Now available: proceedings from the fantastic Politics of the Machines: Art and After (EVA Copenhagen) conference that was held in May are now online. I have a paper here which is my first working through the concept of recognition and how it might be useful in thinking politically about the media artwork, particularly artworks that explore the automated recognition of human emotions by computers that rely on a biometric analysis of the body. ABSTRACT On the Concept of Recognition in Media Art: Emotional Reactions, Empathetic Interactions Biometric technologies have transformed recognition into an empirical and automated activity. But recognition is not just a matter of identification or surveillance. As computer systems become capable of detecting human emotion, we are reminded of philosophical approaches to recognition that place it as central activity of human self-realization and social existence. Bringing together these dual notions of recognition, this paper considers how artists are taking hold of the technical possibilities of recognition to make political the media artwork. Specifically, it turns to Karen Palmer’s interactive film RIOT (protoype) (2016), …

This article has been a long time coming but it is finally available in online form in Leonardo’s Just Accepted (and on my Academia page). Nano-Optical Image-Making: Morphologies, Devices, Speculations ABSTRACT This article provides a technical overview of nano-optical image-making produced between the author, engineering scientists at the Ciber Lab in Vancouver, and the artists Christine Davis and Scott Lyall. It situates the work in relation to other optical technologies like holographs, to the primary application of nano-optical images as authentication devices, and to other artistic practices interested in nanoscale interactions of light and matter. The paper articulates the convergence of visual technologies and designed materials by explaining how the principles of structural color can be used for the production of images. Building a discussion on the shift from device to medium that is anchored around questions of remediation and reproducibility, it concludes with a speculation on informatic matters, or the convergence of mediating functions at the surface of things.

Based on a presentation at the Media Art Histories conference in Riga, Latvia a couple of years ago, the final paper of my longstanding Polish media art project has been published in Acoustic Space #15: Open Fields. Art and Science Research Practices in the Network Society. It looks at the fantastic as a productive mode of re-imagination and re-making, inspired by that famous Shklovsy notion of ostraniene, or defamiliarization. The article turns to Polish media artworks that—through images, experiences, and encounters —are not only strange but also disruptive, challenging the architectures, broadly defined, of the contemporary condition. Dominik Lejman’s Breathing Cathedral (2005) provides a case of a media art practice that harnesses the interplay between materiality and immateriality to re-imagine urban history, civic politics and architectural heritage; in Making the Walls Quake… (2012) Katarzyna Krakowiak creates a space where architecture becomes audible; and in She-Ona: Media Story (2008) Izabella Gustowska produces a fantastical experience of our mediated environment in a way that reflects back on the structures of the digital condition and transforms the technologies …

As part of my Postdoc with SFU, I worked with a lab specializing in nano-optics. One of my interests was to bring artists to the lab to see how we could engage and present this emerging technology in innovative and creative ways. The result was an insert featured in the journal PUBLIC. The story of the project, including technical background, connections with art- and media- making processes, as well as production/manufacturing challenges, are discussed in a paper I presented at ISEA 2015 called “Designing Nano-Media Across Disciplines: Circular Genealogies and Collaborative Methodologies at the Optical Frontier,” which can be found here.

This paper considers the immaterial aspects of the history of land as way to reimagine heritage. Through the heritage village – that imagined, artificial, and curated representation of history with very particular kinds of material iterations and legacies of the past – we consider the immaterial memories and histories that have becomes absent from the staging and design of heritage as collective history. We examine the way that these omissions function in the imagination of the present and future by turning to the site-specific contemporary art exhibition Land/Slide Possible Futures (2013). Located on the site of Markham Museum heritage village in Ontario, Canada, this expansive project reveals the imbricated histories of the rise of the heritage village and that of the suburb. Turning to Duke & Battesby’s Always Popular, Never Cool and Terrance Houle’s There’s Things That Even a Drunk Will Never Forget, among others, we argue for the heritage village as a lieu de mémoire, where memories are continuously unearthed, revealed, and imagined, and where artists transform archival collections and historical architectures into surreal …