University Arts Association of Canada

Posted October 12, 2012 by jake moore

University Arts Association of Canada image

Contested Site: Archives and the City was a peer-reviewed exhibition constructed as a complementary discursive engagement with the Universities Art Association of Canada (UAAC) conference being hosted by Concordia University this fall. The exhibition highlights the emerging phenomenon of research/creation, which is redefining institutions, pedagogy, funding agencies and artistic practice in a reflexive manner, as perhaps a contested site itself.

CUE Emerging critics program

Posted August 13, 2012 by jake moore

CUE Emerging critics program image

Slyboots Promise: Stephen Schofield and the making of believers

The “conditional” is a verb tense used to express what would happen given certain events or actions.  Equivalents exist in many languages; in English, additional words are required to put potential into linguistic play.  In French, the conditional is expressed through a form of conjugation, so the potential for a shift is thus inherent, or rather, structural. The things that Stephen Schofield makes are such; his sculptural works, drawings, performance video - his entire oeuvre - manifests as something that ‘could be’ while asserting an uncanny existence as something that already is, or has been.  The linguistic reference is an apt starting point for a bilingual artist living and working in Montréal, Québec, where language is always at the surface - often as an index of difference. Schofield’s use of language is full of care and deeply considered, and parallels his method of engagement with other kinds of making.

With Slyboots Promise at Cue, Schofield offers several of his inflated textile sculptures alongside video and performance. Giddy Cosmonaut, Sailor’s Delight, Sexton and Gentle Shade are textile inflatables with direct relationship to the body, sculptural tradition and personal narrative, Ann’s Dream - a video – articulates a relationship to material, action and time, Drunken Tutor) exists in both media and will be the focus of this essay for it demonstrates both Schofield’s facility and deep understanding of media specificity.  At first, this giant male form seems somewhat awkward. It is sewn from a honey-coloured ultra suede, its hundreds of pattern pieces stitched together with visible seams, like the welds inside the Statue of Liberty. The seams add structure and definition; they delineate the musculature, much like drawings in space, yet uniquely, these lines allow for volume, for when the textile assemblages are inflated with air (from the discharge valve of a vacuum cleaner) and stiffened with sugar, they are equally enlivened and stilled.  The cloth now serves as membrane - a selective barrier between two phases.  It is the separation between inflation and collapse, line and form, hyle and entity.  Dualities all, yet hinged as sites of potential.  Conditional


Halifax, Lawrencetown, and the Anna Leonowens

Posted August 11, 2012 by jake moore

Halifax, Lawrencetown, and the Anna Leonowens image

Steve and i had been invited as artists in residence at NSCAD and have arrived.

“the project became: scape"

Circuit Benders, Overloaders, and Switchers

Posted October 15, 2011 by jake moore

Circuit Benders, Overloaders, and Switchers image

this panel discussion moderated by the illuminating and generous *Krista Genevieve Lynes* was part of the 15th anniversary celebrations of *Studio XX*.

Founded in 1996, Montreal-based Studio XX is a bilingual feminist artist-run centre for technological exploration, creation and critique.
Studio XX’s mandate focuses on enabling the creative actions and perspectives of women at the forefront of contemporary technological landscapes and the development of a digital democracy that values autonomy and collaboration.
Rather than circuit breaking, then, this panel seeks to address alternative strategies in feminist thinking, production and exhibition: circuit bending, overload or switching.

_Locating feminist action in critique and disruption—in being “circuit breakers” in the networked society—runs the risk of confirming a modernist and avant-garde definition of artistic and political practice. Circuit breakers, after all, shut down the system, but only as a final resort to protect it. Rather than circuit breaking, then, this panel seeks to address alternative strategies in feminist thinking, production and exhibition: circuit bending, overload or switching. What does feminism bring to understandings of digital media? How might we mobilize historic feminist analyses of media in the service of understanding coding, virtuality, interactivity, or database structures? How is the female subject in digital life en-gendered, constructed and defined across multiple representations of class, race, ethnicity and sexuality? What new forms of visual or electronic pleasure exist? What new strategies of address? Ultimately, the panel addresses the possibility of articulating a feminist aesthetic in and through digital media._

“video and more”:

Fondé en 1996 à Montréal, le Studio XX est un centre d’artistes féministe bilingue engagé dans l’exploration, la création, la diffusion et la réflexion critique en art technologique.
Le Studio XX vise à mettre de l’avant la multiplicité des territoires, des voix et des actions créatives des femmes dans les paysages technologiques contemporains à travers le monde. Il participe activement au développement d’une démocratie numérique qui encourage l’autonomie et la collaboration.

_Cette table-ronde cherche à aborder des stratégies alternatives dans la pensée féministe, dans la production et l’exposition : le circuit bending (customisation créative des circuits), la surcharge ou la commutation._

_Situer l’action féministe dans la critique et le bouleversement – en étant «disjoncteurs» dans la société interconnectée – court le risque de conforter une définition moderniste et avant-gardiste de la pratique artistique et politique. Après tout, les disjoncteurs arrêtent le système, mais seulement en dernier recours, dans le but de le protéger. Alors, plutôt que de casser le circuit, cette table-ronde cherche à aborder des stratégies alternatives dans la pensée féministe, dans la production et l’exposition : le circuit bending (customisation créative des circuits), la surcharge ou la commutation. Qu’est-ce que le féminisme apporte à la compréhension des médias numériques? Comment pourrions-nous mobiliser les analyses féministes historiques des médias au service de la compréhension du codage, de la virtualité, de l’interactivité, ou des structures de bases de données? Comment se situe le sujet féminin dans la vie numérique sexuée, construite et définie à travers de multiples représentations de classe, de race, d’ethnie et de sexualité? Quelles nouvelles formes de plaisir visuel ou électronique existent ? Quelles nouvelles stratégies de discours ? Ainsi, la table-ronde aborde la possibilité d’articuler une esthétique féministe dans et à travers les médias numériques._


Posted August 01, 2011 by jake moore


The programme Augenmusik, (music for the eye) centers on the material nature of sound and light, their inter-relationship in cinema and how their physical separation has become a meme within contemporary practices.  This dislocation of sound from film is a not-so-subtle poetics that calls us back into the experiential as it explodes the black box of the theatre with its request for the “suspension of disbelief” and suggests instead -  believe.  Augenmusik requests of us our presence as participants.

When these kinds of practices are aligned foremost with film they are often called living cinema, when part of new music, there is no name. The projectionist becomes instead one of the players and the images they create are not subordinate to the sound, and the music is not the supporting soundtrack devised to affectively further propel a narrative over linear time – image and sound are parallel and equivalent actions.  The hierarchy of the senses is thus dismantled and often creates disquiet as their fragmentation puts the onus on us. 

Augenmusik acknowledges in its title germinal film historical moments that serve as reference and highlight the connections between engineering and artistry .  I am thinking of Mary Ellen Bute’s oeuvre characterized by “seeing sound” and her early work with Norman McLaren,  (he worked for her), Hans Richter and Viking Eggeling, Rudolph Pfenninger, and Oskar Fischinger,  in particular , and the German expressionist movement in general that serves as the volcanic rock below,  and then looking at what has become a mainstay of avant garde media - (if mainstay and avant garde can occupy the same linguistic moment) – performance.  That is, the sound performed outside of the image as waves of light and sound in oscillation. Vibrations.  This baseline of the wave as a trigger for the eye, the ear, the whole body, brings us to these seemingly abstract images and sounds as instead a kind of hyper real. The image is of vision itself not an approximation of something that is in the world already, and the sound is sound without narrative or rhetorical intention, more an evidence of something already there or as the the result of an action taken.

The programme consists of 4 distinct parts, two filmic, and two performative.  I am preceding the deeply responsive, expressive, physical - though still structural works of “living cinema” with a documentary film, The Delian Mode. This seemingly odd start point is in part because I am interested in the intersubjective effect of the feminist documentary serving as referent for the events to follow, but also in the eerie affect that Delia Derbyshire constructed in her manipulation of waves in the government funded radiophonic laboratory of the BBC.  Equally important is the technical nature of how Derbyshire physically constructed her sounds – her tape loops , the playback devices, the mathematical notation – that somehow links for me the expressive nature of the hand-painted and manipulated film of Karl Lemieux with the machine driven performance of Steve Bates, as well as the digital replays and layers of St-Onge and Parent.  This is not to suggest a tidy package, it is in fact discordant to insert so clear a narrative into all this noise, but it is a package that wishes to consider equivalencies between media and actions and recognizes that gender is an issue always in play. There is a thread of the affect of fear and imbalance created through these unusual amplifications that is non-unicursal yet woven fully into the programme.

The early film of Karl Lemieux, Motion of Light, has been associated by the National Film Board of Canada (NFB)with the works of Norman McLaren. “McLaren’s personality and philosophy are inseparable from the direction animation took at the NFB. A tireless innovator, he perceived animation filmmakers as artisans who, much like artists in their studios, control every step of the production of their films.” In Motion of Light, Lemieux paints directly on the film, the thick paint letting only some of the projector light through and the resulting images appear like a haystack, a landscape, a finger painting simultaneously.  As we are unable to know exactly what it is, we are invited instead to participate in the pulsation of the light and our own sensorial engagement.

This switching between light and dark is more stark in the performance of Steve Bates where he manipulates the mechanics of a faulty 16 mm film projector into a flickering noise machine. The relationship of this to the genre known as flicker films also triggers the suggestion that there is some potential danger in his tinkering and proposes that there may be a scientific basis for this belief as evidenced by the warning that preceded Tony Conrad’s germinal film The Flicker:

“The producer, distributor, and exhibitors waive all liability for physical or mental injury possibly caused by the motion picture “The Flicker.” Since this film may induce epileptic seizures or produce mild symptoms of shock treatment in certain persons, you are cautioned to remain in the theatre only at your own risk. A physician should be in attendance.”

No such warning is required as we complete our evening with the trio of St-Onge, Parent, and Lemieux. Instead they invite an openness to what happens in the barn late at night with all the machines at play in the hands of those that like McLaren have taken an artisanal approach with hands fully on, and like Mary Ellen Bute, wish to see the sound.


The Compulsive Browse

Posted February 17, 2011 by jake moore

The Compulsive Browse image

The Compulsive Browse Colloquium

Concordia University, Montréal, February 18-20, 2011

This intimate two-day colloquium is the first in what we hope will be subsequent gatherings of artists and cultural professionals who have an interest in exploring the particular research cultures that evolve around contemporary artistic practice. This initial session welcomes participation from an intentionally broad range of disciplinary perspectives including practicing artists, museum and gallery professionals, library scientists, archivists, and art school educators.

With the burgeoning contemporary international discourse concerning artists’ research, particularly as it relates to the academicisation of aesthetic practice within an increasing number of “practice-led” PhD programs for artists, there is a paucity of sustained, in-depth documentation, research, exhibition, discussion, or debate around these issues that would allow various perspectives to be heard within the Canadian context, especially. More specifically, there is a need to hear from artists themselves who at times engage in project-related study within the institutional arena, but who often engage in forms of “research” which are resolutely located outside the academy.

The Compulsive Browse colloquium hopes to provide an open forum in which to discuss what library scientists more neutrally describe as the “information-seeking behaviours” of artists. By focusing on Canadian practitioners’ own definitions and interrogations of their individualised, esoteric, para-academic, quotidian methods that have been developed in dialogue with both their formal training and their informal responses, we hope to broaden and question the definitions of “research” that we so often take for granted. By bringing together cultural professionals who, themselves, embrace and enact specific modes of research relevant to their own cultural fields, the colloquium becomes a place to reflect on the intersections and divergences of an array of investigatory and interpretive postures.


Ce colloque intime de deux jours est le premier de ce qui deviendra, nous l’espérons, une série de rassemblements d’artistes et de professionnels de la culture qui ont un intérêt commun pour l’exploration de cultures de recherches particulières qui touchent de près ou de loin à la pratique artistique contemporaine.

Cette première réunion accueille la participation d’une gamme volontairement large de perspectives disciplinaires incluant des artistes professionnels, des spécialistes des musées/galeries, des experts en bibliothéconomie, des archivistes et des professeurs d’art.

Avec le discours international contemporain en plein essor sur les recherches des artistes, notamment en ce qui concerne l’académisation de la pratique esthétique dans un nombre croissant de programmes de doctorats pour les artistes « basés sur la pratique », on remarque un manque de documentation, de recherche, d’exposition ou de débat soutenu et approfondi autour de ces questions qui permettraient aux différents points de vue d’être entendus, et ce, tout particulièrement dans un contexte canadien. Plus précisément, il est nécessaire d’entendre les voix de ces artistes qui s’impliquent parfois dans des études liées à des projets dans le domaine institutionnel, mais qui se livrent aussi souvent à des formes de « recherches » qui sont résolument situées à l’extérieur du contexte académique.

Le colloque Fureteur Compulsif souhaite offrir un forum ouvert pour discuter de ce que les experts en bibliothéconomie décrivent de façon plus neutre comme les « comportements de recherche d’informations » des artistes. En ce concentrant sur les propres définitions et interrogations des praticiens canadiens à propos de leurs méthodes individualisées, obscures, para-académiques et quotidiennes qui ont été élaborées en dialogue à la fois avec leur formation formelle et leurs réponses informelles, nous espérons élargir et questionner les définitions de la « recherche » que nous considérons si souvent comme acquise. En réunissant des professionnels de la culture qui, eux-mêmes, adoptent et appliquent des modes spécifiques de recherche correspondant à leurs propres domaines culturels, le colloque devient un lieu de réflexion sur les croisements et les divergences d’un ensemble de positions investigatrices et interprétatives.

communication aesthetics

Posted February 15, 2011 by jake moore

communication aesthetics image

‘And Say the Animal Responded?’ The posthumanist challenge for architecture, geography and landscape

lecture/visiting artist’s presentation
in Dr. Cynthia Imogen Hammond’s PhD seminar, Interuniversity PhD Program, Department of Art History, Concordia University.


Posted January 14, 2011 by jake moore

spaces image

_I would like to answer Your Question but the truth is a just don’t know_
January 21, 2011
4:30 PM
York Amphitheatre (EV 1.615)
_FASA lecture series, Concordia University_



Posted May 13, 2010 by Kevin Finlayson

64 image

two clubs…

eastern winds tour/ transcanada pipeline

Posted March 11, 2008 by jake moore

eastern winds tour/ transcanada pipeline image


*telematic newfoundland*
Soumis par jake le Lun, 2008-11-03 07:17

The massive rock that is Newfoundland is perhaps best known to most Canadians as the place the fish used to be, but its soaring cliff faces and blackwater bays have also played a major role in the development of telecommunications and aeronautics.

Our first stop on the Eastern Winds tour was St John’s, Newfoundland and Labrador.