Concordia University

http://www.concordia.ca/content/concordia/en/artsci/cissc/phd-humanities/student-profiles.html

Student profiles

Discover what our students are working on


kelly andres © Kelly Andres
Kelly Andres

Kelly Andres is a interdisciplinary artist fascinated with ecologies and energies; those of living cellular species such as plants and animals and those of electronic media such as radio waves, and transmission devices. Through her work she creates installations and sculptures that are participatory, alive and often quite playful. Encouraging interactions between electronic mediums and species such as yeast, bacteria, poultry, plant, and human, Andres deploys simple systems, objects and performances that allow participants to explore their immediate environment. Andres' work has been exhibited at the Science Gallery, Dublin (with the Grafting Parlour), M:ST Performance Art Festival, Calgary, Free Radio Banff, Walter Phillips Gallery, Banff, Babel Art Gallery, Norway, ISEA 2008, Singapore, Signal and Noise, Vancouver, CONFLUX 2007, New York, The Southern Alberta Art Gallery and Trianon Gallery, Lethbridge. Andres has had residences at Media Lab Prado, Madrid, e- MobiLArt (Greece, Finland, Austria), ISEA 2008, Singapore, Studio XX, Montreal, The Banff Centre and the Banff New Media Institute, and Lademoen Kunstnerverksteder in Trondheim Norway. Her work has been funded by the Canada Council for the Arts, The Alberta Foundation for the Arts, and Alberta Ecotrust. 


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Victor Arroyo

Victor Arroyo is an artist, researcher and social activist, working with experimental and documentary practices in video art, cinema and installation. Born in Leon, Mexico in 1977, currently based in Montréal, Canada. He is currently pursuing a PhD in Humanities in the Centre for Interdisciplinary Studies in Society and Culture in Concordia University. His practice is an exploration of the mechanisms of exclusion, representation and power, questioning the formation of shallow cultural and national identity, while addressing systems of delimitation or distinction associated to assertions of power and identity. He is interested in material culture, landscape and identity seen through the lenses of postcolonialism, critical theory and postmodern geography. In his work, the traditional codes of documentary practice appear both expanded and undermined, employing them as vehicles for a critique of our embodied social memory and collective experience and to encourage reflection about the very nature of political art.

His work has been exhibited in Le Centre Canadien d’Architecture in Montréal, Canada; Center for Contemporary Arts in Santa Fe, US; FOFA Gallery in Montréal, Canada; Kings ARI Gallery in Australia; Gallery Z Art Space in Montréal, Canada, Centre d’Archives de Montreal and the Festival Internacional Video Arte Camagüey, Cuba. His work has also participated in the Athens Video Art Festival, Greece; 17th Japan Media Arts Festival; Speculum Artium Festival, Slovenia; Analogica Festival, Italy; International Festival of Video Art nodoCCS, Venezuela; Vancouver Latin American Film Festival, Canada; Simultan, Ro- mania; Intermediaciones 2015, Colombia; Antimater Media Art Festival, Canada; Rencontres internationales du Documentaire de Montréal, Canada; IV Festival Internacio- nal de Documentales de Antofagasta, Chile; Smita Patil Documentary Film Festival, India; Festival de Cine Experimental de Bogotá 2016, Colombia; Analogica/Jornadas de Reapro- piacion 2016, Mexico; Santa Fe International New Media Festival 2016, US.

He has lectured in the Birkbeck Institute for the Moving Image, London; Circuito para Exhibicion, Desarrollo y la Investigacion de Nuevos Medios, Cuba; Hexagram Centre for Research Creation in Media Arts and Technologies, Montréal; the Festival International du Film Ethnographique du Quebec; Le Centre Canadien d’Architecture in Montréal; EAHR Ethnocultural Art Histories Research Group in Montréal and for the Congress in Anthropology and Archaeology, Equipo NAYA in Argentina.

He is currently an artist-researcher in residence in the Center for the Study of Human Geography at El Colegio de Michoacan in Mexico, where he is pursuing field research-based in Cheran, examining how rural space has been constructed and used by hegemonic groups as a mean to assert their power, turning the forest into a place of resistance where power is contested and space is reappropriated. After the 2011 Indigenous purhepecha insurrection against the Mexican state, the purhepecha’s resisted the conventional construction and division of the landscape through practices of transgression and resistance, creating instead spaces of subversion. How did they achieve self- government and self-regulation not only over their own political and social configuration but also in the distribution of natural resources?.

www.victor-arroyo.com


Kate Bevan Baker
Kate Bevan-Baker

Newfoundland-born Kate Bevan-Baker is a recognized fiddler, classical violinist, and singer. She holds bachelor’s and master’s of music degrees in classical violin performance from Memorial and McGill Universities, respectively. Currently pursuing a PhD in Humanities through the School of Canadian Irish Studies at Concordia University where she is a Social Sciences and Humanities Research Council Graduate Scholar, Kate’s research examines the sonic history and musical traditions in the archipelago region of Prince Edward Island and Les Îles-de-la-Madeleine through their unique soundscapes. Highlighting the historical and geographic forces that shape traditional soundscapes in this archipelago, her research focuses on living traditions that have been brokered by performers for over two centuries. Patterns of diasporic flow form a critical element in this research, concentrating on the relationship of Canada and the world through musical and cultural bridging.

Kate's artistic scholarship includes extensive professional recording experience on over thirty CDs and movie soundtracks. Her academic research has been presented to international audiences at the Association of Canadian Studies in Ireland, the Canadian Association for Irish Studies, and at the Summer Lecture Series on Prince Edward Island. She is a founding member of the Newfoundland-based traditional band The Dardanelles, and currently plays fiddle and sings in the Montreal-based Celtic/folk trio, Solstice. In addition to doctoral studies, Kate balances a very active performance schedule and is also in demand as a violin, fiddle and voice teacher. Her passion for music and its relationship to society, cultural history, and its diaspora continually give Kate a greater desire to participate and contribute in the surrounding discourse.
Website: www.katebevanbaker.com


Hilary Bergen
Hilary Bergen

Hilary Bergen is a researcher, writer, editor and performance artist based in Montreal, Canada. Her research interests are varied and include speculative realism, ecocriticism, posthumanism and technologies of the moving body, dance and performance studies, popular feminist cultures and the aesthetic category of the "cute." Her current project is an extensive study of dance and technology that investigates how the figure of the dancer has historically acted as an index for the functioning of new media forms. From Loïe Fuller’s dance experiments with electric lights in 1893 to Norman McLaren’s ballet-animation in “Pas de Deux” (1968) to contemporary inter-medial performances with digital and dance components (such as in the work of Daito Manabe, Klaus Obermaier and Freya Olafson), Hilary’s research seeks to historicize and theorize the links between the dancer’s body and emergent technology. 

She holds an MA in English Literature from Concordia University as well as a BA in Dance from the University of Winnipeg. Her ongoing collaborations with choreographer Ming Hon incorporate improvised dance with live video feed and projections to explore screen culture, surveillance and the limits of the body. Hilary has presented at numerous conferences, including at Oxford University in England. Her work has been featured in Artciencia Journal, Matrix, Whether Magazine, and Briarpatch (forthcoming).


Marie-Josee Blanchard
Marie-Josée Blanchard

My PhD research focuses on the notion of​ "rasa"​—a word that can be translated as “taste” or “flavor”, but that also means “essence”, “juice”, and “aesthetic delight” or “emotional rapport.” In order to better understand the underlying social and cultural meaning of rasa, and most specifically its sensory flavor, I have chosen to focus my study on Bharatanatyam, one of many classical dance-dramas known to India, and a performing art that is now well-known on the global stage. In Bharatanatyam, rasa is expressed – or rather experienced – through a complex lexicon of gestural codifications that includes hand, eye, eyebrow, face, neck, waist, leg and feet movements.​ These expressive movements (abhinaya) depict codified emotions (bhava) that are meant to invoke rasa, or aesthetic delight, in the audience. As such,​ rasa is the main goal of the dance-drama performance. Yet, this is a very classical understanding of rasa. How do contemporary performing arts communities in India and in Canada define rasa today? How can this feed our understanding of the Indian diaspora?​


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Alison Bowie

Alison Bowie is a PhD in Humanities candidate at Concordia University focusing on the intersections between Québec theatre history, translation, and memory studies, investigating how memory is transformed through the act of translation for the stage under the supervision of Dr. Louis Patrick Leroux. Alison’s research is being funded by the Fonds de recherches du Québec – Société et culture and by the Faculty of Arts & Science at Concordia University. She achieved her Masters of Fine Arts degree in Dramaturgy from the University of Massachusetts Amherst (USA) and her Bachelor of Arts degree in History from Queen’s University.

Alison is currently Associate Dramaturg for SpiderWebShow and is co-project manager for the Digital Creation Studio with Artistic Director Sarah Garton Stanley. She has been teaching in the Concordia University Department of Theatre since last year and is also currently a recurring guest lecturer for a course on Digital Dramaturgy at Queen’s University in Kingston, Ontario. Alison is a Research Assistant for Dr. Louis Patrick Leroux for the Montréal Circus Working Group, Circus Dramaturgy project (in collaboration with the École nationale de cirque), and the Socio-esthétique des pratiques théâtrales du Québec contemporain (SEPT-QC) project.

Alison also continues to work in theatre outside of the university. Her recent translation Me and You of Talia Hallmona and Pascal Brullesman’s play Moi et l’autre (directed by Arianna Bardesono) was produced in May 2016 by Talisman Theatre in Montréal. She was also dramaturg and production manager for the production of Hamlet on the Wire|Hamlet sur le fil (directed by Louis Patrick Leroux), a circus interpretation of Hamlet’s famous soliloquy involving a live sound artist and a tight wire performer. The performances took place in June 2016 as part of the City of Montréal’s Shakespeare celebrations and again in July 2016 as part of the Montréal Complètment Cirque festival.

Alison has also worked in administrative and teaching roles in theatre for the past ten years. Notably, while working at the Living Arts Centre in Mississauga, ON she developed the French Educational Arts Program at the Centre through a Trillium Foundation of Ontario grant and the program is now fully self-sustaining. Alison is passionate about teaching and the development of students' critical and creative skills. In keeping with the flexible nature of the role of the dramaturg, Alison is also proficient in web development and is currently working on four projects for various theatre companies as a freelance web developer and designer.


Ryan Conrad
Ryan Conrad

Ryan Conrad is a PhD candidate in the Interdisciplinary Humanities PhD offered through the Centre for the Interdisciplinary Study of Society and Culture as well as a faculty member in the Interdisciplinary Sexuality Studies program at Concordia University.

Conrad is also the co-founder of Against Equality, a digital archive and publishing collective based in the United States and Canada. He is the editor of the collective's anthology series that are compiled together in Against Equality: Queer Revolution, Not Mere Inclusion (2014). He has also contributed chapters to several anthologies including: The Gay Agenda (2014), Queering Anarchism (2013), and After Homosexual (co-authored with Yasmin Nair & Karma Chávez, 2013). 

His written work has appeared in scholarly and activist publications including: American Quarterly, e-flux, Aparté, QED: A Journal of LGBTQ Worldmaking, Socialism & Democracy, We Who Feel Differently, UltraViolet, In These Times, and Fifth Estate. His work as a visual and performing artist has exhibited internationally in Europe, Asia, and North America.


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Amanda Leigh Cox

Amanda Leigh Cox’s work focuses on the application and transferal of translation-based concepts and practices to modern peacemaking and peacebuilding. In particular, she advocates the use of translation studies’ ‘redressive translation’ as a means to address and foster  community healing in post-conflict states, coupled with translation’s corpus studies model to foster polyphony, wherein multiple accounts of conflict are articulated and co-exist without displacement. Her thesis advocates incorporating these measures into community-based peacebuilding measures to occur simultaneously alongside traditional peace agreements (whereas at present community-based healing initiatives are considered to be ‘optional’ to peace agreements). She is affiliated with Concordia’s Départément des études françaises, the School of Irish Studies, and the Humanities PhD program.

Her work has recently been presented internationally and domestically, notably at conferences hosted by the American Translation and Interpreting Studies Association, the Canadian Association for translation Studies, and at Queens University Belfast. A professional translator and copy editor, she also teaches French to English translation.


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Joanna Donehower

I am a playwright, dramaturg, and doctoral student (PhD in Humanities – Arts-Based Research, Performance/Theatre Studies, and English Literature) at Concordia University.  My research and practice ask how site-specific performances articulate, revise, and construct urban imaginaries and histories.   Working through and against the well-rehearsed claim that performance outside of conventional theatre settings produces an engaged and participatory (if not democratic) subject position for the perspectival spectator within the event, my research, after Rancière et al, reconsiders the [re]situation of the spectator in in situ and bipedal performance, exploring the relationship between the walking, watching, and thinking spectator, and between passivity, activity, errancy, reflection, and criticality.  In particular, I am considering how artists in Montreal are pursuing and [re]producing—at the street level—scenarios of radical democracy and historiography in response to nationalist and regionalist metanarratives, massive urban development projects and maps, and neoliberal austerity measures. My current project Curiocité/y— the creative site for my doctoral research—is a curiosity cabinet, mobile archive, miniature theatre, and cantastoria device which begins its perambulations of rue Ontario in Montreal in spring of 2013. 


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Natalie Doonan

Natalie Doonan is a multimedia and performance artist, writer and educator.  In her curatorial research and writing, she explores subeconomies and slow practices in urban space.  In other words, local practices that are mindful of the impact of individual actions within global systems. Her PhD work focuses on performances that engage in the production and consumption of urban space as a sensory experience with political implications.  Natalie is interested in remixing alternative and unofficial narratives with the more pervasive heroic and monumental tales that often serve to silence the seedier sides of tourism and city development.  She is co-founder of The Miss Guides, a cultural walking collective based in Vancouver, BC (www.themissguides.com) and founder of le/the Sensorium (www.lesensorium.com), a platform through which she is curating a seasonal menu of artists who  lead participatory community events focusing on the ethics of eating.  Her work has been exhibited inside and outside of institutions, nationally and internationally.  As a PhD Humanities candidate in the Centre for Interdisciplinary Studies at Concordia, Natalie is working in the fields of Sensory, Performance and Urban Studies (www.nataliedoonan.blogspot.com).


Aaron Finbloom
Aaron Finbloom

Aaron Finbloom's research is focused on exploring how philosophical practice (and in particular intellectual conversation) can be made more aesthetic. In particular this involves looking at how philosophical practices can structure their environment, their physical bodies and the modes of speech around which they occur.This is theorized via thinkers including Heidegger, Gadamer, Dewey, Flusser, Latour, Deleuze and The Situationists.  This is enacted via creating quasi-structured conversations through games, booklets, audio guides, dance maps, performative lectures, existential therapy and philosophic rituals.   

Finbloom is a philosopher, performance artist, musician and one of the co-founders of The School of Making Thinking (SMT)- an artist/thinker residency program and experimental college.  He has taught philosophy at Suffolk County Community College, and has curated dozens interdisciplinary immersive courses for SMT.  His work has been featured at the performance collective “Milk Bar” in Bristol (UK), Elsewhere in Greensboro (NC), BETA Spaces in Brooklyn (NY), Figment (NYC), International Association for the Study of Place, Space and Environment, Towson (MD), and Workspace for Choreographers, Sperryville (VA). 


Natalie Fletcher
Natalie Fletcher

Natalie M. Fletcher is a researcher, creative consultant and philosophical practitioner specializing in creative community-based approaches to philosophy. She is the founding director of Brila Youth Projects (www.brila.org), a registered Canadian educational charity that introduces children and teens to multidimensional thinking through philosophical dialogue, creative projects and digital magazine (or zine) production. Her research fuses the fields of ethics, political philosophy, dialogic pedagogy and aesthetics education, and focuses on the political potential of moral imagination as a capability that can enhance autonomy. She teaches in the philosophy department at John Abbott College and works as a writer, facilitator and designer on large-scale government initiatives focused on youth development, social justice and the environment, including projects with the United Nations, Health Canada, the RCMP and major universities. Her work has been published by Routledge, Rowman & Littlefield, and Cambridge, and in academic journals like Philosophical Inquiry in Education, Analytic Teaching & Philosophical Praxis, Mind, Culture, and Activity, and Childhood & Philosophy. She is currently working on an edited volume for McGill-Queen’s University Press.


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Gwynne Fulton

Gwynne Fulton is theorist, curator and moving-image practioner from Montreal, Quebec. Her research spans political philosophy, the history and theory of photography, visual and curatorial studies. Her work examines the relation between radical politics and aesthetic practices in order to focus ON? questions about surveillance and the transformation of the public space of democratic citizenship, state sovereignty and the possibilities of political dissidence. Her SSHRC/Fulbright-supported doctoral research project examines images of death circulating in contemporary art and media as a productive site for thinking through poststructural critiques of sovereignty. It assesses the ethical and political ramifications of photographs of death in relation to urgent debates about capital punishment drone warfare, and radical Black politics.

Gwynne has disseminated her research at the 4th and 5th Annual Derrida Today Conferences (Fordham University and Goldsmiths University), The International Conference on Philosophy and Film (University of Lisbon), and the Mosaic conference “A matter of lifedeath” (University of Manitoba). Her installation work has been exhibited in numerous galleries and festivals including Dazibao, Leonard & Bina Ellen Art Gallery and the Anne Arbor Film Festival. She holds an MFA in Studio Arts from Concordia University (2011) and was a SSHRC-MSFSS Visiting Doctoral Researcher at the Centre for Research in Modern European Philosophy at Kingston University, London (2012).

Gwynne is currently a Fulbright Visiting Doctoral Researcher at Villanova University in Philadelphia, PA, where she is completing her dissertation on sovereignty and photography. She is a Curatorial Fellow at Slought Foundation, where she is coorganizing the Health Ecologies Lab in conjunction with The School of Social Policy & Practice at the Univeristy of Pennsylvania.


Mark Gaspar

Mark Gaspar’s work draws on social and cultural theory on health and illness, risk and sexuality to investigate how increasing biomedical knowledge and framings of HIV affect the lives of young gay men. Along with analysis of HIV/AIDS prevention services and campaigns, Gaspar’s doctoral project draws from 34 in-depth qualitative interviews with young, HIV negative gay men living in Montréal and Toronto. These interviews explore how young men have negotiated experiences of being “at-risk” and focus on the ethical and political dimensions of health management.

Gaspar has been a two-time fellow (2013-2015) of Universities Without Walls (UWW). UWW is a prestigious national HIV/AIDS interdisciplinary training program that connects researchers, policy makers and community members across Canada. Gaspar has experience working with national and provincial HIV/AIDS research, service and policy institutions, including CATIE, GMSH and AIRN.

Gaspar was the head student representative of the Humanities Student Association from 2012-2014.


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Hubert Gendron-Blais

Hubert Gendron-Blais is an author, musician, activist and researcher working at the confluence of philosophy, music and politics, straining to hear to social and aesthetic movements with a particular attention to the concepts of affect and community.  His research have been awarded by the Fonds de recherche du Québec - Société et la culture (FRQSC), and published in Cahiers d’histoire (Montreal), Scènes contemporaines (Brussels), Cahiers Equinox (Bucarest), Free City Radio (Montreal), and in the collective work Révolutions et contre(-)pouvoir (directed by Benoit Coutu). As a contemporary artist, he participated in sonic performances in various events in North America and Europe. He recently co-edited, with Joel Mason and Diego Gil, the latest Inflexions issue, the online journal of the SenseLab, research-creation group where he experiments actively, and is also a member of the Matralab.


Apart from his literary publications (poetry, short stories), he collaborated on the collective work traces – déprises, by the Quelques parts collective, among many others, and is involved in the Sabotart publishing collective. Its activism in many political and artistic groups is strongly linked to its research-creation practice.  In music, he’s taken in a creative process with the experimental rock band - ce qui nous traverse - (cequinoustraverse.bandcamp.com).
h_gendro@live.concordia.ca

Auteur, musicien, activiste et chercheur, Hubert Gendron-Blais travaille aux confluents de la philosophie, de la musique et de la pensée politique, tendant l’oreille vers les mouvements sociaux et esthétiques, en portant une attention particulière aux concepts d’affect et de communauté.  Ses recherches ont reçu le soutien du Fonds de recherche du Québec – Société et culture (FRQSC), et ont été publiées dans les Cahiers d’histoire (Montréal), Scènes contemporaines (Bruxelles), les Cahiers Equinox (Bucarest), Free City Radio (Montreal), et dans l’ouvrage collectif Révolutions et contre(-)pouvoir (dirigé par Benoit Coutu). En tant qu’artiste contemporain, il a participé à des performances sonores dans divers événements en Amérique du Nord et en Europe. Il a récemment co-édité, avec Joel Mason et Diego Gil, le plus récent numéro d’Inflexions, la revue en ligne du SenseLab, groupe de recherche-création où il expérimente activement, et est aussi membre du Matralab.

Outre ses publications littéraires (poésie, nouvelles), il a collaboré au livre traces – déprises, du collectif Quelques parts, entre autres, et est activement impliqué dans le collectif d’édition Sabotart. Son activisme au sein de plusieurs groupes politiques et artistiques est fortement lié à sa pratique de recherche-création.  En musique, il est pris dans un processus créatif avec le groupe de rock expérimental – ce qui nous traverse – (cequinoustraverse.bandcamp.com).
h_gendro@live.concordia.ca

 


Natalia Grincheva
Natalia Grincheva

Natalia Grincheva is an enthusiastic and energetic international project coordinator, who organized numerous groundbreaking international art events (Photography Exhibition in Besancon, France in 2002, Art workshops in Slough, England 2004), promoted cultural projects (Preservation and Enhancement of Cultural Heritage project in Russia in 2006), and established collaborative relations among artists and organizations in the USA, Europe, and Russia. In recent years, Natalia actively engaged in the cultural diplomatic work of international foundations in the USA and the UK that promote the State Hermitage Museum in their local communities (The Hermitage Museum Foundation in New York / 2009, UK Friends of the Hermitage in London / 2010). In summer 2011 Natalia served on the UNESCO Secretariat Committee in Paris to help manage grant applications to the International Fund for Cultural Diversity (IFCD). Currently she works for the Coalition of Cultural Diversity in Montreal as a Research Associate and helps to conduct a research on the international funding sources for global cultural development. Natalia's doctoral research encompasses new museology, cultural diplomacy, and social media. Her project focuses on the use of social media in museums' international outreach and diplomatic activities and aims to evaluate the impact of cultural diplomacy programs implemented online within a museum context.


Sabah Haider
Sabah Haider

Sabah Haider is a filmmaker and Middle East studies scholar. Her interdisciplinary doctoral research project weaves together anthropology, film and history; her research explores transnational historical narratives of the Palestinian Liberation Organization’s armed fighters between 1967 and 1985. By documenting oral histories of surviving fighters around the world, she is piecing together an inclusive transnational historical narrative that identifies and includes the roles of non-­Arabs in the Palestinian armed resistance during the Lebanese Civil War. Sabah has an MA in Film Studies from UCL in London, England. She did preparatory doctoral studies in the department of Social Anthropology and Ethnology at the EHESS in Paris, France, under the direction of Franck Mermier (CNRS-LAU). She is a research affiliate at the Laboratoire Anthropologie Urbaine of the CNRS in Paris, France, and at the Centre for Oral History and Digital Storytelling at Concordia University, in Montreal. 

www.sabahhaider.com


Nadia Hausfather
Nadia Hausfather

I have been involved in the student movement for free education in this province for the past four years through Free Education Montreal and the Graduate Students' Association at Concordia, including the preparation for and participation in the 2012 'General unlimited student strike.' Despite the vibrant and long history of Quebec's student movement, before 2012 there was a scarce amount of literature exploring this complex social movement, no doubt partly a result of the movement's severe political critique of the academic institution itself from within its own veins and hallways. Through an autoethnographic as well as a political activist ethnographic approach, I am exploring and documenting an oral history of emotions and interpersonal relationships in student strikes in Quebec since 2005, through in-depth video interviews with student participants. Can emotions and relationships, the substances that fuel many social movement participants be historically preserved, and how? What can student activists in the present learn from the emotional and relational habitus of the past? Deborah Gould phrases the question as such: "what role do affects, feelings and emotions play in generating, and foreclosing, political horizons?" I hope that the combination of these two topics with which academia has historically had an uneasy relationship -the student movement and emotion- will shed some light on the internal contradictions and systemic crises facing the Quebec student movement -and (education) system- today.


Gareth Hedges
Gareth Hedges

Gareth Hedges is a PhD candidate in the Humanities Doctoral Program with the Center of Interdisciplinary Studies in Society and Culture at the Concordia University, in Montréal.  Hedges’ research concerns a cycle of films made in the 1970s set in and sometimes marketed towards the American South. Films about rural rebels, driving culture, and crime like Bonnie & Clyde (1967), Easy Rider (1969), Deliverance (1971) and Walking Tall (1973) filled drive-ins and rural cinemas of the Post World War II and Post-Civil Rights South and serve as a point of cultural conjunction in the representation and rehabilitation of the South in popular culture. 

Hedges’ interdisciplinary work will trace emergence and decomposition of this cycle across varied channels of cultural production.  He is also passionate about film history, cultural studies, popular music, and the 20th Century.


Joanna Hui
Joanne Hui

Joanne Hui is a visual artist and third year doctoral student. Her research investigates concepts of identity in comic art, taking it into an arena of scholarship that looks at works of graphic arts addressing culturally-specific and historical conditions of migration and immigration. The outcome of her research will be in the form of a critical essay and a graphic novel. Recent works include Shanghai Daily (2008), a graphic novel travel collage, and The Potato Wars: Chinese-Canadian Resistance during the Exclusion Era, a comic poster selected for inclusion in the exhibition DIASPORArt; Strategy and Seduction by Canadian Artists from Culturally Diverse Communities. The exhibition will be displayed in the Ambassadors Room in Rideau Hall, the official residence of the Governor General Michaëlle Jean. The exhibition opened Sept. 21 and will remain on display for one year. This poster is also an insert in West Coast LINE 60 vol 42 no 4, Winter 2009.


Niki Lambros2
Niki Lambros

Niki Lambros is currently pursuing a PhD in Humanities, following the work of her 2015 Concordia University MA in English Creative Writing.  Her MA thesis, an original manuscript of poetry exposing torture, the Afghanistan/Iraq War, and the suffering of innocent war victims, will be answered by a study of Seamus Heaney's translations of classical poetry and the creation of language-theory for peace processes between divided countries.  Born in New York, NY, she received her BA in English Language and Literature from Bard College.  In 1988 she became a Greek Orthodox monastic, resigning the order in 2000.  She received an MA in Theology with honors from the University of Cambridge/Anglia Ruskin University program, and a Diploma in Orthodox Theology with distinction from the IOCS, Cambridge, UK, in 2001.  Expatriate since 1986, she has lived in Greece, Jerusalem, Russia, South Korea, Venice and the UK, before settling permanently in Canada in 2003. At present she is working on a poetry translation program and continuing to write original poetry, hosting discussions with colleagues at her home, and  contributing to various literary publications and websites touching on poetry, the Greek language, translation, Shakespeare, philosophy and politics. She aspires to work for the city of Montreal creating translation and language programs for immigrants and allophone residents.


Rébecca Lavoie

Rébecca Lavoie entame sa seconde année de doctorat en Humanités à l'Université Concordia à Montréal, Québec. 

À partir de champs tels que la Pensée politique du corps, l'Étude des arts et des sexualités ainsi que, plus précisément, les Études de performances, elle s'intéresse à l'idée de trace. Sur un plan micropolitique, elle s'interroge quant aux types de traces que peuvent laisser des événements, soit à la marque du performatif. En cela, sa recherche porte sur les objets - enregistrés et enregistrant (la traduction anglaise "Recording Objects" nous permet mieux d'en saisir les multiples directions), - sur notre rapport à eux ou sur les traces et leurs espaces d'enregistrement. Sa réflexion s'ancre dans une recherche précédente (sa thèse de maîtrise) sur les notions de corps en mouvement et de conflit de l'espace. Il s'est agit, depuis un anarchisme méthodologique annoncé, de donner corps à ces éléments d'analyse à travers la figure du carnaval. Son objectif était d'arriver à appréhender le geste politique sur d'autres plans que celui de l'action (ou la lutte) politique traditionnelle, c'est-à-dire jusque dans nos plus infimes mouvements de pensée, en particulier nos rapports au corps et à l'État. Cette recherche lui permit d'ailleurs de s'interroger sur l'écriture, la parole et l'identité mais aussi, de mettre un pied, à partir des sciences sociales et de la philosophie, dans la recherche-création (nous vous renvoyons à l'événement esthético-politique carnavalesque qu'elle a initié dans le cadre du projet "Society of Molecules": http://www.senselab.ca/inflexions/volume_3/tangents/hull/carnival.html).  

Par un travail conceptuel et plastique en performance portant présentement sur l'érotique de la contrainte (Containment Erotica), sa démarche est non seulement théorique mais aussi créative.


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Sylvain Lavoie

In his second year in the PhD in Humanities program, Sylvain Lavoie's project, entitled “La (seconde) nature du théâtre au Canada,” analyzes the accentuated presence of nature in contemporary Canadian drama, notably with the appearance of animals on stage. Engaging anthropology and philosophy, he aims at showing how recent theatre puts the concept of the subject into play while blurring the limits of culture, and redefining performance and spectatorship. Also, by centering on the interplay between living bodies instead of usual geopolitical frontiers, his research can help create a glimpse of other possible collectives, allowing him to question together Aboriginal, English-language and French-language productions without treating them, as it is often the case, as distinct corpuses.

Prior to attending Concordia University, Sylvain has studied science and French language and literature at the University of Alberta, and completed a Master’s degree at the Université de Montréal where he focused on popular culture in Europe and Quebec, which led him to guest edit Spirale’s “Rayonnement du cirque québécois” issue, magazine for which he has been writing as a critic for now a decade. He has also participated in many international projects and events on Canadian culture, published articles on this topic in various journals here and abroad, and coedited, with Ginette Michaud and Élisabeth Nardout-Lafarge, Pierre L’Hérault’s writings on theatre (L’assemblée pensante, Nota bene, 2009). Member of the board of directors of the Société québécoise d’études théâtrales (SQET) for many years, he has worked as a Communications Officer at the National Arts Centre and took part, in 2014, in the Rencontres internationales de jeunes créateurs et critiques des arts de la scène during the 8th edition of the Festival TransAmériques (FTA).


Abelardo de Leon
Abelardo León

Abelardo León is a Chilean PhD candidate in the Interdisciplinary Humanities PhD program offered through the Centre for the Interdisciplinary Study of Society and Culture. He has a Bachelor of Fine Arts, Bachelor in Education and Master in Educational Research. Abelardo has extensive experience as teacher and researcher on issues such as political theory, gender studies, cultural studies, aesthetics and discourse analysis, as well as art history and painting.  He is author of “Ciudadano en tránsito, acechado desde el Análisis Político de Discurso” (2009) and a series of articles that relates the recent history of Chile during the process of transition to democracy in his country. As part of his concern regarding democracy and construction of citizenship, his doctoral research is focused on “empathy” as a social cognitive and political concept during the lobby of Chilean LGBT organizations to gain civil rights.

Leon states: “My research studies the communicative process of the production of empathy in institutional discourse. I focus specifically on cultural and political relationships that have shaped the homosexual social identity in Chile after the arrival of democracy in my country. I argue that the institutional discourse during the last 5 years in Chile has established a mainstream identity over the homosexual identity, which ultimately marginalizes other non-hetero-centered expressions of sexualities. My main assumption is that the process of obtaining civil rights for sexual diversity in Chile is much more than deploying rational arguments, but these advances have been possible once Chilean democracy reached a social cohesion between affects, emotions and cognition.  In this sense I propose to analyse this social contingency as the effect of a new relationship between homosexuality, market and democracy to which I coined the research concept of “Homomercracia”. The basic assumption of this concept is the increasing rights for gays, lesbians and trans people has been “commodified” by the market of the democratic offerings and the Chilean case brings an interesting approach to analyzing this concept.”

His personal interests range from running outdoor, Lain American Literature, Woody Allen’s film,  psychoanalysis and traditional Latin American cuisine.


Verushka Lieutenant-Duval
Verushka Lieutenant-Duval

Je complète actuellement les derniers chapitres de ma thèse, où j’analyse la représentation des pratiques sexuelles telle que véhiculée par les arts visuels occidentaux au cours de la Révolution sexuelle (les années 1960 et 1970); une période généralement perçue comme laxiste en ce qui a trait aux attitudes et aux comportements sexuels et qui suit l’assouplissement de la censure aux États-Unis. Mes recherches visent à produire un portrait thématique du contenu des images utilisées pour illustrer un échantillonnage de livres sur l’art érotique et du contenu des scènes sexuelles apparaissant dans une sélection de films commerciaux états-uniens. Je désire mettre en lumière les récurrences, les absences, les cooccurrences et les mécanismes de pouvoir régissant les différents discours sous-jacents au portrait des pratiques sexuelles créé par les auteurs, les réalisateurs, les producteurs et les scénaristes des documents étudiés.

J’ai obtenu pour mon doctorat la Bourse d’études supérieures du Canada Joseph-Armand-Bombardier. Je suis aussi membre de l’Institut de recherches et d’études féministes (IREF), du Regroupement stratégique des chercheurs-es en études féministes (RéQEF) et du de Concordia Sensoria Research Team (CONSERT). J’ai complété en 2008 une maîtrise en histoire de l’art à l’Université de Montréal (Canada), où je me suis intéressée à l’image de la position sexuelle de la femme qui chevauche l’homme dans la gravure européenne du 16e siècle.


Florencia Marchette
Florencia Marchetti

Florencia Marchetti is an interdisciplinary scholar and documentary maker. She completed studies in Social Communications (1998) and graduate training as an anthropologist (2003-4) at the University of Córdoba, Argentina, as well as a Master of Arts in Social Documentation (2007) from the University of California in Santa Cruz. Her thesis film, "Haunting Presences" focused on the memories of the 1970s military repression among the residents of a marginalized area in the city of Córdoba, Argentina. As a doctoral student in Concordia’s Humanities program she will build on her previous ethnographic research and documentary work on the politics of memory and the memories of everyday life under state sponsored terrorism in post-dictatorship Argentina. Her doctoral project, entitled “Marginal Suffering: An ethnographic and audiovisual exploration of Argentinean memoryscapes,” will both analyze and intervene in the production and circulation of narratives about the years of military rule, paying special attention to the differential participation of distinct social groups in the ongoing processes of memorialization. Her work combines an ethnographic approach to newly created sites for memory with a critical examination of media and cultural representations about the recent past, as well as her own documentary practice and public art interventions.


Kerry McElroy
Kerry McElroy

Kerry McElroy is a feminist cultural historian interested in histories of performance and medias as well as histories of women’s bodies in various cultures and labour systems. She looks particularly to histories of popular culture, film, beauty standards, bodily practices, and fashion in analyzing exploitation of women’s bodies from a historical and labour-oriented perspective.  McElroy’s doctoral project focuses on the use-value and exploitation of the actress body in international filmic systems, focusing primarily on Hollywood but also in comparison with other national cinemas. She is particularly interested in the phenomenon of imitation between actresses and female spectators, the emergence of modern celebrity and tabloid culture, and historical beauty standards and bodily practices for women in the public eye.

McElroy’s work now unites its historical methodology with a comparative approach of the role of women in contemporary Hollywood filmic systems. In 2014 she was awarded a Concordia Graduate Student Mobility Award and spent summer 2014 in Los Angeles doing archival work on women in film and interviewing contemporary women in the film industry on their experiences. Her dissertation increasingly utilizes oral history practices in interviewing and cataloguing women working in film today.  McElroy has published two book chapters out of the UK’s Interdisciplinary Press: 2011’s "Electrolysis and Ethnicity: The Commodified Star Body in Classic Hollywood" and 2014’s “’Pretty Girls Make Graves’: The Ill-Fated Beauty in Three Early Cinemas”. She has been interviewed for publications such as Elle QuebecVice, and Concordia’s Accent on topics relating to women, feminism, fashion, popular culture, and gender equality. She has presented her work at numerous international conferences, including at Oxford, Prague, Bologna, and Syracuse.


Dayna McLeod
Dayna McLeod

Dayna McLeod is a video and performance artist whose work has shown internationally. She has received funding for video projects from the Canada Council and the Conseil des arts et des lettres du Québec, has won numerous awards, and uses remix practices to mashup mainstream culture (see daynarama). Dayna’s dissertation research examines how over-40 feminist performance artists use the body (their own or bodies-for-hire) within their practices and work in relationship to mass culture and the mainstream backdrop against which their work is always/already positioned. As part of this research, McLeod embarked on a one-year durational performance piece that investigated and lived the stereotypes of a ‘cougar,’ a woman over-40 who aggressively demonstrates her (hetero)sexuality, by wearing nothing but animal print clothing, 24/7 (archived at: CougarThis).


Michael Nardone
Michael Nardone

Michael Nardone writes on poetics, media, and sound. He is managing editor of Amodern and assistant editor of Jacket2. Recent works appear in Public Poetics: Critical Issues in Canadian Poetry and Poetics and in the language art anthology The Dark Would. He is the author of Airport Novel (Gauss PDF), Transaction Record (Gauss PDF), and, with artist Jude Griebel, O. Cyrus & the Bardo (JackPine). Critical and creative writings appear in a number of arts and literature journals including Camera Austria, Le Merle, The Coming Envelope, Lemon Hound, The Conversant, n+1, Oxford Poetry, Event, Matrix, and Poetry is Dead.

His research has been awarded a Social Science and Humanities Research Council Bombardier CGS Doctoral Award, a J.W. McConnell Doctoral Fellowship, a Concordia University Doctoral Award of Excellence, and an Editing Modernism in Canada Doctoral Stipend. At Concordia, he is involved with the SpokenWeb archive of literary recordings and the Ampersand Lab, a research centre for media and literature. From 2012 to 2014, he participated in the High Performance Sound Technologies for Access and Scholarship Institute at the University of Texas. In 2015, he was a PennSound visiting fellow at the University of Pennsylvania. He can be contacted at www.soundobject.net.


Taien Ng-Chan
Taien Ng-Chan

Taien Ng-Chan is a writer and media artist who investigates the poetics of everyday urban life through experimental cinema and cartography. Her works include a poetry book/multimedia CD entitled Maps of Our Bodies and the Borders We Have Agreed Upon, and two anthologies, Ribsauce and Navigating Customs. She has written drama for stage, screen, and radio, and her videos have been shown across Canada, in the US, Korea, Sweden, and the UK.  Her short film The Red Ribbon won the Location Michel Trudel Award at Concordia University, where she received her MFA, and where she is now pursuing her Ph.D.  Taien’s current work, Detours, involves collaboration to produce site-specific digital works for interactive artist maps of Montreal, including videos to watch while riding public transit. For more info: www.soyfish.net.


Kelly Phipps

My doctoral research focuses on the cultural and political transformation of lesbian and queer activism in Canada since the 1970s. I use The Body Politic (a Canadian gay liberation periodical from the 1970s and 1980s) as an entry point into early lesbian/gay/queer liberatory politics. One of the initial aims of The Body Politic was to generate a widespread and inclusive cultural and political agenda for the emerging gay liberation movement. While early movement goals included law reform and human rights protection, the overall aim was to challenge the various repressive institutions (i.e. the state, the church, marriage) that confined sexuality to heterosexual, monogamous families. By the mid-1970s however, this radical vision of social and cultural transformation was largely replaced by a movement premised on civil rights and equality politics. My research traces this shift through contributions to The Body Politic by lesbian, feminist, and queer activists who came to question a movement that failed to meaningfully oppose state regulation of sexuality, gender, and family structure, as well as a movement that failed to fight for racial and economic justice.


William Robinson
William Robinson

William Robinson completed his MA in the Special Individualized Program at Concordia University in 2012. He is currently a PhD Candidate in the Humanities Program where his research focuses on player creativity, digital labour and aesthetic analytic philosophy. He currently works under the auspices of the Research Centre for Technoculture, Art and Games. His burgeoning art practice involves designing experimental boardgames which generate procedural narratives from strategic play.


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Annie Katsura Rollins

Annie Katsura Rollins is a researcher and practitioner of traditional Chinese shadow puppetry. Initially using traditional apprenticeship for artistic practice in 2008, the fieldwork has developed into a method of learning about tacit knowledge transmission, the inherent embodied nature of folk art forms and the necessity of living archives. For more information on Chinese shadow puppetry, please visit her comprehensive site at www.chineseshadowpuppetry.com. For more information about her research, please visit her blog at www.annierollins.wordpress.com.  Annie’s artistic work is almost entirely based in the world of light and shadow, calling upon her traditional apprenticeship for its foundation in technique and presentation. Her online portfolio can be found at www.anniekatsurarollins.com.  Annie’s recent collaborations and presentations include; a lecture for the Atlanta Center for Puppetry Arts, an interactive demonstration at the Virginia Fine Arts Museum, a lecture at the Linden Center of Yunnan, a paper presentation at the International Performance Studies Conference in Shanghai, a residency with Droomtheatre of Holland, a mobile shadow puppet show in the streets of Beijing.


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Carmen Ruschiensky

Carmen Ruschiensky holds a BFA in Studio Art, a BA in Translation, and an MA in Translation Studies. She is currently pursuing a PhD in Humanities at the Centre for Interdisciplinary Studies in Society and Culture at Concordia University on the topic of translating cultural memory in Quebec. Her master’s thesis “Competence and Creativity in Translation: Multilingual Perspectives” was based on a study of multilingual translation students in Montreal and explored how translators’ diverse linguistic repertoires and sociocultural backgrounds shape their attitudes about and approaches to translation. Translators are not neutral conduits of meaning transfer. Like other multilinguals, they draw on their understanding of the cultural memories evoked by different symbol systems to represent and construct meanings and identities. Her SSHRC-funded doctoral research “Translating Cultural Memory: Migrations and Mediations of Contemporary Québécois Literature” extends this exploration of language, identity, memory and translation into a broader social, political and historical context by integrating three fields – translation studies, memory studies and Quebec studies – to study translation and cultural memory in Quebec, where national and migrant histories, identities and cultural memories collide and transform each other in unique ways. While the current global context of mass migrations and increased contact between different languages and cultures challenges national discourses and monolingual paradigms, in Quebec, where centre-margin divisions are complicated by Quebec’s status as a French-language minority in North America, intercultural dialogue takes on a unique aspect that calls for innovative approaches to theorizing and studying its various manifestations. Her research will explore the dynamics of cultural memory in Québécois literature, its transmutations within a broader network of cultural production, and the role that translation plays in the construction and circulation of cultural memory – how cultural memory “travels” (Erll 2011) – across languages, cultures and affiliations.

As a translator she specializes in the French-to-English translation of scholarly articles in the visual arts, social sciences and humanities. Her published translations can be found in the journal The Senses and Society, and in the volumes A Cultural History of the Senses in the Age of Empire, 1800-1920 (C. Classen, ed. 2014) and Speaking Memory: How Translation Shapes City Life (S. Simon, ed. 2016). She is currently translating David Le Breton’s La saveur du monde : Une anthropologie des sens, slated to appear in 2017 as Sensing the World: An Anthropology of the Senses.


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Dana Samuel

Dana Samuel is an interdisciplinary artist based in Montreal, Canada. Presently a doctoral researcher in Humanities at Concordia University, her research-creation project, which has earned her a Joseph-Armand Bombardier Canada Graduate Scholarship from SSHRC, constructs performative scenarios for imagining history anew. Working across studio practices, contemporary global and media art histories and mobility studies, she explores a “migratory aesthetics” of exile, drawing connections between the past (specifically, her family’s flight from Hungary during the Holocaust) and the present through shifting aesthetic forms that traverse time and geography.

Dana holds an Associate Degree from the Ontario College of Art & Design and a Masters of Fine Art from the University of Western Ontario. She has shown her work at galleries and festivals including the Art Gallery of Ontario (Toronto), Prefix Institute of Contemporary Art (Toronto), Dalhousie Art Gallery (Halifax), Latitude 53 (Edmonton) and Galerie F15 (Moss, Norway), and received grants and awards from organizations including the Canada Council for the Arts, the Ontario Arts Council, the Toronto Arts Council and the Toronto Jewish Arts Council. The first Canadian artist invited to the Independent Studio Program Residency in Oslo at the Office for Contemporary Art Norway, she was most recently invited to The Banff Centre to participate in a residency with artist Ken Lum. Her artworks raise questions of history, politics and cultural identity through exploring narrative and storytelling, futility and failure and relationships between digital technologies and obsolete media.


Laura Shine2
Laura Shine

I am interested in the emergence of entomophagy – the consumption of insects as food – as a novel food practice within European-derived cultures. Insect consumption, a common practice around the world, is being actively promoted by advocacy groups and agencies such as the Food and Agriculture Organization of the United Nations as an environmentally sound alternative to conventional cattle, pig and poultry rearing. Entomophagy is said to address many of the contemporary concerns related to protein procurement and food shortages, water usage, agricultural pollution, food waste, delocalized foodways, sustainability, and animal welfare, among others issues.

Yet, although over two billion people consume insects on a regular basis, eaters from most “Western” cultural backgrounds express a wide variety of negative reactions to the idea. Many only consider insects as a starvation food, an attitude that is unique historically and cross-culturally. I investigate the disgust, distaste, anxiety, and general “yuck factor” at play when such eaters are faced with the prospect of eating insects, as well as the different motivations that can shape more positive reactions, such as curiosity and fun, sensory aspects, or rational-based calculations. For instance, based on the premise that rational, science-based discourses are generally insufficient to curb emotion-driven attitudes, I explore whether positioning insects as something that is both good to think and good to eat can successfully mitigate approach-avoidance behaviour, and whether the commercial – and therefore seemingly “controlled” – farming of insects can help alleviate concerns about cleanliness and contamination. In short, my research asks how culturally-constructed negative reactions to unusual foods can evolve and be transformed, and through which types of influences, in order to adopt novel foods such as insects.

Through the disciplinary lenses of Anthropology of food and of the senses, Food Marketing, and Cultural studies, I am looking into the different strategies mobilized to promote insect-eating. To this date, I have conducted fieldwork in Michelin-starred restaurant kitchens in France and Denmark, as well as in Canadian start-up minilivestock farms; I also offer workshops and tastings to a variety of publics and conduct qualitative surveys to evaluate attitudes towards entomophagy and probe willingness to adopt insects and novel food sources more generally.

 


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Kalervo Sinervo

Kalervo Sinervo completed his MA in English literature at Concordia in spring of 2012 and is currently a PhD candidate in the Humanities program, where he explores questions relating to materiality and differential media. In addition to media theory, he is interested in comics, detective fiction, social, puzzle, and adventure games, and the general debris of pop culture. His approach combines slapdash Actor-Network Theory with haphazard poststructuralism and a smattering of theories from other schools, always looking for the connections that keep objects alive and active. To get a better idea of what Kalervo's all about, check out his tumblr Steamboat Wilderness (windowbox.tumblr.com) or drop him an email at kalervo.sinervo@gmail.com.


Oli Sorenson
Oli Sorenson

Oli Sorenson has always refused to define his work in terms of artistic discipline. He associates this trend to specialize with a nostalgic attachment to an era typified by the assembly line. He prefers using the ubiquity and mobility of global communication networks as a metaphor truly capturing the imagination of our times. It is rather the overabundance of content that seeks his interest, a central issue that is specific of the Internet and the digital realm, an issue that will also be at the centre of his interdisciplinary PhD studies at Concordia.

Born in Los Angeles, Oli Sorenson completed a Masters in interactive media at the Université du Québec à Montréal in 1998. Based in the UK between 1999 and 2010, he played a pivotal role in establishing London as a hub for audiovisual performance and VJ culture. He curated many video related events at Tate Britain, the Institute of Contemporary Art, the British Film Institute, and more, as well as being listed amongst the top ten VJs in the world by DJ Mag, between 2004 and 2008. He has performed and exhibited at international media events and art institutions such as ZKM (Germany), K/Haus Museum (Austria), MAF (Thailand), Pause Festival (Australia), SFMOMA (USA) and more.

In a nutshell, he describes his approach as that of an operator: “I produce art as a DJ would produce music.”


julian trujillo
Julián Fernando Trujillo Amaya

A pragmaticist researcher, writer and critical thinker, Julian's  interdisciplinary research project focuses on the Narco-culture Industry. His doctoral research into the drug trafficking culture seeks to expand understanding of the social problems arising from drug trafficking and to visualize its negative implications in the formation of a responsible citizenship. According to Julián Trujillo, a proper understanding of the Narco-culture allows us to recognize the important role of mass media in educating citizens and communities, and the extent to which human rights violations and disrespect for international humanitarian law by the armed actors is favored, promoted and encouraged by the Narcoculture, the Narco-terrorism and the Narco-democracy caused by the drug trafficking industry. The Violence generated by drug trafficking has reached inconceivable extremes of dehumanization and disrespect for human and individual rights. Narcoculture has naturalized violence and it has contributed to its social acceptance. In this context, the notion of citizenship is being redefined and social cohesion tends to deteriorate due to intolerance, lack of education and recognition, poverty and absence of guarantees to protect social rights and human dignity. Julián´s research objective is to develop a critical interpretation of the Narcoculture that allows building popular education projects and civic education for the most disadvantaged communities in order to implement strategies for social change, conflict resolution and peaceful coexistence.

Since he joined the PhD in Humanities in 2013, Julián has been working on Latin American Narco Culture from the decolonial and cultural studies approaches in several presentations at Hispanic Studies Colloquiums and Humanities Conferences, and he has published books, essays and articles on different aspects of Narco culture, Hispanic studies, Poetry, Pragmaticism and the image of women within consumption and drug trafficking culture.

Academic events: VI Coloquio de HSGSA, Concordia University, January, 2016: Paper: Ways of Life in the Material Drug Trafficking Culture in Colombia; 21st Annual Graduate Interdisciplinary Conference: Meaning in Motion: Knowledge, Dialogue, and Discourse, Concordia University, March 5, 2015. Panel 3 – Philosophy in Motion. Paper: Interpretants and Semiosis; 4th Student Colloquium in Hispanic Studies, Hispanic Studies Program, Concordia University, Jan 31st 2015. Paper: “The Narco Colonial Argumentation in the Colombian Telenovela”; The 2014 Charles S. Peirce International Centennial Congress Peirce 2014: Invigorating Philosophy for the 21st Century. University of Massachusetts Lowell, July 16-19, 2014. Paper: Real Possibility and Peirce's Pragmaticism; The Concordia Humanities PhD Annual Conference: Institutionalized: Interdisciplinary questions of knowledge, innovation and academic becoming, April 3-4, 2014. Paper: The Female Body Image within Drug Trafficking Culture, and Panel on Feminist Representations; 3rd Student Colloquium in Hispanic Studies, Hispanic Studies Program, Concordia University, Jan 31st & Feb. 1st, 2014. Paper: The “Drug trafficking Culture”: Networks among Literature, Novel and Cinema in Colombia; IV International Congress Wittgenstein in Spanish, Universidad Nacional del Rosario, Argentina. Paper: Pragmaticism and Language Games. September 23-27, 2014; III International Congress Wittgenstein in Spanish, Universidad de Veracruz, Mexico. Paper: Ways of Life, Language Games and Theories of Argumentation, Sept. 5-9, 2013. Books: - Pragmaticisme, possibilité et nécessité morale, Edilivre, France, 20 avr. 2015. p. 102; Le langage, la réalité et l'engagement social. Les Editions du Net, France, March 16, 2015. https://co.linkedin.com/in/julian-fernando-trujillo-amaya-53839b3a

 


Margaret Westby4
Margaret Westby

Margaret Jean Mather Westby is an artist and researcher currently pursuing her PhD at the Centre for Interdisciplinary Studies in Society and Culture at Concordia University in Montreal, Canada under the supervision of Dr. Christopher Salter, Dr. Krista Geneviève Lynes, and Dr. Mark Sussman. She is the recipient of the Concordia University Full Tuition Recruitment Award and Concordia University Faculty of Fine Arts Graduate Fellowship. She has created and collaborated in dance performances, installations, and films throughout the United States, Canada, United Kingdom, and Europe. 

Her PhD thesis, Empowering the Female Machine: Remapping Gender Dynamics in Technologically Augmented Dance Performance, makes a mess of dance through feminist Science and Technology Studies (STS). She addresses not only how gender is embedded within the histories of technological developments and of movement creation, but also the larger economical, social, political, and cultural ramifications of gendered bodies in dance-technology artistic works. Her doctoral research combines artistic practice with theoretical research to study how strategies that remap gender dynamics in technologically augmented dance performance function within the research, development, and production process.

Hailing from Detroit, Michigan, she has been involved in dance from a young age and received professional training in ballet, modern, and contemporary dance. She attended Interlochen Arts Academy as a dance major and the independent study program at the Ailey School in New York City. She received a BA in dance and communication arts, magna cum laude, from Marymount Manhattan College in New York City. At Brunel University in London, England, she completed her Masters of Art in Contemporary Performance Making with her sonic performative practical dissertation work Ricochet.  She has presented work at numerous international conferences including the Society for Social Studies of Science (4S) Conference, AdaCamp, The Congress of Research in Dance, and Digital Resources for the Humanities and Arts (DRHA), to name a few. She currently is a Hexagram student member and part of the Feminist Media Studio in Montreal, Quebec, Canada. 

Website: www.mjmwestby.com


Ardath Whynacht
Ardath Whynacht

Ardath is a performance poet whose "chilling" and "masterful feats of narration" (NOW Magazine) have been performed in such venues as the National Young Writer's Festival (Australia), the Atlantic Jazz Festival and New Music West. Fascinated by the challenge of transdisciplinary artistic work, her most recent collaborations with Lisa Phinney, IzReal Jones and Peter Dykhuis have greatly informed her scholarly research practice in the Humanities. Coming from a background in Immunological science and global health, her Ma research focused on settler state tactics of violence against women of indigenous descent through medical and social service systems since the early twentieth century. After working for some time as a storytelling facilitator with inmates in a maximum security unit of a Federal prison, she became interested in the connections between criminalization, institutionalization and state violence. The poor, mentally ill and addicted are increasingly “warehoused” in institutions that, all too often, sanction abuse such as sexual slavery, violence and other forms of ill treatment.  Drawing on her work as a community-based poet in the Word Iz Bond Spoken Word Artist’s Collective, Ardath is staging a series of live and web-based “affect experiments” with which to understand ways that we can better invoke public support for prisoner rights and protection.  She can be contacted at: ardath.whynacht@gmail.com 


Olga Zikrata

My research project inquires into aesthetics of listening, fluidity of art forms, and synesthesia. It focuses on experiments in music, poetry, and film in early twentieth century Russia/Ukraine. In particular, I explore works of art addressed to the ear through other sensory organs. Most recently I have been interested in drawing connections between noise elements in music and transrational, or beyond sense, poetry. I am also curious about unorthodox ways of expressing sound.

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