Adam Lauder <\/strong>est boursier postdoctoral du CRSH \u00e0 l’Universit\u00e9 York de Toronto. Il a obtenu un doctorat du D\u00e9partmement des \u00e9tudes sup\u00e9rieures en arts de l\u2019Universit\u00e9 de Toronto \u00e0 l\u2019automne 2016. Ses recherches actuelles utilisent l\u2019esth\u00e9tique non standard de Laruelle pour \u00e9tudier l’art de l’information canadien dans les ann\u00e9es 1970, alors que les artistes ont commenc\u00e9 \u00e0 explorer de nouveaux cadres scientifiques et de nouvelles modalit\u00e9s de \u00ab fiction \u00bb. Il a contribu\u00e9 \u00e0 des revues savantes, dont Amodern<\/em>, Art Documentation<\/em>, Canadian Journal of Communication<\/em>, Future Anterior<\/em>, Imaginations<\/em>, Journal of Canadian Studies<\/em>, Technoetic Arts<\/em>, The Journal of Canadian Art History<\/em>, TOPIA<\/em> et Visual Resources<\/em>. Il a aussi publi\u00e9 des textes plus courts dans des revues comme Art Handler<\/em>, Border Crossings<\/em>, C<\/em>, Canadian Art<\/em>, e-flux<\/em>, Flash Art<\/em>, Hunter and Cook<\/em> et Millions<\/em>. Il a \u00e9dit\u00e9 H& IT ON<\/em> (YYZ, 2012), mettant en vedette l’art original de l’artiste pionnier de l’information IAIN BAXTER&, et est l’auteur de chapitres apparaissant dans Finding McLuhan<\/em> (2015), The Logic of Nature, The Romance of Space<\/em> (2010), de m\u00eame que Byproduct: On the Excess of Embedded Art Practices<\/em> (2010).<\/p>\n Adam Lauder <\/strong>is a SSHRC Postdoctoral Fellow at York University in Toronto. He obtained a Ph.D. from the Graduate Department of Art at the University of Toronto in Fall 2016. His current research employs the non-aesthetics of Laruelle to study Canadian information art in the 1970s, as artists began exploring new scientific frameworks and modalities of \u201cfiction.\u201d He has contributed articles to scholarly journals including Amodern<\/em>, Art Documentation<\/em>, Canadian Journal of Communication<\/em>, Future Anterior<\/em>, Imaginations<\/em>, Journal of Canadian Studies<\/em>, Technoetic Arts<\/em>, The Journal of Canadian Art History<\/em>, TOPIA<\/em> and Visual Resources<\/em> as well as features and shorter texts to magazines including Art Handler<\/em>, Border Crossings<\/em>, C<\/em>, Canadian Art<\/em>, e-flux<\/em>, Flash Art<\/em>, Hunter and Cook<\/em> and Millions<\/em>. He edited H& IT ON<\/em> (YYZ, 2012), featuring original art by the pioneering information artist IAIN BAXTER&, and is the author of chapters appearing in Finding McLuhan<\/em> (2015), The Logic of Nature, The Romance of Space<\/em> (2010) as well as Byproduct: On the Excess of Embedded Art Practices<\/em> (2010).<\/p>\n Jaqueline McLeod Rogers<\/strong> (Ph. D.) est professeure et pr\u00e9sidente du D\u00e9partement de rh\u00e9torique, de r\u00e9daction et de communications de l’Universit\u00e9 de Winnipeg. Elle a publi\u00e9 plusieurs articles sur le lieu et l’espace urbains, dont une collaboration parue r\u00e9cemment sur le Mus\u00e9e canadien des droits de la personne (MCDP) dans TOPIA<\/em>, ainsi qu\u2019un chapitre dans Environmental Rhetoric and Ecologies of Place<\/em> (2013). Elle publie \u00e9galement des articles sur les femmes et Internet qui explorent la rh\u00e9torique f\u00e9ministe et num\u00e9rique. Elle a contribu\u00e9 \u00e0 l’article \u00ab McLuhan and the City \u00bb, \u00e0 une collection de nouveaux essais qu’elle a codirig\u00e9s, Finding McLuhan <\/em>(2015), et publi\u00e9 \u00ab Self and the City: Teaching Sensory Perception and Integration in City as Classroom<\/em> \u00bb dans Explorations in Media Ecology<\/em> (2016). Elle pr\u00e9pare actuellement des chapitres pour une monographie sur la ville de McLuhan.<\/p>\n Jaqueline McLeod Rogers<\/strong> (Ph. D.) is professor and chair in the Department of Rhetoric, Writing and Communications at The University of Winnipeg. She has published several articles about urban place and space\u2014a recent co-authored article about the Canadian Museum for Human Rights (CMHR) in TOPIA<\/em> and a chapter in Environmental Rhetoric and Ecologies of Place<\/em> (2013). She also publishes articles about women and the internet that explore feminist and digital rhetorics. She contributed the article \u201cMcLuhan and the City\u201d to a collection of new essays she co-edited, Finding McLuhan <\/em>(2015) and published \u201cSelf and the City: Teaching Sensory Perception and Integration in City as Classroom\u201d <\/em>in Explorations in Media Ecology<\/em> (2016). She is currently preparing chapters for a Monograph about McLuhan\u2019s city.<\/p>\n Kenneth R. Allan <\/strong>enseigne au D\u00e9partement des arts de l’Universit\u00e9 de Lethbridge. Ses publications incluent : \u00ab Marshall McLuhan and the Counterenvironment: \u2018The Medium is the Massage\u2019 \u00bb dans Art Journal<\/em>, vol. 73, no. 4 (2014), \u00ab Barnett Newman\u2019s The Wild<\/em>: Painting as Spatial Intervention \u00bb dans October<\/em>, no. 143 (2013), et \u00ab Metamorphosis in 391<\/em>: A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie \u00bb dans Art History<\/em>, vol. 34, no. 1 (2011).<\/p>\n Kenneth R. Allan <\/strong>teaches in the Department of Art at the University of Lethbridge. His writings include: \u201cMarshall McLuhan and the Counterenvironment: \u2018The Medium is the Massage,\u2019\u201d Art Journal<\/em>, vol. 73, no. 4 (2014); \u201cBarnett Newman\u2019s The Wild<\/em>: Painting as Spatial Intervention,\u201d October<\/em>, no. 143 (2013); and \u201cMetamorphosis in 391<\/em>: A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie,\u201d Art History<\/em>, vol. 34, no. 1 (2011).<\/p>\n Adina Balint<\/strong>, professeure agr\u00e9g\u00e9e \u00e0 l\u2019Universit\u00e9 de Winnipeg, travaille sur les litt\u00e9ratures fran\u00e7aise et francophone des 20e<\/sup> et 21e<\/sup> si\u00e8cles, particuli\u00e8rement sur la po\u00e9tique de la cr\u00e9ation et les dynamiques inter et transculturelles. Elle est l\u2019auteure d\u2019une monographie intitul\u00e9e Le processus de cr\u00e9ation dans l\u2019\u0153uvre de J.M.G. Le Cl\u00e9zio<\/em> (Rodopi\/Brill, 2016) et de plusieurs articles sur des \u00e9crivains d\u2019Europe et du Canada (N. Huston, A. Nothomb, S. Kokis, R. Robin, P.K. Page, etc.).<\/p>\n Adina Balint<\/strong> is Associate Professor of French at The University of Winnipeg. Her field of research is 20th<\/sup> and 21st<\/sup>-century French and Francophone literature, with an emphasis on the poetics of creation and on transculturalism. She is the author of the monograph Le Processus de cr\u00e9ation dans l\u2019\u0153uvre de J.M.G. Le Cl\u00e9zio<\/em> (Rodopi\/Brill, 2016), and of several scientific articles on European and Canadian writers (N. Huston, A. Nothomb, S. Kokis, R. Robin, P.K. Page, etc.).<\/p>\n Jody Berland <\/strong>est professeure au D\u00e9partement des sciences humaines et aux programmes d’\u00e9tudes sup\u00e9rieures en communication et culture, sciences humaines, sciences et technologie, et pens\u00e9e sociale et politique, \u00e0 Universit\u00e9 York de Toronto. Elle est l\u2019auteure de plus de 50 articles et chapitres de livres sur les processus de m\u00e9diation impliquant la musique, la technologie, la culture, le lieu et la nature. Son prochain livre, Virtual Menageries in Network Cultures<\/em> (MIT Press, Leonardo Books 2018), retrace le r\u00f4le de la m\u00e9diation animale depuis le d\u00e9but du commerce colonial jusqu\u2019aux nouvelles technologies connectives. Son livre North of Empire: Essays on Cultural Technologies and the Production of Space<\/em> (Duke University Pres 2009) a re\u00e7u en 2010 le prix litt\u00e9raire G.J. Robinson de l\u2019Association canadienne de communication. Berland est chercheuse principale du projet \u00ab Digital Animalities: Media Representations of Nonhuman Life in the Age of Risk \u00bb, financ\u00e9 par le CRSH. Elle est aussi professeure invit\u00e9e au Centre for Human Animal Studies \u00e0 l’universit\u00e9 Edge Hill au Royaume-Uni. Elle est r\u00e9dactrice \u00e9m\u00e9rite de TOPIA<\/em>: Canadian Journal of Cultural Studies<\/em>, et a supervis\u00e9 de nombreux m\u00e9moires et th\u00e8ses.<\/p>\n Jody Berland<\/strong> is Professor, Department of Humanities, and Graduate Programs in Communication and Culture, Humanities, Science and Technology Studies and Social and Political Thought, York University, Toronto, Canada. She has written more than 50 articles and book chapters on processes of mediation involving music, technology, culture, place, and nature. Her forthcoming book, Virtual Menageries in Network Cultures<\/em> (MIT Press, Leonardo Books 2018) traces the role of animal mediation from early colonial trade to new connective technologies. Her book North of Empire: Essays on Cultural Technologies and the Production of Space<\/em> (Duke University Pres 2009) was awarded the Canadian Communication Association\u2019s G.J. Robinson book prize in 2010. Berland is Principle Investigator of the SSHRC funded project, \u201cDigital Animalities: Media Representations of Nonhuman Life in the Age of Risk\u201d and Visiting Professor, Centre for Human Animal Studies, Edge Hill University, UK. She is Editor Emerita of TOPIA: Canadian Journal of Cultural Studies, <\/em>and has supervised many theses and dissertations.<\/p>\n May Chew <\/strong>a re\u00e7u son doctorat en \u00e9tudes culturelles de l’Universit\u00e9 Queen\u2019s, o\u00f9 sa recherche a examin\u00e9 l’utilisation des technologies interactives et immersives dans divers lieux mus\u00e9ologiques \u00e0 travers le Canada, et comment celles-ci facilitent la pratique mat\u00e9rielle de la citoyennet\u00e9 nationale et culturelle. Elle est actuellement boursi\u00e8re postdoctorale MITACS au Sensorium Centre for Digital Arts de l’Universit\u00e9 York. Chew collabore \u00e0 Houses on Pengarth, un projet de recherche et de conservation ax\u00e9 sur le d\u00e9veloppement, dans la communaut\u00e9 de Lawrence Heights \u00e0 Toronto, d’un laboratoire d’art exp\u00e9rimental engag\u00e9 socialement. Son travail r\u00e9cent appara\u00eet dans l’anthologie Material Cultures in Canada<\/em>, International Journal of Heritage Studies<\/em>, et un num\u00e9ro \u00e0 para\u00eetre du Journal of Canadian Art History<\/em>. Chew enseigne actuellement au Cinema Studies Institute de l’Universit\u00e9 de Toronto. Elle est \u00e9galement r\u00e9dactrice en chef de la revue PUBLIC: Art\/Culture\/Ideas<\/em>.<\/p>\n May Chew<\/strong> received her Doctorate in Cultural Studies from Queen\u2019s University, where her research examined the uses of interactive and immersive technologies in diverse museological sites across Canada, and how these facilitate the material practice of nation and cultural citizenship. She is currently a MITACS Postdoctoral Fellow at York University\u2019s Sensorium Centre for Digital Arts. Chew collaborates on Houses on Pengarth, a research and curation project centred on developing a socially-engaged, experimental art lab in Toronto\u2019s Lawrence Heights community. Her recent work appears in the anthology Material Cultures in Canada<\/em>, the International Journal of Heritage Studies<\/em> and an upcoming issue of the Journal of Canadian Art History<\/em>. Chew currently teaches in the Cinema Studies Institute at the University of Toronto. She also serves as Managing Editor for the journal, PUBLIC: Art\/Culture\/Ideas<\/em>.<\/p>\n Gary Genosko <\/strong>est professeur de communication et d’\u00e9tudes sur les m\u00e9dias num\u00e9riques \u00e0 l’Institut universitaire de technologie de l’Ontario \u00e0 Oshawa, en Ontario. Son livre The Reinvention of Social Practices: Essays on F\u00e9lix Guattari<\/em> est actuellement sous presse avec Rowman & Littlefield. Il a r\u00e9cemment termin\u00e9 le manuscrit d\u2019un livre sur le r\u00f4le des revues ind\u00e9pendantes : Back Issues: Journals and Formation of Critical and Cultural Theory in Canada and the US<\/em>.<\/p>\n Gary Genosko<\/strong> is Professor of Communication and Digital Media Studies at the University of Ontario Institute of Technology in Oshawa, Ontario. His book The Reinvention of Social Practices: Essays on F\u00e9lix Guattari <\/em>is in press with Rowman & Littlefield. He recently completed a book manuscript on the role of independent journals, Back Issues: Journals and Formation of Critical and Cultural Theory in Canada and the US<\/em>.<\/p>\n Jessica Jacobson-Konefall <\/strong>(Ph. D.) est chercheuse postdoctorale du CRSH \u00e0 l’Universit\u00e9 de Toronto, au D\u00e9partement d’histoire de l’art. Son travail porte sur l’art \u00e9cologique et la citoyennet\u00e9 environnementale au Canada (2017-2019). Elle a compl\u00e9t\u00e9 son doctorat \u00e0 l’Universit\u00e9 Queen\u2019s \u00e0 l’automne 2015 (2011-2015) et a \u00e9t\u00e9 chercheuse postdoctorale au Centre for Globalization and Cultural Studies de l’Universit\u00e9 du Manitoba (2016-2017). Elle enseigne \u00e0 l’Universit\u00e9 de Winnipeg et \u00e0 l’Universit\u00e9 du Manitoba (2010-) et travaille comme assistante et archiviste aupr\u00e8s des artistes Rebecca Belmore et Osvaldo Yero (2014-). Elle travaille actuellement sur une monographie avec la conservatrice crie Daina Warren : Indigenous New Media Arts: Translocal Cosmologies <\/em>(McGill-Queen’s University Press, en cours). Son travail est publi\u00e9 dans de nombreuses anthologies universitaires et revues.<\/p>\n Dr. Jessica Jacobson-Konefall<\/strong> is a SSHRC postdoctoral research fellow at the University of Toronto, in the Department of History of Art. Her work focuses on eco art and ecological citizenship in Canada (2017-19). She completed her PhD at Queen’s University in fall 2015 (2011-15), and was formerly a postdoctoral research fellow at the University of Manitoba, Centre for Globalization and Cultural Studies (2016-17). She teaches at the University of Winnipeg and University of Manitoba (2010-) and works as assistant and archivist to artists Rebecca Belmore and Osvaldo Yero (2014-). She is currently working on a monograph with Cree curator Daina Warren, Indigenous New Media Arts: Translocal Cosmologies (<\/em>McGill-Queen’s University Press; in process). Her work is published in numerous scholarly anthologies and journals. <\/strong><\/p>\n Alexander Kuskis<\/strong>, Ph. D. (Toronto) a connu des carri\u00e8res dans les secteurs de l’enseignement sup\u00e9rieur et de la communication, en particulier dans la l\u2019\u00e9dition de livres, l’informatique, et la formation aux logiciels et \u00e0 l\u2019informatique. Il a enseign\u00e9 aux universit\u00e9s de Toronto, du Manitoba, Wilfrid-Laurier, et en ligne pour Connected University et l\u2019Universit\u00e9 Royal Roads. Il a \u00e9galement travaill\u00e9 comme consultant en formation en ligne et il enseigne actuellement en ligne des cours de communication pour l’Universit\u00e9 Gonzaga. Ses int\u00e9r\u00eats acad\u00e9miques incluent l’\u00e9cologie des m\u00e9dias, Marshall McLuhan et l\u2019\u00e9cole de communication de Toronto, la communication assist\u00e9e par ordinateur, et l’histoire de la communication. Ses recherches portent sur Marshall McLuhan en tant qu’\u00e9ducateur et il publie le blogue McLuhan Galaxy \u00e0 l’adresse https:\/\/mcluhangalaxy.wordpress.com\/<\/a>.<\/p>\n Alexander Kuskis<\/strong>, PhD (Toronto) has enjoyed careers in both higher education and communication industries, specifically book publishing, computing, software and IT training. He has taught at the Universities of Toronto, Manitoba and Wilfrid Laurier and online for Connected University and Royal Roads University. He has also worked as an e-learning consultant and presently teaches online communication courses for Gonzaga University. His academic interests include media ecology, Marshall McLuhan and the Toronto School of Communication, computer-mediated communication and communication history. His research focuses on Marshall McLuhan as an educationist and he publishes the McLuhan Galaxy blog at https:\/\/mcluhangalaxy.wordpress.com\/<\/a>.<\/p>\n Elena Lamberti <\/strong>enseigne la litt\u00e9rature nord-am\u00e9ricaine et les \u00e9tudes des m\u00e9dias au D\u00e9partement des langues, litt\u00e9ratures et cultures modernes de l’Universit\u00e9 de Bologne. Ses domaines de recherche incluent : le modernisme anglo-am\u00e9ricain, la litt\u00e9rature et la technologie, la m\u00e9moire culturelle, et la litt\u00e9rature de guerre. Elle a publi\u00e9 plusieurs essais sur le modernisme anglais et anglo-am\u00e9ricain (Ford, Joyce, Pound, Hemingway), ainsi que sur la culture anglo-canadienne de la fin du XXe si\u00e8cle (Coupland, Cronenberg, McLuhan). Elle est l’auteure du volume prim\u00e9 Marshall McLuhan: Tra letteratura, arti e media<\/em> (Mondadori, 2000), auteure de The transatlantic review: Note sulla rivista che traghett\u00f2 gli Yankees in Europa<\/em> (Asterisco, 2012), directrice de Interpreting\/Translating European Modernism <\/em>(Compositori, 2001), et co-directrice de divers volumes dont Ford Madox Ford and The Republic of Letters<\/em> (CLUEB 2002) et Memories and Representations of War in Europe <\/em>(Rodopi, 2009). Son volume Marshall McLuhan\u2019s Mosaic. Probing the Literary Origins of Media Studies<\/em> (U of T Press, 2012) a \u00e9t\u00e9 finaliste des Prix du Canada en 2013 et a re\u00e7u le Marshall McLuhan Award for Outstanding Book in the Field of Media Ecology en 2016. Elle coordonne le projet culturel UE \/ Canada \u00ab PERFORMIGRATIONS : les gens sont le territoire \u00bb (www.performigrations.eu<\/a>), qui explore le th\u00e8me de la \u00ab mobilit\u00e9 \u00bb (\u00e0 la fois culturelle et technologique), ainsi que le projet UNIBO \u00ab Performative Storytelling & Civic Engagement \u00bb. Elle si\u00e8ge au conseil d’administration du programme de deuxi\u00e8me cycle de \u00ab Communication historique \u00bb de l’Universit\u00e9 de Bologne, au conseil d’administration de l\u2019Association italienne d’\u00e9tudes canadiennes (AISC), ainsi que sur plusieurs comit\u00e9s \u00e9ditoriaux et scientifiques (Explorations in Media Ecology<\/em>, Wi: Journal of Mobile Media<\/em>, et The International Journal of McLuhan Studies<\/em>).<\/p>\n Elena Lamberti<\/strong> teaches North American Literature and Media Studies at the Department of Modern Languages, Literatures and Cultures at the University of Bologna. Her areas of research include: Anglo-American Modernism, Literature and Technology, Cultural Memory, War Literature. She has published several essays on English and Anglo-American Modernism (Ford, Joyce, Pound, Hemingway), as well as Anglo-Canadian culture of the late 20th<\/sup> Century (Coupland, Cronenberg, McLuhan). She is the author of the award winning volume Marshall McLuhan: Tra letteratura, arti e media<\/em> (Mondadori, 2000); author of \u201cthe transatlantic review\u201d: Note sulla rivista che traghett\u00f2 gli Yankees in Europa<\/em> (Asterisco, 2012), editor of Interpreting\/Translating European Modernism <\/em>(Compositori, 2001); co-editor of various volumes including Ford Madox Ford and The Republic of Letters<\/em> (CLUEB 2002); Memories and Representations of War in Europe <\/em>(Rodopi, 2009). Her volume Marshall McLuhan\u2019s Mosaic. Probing the Literary Origins of Media Studies<\/em> (U of T Press, 2012) was a finalist for the 2013 Canada Prizes and received the 2016 Media Ecology Award – Marshall McLuhan Award for Outstanding Book in the Field of Media Ecology. She coordinates the EU\/Canada Cultural Project \u201cPERFORMIGRATIONS: People Are the Territory\u201d (www.performigrations.eu<\/a>) investigating shifting ideas on\/of \u2018mobility\u2019 (both cultural and technological); as well as the UNIBO project on \u201cPerformative Storytelling & Civic Engagement\u201d. She serves in: Board of Directors, Master Program on \u2018Historical Communication\u2019, University of Bologna; Board of Directors, AISC \u2013 Italian Association for Canadian Studies; as well as in diverse Editorial and Scientific Boards (Explorations in Media Ecology<\/em>; Wi: Journal of Mobile Media<\/em>; The International Journal of McLuhan Studies<\/em>).<\/p>\n Tom McGlynn <\/strong>est un artiste, \u00e9crivain et conservateur ind\u00e9pendant \u00e9tabli dans la r\u00e9gion de New York. Son travail d’art visuel est repr\u00e9sent\u00e9 dans les collections permanentes du Whitney Museum, du Museum of Modern Art, et du Cooper-Hewitt, Smithsonian Design Museum. Son travail et son \u00e9criture critique ont \u00e9t\u00e9 publi\u00e9s, entre autres, dans Artforum<\/em> et &&& Journal<\/em>. Il collabore \u00e0 The Brooklyn Rail<\/em> depuis 2012 en tant qu\u2019\u00e9ditorialiste et il est affili\u00e9 \u00e0 Parson\/The New School, NY. En septembre et octobre 2017, le Rick Wester Fine Arts, NY, a pr\u00e9sent\u00e9 une exposition solo de ses peintures.<\/p>\n Tom McGlynn<\/strong> is an artist, writer, and independent curator based in the NYC area. His visual art work is represented in the permanent collections of the Whitney Museum, The Museum of Modern Art, and The Cooper- Hewitt National Design Museum of the Smithsonian. His work and critical writing has been published in Artforum<\/em>, <\/em>and in &&& Journal <\/em>among other publications. <\/em>He has been a contributor to The Brooklyn Rail<\/em> since 2012, where he is an editor at large, and is academically affiliated with Parsons\/ The New School, NYC. In Sept-Oct 2017, a recent one- person exhibition of his paintings were shown at Rick Wester Fine Arts , NYC.<\/p>\n Mohammad Salemy <\/strong>est un artiste, critique et conservateur ind\u00e9pendant \u00e9tabli \u00e0 New York. Il poss\u00e8de une ma\u00eetrise en \u00e9tudes critiques en conservation de l’Universit\u00e9 de la Colombie-Britannique. Il a montr\u00e9 ses \u0153uvres dans Home Works 7 d’Ashkal Alwan (Beyrouth) et Witte de With (Rotterdam). Ses \u00e9crits ont \u00e9t\u00e9 publi\u00e9s dans e-flux<\/em>, Flash Art<\/em>, Third Rail<\/em> et Brooklyn Rail<\/em>, et il a pr\u00e9par\u00e9 des expositions \u00e0 la Morris and Helen Belkin Art Gallery, Access Gallery, et Satellite Gallery \u00e0 Vancouver ainsi qu’\u00e0 tranzitdisplay \u00e0 Prague. En 2014, il a organis\u00e9 la conf\u00e9rence Incredible Machines. L\u2019exp\u00e9rimentation de conservation \u00ab For Machine Use Only \u00bb de Salemy a \u00e9t\u00e9 incluse dans la 11e \u00e9dition de la Biennale de Gwangju (2016). Il codirige actuellement les programmes d’\u00e9ducation au New Centre for Research & Practice.<\/p>\n Mohammad Salemy <\/strong>is an independent New York based artist, critic, and curator who holds an MA in critical curatorial studies from the University of British Columbia. He has shown his works in Ashkal Alwan\u2019s Home Works 7 (Beirut) and Witte de With (Rotterdam). His writings have been published in e-flux<\/em>, Flash Art<\/em>, Third Rail<\/em>, and Brooklyn Rail<\/em>, and he has curated exhibitions at the Morris and Helen Belkin Art Gallery, Access Gallery, and Satellite Gallery in Vancouver as well as Transit Display in Prague. In 2014, he organized the Incredible Machines conference. Salemy\u2019s curatorial experiment \u201cFor Machine Use Only\u201d was included in the 11th edition of Gwangju Biennale (2016). He currently co-organizes the education programs at The New Centre for Research & Practice.<\/p>\n Henry Adam Svec <\/strong>(Ph. D., Universit\u00e9 de Western Ontario) est un artiste de performance et un \u00e9crivain. Son travail a \u00e9t\u00e9 pr\u00e9sent\u00e9 dans des galeries et des festivals tels que 7a*11d, FADO, The Rhubarb Festival, Sappyfest, et New Adventures in Sound Art, et il a \u00e9t\u00e9 un artiste en r\u00e9sidence au Banff Centre et \u00e0 l\u2019Institut des arts et de la culture du Klondike. \u00c9galement sp\u00e9cialiste des m\u00e9dias, il est actuellement professeur adjoint d’\u00e9tudes en communication au Millsaps College \u00e0 Jackson, au Mississippi. Son premier livre, American Folk Music as Tactical Media<\/em>, sera publi\u00e9 en d\u00e9cembre 2017 par Amsterdam University Press.<\/p>\n Henry Adam Svec<\/strong> (PhD, UWO) is a performance artist and a writer. His work has been presented at galleries and festivals including 7a*11d, FADO, The Rhubarb Festival, Sappyfest, and New Adventures in Sound Art, and he has been an artist in residence at The Banff Centre and the Klondike Institute of Art & Culture. Also a scholar of media, he is currently Assistant Professor of Communication Studies at Millsaps College in Jackson, Mississippi. His first book, American Folk Music as Tactical Media, <\/em>will be published in December of 2017 by Amsterdam University Press.<\/p>\n Daina Warren <\/strong>est membre de la nation crie Montana ou Akamihk \u00e0 Maskwacis (Bear Hills), en Alberta. En 2000, elle a \u00e9t\u00e9 r\u00e9cipiendaire du programme d\u2019aide aux conservateurs autochtones pour des r\u00e9sidences en arts visuels du Conseil des arts du Canada afin de travailler avec grunt gallery \u00e0 Vancouver. Cette opportunit\u00e9 a men\u00e9 \u00e0 un poste permanent au centre d’artistes autog\u00e9r\u00e9 en tant que conservatrice adjointe et administratrice jusqu’en 2009. Warren a termin\u00e9 sa r\u00e9sidence au Mus\u00e9e des beaux-arts du Canada \u00e0 Ottawa, en Ontario, o\u00f9 elle a \u00e9t\u00e9 conservatrice de l’exposition collective Rien ne m\u2019arr\u00eatera<\/em>. Elle a obtenu son baccalaur\u00e9at en 2003 de l\u2019Emily Carr University of Art and Design. Warren est dipl\u00f4m\u00e9e d’un programme de ma\u00eetrise en histoire de l’art, ayant fait des \u00e9tudes critiques en conservation de l’Universit\u00e9 de la Colombie-Britannique (2012). En 2015, Warren a re\u00e7u le Emily Award de l’Emily Carr University. Elle a aussi \u00e9t\u00e9 s\u00e9lectionn\u00e9e comme l’une des six conservatrices autochtones de la d\u00e9l\u00e9gation du Conseil des arts du Canada pour participer en d\u00e9cembre 2016 \u00e0 l\u2019International First Nations Curators Exchange \u00e0 Porirua, en Nouvelle-Z\u00e9lande. Elle est actuellement la directrice de l\u2019Urban Shaman Contemporary Aboriginal Art \u00e0 Winnipeg, au Manitoba.<\/p>\n Daina Warren<\/strong> is a member of the Montana or Akamihk Cree Nation in Maskwacis (Bear Hills), Alberta. In 2000, she was awarded Canada Council’s Assistance to Aboriginal Curators for Residencies in the Visual Arts program to work with grunt gallery in Vancouver. This opportunity led to a permanent position with the artist-run centre as an associate curator and administrator until 2009. Warren completed the Canada Council’s Aboriginal Curatorial Residency at the National Gallery of Canada in Ottawa, Ontario, where she curated the group exhibition Don’t Stop Me Now<\/em>. She has received her Bachelor\u2019s degree in 2003, graduating from the Emily Carr University of Art and Design. Warren graduated from a Masters in Art History program, completing the Critical and Curatorial Studies from the University of British Columbia (2012). Warren was awarded the 2015 Emily Award from Emily Carr University and selected as one of six Indigenous women curators as part of 2016 Canada Council for the Arts Delegation to participate in the International First Nations Curators Exchange in Porirua, New Zealand in December 2016. She is currently the Director of Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba.<\/p>\n","protected":false},"excerpt":{"rendered":" Table of Contents Guest Editors | R\u00e9dacteurs invit\u00e9s Adam Lauder est boursier postdoctoral du CRSH \u00e0 l’Universit\u00e9 York de Toronto. Il a obtenu un doctorat du D\u00e9partmement des \u00e9tudes sup\u00e9rieures en arts de l\u2019Universit\u00e9 de Toronto \u00e0 l\u2019automne 2016. Ses recherches actuelles utilisent l\u2019esth\u00e9tique non standard de Laruelle pour \u00e9tudier l’art de l’information canadien dans les ann\u00e9es […]<\/p>\n","protected":false},"author":4062,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4],"tags":[],"class_list":["post-10330","post","type-post","status-publish","format-standard","hentry","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-2GC","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/10330","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10330"}],"version-history":[{"count":3,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/10330\/revisions"}],"predecessor-version":[{"id":10623,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/10330\/revisions\/10623"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10330"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10330"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10330"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nContributors <\/strong>| <\/strong>Collaborateurs<\/strong><\/h4>\n
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