The Arts of Recognition: Strategic and Tactical Approaches to Smartness from ID to Interactivity

Details coming shortly.

This project is funded by the Fonds de recherche  du Québec– Société et Culture (FRQSC Research Support for New Academics).

Media Histories of Authentication

This project examines how we inscribe and circulate information about who and what is “real,” and specifically considers the devices, media, and technologies used to authenticate (but also identify, verify, recognize) and “secure” people and things.

Devices (such as watermarks, metallic threads, invisible inks, holograph, RFID chips, or nano-optical images) are techniques of classification that mark and separate. In the first phase of the research, I look at the changing functionalities of the authentication device by situating current and emergent advances within a history of visual, informational, and computational media that maps the story of authentication devices in the interlaced histories of the technical image and security printing, material innovation, and media convergence. By exploring the particular conditions that drive innovation in anti-counterfeiting technologies, it also works to develop a theoretical framework for a media history of “irreproducibility.”

This project is funded by the Social Sciences and Humanities Research Council of Canada (SSHRC Insight Development Grant).

Nano-Optical Image-Making (Nano-Verses)

This project is an ongoing art-science collaboration with the artists Christine Davis and Scott Lyall, and the Ciber Lab at Simon Fraser University. It works to develop “nano-media” using nano-optical materials to produce a new kind of substrate, along with its accompanying image-making techniques, and to explore the circulation of these nano-optical images across fields and applications. Our work has been presented in a variety of venues, including academic and industry conferences (such as Siggraph and ISEA), and in exhibitions at the Miguel Abreu Gallery in NYC and Susan Hobbs Gallery in Toronto, Paris and London in Fall 2017, and the Olga Koerper Gallery in Toronto (Winter 2018). A website that presents the scientific, artistic, and technological dimensions of the project will be launching summer 2018. An article in Leonardo is available here.

This project was in part funded by the Mitacs Elevate post-doctoral fellowship programme and a Canada Council for the Arts/GRAND NCE Media Artist and Scientist Collaboration grant.