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Farida Abla-profile

Farida Abla

Farida Abla is a PhD student in the Humanities Doctoral Program with the Center of Interdisciplinary Studies in Society and Culture at the Concordia University, in Montréal.  She holds an MFA in Literary Translation from the University of Arkansas, USA; a B.A. in Translation & Languages (Arabic, English, French) from the Lebanese University. Besides, she spent four years (1993-1997) as a Staff Member at the American University of Beirut (AUB) where she was pursuing her undergraduate studies in English Language & Literature. Accredited with a CELTA and a TESOL, she has a vast experience in teaching English as a Second Language in Canada as well as overseas. She has been a Research Associate at Simone de Beauvoir Institute where she’s served as a Teaching Assistant for three years. Her interdisciplinary research deconstructs the works of Iranian American Women in diaspora in the US where they wrote autobiographies in English. She questions and analyzes the voices of these women using a transnational feminist lens. She studies the effects of the English language within the diaspora literature, their portrayal in media, and their reception and audience in North America in particular. She also explores the social, economic, political and religious circumstances these women experienced and portrayed in their memoirs.

Research Keywords: Transnational Feminism, Cultural Studies, Iranian Women Diaspora & Autobiographies

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. 

victor arroyo_photo2

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?.



Khadija Baker

Khadija Baker’s work explores social and political themes related to persecution, displacement, and memory. Her current research combines performance, fibres, sound and video to create intimate, site-specific installation environments, breaching the divide between artist, art and public, and creating active spaces of exchange and storytelling. She has shown her work in Montreal, Toronto, New York, London, Berlin, Marseille, Istanbul, New Delhi, Beirut, Damascus, and the 18th Sydney Biennale. She has received grants from the Canada Council for the Arts, the Conseil des arts et des letters du Québec, and Télé-Québec, as well as Vidéographe’s research and experimentation grant. Since 2013, Baker has been a core member of the Centre for Oral History and Digital Storytelling. Born in Amoude, Syria, Baker has lived and worked in Montreal since 2001. She holds an MFA from Concordia University (2012).

Chélanie Beaudin-Quintin

Chélanie Beaudin-Quintin

Chélanie is a visual artist, filmmaker and a doctoral student in Humanities at Concordia University. Through her research entitled “Technological animism: thinking the body in relationship with humans and social robots through 360° videodance”, she is interested in investigating our increasing cohabitation with artificial agents and more precisely our animist behaviors towards those agents and the transformation of corporeality in human-machine relationships.

Her research-creation practice combines dance, film and anthropology and explores the individual and collective body. Through dance and film, she seeks to create a new dramaturgy whose narrative form, while moving away from classical codes, seems rather sensory and embodied. Her works take the form of audio-visual installations, sometimes interactive, art videos, short films, as well as VR films. Her work has been presented in several exhibitions and events in Quebec, Toronto and abroad, in Belgium, Germany, Italy and the United States.

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.


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?​


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.



Emily Cluett

Emily Cluett is a writer, scholar, and foodie working in Montréal, Calgary, Toronto, and Vancouver. She holds a bilingual honours BA in the history and theory of art and film from Ottawa University, and an MFA in art criticism and curatorial practice from OCAD University. Her OCAD thesis project, CONSUMED, was an exhibition of participatory artworks that engaged visitors with food rituals. Intrigued by the sociological observations she made while working on CONSUMED, she is now creating a PhD on the sociology of food and cooking ephemera. Specifically, Cluett’s doctoral work aims to reveal a deeper understanding of vegetarian and vegan identity formation by analyzing cookbooks. She is reading cookbooks as autobiographies that speak to the author, their community, and the cultural context in which they were written.

Teaching is Cluett’s passion, and she was an honoured to be nominated as TA of the year by OCAD University in 2018. As a writer, she has been published in Prefix Photo Magazine, In Studio, and The Art and Science Journal.


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.



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. 

Joëlle Dubé

Joëlle Dubé

Having a dual academic background in Art History and Philosophy, Joëlle Dubé is particularly interested in areas where artistic matter meets philosophical considerations. Her Master thesis “Poor Magic and the Temporal Emergency” explores the ways in which this artwork plunges its viewers into anxiety through its display of the insaisissable quality of both death and technology.

Running parallel to her master thesis, the contemporary issue of intergenerational (in)justice – and creative practices and methodologies’ role in the matter – is central to the research she currently conducts at the Office of Rules and Norms with fellow researcher Maddy Capozzi. In January 2021, she will partake in Expand the Exhibition residency where she will investigate the rules of Canadian mining extractions as an expansion of the World of Matter exhibition (2015), as well as the implications of such extractivism on humans, more-than-humans and the unborn.

Insaisissabilité, temporal blindness and dislocation, and establishing caring relationships with life-to-come (human and more-than-human) are center-stage to her current doctoral research. How can we - the currently living - be more attuned to the needs of those who are yet to be born? How can art, and especially digital art, can help better circumscribe those needs and demands so that we can address them? Through an investigation of intergenerational, technological, and artistic temporalities, the aim of this research is to flesh out, with the help of digital art and the very peculiar temporality it opens up, the onto-epistemology of caring relationships with life-to-come and more-than-humans.


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 (, 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.


Gendron-Blais - Photo

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 - (

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 – (

Kelly-Grant-pierre and I trek

Kelly Arlene Grant

When people ask me what my research is about, I often half-jokingly say, “I knit lots of socks!” But it is more than that, to be truthful.

Living history interpretation is a profession within the museum field. It involves the wearing of reproduction historical clothing and ‘living’ the lives of the people who once walked the halls of those historic sites. By wearing and using these reproductions, we are able to better understand how the material culture was created and used, and how relationships with the body develop through that creation, use, or wearing, as is the case with clothing.

For my research/creation dissertation project through Concordia’s Humanities Doctoral Program, I am closely examining the ‘progressive’ living history movement. This new field emphasizes a quest for accuracy. These historians research and recreate the clothing and accoutrements they use in their own interpretation programming, so that they can better understand how clothing can ‘make the wo/man’ but also how that wo/man’s body can give the clothing a life.

So yes, I knit a lot of socks. I am looking into how eighteenth century stockings were knit, and how those methods changed from the seventeenth century, and then again into the modern method of sock construction.

Amanda Gutiérrez

Amanda Gutiérrez

Amanda Gutiérrez trained and graduated initially as a stage designer from The National School of Theater. Gutiérrez completed her MFA in Media and Performance Studies at the School of the Art Institute of Chicago. She is currently elaborating on the academic dimension of her work as a Ph.D. student at Concordia University. Gutiérrez has developed a set of pedagogical practices in over a decade of teaching in educational settings such as NYU Abu Dhabi, The School of the Art Institute of Chicago, and Rutgers University. Gutiérrez, interest in sound studies and listening practices is reflected in collaborative initiatives as a board member in The World Listening Project, Red Ecología Acústica México and formerly in The Midwest Society of Acoustic Ecology in Chicago.


Sabah Haider

Sabah Haider

Sabah Haider is a filmmaker, writer and digital media researcher at the Centre for Interdisciplinary Studies in Society and Culture at Concordia University, in co-tutelle/joint supervision with the Department of Social Anthropology & Ethnology at the EHESS in Paris, France. Her research interests encompass media industries, digital culture, interactive film and media, sensory ethnography, visuality, subaltern and postcolonial archives, and “history from below”. She received an MA in Film Studies from UCL – University College London, where she was awarded the Provost’s Award for Public Engagement for developing filmmaking workshops for Palestinian youth in Lebanon and Palestine. She has a BA in Political Science from the University of Guelph.

As a filmmaker she has written, produced and directed three short films and is currently developing her first feature. She is an alumnus of the Canadian Film Centre (2016), the Berlinale Talents Program (2014), and the Torino Film Lab and Dubai International Film Festival's Interchange Program (2011). She previously worked as a journalist in the USA, UK and UAE.

Salma El Hankouri

My doctoral research focuses on the multiple manifestations of Indigeneity in Montreal, including issues of identity and decolonial praxis. I am interested in the ways Indigenous cultural revival and sovereignty transpire through the arts, as well as how contemporary urbanity structures Indigenous-settler relations from a non-white/newcomer/global Indigenous perspective. I am currently an affiliate at CIÉRA (Centre interuniversitaire d'études et de recherche autochtones) where I investigate themes tied to contemporary Indigenous art and decoloniality. I also engaged in collaborative research on mental health in the context of the Public Inquiry Commission on relations between Indigenous Peoples and certain public services in Québec at the DIALOG research network. I hold a Master’s degree in human rights and international law with a focus on Latin American studies, and a Bachelor's degree in International Relations from Swansea University (Wales), Britain. Currently, I am a creative researcher at Concordia's Office of Rules and Norms where I reflect on the meaning of empty spaces in the city of Montreal utilizing post-capitalist and decolonized approaches.


Grégoire Labrosse

Greg Labrosse

My doctoral research focuses on sites of informal learning and cultural production in the city of Cartagena, Colombia. Specifically, I aim to explore the ways in which these sites provide marginalized children and youth a space for self-expression and exploration, as well as a place where they can form new narratives of their communities, which are often portrayed as violence-ridden.

Currently, I’m working on a research project about spaces of restorative justice from a design perspective. The project aims to increase the exchange of knowledge about spaces of restorative and transitional justice and provide resources to an international community of practitioners of nontraditional justice models seeking to learn more about the problems and precedents in this field. The project is led by professors Cynthia Hammond (Concordia University); Luis Sotelo (Co-director of the Centre for Oral History & Digital Storytelling and researcher at the Colombian Truth Commission); and Ipek Türeli (Canada Research Chair in Architectures of Spatial Justice at McGill University).

Previously, I have worked on projects at the Laboratory for Research and Innovation in Development and Culture at the Technological University of Bolivar (in Cartagena), where I also held the position of director of Foreign Languages in the Faculty of Social and Human Sciences. Through my work at the university, I also participated in art exhibitions at the Historical Museum of Cartagena, which showcased narrative and visual works offering new ways to represent and understand the city.

Niki Lambros2

Niki Lambros

Niki Lambros is currently pursuing a PhD in Humanities. Her book of poetry, Extraordinary Renditions, which exposes torture, war crimes and the symbolism of martyrdom, was published by Guernica Editions in Fall 2019 (Montreal Review of Books, February Poem of the Month). Following her 2015 Concordia University MA in English Creative Writing, her work will be continued by a study of Seamus Heaney's versions of Greek tragedy and the poetics of translation. 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 Montreal, Canada in 2003. At present she is working on a novel and continuing to write and translate poetry, hosting symposia with colleagues, and contributing to scholarship touching on poetry, the Greek language and translation.

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":  

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.


Sylvain Lavoie

Sylvain Lavoie’s project analyzes what animals do to contemporary Canadian theatrical practices. 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; by focusing 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 French language and literature at the University of Alberta, and completed a Master’s degree on popular culture in Europe and Quebec at the Université de Montréal. He now teaches at Concordia and at the University of Ottawa. He has also worked 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). A regular contributor of reviews (theatre and circus) to Spirale magazine for more than a decade, he is the Francophone Representative for the Canadian Association for Theatre Research and the editorial director of the “scène_s” collection at Les Herbes rouges publishing company.


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).

valo en veracruz

Aurelio Meza Valdez

I was born in Mexico City where I did my BA in English at UNAM, and then I studied the MA in Cultural Studies at Colegio de la Frontera Norte, in Tijuana. I've published the books of essays Shuffle: Poesía sonora (2011) and Sobre vivir Tijuana (2015). For my PhD research project I'm designing and developing the prototype for a Digital Audio Repository for Sound Art and Poetry in Latin America, which is part of PoéticaSonora (, an inter-institutional research group based in Montreal and Mexico City. My PhD thesis will discuss several aspects of the prototyping process, focusing on my three research areas: literary criticism, decolonial thought, and sound studies.

Trevor-M-WorldToCome production still (open gate)

Trevor Mowchun

While my primary field of expertise is film studies, including a research-creation component in experimental narrative filmmaking, my interdisciplinary background branches out into the fields of philosophy, literature, art history, poetics and visual culture. My involvement in the various thought experiments and interdisciplinary dialogues of film-philosophy in particular has made it possible for me to think beyond what the two fields can do for each other to what they can do together. My dissertation entitled Metaphysics and the Moving Image, the recipient of a Social Sciences and Humanities Research Council of Canada doctoral fellowship, proposes that the distinct historical trajectories of film and philosophy converge in the Western paradigm of metaphysics. Other recent scholarly projects are on “time-narratives” in traditional and expanded cinema, the concept of lived experience in the films of Stan Brakhage, a "theology" of cinematic automatism, and a Nietzsche inspired analysis of Paul Thomas Anderson’s The Master. My essays have been published in the journals Senses of Cinema, Film International and Evental Aesthetics.

Various aspects of my research intersect with my work as a filmmaker where I experiment with various levels of what I call “cinematic consciousness.” I recently completed my first experimental dramatic feature film called World to Come, produced with grant support from The Canada Council for the Arts. The film is a fragmented, affective and temporally striated mapping of the “psycho-geography” of a disenchanted religious community living amidst the aftermath of widespread social trauma. My next experimental dramatic feature about a disillusioned historian who goes in search of his ancestral past, leading the medium of film itself into an encounter with its photographic origins, is currently in development, and I have recently begun collaborating with a team of artists on a new media installation exploring the theme of transnational migration across Eastern and Western imaginaries of identity and place. Whether as a film scholar or maker, I am committed to exploring the idea that film can think the world, especially time, in a philosophical, historiographical and above all critical way, through audiovisual configurations which intervene in the fabric of our everyday experience.


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


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.

Gregorio Pablo Rodríguez-Arbolay Jr.

Gregorio Pablo Rodríguez-Arbolay Jr.

Gregorio Pablo Rodríguez-Arbolay Jr. is a revisionist historian, geographer, and cultural critic originating from the Bronx, New York, and currently based in Montréal. As a PhD student in the Humanities program at Concordia University, his interdisciplinary research in queer geography and visual culture aims to document shifting spatial, cultural, and cinematic discourses of homonationalism, heteronormativity, and multiculturalism in Montréal since 1960, tentatively titled: Sex, Screens, and Space: Mapping Sexuality and Racialization in Visual Cultures of Québécité.

His academic specializations include queer, feminist, racialized, and post-colonial cultural productions and visual cultures, Québécois national cinemas, as well as video art, activist aesthetics, and cartographies of QTBIPOC and HIV/AIDS social movements. He received a BA in Cultural Studies from The New School and an MA in Women’s History from Sarah Lawrence College. He is also the recipient of the 2017 Donald L. Boisvert Scholarship for Gay and Lesbian Studies.

His works have been featured on JumpCut, Cinémathèque québécoise,, AutoStraddle, as well as other community and university publications in North America and Western Europe. Gregorio has instructed Social Science, Humanities, History, and Women's, Gender, & Queer Studies undergraduate and high school courses at Bronx Haven High School, Bronx Design and Construction Academy, Berkeley College, Eugene Lang College The New School for Liberal Arts, Parsons The New School for Design, The College of Mount Saint Vincent, CUNY Hostos. At Concordia University, he has instructed courses on Sexuality Research Methods, HIV/AIDS: Aspects of the Pandemic, Fat Studies & Feminism, and Art/AIDS/Activism: Visual Cultures of the Pandemic with the Simone de Beauvoir Institute, the Minor in Sexuality Studies, and the Department of Art History. Gregorio is also currently the Research Coordinator for Mapping MTL Diversities, an open work-group dedicated exploring neighbourhoods and cultural production in various ethnic, racialized, and queer communities. 


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 For more information about her research, please visit her blog at  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  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.

Elisabeth Roy-Trudel

Among many other things (still wondering why I would have to choose!), I am interested in questions of inclusion and exclusion in human rights and more generally in the intersection of law, culture and aesthetics. In my work as a scholar, I wonder whether greater justice could be achieved through an understanding of law as expressed and connected to social realities in multiple ways.

My current research project, which is supported by a SSHRC doctoral fellowship, questions the Western concept of the human. It exposes deeply problematic consequences of this concept, such as the domination of some human beings over others and of humans over nonhuman beings and entities. To reveal these different biases, I combine insights and methods from socio-legal studies, anthropology, geography and art history. I find theories from the margins, such as Indigenous approaches, Black studies and more-than-humanism, particularly helpful and inspiring.

My research also considers the ways in which international human rights law, as a Western construct, is heavily influenced and relies on visual discourses, which arguably define and constrain subjectivities and identities in certain ways. Other senses tend to be ignored. Aware of this visiocracy and of the related supremacy of the written word in the Western world more generally, I’m also interested in moving beyond the usual academic format to explore other forms of expression and ways to do research, such as through art.

Mon intérêt pour la recherche interdisciplinaire n’est pas nouveau : je détiens un baccalauréat en science politique et environnement (McGill University et Science-Po Paris), un diplôme d’études supérieures en journalisme (Concordia University) et un LL.M. en droit international (Université du Québec à Montréal) pour lequel j’ai effectué un séjour de recherche prolongé en Finlande (University of Lapland). J’ai également travaillé pour des organisations internationales telles que le Haut Commissariat aux droits de l’homme des Nations unies et la mission onusienne en Côte d’Ivoire.


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.



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.


Kalervo Sinervo


Kalervo A. Sinervo is a PhD Candidate in the HUMA program at Concordia University. His work tackles the intersection of commerce and creativity, examining how contemporary pop culture franchising functions in an environment of transmedia storytelling and business strategy. He also focuses on the media theories that frame comics, games, and life online, especially piracy, modding, and social games. For more of Kalervo’s work, please visit or find him on Twitter @kalervideo.


Humanities student Jayanthan Sriram

Jayanthan Sriram

“The Life of the Ephemeral”, my research project, has one mission: The exploration of functional scenting, perfumery and the aesthetic labor of scent creation to establish an olfactory aisthesis as aesthethics. This will include a critique on the dismissal of the bodily and olfactory values of the experience of smells in its artistic and daily iterations to form a functional/lived aesthetic of olfaction able to include socio-political realities and consumerist trajectories. My aim is to achieve this in close engagement with creator and curators of these expressions, from perfumer, scent-artists or industry professionals.

Stemming from a background in Media Studies, Philosophy and an interdisciplinary Master´s program at the Eberhard-Karls University Tübingen, Germany, I witnessed the enigmatic adherence to ideas posing the mind as the unlimited source of knowledge in contemporary academic trajectories forming the restriction of a logocentric shedding of skin in favor of reason. Yet the breathing, listening and experiential center of culture is the human body, logic and language spring from a sensory and phenomenological grounding. My work tries to reconnect and readdress the fundament of Baumgarten not through Kant but Spinoza, utilizing the recent theories of atmosphere by Gernot Böhme. In this, the socio-political tinging of our sensory experience should appear on the forefront of aesthetics, not as a theory of art as the pure, disinterested form of creative expression, but in the words of Böhme himself as “aesthetic labor”.

This concept can carry implications of discrimination and exclusion based on sensory experience in all temporal stages of ideology – before, with and after its logocentric expression. Whether it is the labeling of difference in ethnic minorities as inferior by smell and culinary practices in their moral or societal value or the acute distinctions of how a male or female body is supposed to smell, an aesthethics of olfaction tries to capture these movements and intricacies.

I am serving as a coordinator for the Exploration in Sensory Design research project and a member of the German Academic Scholarship Foundation. My focus on ephemeralities stretches beyond olfaction to writing about art and music on various blogs and as an editor for the Stuttgart art magazine Sonnendeck. Levelling Merleau-Ponty with the music of Thou, the visuals of Jon Rafman or a nose like Alessandro Gualtieri, I write equally inspired by philosophical theories, cultural movements or said iterations of aesthetic labor. All expressions prove to create powerful means of consumption and distinction and as such deserve consideration under the lens of a new aesthetic unafraid to employ sensory studies, post-colonial approaches and critical understandings of hegemony and philosophical systematization.


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.


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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