Professor, Communication Studies
Canada Research Chair in Feminist Media Studies
Director, Feminist Media Studio
PhD, History of Consciousness, University of California, Santa Cruz
Thesis: Imaging Boundaries: Video, Gender and the Politics of Visibility
(James Clifford/Teresa de Lauretis, Donna Haraway, Jennifer A. González)
Lynes examines the role contemporary art, experimental media, and infrastructures play in mediating social life under conditions of political struggle or precarity. They have analyzed media interventions in times of war, occupation and crisis, as well as conditions of systematic disenfranchisement and vulnerability in and through bordering regimes. Their focus on the politics of visibility engages feminist and queer theories, feminist STS, critical race studies, postcolonial and transnational examinations of culture, and theories of embodied subjectivity.
Their current research project Greenhouse Effects: The Mediation of Life and the Migration of Labor, seeks to explore how greenhouses have been a central infrastructure for the racialized, classed, and gendered global movement of humans, plants, animals, knowledge and culture over the last several centuries and today. In understanding greenhouses as media, they turn their attention to Victorian wardian cases and Kew Gardens, Canadian temporary foreign worker programs, the research hub of Food Valley in the Netherlands, speculative capital investment in Kentucky, media partnerships in Japan, and the "sea of plastic" in Southern Spain. Another dimension to their research focuses on artistic and activist speculative work for imaging and imagining more just, decolonial, and sustainable futures. An early speculative work on this project can be found here.
They are also working with other members of the Feminist Media Studio on a SSHRC funded project entitled "Necessary Feminisms". This project has two axes: Resisting Displacement (a collective interrogation into the political and aesthetic strategies for resisting displacement across migrant justice, Palestinian liberation, Indigenous decolonization and housing justice movements); and Real Sanctuary (a speculative imaginary project to create an archive of strategies and sources for flourishing and refuge).
COMS411: Sexuality & Public Discourse: How does sexuality become an object of public discourse? While we may assume that sexuality constitutes what is most private about ourselves and our intimate relations, this course examines the ties that bind sexuality to the public sphere, to culture, power, ideology, and fantasy. Through the disciplines of feminism and queer theory, this course examines how sexuality and public discourse are co-constituted—how public life frequently takes as its task the regulation of sexuality and, conversely, how sexuality eroticizes social relations, relations frequently marked by power and knowledge.
COMS415: Advanced Topics in the Photographic Image: This course asks the questions: How is the body captured by or placed in the photograph? Who takes the picture? Who is and is not seen? What is privileged within the field of vision? While we will start from the assumption that photography put into play a whole series of questions, crises, and practices of looking, of (stereo)typing, of representing and knowing, the course will not dwell too much in this repressive history. Guided instead by Ariella Azoulay’s powerful insights in The Social Contract of Photography, we will think about how to see, hear, and listen to photographs otherwise, as a practice with a powerful potential to make demands or build solidarity.
COMS463: Semiotics: Semiotics takes as its subject the problem of meaning: the formal processes by which something (a word, an image, a sound) comes to stand for something else (an idea, concept, object). What are the particular operations that construct meaning? How do they become naturalized: the words we use without thinking about them, the advertising images that are grasped in the flash of an eye, the news reportage that worlds the world for us, or the iconic figures that galvanize public aspirations? Students will be invited to become mythologists: reading culture with a differential eye, dissecting and analyzing the images that surround us, the stories we tell, the organization of culture. The work of semiotic analysis will open a toolbox for moving beneath the surface of things, to understand signs in relation to others, their force and circulation, and their poetics.
Greenhouse Effects: The Mediation of Life and the Migration of Labor. [in process]
Moving Images: Mediating Migration as Crisis. Co-edited with Tyler Morgenstern & Ian Alan Paul. Bielefeld: Transcript Verlag, 2020.
Prismatic Media, Transnational Circuits: Feminism in a Globalized Present. Global Cinema Series. New York: Palgrave Macmillan, 2012.
"SOPHIA: The language of 'trafficking' and the mediation of gendered migration" in Moving Images: Mediating Migration as Crisis. Bielefeld: Transcript Verlag, 2020.
"Introduction: In and Against Crisis" (with Tyler Morgenstern and Ian Alan Paul). in Moving Images: Mediating Migration as Crisis. Bielefeld: Transcript Verlag, 2020.
"Either You Get it or You Don't: A Conversation with LGBTQI Refugees in Greece's #Rockumenta Action" (with Sophia Zachariadi) in Moving Images: Mediating Migration as Crisis. Bielefeld: Transcript Verlag, 2020.
“Cyborgs and Virtual Bodies” co-authored with Katerina Symes in The Oxford Handbook of Feminist Theory. Lisa Disch and Mary Hawkesworth, Editors. Oxford: Oxford University Press, 2016.
"World of Matter: Introduction: Planetary Aesthetics" in Elemental: an arts and ecology reader. James Brady, Editor. Gaia Project, 2016.
“On the Ground: Media in Conflict Zones” in Space (Re)Solutions: Intervention and Research in Visual Culture. Peter Mortenböck and Helge Mooshammer (Eds). Bielefeld: Transcript Verlag, 2011.
"Beard, Shave, Dental, Hair, Alone" in Shock & Awe: War on Words. Anna Tsing and Jennifer González, Editors. Santa Cruz: New Pacific Press, 2004.
"Pollination and the Horrors of Yield: Scarcity and Survival in the Glasshouse." Catalyst, 2023.
"Greenhouse Effects: Captive Labour, or How Like a (Salad) Leaf." Heliotrope, 2021.
"Decolonizing Corporeality: Teresa Margolles's Lively Corpses" Social Text, Vol.37, No.4, 2019.
"Drowned at Sea: What haunts the stories of trafficked women?" Feminist Media Studies. Critique & Commentary: Gender, Migration and the Media. Vol.18, No.6, 2018.
"Between a Rock and a Hard Place: Performative Politics and Queer Migrant Activisms". ADA: A Journal of Gender, New Media and Technology. Issue 14: Visualizing Protest, 2018.
"Global Pictures: Formalist Strategies in the Era of New Media". Postmodern Culture. Vol.25, No.2, 2015.
“A Discrepant Conjuncture: Feminist Theorizing Across Media Cultures”. Ada: A Journal of Gender, New Media, and Technology, No.1, 2012.
“Poetic Resistance and the Classroom Without Guarantees”. Theory & Event. Vol.15, No.3. Supplement. Autumn 2012.
“Visual Currencies: Documenting India’s Red Light Districts”. Signs: Journal of Women in Culture and Society. Vol.37, No.1, Autumn 2011, 109-132.
"Perversions of Modesty: Lars von Trier's The Five Obstructions and 'the most miserable place on earth." Third Text. Vol.24, No.5, 2010.
"Moving Images in Contemporary Media Analysis". Cahier des Fellow de l'IMéRA. November 2017. https://imera.hypotheses.org/1001
"Full Service in a Minor Key: Cyrill Lachauer in the American West". Full Service. Museum Villa Stuck, Munich. Exhibition Catalogue, 2015.
"Object Attachments: The Indexical Form in Feminist Art". Brooklyn Rail. September 2014.
“Curriculum Guide: !Women Art Revolution”. In !W.A.R. Lynn Hershman-Leeson, Alexandra Chowaniec & Spain Rodriguez. 2010.
From Local to Global: Making Peace Work for Women. Krista Lynes & Gina Torry (Eds.). New York: The NGO Working Group on Women, Peace and Security, 2005.
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