Student profiles

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 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. 

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).

http://khadijabaker.info

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?​

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.

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. 

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). 

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.

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.

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": 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.

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.

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).

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.

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.

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, Mic.com, 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. 

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.

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

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.