{"id":1935,"date":"2015-09-14T14:46:06","date_gmt":"2015-09-14T13:46:06","guid":{"rendered":"http:\/\/www.mediaarthistory.org\/?page_id=1935"},"modified":"2016-07-19T15:26:05","modified_gmt":"2016-07-19T14:26:05","slug":"re-create-2015-programme-preview","status":"publish","type":"page","link":"https:\/\/www.mediaarthistory.org\/?page_id=1935","title":{"rendered":"Re-Create 2015 : Programme"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Download Media Art Histories Conference<\/strong>\u00a0Programme PDFs<\/p>\n

Schedule<\/a><\/strong>\u00a0version 30.10.2015
\nPoster<\/a><\/strong>
\nAbstracts<\/a><\/strong>\u00a0version 30.10.2015<\/p>\n

Emerging Researchers’ Symposium Programme\u00a0here
\n<\/a><\/p>\n

\n

04.11 Wed\/mer<\/strong><\/h2>\n

SESSION 1<\/strong> CONCEPTS IN PRACTICE
\nMod. Alice MING WAI JIM, Concordia University<\/p>\n

Harold Innis\u2019s Proto-Media Archaeology<\/a><\/strong>
\nLiam COLE YOUNG, Trent University
\nInfolding the Self: From Video Therapy to Video Art<\/a><\/strong>
\nPeter SACHS COLLOPY, University of Southern California
\nPr\u00e9servation et arch\u00e9ologie des m\u00e9dia: importance de la r\u00e9tro ing\u00e9nierie dans la reconstruction arch\u00e9ologique d\u2019\u0153uvres d\u2019art \u00e0 composante technologique<\/a><\/strong>
\nMorgane STRICOT, \u00c9cole Sup\u00e9rieure d\u2019Art d\u2019Avignon<\/p>\n

SESSION 2<\/strong> SENSING THE BODY
\nMod. Ryszard W. KLUSZCZYNSKI, University of Lodz<\/p>\n

Henry Cowell and Dr. and Mrs Dower\u2019s \u201cTonal Therapy\u201d<\/a><\/strong>
\nPia VAN GELDER, University of New South Wales
\nAn Improper Materialism: On Aesthesis, Synesthesia, and the Digital<\/a><\/strong>
\nAshley SCARLETT, University of Toronto
\nAphasic Aesthetics: Thinking with the Body across Disability Studies, Media Art and Phenomenology<\/a><\/strong>
\nMegan TOYE, York University<\/p>\n

SESSION 3<\/strong> MOVING THE ACADEMIC
\nMod. Louis-Claude PAQUIN, UQAM<\/p>\n

Synartesis: An Experiment in Inter-Chronological and Trans-Historical Teaching and Research<\/strong><\/a>
\nAllison LEIGH, The Cooper Union for the Advancement of Science and Art
\nRecherche-cr\u00e9ation dans les \u00e9coles d\u2019art et institutions fran\u00e7aises<\/a><\/strong>
\nLucile HAUTE, Ensad + Universit\u00e9 de Valenciennes et du Hainaut-Cambr\u00e9sis
\nLa recherche-cr\u00e9ation \u00e0 l\u2019universit\u00e9 : cadrage sociohistorique et enjeux d\u2019un nouveau type de recherche<\/a><\/strong>
\nChantal PROVOST, UQAM<\/p>\n

SESSION 4<\/strong> POWERS IN ACTION
\nMod. TBA \/ \u00c0 VENIR<\/p>\n

Remembering the Future of the Indigenous Internet<\/strong>
\nMikhel PROULX, Concordia University
\nEntendre la guerre, \u00e9prouver le temps : l\u2019exp\u00e9rience sonore dans Starry Night (2006) de Mazen Kerbaj<\/a><\/strong>
\nMirna BOYADJIAN, UQAM
\nSensory Vantage Points: Examining Habitual addresses to Digital Media in NYC Public Spaces<\/a><\/strong>
\nBria COLE, The New School<\/p>\n

SESSION 5<\/strong> MOBILIZING THE INSTITUTION
\nMod. Margr\u00e9t El\u00edsabet \u00d3LAFSD\u00d3TTIR, University of Akureyri<\/p>\n

Recalling Renegade Library and other Social Practice Methodologies from the late 1990s<\/a><\/strong>
\nLois KLASSEN, Queen\u2019s University
\n\u2018The Arts Make Us Richer\u2019\u2122: Propertization of Digital Art Using Cryptocurrency Technologies<\/a><\/strong>
\nMartin ZEILINGER, Anglia Ruskin University
\nConstruction d\u2019une image globale par les mus\u00e9es : institutions mus\u00e9ales et entreprises dans les ann\u00e9es 1990<\/a><\/strong>
\nKarine L\u00c9ONARD BROUILLET, Universit\u00e9 de Montr\u00e9al
\nCurating Humanism: Negotiating the Politics of New Media, 1965\/2015<\/a><\/strong>
\nTina RIVERS RYAN, Columbia University<\/p>\n

05.11Thu\/jeu<\/strong><\/h2>\n

OPENING ADDRESS\/DISCOURS D\u2019OUVERTURE<\/strong> <\/a>
\nChris SALTER, Concordia University
\nOliver GRAU, Media Art Histories, Danube University<\/p>\n

SESSION 1<\/strong> SETTING THE STAGE: OVERVIEW AND PRECEDENTS
\nSimultaneous translation\/Traduction simultan\u00e9e<\/p>\n

\u201cPathways to Innovation in Digital Culture\u201d Revisited<\/a><\/strong>
\nMichael CENTURY, Rensselaer Polytechnic Institute
\nRegard transversal sur des pratiques inter- et trans<\/a><\/strong>
\nLouise POISSANT, FRQSC
\nTransdisciplinary experimentation and ontological change: an ethnography of art-science<\/a><\/strong>
\nGeorgina BORN, Oxford University
\nWeaving Strands: Research-creation practices in universities, cultural institutions and artist-run culture in Montreal<\/a><\/strong>
\nCheryl SIM, DHC\/ART Foundation for Contemporary Art + Gis\u00e8le TRUDEL, UQAM<\/p>\n

06.11 Friday\/vendredi<\/strong><\/h2>\n

SESSION 2A<\/strong> METHODOLOGICAL ENTANGLEMENTS
\nMod. Georgina BORN, Oxford University & Oslo University
\nSimultaneous translation\/Traduction simultan\u00e9e<\/p>\n

La m\u00e9thode de Pierre Schaeffer<\/a><\/strong>
\nYan BREULEUX, Universit\u00e9 du Qu\u00e9bec \u00e0 Chicoutimi
\nPost-digital Circulationism. On- and Offline Intermedia Discourse in Contemporary Art and Scholarship<\/a><\/strong>
\nKatja KWASTEK, VU, University Amsterdam
\nDiscourse-analytical aesthetics for digital cultures<\/a><\/strong>
\nMartina LEEKER + Irina KALDRACK, Leuphana University
\nPractices and Languages of Art<\/a><\/strong>
\nSally Jane NORMAN, University of Sussex<\/p>\n

SESSION 2B<\/strong> PRACTICES: HISTORIES OF THE STUDIO LAB
\nMod. Michael CENTURY, Rensselaer Polytechnic Institute<\/p>\n

Fallout and Spinoffs: Commercializing the Art-Technology Movement<\/strong><\/a>
\nW. Patrick McCRAY, University of California at Santa Barbara
\nJozef Stanislaus Ostoja-Kotkowski, an Australian artist between Art, Industry, Science and the Academy.<\/a><\/strong>
\nMartyn JOLLY + Anthony OATES, Australian National University
\nMultimedia artists and fieldwork (1960-80s)<\/a><\/strong>
\nJelena MARTINOVIC, Geneva University of Art and Design<\/p>\n

SESSION 3A<\/strong> THEORIES: LIMITING THE ANTHROPOCENE
\nMod. Sally Jane NORMAN, University of Sussex<\/span><\/p>\n

End Time: Apocalyptic Systems in Media Art and Design<\/strong> <\/a>
\nKevin HAMILTON, University of Illinois at Urbana-Champaign + Orit HALPERN, The New School University
\nInstrumental Anthropocentrism: insects, sustainable culture and technological innovation<\/a><\/strong>
\nRoberta BUIANI, York University
\nCultural Software – Materiality and Abstraction in 60s art and technology<\/a><\/strong>
\nSimon PENNY, University of California at Irvine<\/span><\/p>\n

SESSION 3B<\/strong> RE-MAKING THE CRITICAL UNIVERSITY:
\nMEDIA LABS, MAKING, AND CRITICAL PRACTICE [PANEL]
\nMod. Nicholas BALAISIS, University of Waterloo<\/p>\n

The productive contradictions of critical making<\/a><\/strong>
\nMatt RATTO + Ginger COONS, University of Toronto
\nTechnoromantics, Maker Culture and Critical Neo-Luddism<\/a><\/strong>
\nMarcel O\u2019GORMAN, University of Waterloo
\nAudio Toy Box: Building customizable communication therapy toys using Radio Frequency Identification<\/a><\/strong>
\nOwen CHAPMAN + Eric POWELL, Concordia University<\/p>\n

SESSION 4A<\/strong> PIONEERING EXPERIENCES IN ART, SCIENCE
\nAND TECHNOLOGY IN LATIN AMERICA [PANEL] +
\nINTERDISCIPLINARY SITE
\nMod. Diana DOMINGUES, University of Bras\u00edlia – CNPq<\/p>\n

Fotoformas, 1949-1951: Photography and Algorithmic Devices, An Early Interaction.<\/strong><\/a>
\nAndr\u00e9s BURBANO, Universidad de los Andes
\nFranceso Mariotti: in pursuit of a hybrid ideal through art, media and nature<\/strong>
\nJos\u00e9-Carlos MARI\u00c1TEGUI, Alta Tecnolog\u00eda Andina
\nSighting Technology in Modern and Contemporary Latin American Art<\/strong>
\nMar\u00eda FERN\u00c1NDEZ, Cornell University
\nInterdisciplinaries Approaches to Second Order Cybernetics During the Early 70s in Chile: Artistic, Scientific and Techno\/Political Experiences.<\/a><\/strong>
\nMarcel VELASCO, Universidad de Chile<\/p>\n

SESSION 4B<\/strong> ARCHIVING FAILURE: FILM, HISTORY AND
\nUNFINISHED PROJECTS [PANEL]
\nMod. Orit HALPERN, The New School University<\/p>\n

Notebooks, raw film reels and ephemera as Research-creation (Process)<\/a><\/strong>
\nMonika Kin GAGNON, Concordia University
\nMechanography, Film and Education<\/a><\/strong>
\nMark HAYWARD, York University
\nRight before the first boom: The lost stereoscopy of Norman McLaren and the National Film Board of Canada<\/a><\/strong>
\nAlison Reiko LOADER, Concordia University
\nFilming Simondon: Cultural Hysteresis and Technological Humanism<\/a><\/strong>
\nGhislain THIBAULT, Wilfrid Laurier University<\/p>\n

07.11 Saturday\/samedi<\/strong><\/h2>\n

SESSION 5A<\/strong> MEDIA ARCHAEOLOGY AND HUMANITIES
\nLABS: CREATIVE KNOWLEDGE AND PRACTICE-BASED
\nTHEORY [PANEL]
\nMod. Jussi PARIKKA, University of Southampton<\/p>\n

Exhibition as Lab. Erkki Kurenniemi in 2048, Documenta 13<\/a><\/strong>
\nJoasia KRYSA, Liverpool John Moores University
\nMedia and Computer Archaeology at Humboldt University<\/strong><\/a>
\nStefan H\u00f6LTGEN, Humboldt University
\nThe Theory & Practice of Posthumanities in the Media Archaeology Lab<\/a><\/strong>
\nLori EMERSON, University of Colorado at Boulder
\nSituating the Media Archaeology Lab: Research, Art and the Public<\/a><\/strong>
\nJesper OLSSON, Link\u00f6ping University
\nMedia Archaeology and Humanities Labs: Creative Knowledge and Practice-Based Theory<\/a><\/strong>
\nDarren WERSHLER, Concordia University<\/p>\n

SESSION 5B<\/strong> PRACTICES: CURATING ALTERNATE HISTORIES
\nMod. Christiane PAUL, The New School University<\/p>\n

Ca-Re: Mapping and reactivating variable media artworks in the Latin American context<\/a><\/strong>
\nJo-Ana MORFIN + Fernando MONREAL, Escuela Nacional de Conservaci\u00f3n ENCRyM
\nImage-material-media – A philo-curatorial interrogation<\/a><\/strong>
\nSrajana KAIKINI, Manipal University
\nOn display : The history and representational politics of feminist new media and performance art<\/a><\/strong>
\nBarbara CLAUSEN, UQAM<\/p>\n

SESSION 6A<\/strong> THEORIES: OTHER SENSES
\nMod. Thierry BARDINI, Universit\u00e9 de Montreal<\/p>\n

Re-Habilitating Bacteria<\/a><\/strong>
\nJens HAUSER, University of Copenhagen
\nComing To Our Senses: A Report on the Sensory Turn in Curatorial and Media Art Practice<\/strong> <\/a>
\nDavid\u00a0HOWES, Concordia University
\nEdmund Carpenter\u2019s Experiments across Visual Anthropology and Critical Media Pedagogies<\/a><\/strong>
\nMichael DARROCH. University of Windsor
\nHart COHEN. University of Western Sydney
\nPaul HEYER, Wilfrid Laurier University<\/p>\n

SESSION 6B<\/strong> PRACTICES: CURATING AS RESEARCH
\nMod. Rebecca DUCLOS, Concordia University<\/p>\n

Virtual Volumes and Electric Choreographies Kinetic and Light Art in the David Bermant Collection<\/a><\/strong>
\nChristiane PAUL, The New School University
\nSound Citizen: Curating Sound Art in Public Spaces<\/a><\/strong>
\nMorten S\u00f8NDERGAARD, Aalborg University
\nProjection Studies<\/a><\/strong>
\nGabriel MENOTTI, Universidade Federal do Esp\u00edrito Santo
\nNew Media Curating : Sound as a Technological Medium<\/a><\/strong>
\nLaura Plana GRACIA, University of Sunderland<\/p>\n

SESSION 7A<\/strong> METHODS: INTERDISCIPLINARY IMBROGLIO
\nMod. Chris SALTER, Concordia University<\/p>\n

The Co-production of Art: Collaborations between artists, scientists and engineers in Sweden, 1967-2009
\n<\/a><\/strong>Anna ORRGHEN, Uppsala University
\n<\/span>Armonica\/Automaton: Media Archaeologies of Affective Programming
\n<\/a><\/strong>Alison De FREN, Occidental College, Los Angeles
\n<\/span>Writing on sound\/writing with sound: intersection between sound art practice and research in sound studies Budhaditya
\n<\/a><\/strong>CHATTOPADHYAY, University of Copenhagen<\/span><\/p>\n

SESSION 7B<\/strong> PRACTICES: TACTICS, ETHNICITIES, MATTERS
\nMod. Monika Kin GAGNON, Concordia University<\/p>\n

Tactical media in the age of communicative capitalism \u2013 closed story, unfinished project or current alternative?<\/a><\/strong>
\nMaciej OZOG, University of Lodz
\nMatter and Thought: Gordon Pask\u2019s Practice-Based Research<\/strong>
\nMar\u00eda FERN\u00c1NDEZ, Cornell University
\nIntersectionality and New Media Art: Your Ethnic Apparel is Still Downloading<\/a><\/strong>
\nAlice Ming Wai JIM, Concordia University<\/p>\n

08.11 Sun\/dim<\/strong><\/h2>\n

SESSION 8A<\/strong> PRACTICES: DIFFERENTIAL SITES
\nMod. \u00c9ric LETOURNEAU, UQAM<\/p>\n

On A Critical History of Media Art in Japan (2014)<\/a><\/strong>
\nJung-Yeon MA, Tokyo University of the Arts
\nA Brief (Media) History of the Indigenous Future<\/a><\/strong>
\nJason Edward LEWIS, Concordia University & Aboriginal Territories in Cyberspace
\nDigital Art History, 56\u00b056\u201951\u201d N 24\u00b06\u201923\u201dE<\/a><\/strong>
\nSolvita ZARINA, University of Latvia
\nInternational Networks of Early Digital Arts<\/a><\/strong>
\nDarko FRITZ, Zagreb<\/p>\n

SESSION 8B<\/strong> INTERDISCIPLINARITY: CIRCUIT BREAKDOWN Mod. TBA \/ \u00c0 VENIR<\/p>\n

Slow-Scan TV Art; Revisited\/Revived<\/strong> <\/a>
\nPatrick LICHTY, American University of Sharjah
\nPsychedelic Circuitry 1880\u20131980. Signals between Esotericism, New Religions, Engineering and Art \u2013 Their Potentials of Positive Diffraction Today<\/strong> <\/a>
\nShintaro MIYAZAKI, University of Applied Sciences and Arts Northwestern Switzerland
\nChroma Glitch: Datamosh for Digital Video<\/strong>
\nCarolyn L. KANE, Ryerson University<\/p>\n

SESSION 9<\/strong> TRAJECTORIES : CHALLENGES, BEST PRACTICES, AND THE <\/a>
\nFUTURE OF TRANSDICIPLINARY COLLABORATION IN MEDIA ART, SCIENCE <\/a>
\nAND TECHNOLOGY [PANEL]
\n<\/a>Mod. Louise POISSANT, FRQSC
\nRuth WEST, University of North Texas
\nRoger MALINA, University of Texas
\nSara DIAMOND, OCAD University
\nFran\u00e7ois-Joseph LAPOINTE, Universit\u00e9 de Montr\u00e9al<\/p>\n","protected":false},"excerpt":{"rendered":"

Download Media Art Histories Conference\u00a0Programme PDFs Schedule\u00a0version 30.10.2015 Poster Abstracts\u00a0version 30.10.2015 Emerging Researchers’ Symposium Programme\u00a0here 04.11 Wed\/mer SESSION 1 CONCEPTS IN PRACTICE Mod. Alice MING WAI JIM, Concordia University Harold Innis\u2019s Proto-Media Archaeology Liam COLE YOUNG, Trent University Infolding the Self: From Video Therapy to Video Art Peter SACHS COLLOPY, University of Southern California Pr\u00e9servation et arch\u00e9ologie des m\u00e9dia: importance de la r\u00e9tro ing\u00e9nierie dans la reconstruction arch\u00e9ologique d\u2019\u0153uvres d\u2019art \u00e0 composante technologique Morgane STRICOT, \u00c9cole Sup\u00e9rieure d\u2019Art d\u2019Avignon SESSION 2 SENSING THE BODY Mod. Ryszard W. KLUSZCZYNSKI, University of Lodz Henry Cowell and Dr. and Mrs Dower\u2019s \u201cTonal Therapy\u201d Pia VAN GELDER, University of New South Wales An Improper Materialism: On Aesthesis, Synesthesia, and the Digital Ashley SCARLETT, University of Toronto Aphasic Aesthetics: Thinking with the Body across Disability Studies, Media Art and Phenomenology Megan TOYE, York University SESSION 3 MOVING THE ACADEMIC Mod. Louis-Claude PAQUIN, UQAM Synartesis: An Experiment in Inter-Chronological and Trans-Historical Teaching and Research Allison LEIGH, The Cooper Union for the Advancement of Science and Art Recherche-cr\u00e9ation dans les \u00e9coles d\u2019art et institutions fran\u00e7aises Lucile HAUTE, Ensad + Universit\u00e9 de Valenciennes et du Hainaut-Cambr\u00e9sis La recherche-cr\u00e9ation \u00e0 l\u2019universit\u00e9 : cadrage sociohistorique et enjeux d\u2019un nouveau type de recherche Chantal PROVOST, UQAM SESSION 4 POWERS IN ACTION Mod. TBA \/ \u00c0 VENIR Remembering the Future of the Indigenous Internet Mikhel PROULX, Concordia University Entendre la guerre, \u00e9prouver le temps : l\u2019exp\u00e9rience sonore dans Starry Night (2006) de Mazen Kerbaj Mirna BOYADJIAN, UQAM Sensory Vantage Points: Examining Habitual addresses to Digital Media in NYC Public Spaces Bria COLE, The New School SESSION 5 MOBILIZING THE INSTITUTION Mod. Margr\u00e9t El\u00edsabet \u00d3LAFSD\u00d3TTIR, University of Akureyri Recalling Renegade Library and other Social Practice Methodologies from the late 1990s Lois KLASSEN, Queen\u2019s University \u2018The Arts Make Us Richer\u2019\u2122: Propertization of Digital Art Using Cryptocurrency Technologies Martin ZEILINGER, Anglia Ruskin University Construction d\u2019une image globale par les mus\u00e9es : institutions mus\u00e9ales et entreprises dans les ann\u00e9es 1990 Karine L\u00c9ONARD BROUILLET, Universit\u00e9 de Montr\u00e9al Curating Humanism: Negotiating the Politics of New Media, 1965\/2015 Tina RIVERS RYAN, Columbia University 05.11Thu\/jeu OPENING ADDRESS\/DISCOURS D\u2019OUVERTURE Chris SALTER, Concordia University Oliver GRAU, Media Art Histories, Danube University SESSION 1 SETTING THE STAGE: OVERVIEW AND PRECEDENTS Simultaneous translation\/Traduction simultan\u00e9e \u201cPathways to Innovation in Digital Culture\u201d Revisited Michael CENTURY, Rensselaer Polytechnic Institute Regard transversal sur des pratiques inter- et trans Louise POISSANT, FRQSC Transdisciplinary experimentation and ontological change: an ethnography of art-science Georgina BORN, Oxford University Weaving Strands: Research-creation practices in universities, cultural institutions and artist-run culture in Montreal Cheryl SIM, DHC\/ART Foundation for Contemporary Art + Gis\u00e8le TRUDEL, UQAM 06.11 Friday\/vendredi SESSION 2A METHODOLOGICAL ENTANGLEMENTS Mod. Georgina BORN, Oxford University & Oslo University Simultaneous translation\/Traduction simultan\u00e9e La m\u00e9thode de Pierre Schaeffer Yan BREULEUX, Universit\u00e9 du Qu\u00e9bec \u00e0 Chicoutimi Post-digital Circulationism. On- and Offline Intermedia Discourse in Contemporary Art and Scholarship Katja KWASTEK, VU, University Amsterdam Discourse-analytical aesthetics for digital cultures Martina LEEKER + Irina KALDRACK, Leuphana University Practices and Languages of Art Sally Jane NORMAN, University of Sussex SESSION 2B PRACTICES: HISTORIES OF THE STUDIO LAB Mod. Michael CENTURY, Rensselaer Polytechnic Institute Fallout and Spinoffs: Commercializing the Art-Technology Movement W. Patrick McCRAY, University of California at Santa Barbara Jozef Stanislaus Ostoja-Kotkowski, an Australian artist between Art, Industry, Science and the Academy. Martyn JOLLY + Anthony OATES, Australian National University Multimedia artists and fieldwork (1960-80s) Jelena MARTINOVIC, Geneva University of Art and Design SESSION 3A THEORIES: LIMITING THE ANTHROPOCENE Mod. Sally Jane NORMAN, University of Sussex End Time: Apocalyptic Systems in Media Art and Design Kevin HAMILTON, University of Illinois at Urbana-Champaign + Orit HALPERN, The New School University Instrumental Anthropocentrism: insects, sustainable culture and technological innovation Roberta BUIANI, York University Cultural Software – Materiality and Abstraction in 60s art and technology Simon PENNY, University of California at Irvine SESSION 3B RE-MAKING THE CRITICAL UNIVERSITY: MEDIA LABS, MAKING, AND CRITICAL PRACTICE [PANEL] Mod. Nicholas BALAISIS, University of Waterloo The productive contradictions of critical making Matt RATTO + Ginger COONS, University of Toronto Technoromantics, Maker Culture and Critical Neo-Luddism Marcel O\u2019GORMAN, University of Waterloo Audio Toy Box: Building customizable communication therapy toys using Radio Frequency Identification Owen CHAPMAN + Eric POWELL, Concordia University SESSION 4A PIONEERING EXPERIENCES IN ART, SCIENCE AND TECHNOLOGY IN LATIN AMERICA [PANEL] + INTERDISCIPLINARY SITE Mod. Diana DOMINGUES, University of Bras\u00edlia – CNPq Fotoformas, 1949-1951: Photography and Algorithmic Devices, An Early Interaction. Andr\u00e9s BURBANO, Universidad de los Andes Franceso Mariotti: in pursuit of a hybrid ideal through art, media and nature Jos\u00e9-Carlos MARI\u00c1TEGUI, Alta Tecnolog\u00eda Andina Sighting Technology in Modern and Contemporary Latin American Art Mar\u00eda FERN\u00c1NDEZ, Cornell University Interdisciplinaries Approaches to Second Order Cybernetics During the Early 70s in Chile: Artistic, Scientific and Techno\/Political Experiences. Marcel VELASCO, Universidad de Chile SESSION 4B ARCHIVING FAILURE: FILM, HISTORY AND UNFINISHED PROJECTS [PANEL] Mod. Orit HALPERN, The New School University Notebooks, raw film reels and ephemera as Research-creation (Process) Monika Kin GAGNON, Concordia University Mechanography, Film and Education Mark HAYWARD, York University Right before the first boom: The lost stereoscopy of Norman McLaren and the National Film Board of Canada Alison Reiko LOADER, Concordia University Filming Simondon: Cultural Hysteresis and Technological Humanism Ghislain THIBAULT, Wilfrid Laurier University 07.11 Saturday\/samedi SESSION 5A MEDIA ARCHAEOLOGY AND HUMANITIES LABS: CREATIVE KNOWLEDGE AND PRACTICE-BASED THEORY [PANEL] Mod. Jussi PARIKKA, University of Southampton Exhibition as Lab. Erkki Kurenniemi in 2048, Documenta 13 Joasia KRYSA, Liverpool John Moores University Media and Computer Archaeology at Humboldt University Stefan H\u00f6LTGEN, Humboldt University The Theory & Practice of Posthumanities in the Media Archaeology Lab Lori EMERSON, University of Colorado at Boulder Situating the Media Archaeology Lab: Research, Art and the Public Jesper OLSSON, Link\u00f6ping University Media Archaeology and Humanities Labs: Creative Knowledge and Practice-Based Theory Darren WERSHLER, Concordia University SESSION 5B PRACTICES: CURATING ALTERNATE HISTORIES Mod. Christiane PAUL, The New School University Ca-Re: Mapping and reactivating variable media artworks in the Latin American context Jo-Ana MORFIN + Fernando MONREAL, Escuela Nacional de Conservaci\u00f3n ENCRyM Image-material-media – A philo-curatorial interrogation Srajana KAIKINI, Manipal University On display : The history […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1375,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/1935"}],"collection":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1935"}],"version-history":[{"count":159,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/1935\/revisions"}],"predecessor-version":[{"id":2304,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/1935\/revisions\/2304"}],"up":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/1375"}],"wp:attachment":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1935"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}