Inflexions: Participants
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About Participants Issues   Contact Senselab
    Editorial Collective      
    Crina Bondre Ardelean
Marie-Pier Boucher
Christoph Brunner
Rick Dolphijn
Sher Doruff
Jonas Fritsch
Ayesha Hameed
Nasrin Himada
Mike Hornblow
Erin Manning
Thomas Markussen
Brian Massumi
Céline Pereira
Leslie Plumb
Stamatia Portanova
Natasha Prévost
Felix Rebolledo
Troy Rhoades
Martin E. Rosenberg
Bianca Scliar Mancini
Alanna Thain
Janita Wiersma
   
           
    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.
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.
   
         
    Issue Contributors

Gina Badger
Adam Bobbette
James Bradley
Margarida Carvalho
Amélie Brisson-Darveau
Antonin De Bemels
Rick Dolphijn
Aden Evens
Heidi Fast
Paul Gazzola
Barbara Glowczewski
Yuk Hui
Mark Iwinski
Brian Knep
Kaisa Kurikka
Bruno Latour


Maurizio Lazzarato
Julia Loktev
Frédéric Lavoie
Sylvère Lotringer, Ph.D
Deborah Margo
Derek McCormack
Andrew Murphie
Luciana Parisi
Philipa Rothfield
Jukka Sihvonen
Isabelle Stengers
Sjoerd van Tuinen
   
   


Issue Contributors


Gina Badger

Gina Badger is an artist and writer based in Toronto, Canada. Working in the expanded field of sculpture and installation, her practice encompasses new media and post-studio elements such as gardening, workshops, and meals. Badger’s major ongoing body of work, Rates of Accumulation, encompasses a sound installation, a pirate radio broadcast, a four-channel video installation, a large scale drawing, and a series of performances. Diverse in form, this work is characterized equally by the stylistic influences of historical conceptualism, land art, and experimental radio.

Much of her recent work has investigated the time and politics of contemporary ecologies. With a tone both poetic and critical, Badger aims to sidestep the frustrations marring current debates around ecology. Projects such as Scatter and The Sound of Things That Are Too Big and Too Old initiate encounters with the city’s marginal landscapes and flora, abandoning received histories of North America in favor of abstract postcolonial narratives. Operating on an entirely different scale, Plants In Your Pants is a hands-on intervention into the politics of vaginal ecologies in patriarchal times.

Badger cherishes the moment when it is no longer possible to distinguish a work of art from its reception – when some aspect of the work comes to new life because it seeps out of its bounds, intermingling with its viewer. This is the phase change through which art ceases to be purely representative or reflective and becomes political. Through all Badger’s pursuits, it is the desire for this transformation that keeps her going.

http://ginabadger.com/

Adam Bobbette

Adam Bobbette is a researcher, artist and designer based in Toronto whose work addresses the politics of the contemporary urban landscape. He is especially concerned with histories of experimental and minoritarian architectural practices, participatory design, and the ways in which the tools of architectural and landscape design can contribute to community organizing and the autonomous production of culture. He has worked in a variety of mediums; in exhibitions as artist and curator, workshops, interventions, and writing.

He has exhibited with the artist group Forays in the United States and Europe, with the organizations Eyebeam Center for Art and Technology, the Canadian Centre for Architecture, InCUBATE, the San Jose 01 biennial, and <>TAG Netherlands.

His writings and projects have appeared through a number of publication platforms, from the exhibition catalogue 1973: Sorry Out of Gas; to magazines such as Fuse, Canadian Architect, and small presses Invisible Publishing and BlackBird Publishing Collective.

He has lectured, led guest seminars and workshops at Calvin College of Art and Design, McGill University, Society for Art and Technology (SAT), The John H. Daniels Faculty of Architecture, Landscape & Design, University of Toronto, Eyebeam Centre for Art and Technology, and Le Centre des Arts Actuels Skol, among others.

He is currently working towards a Master of Landscape Architecture at the John H. Daniels faculty of Architecture, Landscape, and Design, University of Toronto.

James Bradley

coming soon

Margarida Carvalho

coming soon

Amélie Brisson-Darveau

Born in Quebec in 1976, Amélie lives and works in Montréal. She is currently an MFA candidate at Concordia University in the Fiber Art department. Before she started her MFA, Amélie completed a B.A. in Visual and Media Art at the Université du Québec à Montréal and received a second BA in Social Work from Université de Montréal. Her work has been shown in various exhibitions and events including Engramme Arts Centre has been included in exhibitions in Switzerland as well as at the Maison de la culture Côte-des-neiges, at Diagonale and Dare-Dare in Montréal. Her work varies from photography to installation and performance art. Her particular focus with respect to fibers addresses questions of identity, social environments, the occupation of space and movement.

Antonin De Bemels

http://www.antonindb.be/

Jamie del Val - Insitute REVERSO

http://www.reverso.org/

Rick Dolphijn

Rick Dolphijn is assistant professor of Humanities, Utrecht University, the Netherlands.

http://www.rickdolphijn.nl/

Aden Evens

Aden Evens is Assistant Professor of English at Dartmouth College. Having misspent his youth as a computer programmer, Aden completed a doctorate on the ethics of Gilles Deleuze, published a book, Sound Ideas, on the phenomenology of music technology, and is currently researching the creative possibilities and limitations of the digital.

http://www.dartmouth.edu/~english/faculty/Evens.html

Heidi Fast

www.mollecular.org

Heidi Fast is a live artist, researcher and pedagogue from Helsinki, Finland. Her creative practice operates between vocal performance art, philosophy, some modes of therapeutic thinking and action, and positive compositions of molecular organizations. One of the key points in her work is that she tries not to make a clear distinction between her artwork and research practice, but tries rather to see those areas of knowledge as "impure" locis, that fold with other areas and expressions of life.

Her artworks, that mainly happen in places not pointed for art, include durational "open concerts", such as, "Amorous Dialogues" (2006) and "It´s Voicy" (2007), which emerged from many different components: a composition-notation, but also the rhythms and movements of the listener-viewers, sounds emanating from the environment of the work etc. Her works also include vocal walks, such as, "A Night Song Action" (2006), where she invited people to come, "sing" and walk with her to the park in Helsinki in order just to enliven the city soundscape and produce some "molecular" expressions of humanity. She considers vocal voice, (sang, but mainly without words), as an interval between the body that produces it and the one who listens and resonates it. For that nature vocal voice provides potentially some effective devices to think about distance and proximity, compassion and vitality, about communication that happens on a more molecular, discreet level – and silence.

She has an MA in Performance art and theory from Theatre Academy of Finland, and is one of the members of Mollecular Organization, a group of scientists and artists who work and experiment with the organizational problems of the spreading of the ecological crises into our mental environment; our desires, our intelligence, our souls.

Paul Gazzola

http://www.paulgazzola.blogspot.com/

Barbara Glowczewski

http://las.ehess.fr/document.php?id=143

Yuk Hui

Yuk Hui, PhD Researcher, Center for Cultural Studies, Goldsmiths – University of London, has both a background in computer engineering and cultural Studies. He is member of the Metadata Project supported by the Leverhulme Trust. He is also member of the Cultural Mining project conducted by the Tate, London. His current researches center on Interactive Media, Semantic Web, Martin Heidegger and Gilles Deleuze

Mark Iwinski

Mark Iwinski is an artist who spent most of the last decade living and teaching in Ithaca, New York, and Vermont and currently lives in Durham, North Carolina. Originally, from Milwaukee, Wisconsin, he received his Master of Fine Arts from the University of Wisconsin, Milwaukee in 1991, and has taught art at The College of William and Mary, Dartmouth College, and Cornell University. The past recipient of a Constance Saltonstall Foundation Grant in 2006 and a former artist-in-residence at Centrum in Port Townsend, Washington his artwork has been featured in the recent international artist’ book tour Arcadia Id Est in 2007 and Ghost Trees and Crosscuts: Intersections Between the Forest and History, a one person exhibition at Lawrence University in 2006. He has recently been awarded a 2008 Fellowship in Photography from the New York Foundation for the Arts for this current series of work. An exhibition of This was now and Terrains of Absence is in planning for 2010.


Brian Knep


www.blep.com

Kaisa Kurikka

coming soon

Bruno Latour

Bruno Latour, born in 1947 in Beaune, Burgundy, from a wine grower family, was trained first as a philosopher and then an anthropologist. From 1982 to 2006, he has been professor at the Centre de sociologie de l'Innovation at the Ecole nationale supérieure des mines in Paris and, for various periods, visiting professor at UCSD, at the London School of Economics and in the history of science department of Harvard University.

He is now professor at Sciences Po Paris where he is also the vice-president for research of that school.

After field studies in Africa and California he specialized in the analysis of scientists and engineers at work. In addition to work in philosophy, history, sociology and anthropology of science, he has collaborated into many studies in science policy and research management. He has written Laboratory Life (Princeton University Press), Science in Action, and The Pasteurization of France. He also published a field study on an automatic subway system Aramis or the love of technology and an essay on symmetric anthropology We have never been modern. He has also gathered a series of essays, Pandora's Hope:Essays in the Reality of Science Studies to explore the consequences of the " science wars". After having directed several thesis on various environmental crisis, he published a book on the political philosophy of the environment Politics of Nature (all of those books are with Harvard University Press and have been translated in many languages).

In a series of books in French, he has been exploring the consequences of science studies on different traditional topics of the social sciences: religion in Sur le culte moderne des dieux faitiches (to be published in English) , and Jubiler ou les tourments de la parole religieuse, and social theory in Paris ville invisible, a photographic essay on the technical & social aspects of the city of Paris (now available on the web in English Paris Invisible City). After a long field work on one of the French supreme Courts, he has recently published a monograph la Fabrique du droit-une ethnographie du Conseil d'Etat (to be published in English). A new presentation of the social theory which he has developped with his colleagues in Paris is available at Oxford University Press, under the title: Reassembling the Social, an Introduction to Actor Network Theory.

After having curated a major international exhibition in Karlsruhe at the ZKM center, Iconoclash beyond the image wars in science, religion and art, he has curated another one also with Peter Weibel Making Things Public The atmospheres of democracy which has closed in October 2005 (both catalogues are with MIT Press).

http://www.bruno-latour.fr/

Maurizio Lazzarato

coming soon

Julia Loktev

coming soon

Frédéric Lavoie

Frédéric Lavoie lives and works in Montreal. Frédéric has obtained a post-graduate degree in Arts Visuels et Médiatiques de l’Université du Québec à Montréal as well as an undergraduate degree in Anthropology from Université de Montréal. His work was presented in galleries (Galerie Verticale, 2008; Galerie de l’UQAM, 2007; SKOL, 2006; B-312 and the Musée regional de Rimouski, 2005). As well as through many International Video events (European Media Art Festival, Germany; Split Film Festival, Croatia; Antimatter and Signal and Noise, British-Colombia, Canada; Festival International du Film sur l’Art, Montreal, Quebec, Canada).

www.fredericlavoie.ne

Sylvère Lotringer, Ph.D

Sylvère Lotringer is a Professor of Foreign Philosophy at the European Graduate School in Saas-Fee, Switzerland, where he conducts an Intensive Summer Workshop.

http://www.egs.edu/faculty/sylvere-lotringer/biography/

Deborah Margo

Born in Montreal, Deborah Margo lives in Ottawa. She has a BFA from Montreal’s Concordia University and a MFA from Temple University, Philadelphia.  She has also studied at the Haystack School of Crafts in Deer Isle, Maine and the Banff Centre in Banff, Alberta. Recent exhibitions include Thick and Thin at TRUCK (Calgary), 40019’s Ceaseless Transformation at Patrick Mikhail Gallery (Ottawa), A Harvest of Eggs at Mill Street Gallery (Almonte, Ontario), Why Do We Cry? Lamentations in a Winter Garden at Dare-Dare Centre de diffusion d'art multidisciplinaire de Montréal and Medical Histories at Helen Day Art Center in Stowe, Vermont.  She also has experience as a writer and is a faculty member in the Department of Visual Arts at the University of Ottawa where she teaches drawing, painting and sculpture.  Her work combines different disciplines including sculpture, painting, drawing into ephemeral installations that question the contextual identities of public and private spaces. Since 1984, she has exhibited in Canada, Mexico and the United States, participating in solo and group projects.

Derek McCormack

Derek McCormack is University Lecturer at the Oxford University Centre for the Environment, where he is a member of the ‘Technological Natures’ research cluster. His research focuses on the affective spaces of which moving bodies are generative, and the practices and techniques through which to think through such spaces.

Andrew Murphie

Andrew Murphie is a researcher at the University of New South Wales, Sydney. He has published on the work of Gilles Deleuze and Félix Guattari, virtual media, network ecologies and popular music. His current research focuses on collaborative disruptions of visual media, the cultural politics of models of cognition, perception and life, and electronic music. Recent online publications include 'Differential Life, Perception and the Nervous Elements: Whitehead, Bergson and Virno on the Technics of Living' in Culture Machine (2005) and 'The Mutation of "Cognition" and the Fracturing of Modernity: cognitive technics, extended mind and cultural
crisis' in Scan (2005)

Luciana Parisi

Dr Luciana Parisi’s research looks at the asymmetric relationship between science and philosophy, aesthetics and culture, technology and politics to investigate potential conditions for ontological and epistemological change. Her work on cybernetics and information theories, evolutionary theories, genetic coding and viral transmission has informed her analysis of culture and politics, the critique of capitalism, power and control. During the late 90s she worked with the Cybernetic Culture Research Unit at Warwick and has since been writing with Steve Goodman (aka kode 9). In 2004, she published Abstract Sex: Philosophy, Biotechnology and the Mutations of Desire (Continuum Press), where she departed from the critical impasse between notions of the body, sexuality, gender on the one hand, and studies of science and technologies on the other. Her work engaged with ontological and epistemological transformations entangled to the technocapitalist development of biotechnologies, which un-intentionally re-articulated models of evolutions, questioning dominant conceptions of sex, femininity and desire. Since the publication of Abstract Sex, she has also written on the bionic transformation of the perceptive sensorium triggered by new media, on the advancement of new techno-ecologies of control, and on the nanoengineering of matter. She has published articles about the relation between cybernetic machines, memory and perception in the context of a non-phenomenological critique of computational media and in relation to emerging strategies of branding and marketing. Her interest in interactive media has also led her research to engage more closely with computation, cognition, and algorithmic aesthetics. She is currently writing on architectural modeling and completing a monograph: Contagious Architecture. Computation, Aesthetics and the Control of Space (MIT Press, forthcoming).

http://www.gold.ac.uk/cultural-studies/staff/l-parisi/

Philipa Rothfield

coming soon

Jukka Sihvonen

coming soon

Isabelle Stengers

Isabelle Stengers teaches philosophy at the Université Libre de Bruxelles. Her interests centre around both the constructive adventure of modern sciences and the problems born from the association of this adventure with power and claims to rational authority. She is working on the crucial challenge, both political and cultural, of an active ecology embedding our many diverging scientific practices in a democratic and demanding environment, against both the ideal of their sovereign autonomy and their submission to social demands. Her last book, Au temps des catastrophes, emphasizes the crucial importance, in the coming hard times, of empowerment processes whereby groups acquire, or reclaim, the capacity of actively situating themselves and of inventing cooperation practices. Among her previous English translated books : Order out of Chaos (with I. Prigogine), A History of Chemistry (with B. Bernadette Bensaude-Vincent), Power and Invention, and The Invention of Modern Science.

Sjoerd van Tuinen

http://users.ugent.be/~svtuinen/

   
   
Editorial Collective


Crina Bondre Ardelean

Crina Bondre Ardelean moved to Montreal two years ago, after spending a decade in Freiburg, Germany, where she completed a Master's in Philosophy and Literature. Presently, she teaches in the English department at a local CEGEP college.

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).

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

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.

Bianca Scliar Mancini

Bianca Scliar Mancini 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 Mancini 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.

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.

Céline Pereira

Céline Pereira est membre du Labo des Sens et de l’Atelier en Empirisme Radical depuis 2005. Avec une première formation en Sciences Pures, elle a appris à appliquer ces modèles composés de forces physiques et/ou logiques. Ensuite, elle a étudié aux universités de Panthéon-Assas et Panthéon-Sorbonne. Explorant la Sociologie, l’Économie, le Droit, l’Histoire française et internationale, ainsi que le cinéma, elle a obtenu une maîtrise en Administration Économique et Sociale. Parallèlement, en restant ouverte aux domaines de l’art, de la philosophie, de l’éthique et de l’esthétique, elle postula pour un Master en Communication à l’Université de Montréal, il y a 3 ans; sa thèse étant en ce moment en cours d'écriture. Ses intérêts sont souvent liés aux pragmatiques de la recherche-création aux penchants artistiques et esthétiques. Humblement, elle tente de penser et d’appliquer sa vision des choses en se basant sur des auteurs tels que Deleuze, Guattari, Foucault, James, Bergson, Spinoza, Nietzsche, Gil. Son implication active comprend l’organisation d’évènements, la résidence d’artiste et, Inflexions qui est un journal en ligne d’accès libre et gratuit ouvert aux penseurs et aux chercheurs d’alternatives.

Céline Pereira is a member of the Sense Lab and the Radical Empiricism Workshop since 2005. With a previous training in Pure Sciences, she learned how to apply models governed by physical and/or logical forces. Subsequently, she studied at the Universities of Panthéon-Assas and Panthéon-Sorbonne in Paris. Learning Sociology, French and International Economy, Law, History and Cinema, she ended up with a Master in Economy and Administration. In the mean time, by being open to art, philosophy, ethics and aesthetics, she applies for Master in Communication at University of Montréal 3 years ago; her thesis being written at this very moment. Her interests are often linked with pragmatics of research creation with an artistic and aesthetic penchant (inclined). With humility, she tries to think and apply her vision, relying on writers such as Deleuze, Guattari, Foucault, James, Bergson, Spinoza, Nietzsche, Gil. Her active and present implication deals with events organizations, artist’s residencies and Inflexions which is an open free journal access for thinkers and researchers of alternatives.

Leslie Plumb (website)

Leslie Plumb has been a member of Senselab since 2007, and is the web-designer and Artistic Director of Inflexions. She has an artistic practice strongly tied to poetry, collage, and responsive environments in Flash. Both her artistic and commercial ventures in web-design focus on re-conceptualizing writing, film and art works for the internet. Leslie is finishing an MA in in the S.I.P Interdisciplinary Studies program at Concordia University (Montreal, Canada). She also holds a BFA in Media Arts and Digital Technologies from the Alberta College of Art and Design (Calgary, Canada).

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.

Natasha Prévost (website)

Natasha Prévost (b. 1976) holds a PhD degree in the Gender Graduate programme of the Humanities of Utrecht University (The Netherlands). She also holds a MA degree in Social and Cultural Anthropology from Concordia University (Canada). Her fields of interest are minority groups, qualitative methods, activism engagement, multimedia, and arts. She worked with transvestites for her MA and children for her PhD. Both her fieldwork research took place in Brazil. Natasha Prévost works with a number of concepts from Deleuze and Guattari in order to better explain the relational process taking place during the fieldwork research as well as the activism linked to this kind of activity. She is currently working at the Centre de Recherche et de Développement en Éducation at Université de Moncton (N.B., Canada) as a qualitative researcher.

Natasha Prévost (née en 1976) a obtenu son Doctorat en Gender Graduate programme of the Humanities de l’Université d’Utrecht (Pays-Bas). Elle a aussi obtenu une Maîtrise en Anthropologie Sociale et Culturelle à l’Université Concordia (Canada). Ses champs d’intérêts sont les minorités, les méthodes qualitatives, l’activisme, le multimédia et les arts. Elle a travaillé avec des travestis pour sa Maîtrise et avec des enfants pour son Doctorat. Ces deux terrains de recherche ont été conduits au Brésil. Natasha Prévost travaille avec plusieurs concepts philosophiques de Deleuze et Guattari dans le but de mieux expliquer le processus relationnel qui prend place pendant le terrain de recherche et l’activisme lié à ce type d’activité. Elle travaille présentement au Centre de Recherche et Développement en Éducation à l’Université de Moncton (N-B, Canada) comme chercheure en recherche qualitative.

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.

Martin E. Rosenberg

Martin E. Rosenberg, an independent scholar, specializes in the cultural implications of science and technology. He has researched the history of the concept of "emergence" in physics, chemistry, biology and cognitive science, and the significance of that concept in philosophy and the arts. Author of numerous articles and one completed manuscript (Fables of Emergence: The Cultural Work of Complexity in the Avant-Garde), he currently investigates the possible link between embodied and distributed cognition by examining forms of parallel processing in computers and the brain, and studying cognitive processes in jazz improvisation, cinema, and in the visionary architecture of Arakawa and Gins. As a theorist, he has written on the relationship of metaphors (tropes generally) and epistemology, and the agency of metaphors in trans-disciplinary inquiry. He has also had a sideline theorizing about hypermedia, especially about the role of scientific metaphors in the design of human-computer interfaces (HCI). Co-creator of _The RHIZOME Project_ (1989-92, with Thomas I. Ellis), and _Chess RHIZOME_ (1998-9), several of his essays on hypermedia have been translated into Spanish and Portuguese. Originally trained in classical composition and jazz arranging and performance, he has authored over thirty jazz compositions, and has recently committed to playing and recording again.

Martin E. Rosenberg est un chercheur indépendant spécialisé dans les implications culturelles des sciences et des technologies. Il s'est notamment penché sur l'histoire du concept “d'émergence” dans des disciplines diverses -physique, chimie, biologie, sciences cognitives- ainsi que sur les significations de ce concept dans les domaines de la philosophie et de l'art. Il a publié plusieurs articles et est l'auteur du livre Fables of Emergence: The Cultural Work of Complexity in the Avant-Garde. Actuellement, il interroge le lien possible entre la cognition incarnée et distribuée à travers l'analyse des formes de traitement en parallèle entre le cerveau et l'ordinateur. Il étudie également les processus cognitifs dans les domaines de l'improvisation du jazz, du cinéma ainsi que dans l'architecture visionnaire de Arakawa et Gins. En tant que théoriste, il a écrit sur les relations entre les métaphores (les tropes en général) et l'épistémologie ainsi que sur l'agentivité des métaphores dans les recherches scientifiques. Il a aussi théorisé l'hypermédia et plus spécifiquement le rôle des métaphores scientifiques dans le design d'interfaces humain-ordinateur (Human Computer Interfaces -HCI). Co-créateur, avec Thomas I. Ellis, du projet THE RHIZOME (1989-1992) et de Chess RHIZOME (1998-1999), plusieurs de ses essais sur l'hypermédia ont été traduits en espagnol et en portuguais. D'abord formé en composition classique ainsi qu'en performance et arrangements du jazz, il s'est récemment engagé à jouer et à composer de nouveau.

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.

Janita Wiersma

Janita Wiersma is currently working on a Masters of Arts degree in the Special Individualized Program (SIP) at Concordia University in Montreal, Canada. Her research is focussed on the relation felt within the art-viewing / creating experience. After obtaining a BFA from Mount Allison University (Sackville, New Brunswick), Janita continued to exhibit her work in Quebec, Ontario and the Maritimes. Her current practice in printmaking, drawing and sculpture explores space as a relational environment in transit. She has been a member of the Sense Lab since 2007.


   
   
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