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    Editorial Collective

     
   

Marie-Pier Boucher
Erik Bordeleau

Christoph Brunner
Rick Dolphijn
Sher Doruff
Charlotte Farrell
Jonas Fritsch
Ayesha Hameed
Nasrin Himada
Mike Hornblow
Jondi Keane
Erin Manning
Thomas Markussen
Brian Massumi

Ana Godinho
Toni Pape
Céline Pereira
Leslie Plumb (Art Director)
Stamatia Portanova
VK Preston
Natasha Prévost
Felix Rebolledo
Troy Rhoades
Ronald Rose-Antoinette
Bianca Scliar
Adam Szymanski
Alanna Thain
   
    Advisory Board

Eric Alliez, Middlesex University, UK.
Maaike Bleeker, University of Amsterdam, Netherlands.
William E. Connolly, Johns Hopkins University, USA.
Luc Courchesne, University of Montreal, Canada
Dider Debaise, Free University of Brussels. Belgium.
Kenneth Dean, McGill University, Canada.
Scott deLahunta. Dartington College of Arts / Amsterdam School of Arts, Netherlands.
Sher Doruff, Amsterdam School for the Arts, Netherlands
Pia Ednie-Brown, RMIT University, Australia.
Matthew Fuller, Goldsmiths College, UK.
Gary Genosko, Lakehead University, Canada.
José Gil, New University of Lisbon, Portugal.
Steve Goodman, Universitiy of East London, UK.
Patrick Harrop, University of Manitoba, Canada.
Lynn Hughes, Concordia University, Canada.
Jondie Keane, Deakin University, Melbourne Australia.
Thomas Lamarre, McGill University, Canada.
Maurizio Lazzarato, independent scholar, Paris, France.
Andre Lepecki, New York University, USA.
Anna Munster, University of New South Wales, Australia.
Andrew Murphie, University of New South Wales, Australia.
Timothy Murray, Cornell University, USA.
Sally Jane Norman, University of Newcastle, UK.
Davide Panagia, Trent University, Canada.
Luciana Parisi, Goldsmiths College, UK,
Christiane Paul, Whitney Museum of American Art / Rhode Island School of Design, USA.
Paul Patton, University of New South Wales, Australia.
Peter Pál Pelbart, Pontíficia Universidad Católica de Sao Paolo, Brazil.
John Protevi, Louisiana State University, USA.
Suely Rolnik, Pontíficia Universidad Católica de Sao Paolo, Brazil.
Butch Roven, Brown University, USA.
Chris Salter, Concordia University, Canada.
Xin Wei Sha, Concordia University, Canada. 
Bill Seaman, Rhode Island School of Design, USA.
Steven Shaviro, Wayne State University, USA.
Isabelle Stengers, Free University of Brussels, Belgium.
Lesley Stern, University of San Diego, USA.
Mark Sussman, Concordia University, Canada.
Tiziana Terranova, Università degli Studi di Napoli : L’Orientale, Italy.
Philip Thurtle, University of Washington, USA.
Eyal Weizman, Goldsmiths College, UK.
   
       
   


Editorial Collective


Marie-Pier Boucher

Marie-Pier Boucher is a Ph.D. student in the department of Art, Art History and Visual Studies at Duke University. She holds a B.Sc. and a M.Sc. in Communication Sciences from the University of Montreal. Her work draws upon complex systems theory, and bio- and neurosciences in addressing architectural and spatial practices. Since 2009, she has been collaborating as a theorist and co-editor on a micropolitical project of spatial interventions, Adaptive Actions (Madrid Abierto, Spain, 2010; Leonard & Bina Ellen Art Gallery, Concordia University, Montreal, Canada, 2010). Her research residencies include: SymbioticA, Center for Excellence in Biological Arts, University of Western Australia, Perth (2006), and Max Planck Institute for the History of Science, Berlin, Germany (2010). She has presented her work in multiple venues across Canada, England, Germany, the Netherlands, France, Spain and Australia. Her research is supported by the Visual Studies Initiative (Duke University) and the Social Sciences and Humanities Research Council (Canada).

Erik Bordeleau

Erik Bordeleau is postdoctoral fellow at Brussels Free University. He is the author Foucault anonymat (Le Quartanier, 2012). He is currently working on the mode of presence of ghosts, spirits and other surexistential forces in Taiwanese cinema. He has published several articles on cinema and contemporary thought, and collaborates with journals and magazines such as Le merle, 24 images, Inflexions, ETC., Hors-champ, ESSE, Scapegoat, Espai en blanc, etc. He is part of Épopée, action group in collective cinema collective, who directed Insurgence (2012), a cinematic essay about Québec's most recent student strike.

Christopher Brunner

Christoph Brunner is a PhD researcher at the Centre for Interdisciplinary Studies in Society and Culture at Concordia University, Montréal. His research concerns the very question of “what is research?” across transversal ecologies of practices. How do thoughts, matter and practices interrelate to create complex aesthetico-political and ethical assemblages? The relations between these varied domains of inquiry revolve around his interest in the research undertaken in fields of “artistic” creation. In his research, experimentations in the domain of fine arts overlap with architectural practices, sonic perception and the role of material sciences to form new sets of experience and thought. Politically these practices might help to develop techniques for new modes of expression that have an affective impact on the way thought, creation and practices relate to each other in experimental fields, such as interventions and art education.

Christoph Brunner est doctorant chercheur au Centre des études interdisciplinaires en société et culture à l’Université Concordia, Montréal. Sa recherche explore la question “qu’est-ce que la recherche?” dans l’optique des écologies de pratiques transversales. Comment sont interreliées la pensée, la matière, les pratiques, et comment créent-elles des dispositifs éthiques et esthetico-politiques? Les relations entre ces domaines d’exploration tournent aussi autour de son intérêt pour la recherche “artistique” – la recherche-création. Christoph explore comment l’expérimentation dans le domaine des beaux arts s’enchevêtre avec les pratiques architecturales, la perception sonique et le rôle des sciences matérielles pour créer de nouveaux modes d’expérience et de pensée. Politiquement ces pratiques aideront peut-être à développer de nouvelles techniques pour de nouveaux modes d’expression qui auront un impacte affectif sur la manière que la pensée, la création et les pratiques se relient les unes aux autres dans les champs experimentaux comme les interventions artistiques et l’éducation.

Rick Dolphijn

Rick Dolphijn (1974) has degrees in cultural studies, art theory and philosophy. His PhD thesis entitled Foodscapes, towards a Deleuzian Ethics of Consumption was published in 2004 by Eburon publishers (in cooperation with the University of Chicago Press) is interested in the body/sensitivity/sensuality/experience and the role of language, in Gilles Deleuze and his philosophy, in time and in space. He is assistant professor at Humanities, Utrecht University. He lectures and writes on communication theory, architecture, philosophy and food, on media theory, linguistics, art and cultural studies. At the moment he is most interested in the mouth, the locus of language, the fulcrum of the senses and the cradle of life according to which time (duration) and space (intensive zones) are unfolded. Rick lives happily together with his wife and two daughters.

Rick Dolphijn (1974) a obtenu des diplômes en études culturelles, en théorie de l’art et en philosophie. Sa thèse de doctorat, qui s’intitule Foodscapes, towards a Deleuzian Ethics of Consumption (Foodscaoes,vers une éthique de consommation Déleuzienne),fut publiée en 2004 par Eburon (en association avec les presses universitaires de l’Université de Chicago). Il s’intéresse au corps / la sensibilité / la sensualité / l’art / l’expérience et le rôle du langage, dans la philosophie et la pensée de Gilles Deleuze, dans le temps et l’espace. Il est professeur adjoint au Département des lettres et sciences humaines à l’Université d’Utrecht. Il enseigne la théorie des médias, l’architecture, l’art et les études culturelles. Il s’intéresse présentement à la bouche, lieu du langage, point d'appui des sens et berceau de la vie auquel le temps (durée) et l’espace (zones intensives) sont pliés. Rick vit heureux avec sa femme et ses deux filles.

Sher Doruff

coming soon

Charlotte Farrell

Charlotte Farrell is a practicing performance artist and Ph.D. candidate in the School of Arts and Media at the University of New South Wales, Sydney, Australia, where she has also taught courses in Theatre and Performance and Media Studies. Her dissertation examines Australian-born theatre director Barrie Kosky's post-tragedies where she develops the concept 'affective emergency': the experience of being moved to tears in viewing performance. Most recently she has had an article published in the Danish Performance Studies journal Peripeti entitled, 'Barrie Kosky's The Lost Echo: rethinking tragic catharsis through affect'. She has been a member of the SenseLab since 2011, participating in projects 'Generating the Impossible' (2011) and 'Into the Midst' (2012). Charlotte was Prof. Erin Manning's assistant and creative collaborator for her project 'Stitching Time' for the 2012 Sydney Biennale.

Jonas Fritsch

Jonas Fritsch is currently pursuing his PhD at Aarhus University, Denmark, working on a multitudinous thinking together of interactive design and affect theory in conjunction with practical interaction design projects
carried out at the Center for Digital Urban Living ( www.digitalurbanliving.dk), Department of Information and Media Studies. He holds an MA in Information Studies and Interaction Design from Aarhus University with a dissertation entitled “Re-thinking Embodiment – towards New Foundational Perspectives in Interaction Design.” He holds supplementary degree in Aesthetics and Communication from la Nouvelle Sorbonne, Paris and has professional experience as an interaction designer as well.

Jonas Fritsch est présentement candidat au doctorat à l’Université d’Aarhus où il travaille à faire résonner d’une manière multiplicitaire la théorie de design interactif et d’affect avec des projets pratiques de design au Center for Digital Urban Living (www.digitalurbanliving.dk), au Département des Études d’Information et des Médias. Il a obtenu une maîtrise en Études d’Information et Design Interactif à l’Université d’Aarhus avec un mémoire concernant des nouvelles perspectives théoriques dans le domaine de design interactif. Il tient un dégrée supplémentaire en Esthétique et Communication obtenu à la Nouvelle Sorbonne, Paris et a de l’expérience professionelle dans le domaine de design interactif.

Ayesha Hameed (website)

Ayesha Hameed’s video and performance work focuses on borders, topologies, erasures and forgetting in the context of sans-papiers organizing and migrant subjectivity. She has recently attended residencies and exhibited her work at the Banff Centre for the Arts, Studio XX, the HTMlles Festival and ISEA 2008. Ayesha is a former board member of Fuse Magazine, and her work has been published in Public and Topia as well as a few collections of essays like PLACE: Location and Belonging in New Media Contexts (Cambridge Scholars’ Press, 2008). Her doctoral dissertation (in the Department of Social and Political Thought at York University) examined how the architecture and visual culture of early modern London manifested modernity’s uneasy relationship with slavery in the Americas. Using Benjamin’s concept of the dialectical image and Deleuze’s notion of the virtual, this project examined how this taint of violence – present but not visible – saturated luxury goods, public buildings, royal pageants, poetic metaphor and everyday life in the colonial metropolis.

Les oeuvres vidéo et performances de Ayesha Hameed traitent de frontières, de topologies, d’effacements et d’oubli dans le contexte de l’activisme sans-papiers et de la subjectivité immigrante. Récemment, elle a assisté aux résidences et a exposé aux Banff Centre for the Arts, Studio XX, Festival HTMlles et ISEA 2008. Ayesha a été membre du collectif éditorial de Fuse Magazine, et ses écrits on été publiés dans Public et Topia, ainsi que PLACE: Location and Belonging in New Media Contexts (Cambridge Scholars' Press, 2008). Son doctorat (Social and Political Thought, York University) a exploré comment l’architecture et la culture visuelle du Londres moderne manifeste une relation troublée entre la modernité et l’esclavage dans les Amériques. Appropriant le concept de l’image dialectique (Benjamin) et la notion du virtuel (Deleuze), ce projet a exploré comment cette trace de violence – présente mais invisible – a saturé les biens de luxe, les immeubles publiques, la pageanterie royale, le métaphore poétique et la vie quotidienne dans la métropole coloniale.

Nasrin Himada

Nasrin Himada is a PhD candidate in the Interdisciplinary Humanities Program in Society and Culture at Concordia University, Montreal. Nasrin is mostly caught up in translating the effects of her research into her writing practice, and at times, into her curating and teaching practice. Architecture, cinema, and geography (how they intersect and how they remain apart) inspire her different modes of inquiry. She never stops thinking about Palestine: persistence as the urgency in life.

Nasrin Himada est candidate au doctorat dans le programme des humanités interdisciplinaires en société et culture à l'université de Concordia, Montreal. Nasrin passe la plupart de son temps traduisant les effets de sa recherche en écriture, et, parfois, en créant des conceptions d'expositions et en enseignant. L'architecture, le cinéma, la géographie (comment ils intersectent et comment ils restent à part) inspire ses différents modes de recherche. Elle n'arrête jamais de penser à propos de la Palestine: la persistence comme urgence de vie.

Mike Hornblow

Mike Hornblow is a writer, performer and filmmaker from New Zealand, now living in Melbourne, Australia, where he is undertaking a PhD by Project at RMIT University in the Spatial Information Architecture Laboratory. Mike's research interests involve the intersection of the body and the constructed environment, exploring states and processes of embodiment, transformation, affect and emergence. He is particularly concerned with diagrammatic concepts and methods across architecture and performance that inform site-specificity, collaborative practice and art-activism.

Mike Hornblow est un écrivain, un interprète et un cinéaste de la Nouvelle-Zélande qui habite Melbourne, en Australie. Il entreprend un doctorat par projet à l’Institut royal de technologie de Melbourne au Laboratoire d’architecture d’information spatiale. Ses intérêts de recherche se trouvent à l’intersection du corps et de l’environnement construit afin d’explorer les états et les processus de transposition, de transformation, d'effet et d’émergence. Il est particulièrement intéressé par les concepts et les méthodes diagrammatiques qui traversent l’architecture et définissent la spécificité des lieux, la pratique collaborative, et l’activisme dans l’art.

Jondi Keane

Dr Jondi Keane is an arts practitioners, critical thinker and Senior Lecturer in the Image at Deakin University. Over the last 3 decades he has exhibited, performed and published in the USA, UK, Europe and Australia. His research interests include Contemporary Arts practice (installation-performance), Contemporary theory (art history, philosophy, cultural theory, cognitive science), Embodiment, embodied cognition and the philosophy of perception, Experimental architecture (in particular the work of Arakawa and Gins), built environment and cultural space and Theory-practice nexus, research design and practice-led research.

Erin Manning

Erin Manning holds a Research Chair in Relational Art and Philosophy and teaches in fine arts at Concordia University (Montreal, Canada). She directs the Sense Lab (www.senselab.ca), a laboratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement. Her current art project is entitled Folds to Infinity: an experimental fabric collection composed of cuts that connect in an infinity of ways, folding in to create clothing and out to create environmental architectures (http://www.erinmovement.com). Publications include Relationscapes: Movement, Art, Philosophy (MIT Press, 2009) Politics of Touch: Sense, Movement, Sovereignty (Minneapolis: Minnesota University Press, 2007) and Ephemeral Territories: Representing Nation, Home and Identity in Canada (Minnesota University Press, 2003).

Erin Manning détient la Chaire de Recherche en Art Relationnels et Philosophie et enseigne en beaux arts à l’université de Concordia (Montréal, Canada). Elle dirige le LaboSens (www.senselab.ca), un laboratoire qui explore les intersections entre la création et la philosophie dans l’optique du corps sensible en mouvement. Son projet artistique récent s’intitule Plis à l’infini: une collection de tissus composée de coupes qui se connectent infiniment, se repliant pour créer des vêtements, et s’ouvrant pour créer des architectures environnementales (http://www.erinmovement.com). Comptent parmis ses publications Relationscapes: Movement, Art, Philosophy (MIT Press, 2009) Politics of Touch: Sense, Movement, Sovereignty (Minneapolis: Minnesota University Press, 2007) and Ephemeral Territories: Representing Nation, Home and Identity in Canada (Minnesota University Press, 2003).

Thomas Markussen

Thomas Markussen (b. 1973) holds a MA-degree in comparative literature from Aarhus University (DK). He is currently working on a PhD research project dedicated to developing of a cognitive semiotic framework for understanding the interweaving of aesthetic experience and meaning construction in interaction design. Being affiliated to Kolding School of Design he is also engaged in experiments with new didactic methods and practice-based research. In his earlier work, which includes lecturing, writings and media productions, Thomas Markussen has been focusing on the impact of technology use within art, architecture and design.

Thomas Markusen (né en 1973) détient une maîtrise en littérature comparée de l’Université d’Aarhus, au Danemark. Au niveau du doctorat, il travaille présentement sur un projet de recherche dédié au développement d’une démarche afin de comprendre l’entrecroisement entre l’expérience esthétique et la construction du sens dans le design interactif. Associé à l’École de design Kolding, il participe aussi à des expériences sur de nouvelles méthodes didactiques et à la recherche basée sur la pratique. Dans ses travaux précédents, qui incluent l’enseignement, l’écriture et les productions média, Thomas Markussen s'est intéressé à l’impact de l’utilisation de la technologie dans les arts, l’architecture et le design.


Brian Massumi (website)

Brian Massumi specializes in philosophy, media theory, and visual culture. He is the author of Parables for the Virtual: Movement, Affect, Sensation (Duke University Press, 2002), A User’s Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari (MIT Press, 1992), and First and Last Emperors: The Absolute State and the Body of the Despot (with Kenneth Dean; Autonomedia, 1993). He is editor of The Politics of Everyday Fear (University of Minnesota Press, 1993) and A Shock to Thought: Expression After Deleuze and Guattari (Routledge, 2002). His translations from the French include Gilles Deleuze and Félix Guattari’s A Thousand Plateaus. He teaches in the Communication Department of the Université de Montréal, where he directs the Workshop in Radical Empiricism.

Brian Massumi est spécialiste en philosophie, en théorie des médias, et en culture visuelle. Il est l’auteur de Parables for the Virtual: Movement, Affect, Sensation (Duke University Press, 2002), A User’s Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari (MIT Press, 1992), ainsi que First and Last Emperors: The Absolute State and the Body of the Despot (with Kenneth Dean; Autonomedia, 1993). Il a édité The Politics of Everyday Fear (University of Minnesota Press, 1993) ainsi que A Shock to Thought: Expression After Deleuze and Guattari (Routledge, 2002). Parmi ses traductions du français, figurent notamment A Thousand Plateaus de Gilles Deleuze et Félix Guattari. Il enseigne au Département de Communication de l’Université de Montréal, où il dirige l’Atelier en Empirisme Radical.

Toni Pape

Toni Pape is a Ph.D. Candidate at the Department of Comparative Literature at Université de Montréal and a forthcoming postdoctoral fellow at Concordia University. He holds an M.A. in English and French Philology as well as Communication Sciences from Freie Universität Berlin. Toni's doctoral research is dedicated to the aesthetic experience of time in recent TV series and, more specifically, to preemptive movements in narrative. Further research interests include the intersection of television, new media and installation art, philosophies of process and perception, participatory art and activism. Toni is a core member of the SenseLab, where he has co-organized numerous research-creation workshops and events. Recent artist collaborations include work with Erin Manning at the 2012 Sydney Biennale and and a Tino Sehgal piece at the Museum of Contemporary Art in Montreal.

Céline Pereira

Céline Pereira est une artiviste, un terme qu'elle emploie pour décrire un engagement professionnel et social, une posture éthique et politique en faveur de la prolifération des arts sous toutes ses formes. Titulaire de deux maîtrises, l'une en Administration Economique et Sociale de l'Université de Paris I, l'autre en Communication de l'Université de Montréal, elle a travaillé au sein de différentes organisations artistiques telles que ETC, la revue de l'art actuel, la Cenne et la Fonderie Darling. Étant investie dans les activités du SenseLab depuis 2005, Celine continue d'y propager son expérience et sa pratique artiviste à travers les nombreuses activités de recherche-création, l'organisation d'événements et l'accueil des artistes et étudiants internationaux. Ses recherches et ses pratiques de création sont influencées par des auteurs comme Henri Bergson, Gilles Deleuze, Michel Foucault, William James, Erin Manning, Brian Massumi, Friedrich Nietszche et Gilbert Simondon.

Celine Pereira is an artivist, a term she uses to describe a social and professional commitment with an ethical and political stance in favour of the proliferation of art in all its forms. She holds two MA degrees, one in Economic and Social Administration from University of Paris I and the other in Communication from the University of Montreal. She has worked with various arts organizations including ETC, la revue de l'art actuel, the Cenne and at the Darling Foundry. A SenseLab member since 2005, Celine continues to spread her experience and artivist practice through research-creation projects, event planning, and the welcoming of international artists and students. Her research and creation practices are influenced by the authors Henri Bergson, Gilles Deleuze, Michel Foucault, William James, Erin Manning, Brian Massumi, Friedrich Nietzsche, and Gilbert Simondon.

Leslie Plumb (contact)

Leslie Plumb is an interdisciplinary artist, web designer and developer, who collaborates with a variety of art, writing, and research practitioners to re-conceptualize their work for the web. With a BFA in Media Arts and Digital Technologies from ACAD, she comes to web design from a perspective and aesthetic interest, deeply rooted in the drawing, collage and sculpture. Her work moves beyond more traditional web-design practices, engaging collaborative techniques to re-articulate text, video, dance, poetry, performance and other disciplines with the particular qualities of experience the web provokes. These interests feed directly into her work as the Art Director of Inflexions, an open-access online interdisciplinary journal for research-creation, sponsored by the Senselab. The last five years of her work for this journal became the subject of her M.A. thesis, in the Special Individualized Program of Concordia University. This thesis explores the development of a transversal and relational design process, through techniques of research-creation developed during Inflexion's genesis. In addition to her work for Inflexions, Leslie works free-lance on a variety of Art and Design projects.


Stamatia Portanova

Stamatia Portanova received her PhD from the University of East London, School of Social Sciences, Media and Cultural Studies, with a dissertation on “Dance, Technology and the Material Mutations of Rhythm”. She is currently working at a monograph on the relation between choreography, philosophy and science. More specifically, her work explores the ways in which philosophical concepts of affect and relation, and scientific functions of geometry and anatomy, are associated to aesthetic sensations in the choreographic work. She was one of the three keynote speakers (with Andrew Murphie and José Gil) for “Dancing the Virtual”. Stamatia is also a member of The Sense Lab. Her articles have been published in various books, peer-reviewed journals and online magazines. She is currently a postdoctoral fellow at Concordia University under the supervision of Erin Manning.

Stamatia Portanova a obtenu son doctorat (Ph.D) de l’Ecole des Sciences Sociales, des Médias et des Études Culturelles de l’ “University of East London”, avec une dissertation sur “Danse, Technologie et les Mutations Materielles du Rythme”. Elle travaille présentement à une monographie sur les relations entre la chorégraphie, la philosophie et la science. Plus particulièrement, sa recherche explore les manières par lesquelles les concepts philosophiques d’affect, de la relation et des fonctions scientifiques de la géométrie et de l’anatomie sont associées à l’esthétique des sensations à l’intérieur du travail chorégraphique. Une des trois invités au colloque “Dancing the Virtual” (avec Andrew Murphie et José Gil), Stamatia est aussi membre du laboratoire The Sense Lab. Ses articles ont été publiés dans diverses livres, revues académiques et revues en ligne. Elle est actuellement chercheuse postdoctorale à l’Université Concordia à Montréal sous la direction de Erin Manning.

VK Preston

VK Preston is completing her doctoral studies at Stanford University's Department of Theater and Performance Studies and dissertation Sovereign and Forgotten Bodies: Performing French and Trans-Atlantic Baroques. She joins Sense Lab, McGill as a post-doctoral researcher in 2013-14 after a year's visiting research fellowship at the École normale supérieure in Paris with the support of a Mellon Dissertation Completion grant. In addition to her work in histories of the body, movement, ballet, gender, sexuality, and the book, she trained as a performer in Canada, the United States, Germany, and Poland. Her research pluralizes performance historiographies of the baroque, working with accounts of dance and movement during the witch trials and French colonial settlements in the Americas. Virginia also writes on contemporary art, performance, and choreography. She holds a BA from Concordia University's Liberal Arts College and an MA in French translation, comparative literature, and gender studies from Binghamton University. Her doctoral studies include a minor in early modern history, and she works in association with l'Atelier d'histoire culturelle de la danse at the École des hautes études de sciences sociales (EHESS).

Bianca Scliar

Bianca Scliar studied visual arts in Brazil. There she worked mainly with photography and dance, thought and curated exhibitions. In 2003 she moved to Germany, where she did her MFA in Public Art and New Artistic Strategies at the Bauhaus University, developing a series of performances in public spaces and of relational sculptures that she would wear and abandon, to be found, used and lost.
Her main research interests are the physical relations between bodies and cities and how affect is impressed in their surfaces through movement. She likes to write and currently is doing her PhD at Concordia University.

Bianca Scliar étudia les arts visuels au Brésil où elle s’intéressa surtout à la photographie, à la danse, la pensée et la curation d’exposition. En 2003, elle déménagea en Allemagne où elle a complété une maîtrise en Beaux-Arts, en Art Publique et en Nouvelles Stratégies Artistiques à l’Université du Bauhaus, et ce, tout en développant une série de performances et de sculptures relationnelles dans des espaces publiques qu’elle porte et abandonne afin d’être trouvées, utilisées et perdues. Ses principaux intérêts de recherche sont les relations physiques entre les corps et les villes et comment l’affect s’imprime sur les surfaces à travers le mouvement. Elle aime écrire et poursuit présentement ses études au doctorat à l’Université Concordia.

Felix Rebelledo

I write this in the first person singular in an effort to convince you that the concepts of “I am this” and “I did this” are not totally lost on me, though I don’t wholeheartedly swallow them hook, line and sinker. If you ask me what I do for a living, where I live, or what my favourite restaurant is, I’ll provide you with definite tentative answers; answers which at that instant jive with the event even though somehow they feel improvised for the occasion. I think that, perhaps, maybe—I am becoming different aspects of Felix on the spurs of the moment, at every instant, though I would be hard-pressed to tell you which aspect is actually becoming. I supposedly make television commercials for a living but I’m not 100% convinced for the process attracts a more extensive sense of order to its becoming than the one some Felix or other somehow gets folded into. I don’t exactly know when or how or where exactly the process started up or how or where it will end up, but we become, fade out and move on. And as if that wasn’t enough, I’ve received a letter informing me that I will be pursuing graduate studies in the Fall at Concordia—I know (that you know) that the ball was already rolling sometime before I ever knew it was going to roll and that my studies will happen with all the attendant uncertainty of for-sure because I will likely be there when some Felix or other shows up.

J'écris ceci à la première personne du singulier dans le but de vous convaincre que les concepts de « je suis ceci » et « j'ai fait cela » ne me sont pas entièrement étrangers, bien qu'ils ne m'accrochent pas complètement. Si vous me demandez qui je suis, où j'habite, ce que je fais dans la vie, je vous offrirai des réponses provisoires définitives; des réponses qui, bien qu'étant en harmonie avec l'évènement, peuvent sembler avoir été improvisées pour l'occasion. Je crois qu'il est possible que j'incarne différents aspects de Félix selon l'impulsion du moment, bien que je serais incapable de vous dire lequel des aspects convient le mieux à cet instant même. Je gagne supposément ma vie en faisant des messages publicitaires pour la télévision, mais je n'en suis pas convaincu à 100%, puisque le processus nécessite, pour se réaliser, un sentiment d'ordre plus considérable que celui dans lequel un Félix ou un autre se voit absorbé. J'ignore exactement où, quand ou comment ce processus s'est mis en marche et où il se terminera, mais nous devenons, nous nous effaçons, puis nous continuons d'avancer. Et puis, comme si cela n'était pas suffisant, j'ai reçu une lettre m'apprenant que j'allais poursuivre des études au niveau maîtrise, cet automne, à l'Université Concordia. Je sais (que vous savez) que les choses avaient été mises en marche bien avant que je ne sache qu'elles allaient l'être et que mes études se dérouleront dans l’incertitude certaine de la certitude, puisque je serai probablement présent quand un Félix ou un autre se présentera.

Troy Rhoades

Troy Rhoades (b. 1976) holds a MFA degree in studio arts from Concordia University (Canada). Currently, he is a PhD candidate in the Interdisciplinary Humanities program at Concordia University. His academic research is dedicated to the interplay between colour, movement and digital media. As a member of the Sense Lab, he is also engaged with a collaborative practice that has been involved in organizing several events based on the notions of research-creation, micro-politics, and the senses. His artistic practice with film and video has resulted in several screenings and exhibitions throughout Canada and internationally in countries such as Australia, Japan, and Finland. Currently, he is working on a series of short videos based on the swimming body as well as a four-channel video installation that pushes the visual limits of colour perception. He resides in Montreal, Canada.

Troy Rhoades (né en 1976) détient un diplôme en Beaux-arts de l’Université Concordia (Canada). Il est un candidat au doctorat au programme interdisciplinaire des arts à l’Université Concordia. Ses recherches académiques sont dédiées à l’interaction entre la couleur, le mouvement et les médias numériques. Comme associé du Sense Lab, il est engagé dans une pratique collaborative qui a organisé plusieurs évènements basés sur les idées de recherche-création, la micro-politique et les sens. Sa pratique artistique de film et de vidéo a résulté en plusieurs visionnements et expositions à travers le Canada et sur le plan international en Australie, au Japon et en Finlande. Il travaille sur une série de courts vidéos basés sur le corps-natation ainsi qu’une installation vidéo à quatre canaux qui pousse la perception de la couleur à ses limites. Il habite Montréal, Canada.

Ronald Rose-Antoinette

Ronald Rose-Antoinette est né insulaire, dans une grande dérive de l'Océan Atlantique. Titulaire d'une licence et d'une maîtrise en Études Cinématographiques obtenues à l'Université Concordia à Montréal, il conduit aujourd'hui, dans le cadre de son doctorat en philosophie à Paris VIII, une réflexion sur l'activité micropolitique des images cinématographiques. Ses investigations l'ont, pour l'heure, invité à expérimenter et à élargir le sens de la technique (libératoire) et de la relation.

Ronald Rose-Antoinette holds a Master in Film Studies and is now completing his PhD thesis in Philosophy (Image as Experience) between Université Paris VIII and Concordia University. While coordinating the online journal Inflexions (inflexions.org), Ronald is a participant of the laboratory for thought in motion, Senselab (senselab.ca), founded by Pr. Erin Manning and based in Montreal, where he lives. Nietzsche, Deleuze and Glissant are among his most respected movement philosophers.

Adam Szymanski

Adam Szymanski is a PhD student in the Film and Moving Image Studies program at Concordia University in Montreal. He is interested in the relationships between cinema, the psyche, and the environment. Adam's dissertation will take up Félix Guattari's writings on cinema, psychotherapy and the machinic unconscious in analyzing cinema's capacity to convey and interrogate experiences of depression.


Alanna Thain

Alanna Thain is Assistant Professor, Cultural Studies in the department of English at McGill University, Montreal, Canada. She received her PhD from the Program in Literature, Duke University in 2005. Currently, her research focuses on questions of affect, expanded bodies and distributed cognition in the intersections between dance and audiovisual images in the works of William Kentridge, Norman McLaren, Marie Chouinard, David Lynch and others. Her recent work has been published in differences (19.1), Flow (special issue on Battlestar Galactica), and a special issue on “Installing the Body” of Parallax (14.1). Her book project “Suspended (Re)Animations: Affect, Immediation and the Film Body” looks at cinema’s ability to generate new types of bodies, in the light of Gilles Deleuze’s claim that the direct time image in cinema “gives a body to a phantom”. She is currently working on a dance/film/animation project entitled an-alphabet.

Alanna Thain est professeur adjointe d’Études Culturelles dans le département d’Études Anglaises à l’Université McGill. Elle a obtenu son doctorat en 2005 de l’Université de Duke, dans le Programme de littérature. Ses recherches actuelles portent sur les notions de l’affect, et sur le corps en expansion. Elle s’intéresse aussi à la connaissance distribuée dans les intersections entre la danse et les images audiovisuelles dans l’oeuvre de William Kentridge, Norman McLaren, Marie Chouinard, et David Lynch. Ses ouvrages récents sont parus dans differences (19.1), Flow (numéro spécial sur Battlestar Galactica), ainsi que dans un numéro spécial sur “Installing the Body” de Parallax (14.1). Elle prépare un livre intitulé Suspended (Re)Animations: Affect, Immediation and the Film Body (“Réanimations Suspendues: l’Affect, l’immédiation et le corps cinématographique”) qui propose une réflexion sur l’habileté du cinéma à générer de nouveaux types de corps, selon la pensée de Gilles Deleuze où l’image-temps directe dans le cinéma donne corps à un fantôme. Elle s’occupe en ce moment d’un projet danse/film/animation, an-alphabet.


   
   
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