual archives created by women, Indigenous Peoples, the LGBTQ2+ community, and immigrant communities. I’m a co-applicant (SSHRC Partnership Grant) and part of the Education and Outreach working group. Political, resistant, and community-based, A/CA creatively engages with archives through its dynamic network of Canadian archives, artist-run centers, community organizations, and Universities. Together, the goal is to create best practices and lay the foundation for innovative cultural policy. You can visit the website to sign up for the newsletter or to follow the activities on social media.

BricoLab: a new space for creating & making

Still a work in progress, here is a sneak-peak at the BricoLab space taking shape. The BricoLab is a space for creation and making of all kinds located in the Department of Communication at the UdeM that aims to encourage a variety of research-creation approaches. It equally supports activities using digital fabrication (e.g. Arduinos), experimentation with new forms of storytelling (e.g. VR), or more traditional crafts like sewing, for example. More info soon! Some of the equipment available: 2 3D printers (Ultimaker 2 & Zortrax) 3D scanning machine Vinyl cutter Sewing maching Embroidery machine Oculus Rift GoPro Fusion iMacs, Macbook, large computer screens Arduino, Raspberry Pi, MakeyMakey Various electronic tools (soldering, etc.) Arts & crafts supplies Projector and TV screen

CCA 2019 – Paper Infrastructure: The Bowater Papers 1950–58

Paper presentation (with Rafico Ruiz) on the Bowater Papers archive, as part of the Materials and Media of Infrastructure panels: The Bowater Papers is a trade magazine that was published periodically by the Bowater Paper Corporation, based in London, running from 1950 to 1958. As the magazine’s inaugural editorial, “Thoughts on Paper,” begins: “Paper is the raw material of human communication; it binds together continents; history would be lost without it; [sic] for it is the link between the past and the future. But paper, the commodity, is not only for the chronicler.” This “large paper-manufacturing organization,” in the mid-1950s the largest producer of newsprint in the world, launched the magazine with a view to both creating and cataloguing its enterprise as a consolidating infrastructural network of paper producers and consumers. The series of four issues were intended to embody and materially contain the entire array of papers, paper products, and paper derivatives that the Bowater Paper Corporation’s global manufacturing system produced and promoted. Each issue is an “exposition of paper in use,” with inserts …

CCA 2019 – Materials and Media of Infrastructure

Rafico Ruiz and I are co-chairing a double-panel at the Canadian Communication Association this year called Materials and Media of Infrastructure: Infrastructures are increasingly at the forefront of critical communication studies. Rather than remaining in the operational background that subtends our contemporary digital landscape, these infrastructures establish “the rules governing the space of everyday life” (Easterling 2014), emerging as integral “chokepoints” (see Limn issue 10, 2018) that reveal the varied materials that both make up and travel across them. Whether oil pipelines or the infrastructures of the newsprint industry, examining the materials, materialities, and media of infrastructural arrangements allows for a better understanding of the social, political and cultural configurations that they make possible. Functioning in this way as logistical media (eg. Durham Peters), these visible and invisible infrastructures ultimately shape the movements and mediations of data and information. This double panel seeks to explore the relationships between materials and logistical politics by examining the ways in which infrastructures enact particular forms of mediation that are enabled and constrained by their varied material properties and …

Storing Authenticity at the Surface and Into the Depths

Very happy to be part of issue 32 of Intermédialités/Intermediality, edited by Nathalie Casemajor and Sophie Toupin, on the topic of Cacher/Concealing. I contributed a paper on security devices used in passports/banknotes called Storing Authenticity at the Surface and Into the Depths: Securing Paper with Human- and Machine-Readable Devices. Here is the abstract: This article examines the media technologies that mark paper as authentic. Using the examples of passports and paper banknotes, it considers the security features (e.g. graphic marks, holographs, chips) that do the work of reliably storing, protecting, and communicating authenticity across both space and time. These overt and covert authentication devices are examined in two interconnected ways: 1) as technologies with specific temporal conditions, constrained both by technical longevity and functional lifespan; and 2) as technologies that must be continuously reinvented to outpace counterfeiters and forgers. Together, these attributes have led to strategies of concealment that shift authentication from a human-legible activity at the perceptible surface to one that is concealed in the depths of machine readability. While this adds a level …