• 3 years ago
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• Author: aloader

website last updated March 2018

My focus since 2017 has been the completion of my doctoral thesis: “Willful Subjects: The Splendid Camera Obscuras and Popular Observatories of Miss Maria Short,” under the supervision of Dr. Kim Sawchuk (completion Spring 2018).

Also I have been very busy organizing the 30th Annual Society of Animation Studies Conference: Then | Now | Next, at Concordia University 18-22 June 2018, with my co-chair associate professor Dr. Marc Steinberg.

(See the first five featured posts for an overview of artistic works, for recent academic activity (besides teaching) see below…)

Classes taught since 2015

• Winter 2018: CART212 (Digital Media I, Concordia); 3rd yr Production (Dawson)
• Fall 2017: DART 620 (Graduate Colloquium, Concordia); Production Pipeline (Dawson)
• Winter 2017: CART212; CART444 (Portfolio, Concordia); DART 392 (Environmental Design Research & Practice); 3rd yr Production (Dawson)
• Fall 2016: DART391 (Socio-Cultural Design Research & Practice); Production Pipeline (Dawson)
• Winter 2016: CART212; 3rd yr Production (Dawson)
• Fall 2015: CART214 (Visual Form & Communication); DART391; DART502 (Language, Politics, Manifestos)

Paper Presentations since 2015

• “The Astronomical Pre-animated Moving Picture Show,” 29th Annual Society of Animation Studies Conference: “And Yet it Moves!”, University of Padova, Italy, July 4-7 2017.
• “Public Sights and Private Dirt: Viewing Women in the Splendid Camera Obscura,” Terms of Privacy, McGill University, 3-5 November 2016.
•  “A rational and entertaining species of amusement to bipeds of all ages: The Splendid Camera Obscura,” Domitor: “Viscera, Skin, and Physical Form: Corporeality and Early Cinema,” Stockholm, Sweden, 14-17 June 2016.
• “Archiving Failure (paper panel)” and “Mobile Media Archaeology (workshop)” Media Art History Conference “Re-Create 2015.” Montreal, 5-8 November 2015.
• “Becoming Caterpillar: Surrealist explorations in Entomology and Media Art.” Society for Animation Studies Conference “Beyond the Frame,” Canterbury Christ Church University, UK, 13-16 July 2015.
• “Silk screens, caterpillars and animating an interspecies collaboration.”  Screen Conference, “Screening Animals and the Inhuman” University of Glasgow, 26-28 June 2015.
• “Obscured And Uncovered:Women and the Splendid Camera Obscuras of Nineteenth-Century Edinburgh.”  HoMER Network (History of Moviegoing, Exhibition, and Reception) Conference, “What is Cinema History?” University of Glasgow, 22-24 June 2015.
• “A Short Stop before the Exhibitionary Complex.” Lost Museums Symposium, Brown University, 7-8 May 2015.
• “Experiments in 3d: An Unknown McLaren,” SCMS Montreal Host Event (presenter & event co-organizer), Concordia University, 28 March 2015
• “En Masse: The Social Animal Network.” (with Chris Plenzich) AHGSA (Art History Graduate Student Association) Annual Conference, “Constellations, Clusters, Networks,” Concordia University, 5-7 March 2015.
• “Caterpillar Choreography” CAA (College Art Association) Annual Conference, New York, 11-14 February, 2015.

Recent Publications

• “A rational and entertaining species of amusement to bipeds of all ages: The Splendid Camera Obscura” Fourteenth International Domitor Conference Proceedings (forthcoming)
• We’re Asian, more expected of us!” Animation Studies Online Journal, 5. to be reprinted as book chapters in The Animation Studies Reader, eds. N. Dobson and A. Ratelle, Bloomsbury (forthcoming) and Animation: Critical and Primary Sources, ed. C. Pallant, Bloomsbury (forthcoming). Also reprinted in The Model Minority Stereotype Reader, ed. Nicholas Hartlep, Cognella, 2014.
• “3-D Convergence and Collaboration in the Cold: Norman McLaren and 1950s Stereoscopic Animation at the National Film Board of Canada,” Animation Journal, 22 (Special issue on Norman McLaren), 2014.
• “From Near to Far: Maria Short’s Popular Observatory and The Spaces of Science in Edinburgh from 1736 to 1850.” Theory of Science: journal for interdisciplinary studies of science, 36(1), 2014.
• “Of Motors, Martians and Jazz Age Cuties: The Stereoscopic Inventions of Laurens Hammond.” (co-author Owen Chapman), originally in Public, 47, Spring 2014, reprinted as a book chapter in 3D Cinema and Beyond, eds. Dan Adler, Janine Marchessault and Sanja Obradovic. Toronto: Intellect, 2014.
• “Re: Animating Moths.” Animation Studies Online Journal, 9, Dec 2014.

Recent Exhibitions

• Animal Intent group show (curated by Emily Falvey), Apexart New York, Jan-Mar 2017
• L’art est vivant! group show (curated by Anne-Marie Belley), Maison des Arts Laval, (Nov 2016-Feb 2017); Centre d’exposition de Val-d’Or (Feb-Apr 2017)
• Cross-Pollinated: Hybrid Art Abuzz (curated by Lynn Tomlinson), Centre for the Arts Gallery, Towson University, Baltimore, Sept-Dec 2015
• En Masse, FOFA Gallery, April-May 2014
•  Mass Transit in Mobile Interventions for Performigrations, April 2014 +, Montreal (YUL), Bologna (BLQ)

Reviews (selected)

• Irene Plagianos, Artists and Animals ‘Collaborate’ in TriBeCa Exhibition, DNAInfo, 9 Jan 2017
• Kemberly Richardson, Wild art exhibit in Tribeca combines efforts of artists and animals, ABC News, 18 Jan 2017
• Andrew Nunes, “This Is What Happens When Humans Use Animals to Make Art,” Creators, Vice.com, 28 Feb 2017
• Aimee Lusty Review: “Animal Intent” at Apexart, Sciart Magazine 7 Feb 2017
• Lynn Tomlinson Cross-Pollinated Hybrid Art Abuzz, Towson 2015.
• Elena Raznovan “A Caterpillar’s Life…under the microscope.” Concordia News, 27 May 2015.
•  WeSauce “Circles|This World of Ours [Mass Transit remixed],”  24 April 2015.
• Irene Blei Canadá cuadro a cuadro. Animadores y animadoras del National Film Board. Argentina: Wolkowicz, 2014. (I’m profiled on pages 187-191)

At the CAA conference (13 Feb 2015, NYC), demonstrating how Chris Plenzich and I made projection screens from uncombed silk for the En Masse exhibition. (I’m in my bright red Canadian plaid blazer.) Photo by Craig Saper.