Ernestine Daubner, PhD
Lecturer, Art History
Ernestine Daubner holds an MA in Art History from the Université de Montréal and an interdisciplinary PhD in the Humanities from Concordia University, including Art History, Cultural History, and contemporary Literary Theory as fields of research. She was Adjunct Professor at the Université du Québec à Montréal at the Centre interuniversitaire en arts médiatiques (CIAM) from 2006 to 2015. Her research interests focused on the intersections of art, science and technology, particularly diverse forms of media art, and mapping out the emerging field of contemporary art and biotechnologies in collaboration with le Groupe de recherche en arts médiatiques (GRAM). With Louise Poissant, she co-organized an international colloquium "Art & Biotechnologies" at the Musée d'art contemporain in 2004 and co-edited a book of collected essays of the same name, which included a DVD-ROM anthology of approximately 1000 a-life and bioartworks;and, in 2012, another collection entitled, "Bioart: Transformation du Vivant" (both with the Presses de l’université du Québec). These activities led her to research new media art in relation to the able and disabled body. In this regard, in November 2007, she co-organized a major international colloquium in Montreal, entitled, Mobile / Immobilized: Art, Technologies and (Dis)abilities. Ernestine Daubner has presented her research on modern and contemporary art and culture in Canada, the United States, Mexico, Brazil, as well as Europe, in Amsterdam, Geneva, Istanbul, Ljubljana, Lyon, and Prague.
She is currently putting the last touches on her first novel, an historical fiction entitled, "Moving Myths and Mountains," situated during the Quiet Revolution in Quebec, which deals with shifting cultural, gender, ethnic and indigenous identities, and with the inextricable links between between life and art, between the natural and the cultural, between the unfathomable universe and the mythic.
- Art in relation to Modernity and Enlightenment Culture
- Art, Culture, Gender, Ethnicity
- Notion of natureculture (one word)
- (Anti-)ocularcentric philosophies and art practices
- Literary and poststructuralist theories
- Emerging Media Art (Biomedia art)
- Intersections between Art, Science and Technology
- ARTH 349 Studies /History of the Print
- ARTH 353 Technology and Contemporary Art
- ARTH 366 Studies in Nineteenth-Century Art & Architecture
- ARTH 367 Studies in Twentieth-Century Art & Architecture: Modernism & Historical Avant-Garde
- ARTH 370 Studies in Canadian Art
- ARTH 384: Theories ofRepresentation
- ARTH 385 Colour: Theory & Application Visual Arts
- ARTH 386 The Art and the Viewer
- ARTH 387 Issues in Art & Criticism: Critically Assessing Emerging
- (Biomedia art) Practices
- FFAR/FFAZ 398J: Art,Science & Technology
- MFA ASEM652p:MediaArts, Science, Technology
PUBLICATIONS ON NEW MEDIA ART: Books
· Co-editor, with Louise Poissant, ofbook of collected essays, Bioart: Transformation du Vivant. Sainte-Foy, Québec : Presses del’Université du Québec (2012). Book includes a second edition ofDVD-ROM Anthology of Bioart and Artificial Life artworks by over 100 artists.
· Co-editor, with Louise Poissant ofbook of collected essay, Art et biotechnologies. Sainte-Foy, Québec : Presses del’Université du Québec (2005). Bookincludes a DVD-ROM Anthology of Bioart and Artificial Life artworks by around100 artists.
PUBLICATIONS ON NEW MEDIA ART: Chapters in Books
· “Quelques cultures de bioart sous le microscope.” Bioart: Transformation du Vivant. (Co-editor with Louise Poissant). Presse del’Université du Québec à Montréal, 2012.
· Interviewwith Sonya Rapoport. “From Alchemy to Bioweb: Metaphors of Transmutation andRedemption.” Pairing of Polarities: the Life and Art of Sonya Rapoport. Editedby Terri Cohn.
· “Hybrides culturels : biofictions, biocyborgs etagents artificiels.” Art et biotechnologies. Edited by Louise Poissant &
· Interview with Sonya Rapoport. “De l’alchimie au bioweb : lesmétaphores de la transmutation et de la rédemption.” Art et biotechnologies. Edited by Louise Poissant &
PUBLICATIONSON NEW MEDIA ART: Essays in Journals, Online Essays & Reviews,Conference Proceedings, Exhibition texts, Translations, etc.
· By Invitation: Review of Laurie McRobert. Char Davies' Immersive Virtual Art and the Essence of Spatiality. The
· By Invitation: Text for JaneTingley’s Plant (iPod) Installation. FOFA Gallery,
· “Art, (Bio)Technologies& (Dis)Abilities: Mutamorphosis of Body/Mind in Extreme Cultural Practices” Published proceedings of MutaMorphosis: Challenging Arts andSciences. Organized by Pavel Smetana (CIANT) & Roger Malina, (Leonardo)
· By Invitation: Red Light: A Reactive RoboticInstallation by Bill Vorn. Text for BillVorn’s exhibition, Red Light at FOFA Gallery,
· By Invitation: “Le monde post-humain selon subRosa.” INTERArt Actuel. INTER n°94 (autumne 2006) Invitation by guest editor, ChristinePalmieri)
· By Invitation: “Eduardo Kac and the Art of Spinning a Green Bunny.” Magazine électronique du CIAC. no. 23, (October 2005). http://www.ciac.ca/magazine/en/archives.htm (Invitation by Anne-Marie Boisvert, Editor inChief, CIAC’s Electronic Magazine (Centre International d'Art Contemporain deMontréal)
· ByInvitation: “Biotech XX Artists Manipulate Life Stranger than Fiction.” DPI: The Studio XX Electronic Review. (April2005). http://dpi.studioxx.org/index.php?id=56/. (Invitationby Marie-Christiane Mathieu, Director of Studio XX)
· Translation into French of “GFPBunny.” In Art et biotechnologies. Editedby Louise Poissant &
· “From Virtual Reality and ArtificialLife to Real Life: The Emergence of Bio-Tech Art.” Hybrid Reality: Art,Technology and the Human Factor. Proceedings VSMM2003: 9th International Conference on Virtual Systems andMultimedia.
· “Natalie Jeremijenko’s Clones andRobots: Repetition/Difference and OtherSubversive Representational Strategies.” Parachute 112 (Fall2003). Special issue, Automatons
· “‘Anonymity’ in David Rokeby’sElectronic Creations: ADuchampian Model?” Parachute 109 (Fall 2002) 44-59. Special issue, Anonymity.
· ByInvitation: “Manipulating GeneticIdentities: The Creation of Chimeras,Cyborgs and (Cyber-)Golems.” Parachute 105 (Winter 2002) 84-91. Specialissue, Autofictions, co-edited by Olivier Asselin and Joanne Lamoureux. (Invitation by Olivier Asselin, guest editor)
· By invitation: “L.H.O.O.Q.: LOOKing Towards Digital InteractiveArt and the Dialogical Eye/I.” Ylem:Artists Using Science and Technology. Special issue, Visual Vicissitude, edited by SonyaRapoport. (Winter 2002) (Invitation by Sonya Rapoport, Guest Editor).
· Review of Sonya Rapoport’s webwork, “Redeeming theGene, Molding the Golem, Folding the Protein.” Leonardo Digital Review (January2002) http://www.leonardo.info/reviews/jan2002/ex_GOLEM_daubner.html
PUBLICATIONSON NEW MEDIA ART: Articles on Artists’ Websites; OnlineNewsletters; Videotaped Interviews
· “From Virtual Reality and ArtificialLife to Real Life: The Emergence of Bio-Tech Art.” (2003) On Char Davies’ website: http://www.immersence.com/publications
· “Interactive Strategies and DialogicalAllegories: Encountering David Rokeby'sTransforming Mirrors Through Marcel Duchamp's Open Windows and ClosedDoors.” (1999) On David Rokeby’s website: http://www.interlog.com/~drokeby. Required
· “Genes, Genera, Genesis: The Transgenic Art ofEduardo Kac.” (2001) On Eduardo Kac’s website:http://www.ekac.org/transartbiblio.html> (Excerpt from: “Manipulating Genetic Identities: The Creation of Chimeras, Cyborgs and(Cyber-)Golems.” Parachute 105 (Winter 2002) 84-91.
· “The Real, the Virtual, the Auratic.” Introduction to Feature Article in SpecialDossier. The ISEA Newsletter #77(April-May 2000); also online < http://www.isea.qc.ca/inl/archives/inl77.htm#articles>
· “Invencao” in EventsReports: Invencao, The ISEA Newsletter/Le Bulletin ISEA 74(October-November 1999) 6-7; also online < http://www.isea.qc.ca/inl/archives/inl74.htm>
PUBLICATIONS ON ART & CULTURE: Chapters in books,essays in (electronic) journals, in translation & conference proceedings:
· “Etant donnés : Marcel Duchamp's Specular Perversions.” In Gender Reconstructions: Pornography andPerversion in Literature and Culture. Edited by Susan Bernardo, CindyCarlson, and Robert L. Mazzola, 92-107.
· “Arte, Cultura, Naturaleza.” Relaciones(
· “Art, Culture and the Estrangement from Nature.” Published proceedings of the VI InternationalCongress of the International Association for Semiotic Studies: Semiotics Bridging Nature and Culture. Guadalajara, México, July, 13-18, 1997- CD-Rom. http://labweb.education.wisc.edu/semiotics/books/01.html
· Review of “Laurie Schneider Adams, The Methodologiesof Art: An Introduction.”
· “Etant Donnés: Rrose/Duchamp in a Mirror.” Revue d'art canadien/Canadian ArtReview (RACAR) XXII, 1-2 (1995) 87-97.
COLLOQUIA, CONFERENCES & ROUND TABLES (On New Media Art)
Mobile/Immobilized: Art, Technologies &(Dis)abilities: Montreal, Université du Québec à Montréal, Oct.31-November 3, 2007. Co-organised with Louise Poissant, Doyenne, Faculté des arts, Universitédu Québec à Montréal; Louis Bec, CYPRES, Marseille, France; Norbert Hillaire, l'Universitéde Nice-Sophia Antipolis – 38 international scholars, scientists, artists.
ORGANIZER OF 2 PANELS: Critical Issues in Bioart” in Artsand Genomics section, at The 4th European Biannual Conferenceof the Society for Science, Literature & the Arts, Amsterdam, 13-16 June2006 (double session)
· Ellen Levy, (USA) artist, writer,teacher at Brooklyn College New York. President of the College Art Association
· Dmitry Bulatov, (RUSSIA) artist,curator at the Kaliningrad Branch of the National Centre for Contemporary Art./ poet, award-winning author, editor of BioMediale: Contemporary Society and Genomic Culture
· Jens Hauser, (GERMANY/FRANCE),writer, documentary filmmaker, curator of exhibition and editor of book, l'ArtBiotech in Nantes, France (2003)
· Beatriz da Costa (USA/GERMANY)Artist, Assistant Professor of Studio Art, Electrical Engineering and ComputerScience /Associate Director, Arts Computation Engineering Graduate ProgramUniversity of California, Irvine.
· subRosa (Faith Wilding) (USA)Cyberfeminist art collective of cultural researchers/producers. Wilding isAssociate Professor and Chair of Performance Art, School of the Art Instituteof Chicago.
· Ernestine Daubner (CANADA ) Art historian& theorist,. Art History Department, Concordia University / Co-editor ofbook & DVD-Rom Anthology, Art et biotechnologies (2005)
Respondent: EugeneThacker (USA) - Assistant Professor, Georgia Institute of Technology, Author ofBiomedia (University of Minnesota Press, 2004); The Global Genome(MIT Press, 2005). Member of Biotech Hobbyist collective.
CO-ORGANIZERArt & Biotechnologies. ColloquiumOctober 5-8, 2004, Musée d’art contemporain, Montréal
Co-organizedwith Louise Poissant, Université duQuébec à Montréal) of 32 international artists, researchers and scholars working in theemerging area of art, bio(techno)logical sciences and artificial life. Speakers:
· Suzanne Anker, Art Historian, Artist, Chair, School of VisualArts, NYC - Reprotech: Building Better Babies?
· Roy Ascott, Artist, Writer, Professor, University ofPlymouth, UK - Moist Media And Mediated Mind
·Louis Bec, Zoosystémicien, Cyprès FRANCE -Leçon d'épistémologie fabulatoire
· Bioteknica (S. Bailey & J. Willet, Artists) Concordia - 3dOrganic Tissue Prototypes
· Éric Bonabeau, Research Fellow at the Santa Fe Institute, IcosystemCorporation, Cambridge, USA - Exploratory Design Of Collective Patterns
·Annick Bureaud, Leonardo/Olats, FRANCE - Levivant "manipulé" en tant "qu'objet" d'art
· Critical Art Ensemble (Steve Kurtz) Artist; SUNY, Buffalo USA-Useless Wetware & DementedStrategies
· Joe Davis, MIT, USA- DNA Manifolds
·Jean Décarie, UQAM, CANADA- Le corps comme media :le cas du biofeedback
· Sara Diamond, Artist; Banff Centre CANADA - Living WithThe Animals
· Diana Dominigues, Artist, University of Sao-Paulo BRAZIL - ExchangesOf Electric Human Signals In Artistic Immersive Poetics
·Olliver Dyens, Concordia, CANADA - Le corpsnumérisé : chirurgie esthétique et chair sans mémoire
·Hervé Fischer, Artist, CANADA - Le mythe et sesdoubles
· George Gessert, Artist, Editor of Biology, Leonardo USA - AnthropocentrismAnd Genetic Art
· Jens Hauser, Curator, Ruhr Universität, GERMANY Derrièrel'Animal l'Homme? - Questions d'altérité et de parenté dans l'art biotech'
· Eduardo Kac, The School of the Art Institute of ChicagoBRAZIL/USA - GFP Bunny
· Ted Krueger, Architect; Rensselaer, Troy, USA- SyntheticSense : An Approach to an Experimental Epistemology
·Michaël Lachance, Université du Québec à Chicoutimi CANADA- Une fiction biopliqtique : le corp larvaire
· Ellen K. Levy,Artist; Brooklyn College USA - Art &The Biotech Industry: Adaptation& Innovation
· Eduardo Reck Miranda, University of Plymouth, UK - ArtificialLife Music
·Julien Nembrini, EPFL, Toulouse FRANCE - IntelligenceCollective Pour Robot Multi-Cellulaire
·Louis-Claude Paquin, UQAM, CANADA- Le corpsaugmenté
· Ken Rinaldo, Artist;The Ohio State University, USA - Artificial Life, Intelligence &Symbiosis
· Lucia Santella, Catholic University, Sao Paulo BRAZIL - Art& Science: The Controversial Field of Bioart
· Nell Tenhaaf, Artist; York University, CANADA ArtificialAgency
·Guy Théraulaz, Université Paul Sabatier, ToulouseFrance Insectes Sociaux : Conception Par Assemblage
· Inga Svala Thorsdottir, Artist, ICELAND - From Thor’sDaughter Pulverization Service To The City Of Borg
· The Tissue Culture & Art Project (Oron Catts & IonatZurr), Artists; University of Western Australia AUSTRALIA - TissueTechnologies From An Artistic Perspective
· Stephen Wilson, Artist; San Francisco State University USA -Potential Contributions of Bioartists to Research
· Adam Zaretsky, Artist; Renssalaer Polytechnic Institute, Troy,USA - pFARM : Organic Biotechnology & Power Farming
8th IASS–AIS Congress: SIGNS OF THE WORLD: Interculturality and globalisation
Lyon, France, 7th-12th July 2004
Co-Organizer and Co-chair (with Marga van Mechelen, Universityof Amsterdam) of a round table:
Art, The Body& Biotechnology: Reading (Genetic) Codes As Cultural Signs. Speakers:
· Marga van Mechelen, University of Amsterdam (co-chair)Infectiousor immune?
· Ernestine Daubner, Concordia University (co-chair) WhenArt & Biotechnology Meet: TheSemiotics Of Chimeras & Other Monsters / La rencontre de l’art et de labiotechnologie : la sémiotique des chimères et autres monstres
· Suzanne Anker, School of VisualArts, New York - Digital Darwinism and the Molecular Gaze
· Bioteknica (Shawn Bailey &Jennifer Willet) Concordia University - 3D Organic Tissue Prototypes (SoftSculptures)
· Christine Palmieri, Université du Québec à Montréal - Enjeux sémiotiques des nouvellesreprésentations
· Dalia Chauveau, Université du Québec à Montréal - L’agencede clonage
· Miriam van Rijsingen, University of Amsterdam- Visual Genomics – Material Script:Reading Material Identities
· Ingeborg Reichle, Humboldt University Berlin - Pandora´sBox ? GeneticEngineering in Contemporary Art
ORGANIZER and Chair of double session: Critical Issues in Art and New Technologies at UNIVERSITIES ART ASSOCIATION OF CANADA,Annual Conference. Université du Québec à Montréal, Montreal, Fall 2001.
Robert Bean, Nova Scotia College ofArt and Design: “Posthuman Nostalgia: Remembering the Future as Images”
Christine Ross, McGill University:“The suspension of time in media arts: the work of Diana Thater”
Gerry Kisil, Alberta College of Artand Design: “The Furnace: An Analysis of Digital Installation Art”
David Tomas, Université du Québec àMontréal : “The Imprint of an Interface: Ilya Kabakov’s Looking up.…”
Louise Poissant, Université deQuébec à Montréal : “Autresinterfaces, autres sensorialités”
Mary Flanagan, Concordia University: “Feminist Transgressions? InvestigatingTransgenic Genetic Works”
Ernestine Daubner, Concordia University:“Transgenic Art: The Genesis of Faustian Dreams and Cyborgian Utopias”
Sonya Rapoport (Artist, Berkeley, California): “Redeeming the Gene, Molding theGolem, Folding the Protein.”
PRESENTATIONS BY INVITATION :
9-13 August2010. Mexico City, Mexico. CentroNacional de las Artes (National Center of the Arts in Mexico, CENART) – Encuentro Arte y Nuevas Ciencias 2010. Invitation to present current research on art &biotechnologies to researchers and students: “Bioart and the HistoricalAvant-Garde”
31-August-6 September, 2008. Geneva, Switzerland. BrocherSummer School 2008. Topic: Research with Human Subjects: An interdisciplinaryapproach. The Brocher Foundation is devotedespecially to “social, ethical and legal implications of new medicaltechnologies.” Invited to give apresentation, “Bioart and Research on the Human Subject” to an internationalgroup of researchers and post-doctoral fellows.
July 7-11, 2008– Istanbul, Turkey - L'Association internationale des sociologues de languefrançaise (AISLF) Invited to the Interdisciplinary Research Group organized by Dr.Lasvergnas from l’Université du Québec à Montréal and to present a paper: “Lebioart: augure de l’ère biotechnologique” at her session: “Biotechnologies,médecine biogénétique et destin de l'humain.”
October 17,2007 - Université de Montréal. Facultéde droit : Talk given with Professeure KonstantiaKoutouki, “Bio-art: Quand l’art recontre lascience / Bio-Art : Art Meets Science
28 September 2007 - Daniel Langlois Foundation Symposium inconnection with E-art exhibition, CommunicatingVessels. New Technologies and Contemporary Art. The Daniel Langlois Foundation’s Tenth Anniversary, Montreal Museum of Fine Arts,. Invited by Jean Gagnon, Director DLF. Presentation: Blue Genes, Yellow Genes, Genesis: Bioart Cultures under a Microscope
March 29 2007- Alberta College of Art and Design – Liberal Arts Symposium, - Common Borders:Negotiating Art and Science. Invited by the symposium organizers. Presentation: Critical Difference: Art & Science in the Biotech Age
January 11 – February 9, 2007- FOFAGallery, Concordia University. Invitedby Lynn Beavis, Gallery Coordinator. Talk given, with Bill Vorn, at the occasion of his exhibition, RedLight January 11 – February 9, 2007. Presentation: Encountering Bill Vorn’s RedLight Robots
November, 10-13, 2005- Annual Conference of the Society forLiterature, Science, and the Arts (SLSA)Emergent Systems, Cognitive Environments, Chicago.
Invited bySuzanne Anker, art historian, bioartist, writer of “The Molecular Gaze” andChair New York School of Visual Arts. Chair of Session: “CellCulture, Medical Textiles and Biomatters.”Paper Read: Bioart Matters
72eCongrès de l'Acfas, Université du Québec à Montréal : 10 au 14 mai, 2004
Session : Arts médiatiques et communautés virtuelles /Table ronde : Rencontre dubiologique, de l’esthétique et de l’éthique. Animatrice : Louise Poissant (UQAM) Présentation : La cultureet les biotechnologies
La Centrale - Galerie Powerhouse: February 20, 1999
Participantin Round Table: “Women, Cyberart and History” in conjunction with exhibition Ordinatrices/Computers curated by Francine Dagenais. Presentation: Women, Technology and Representation
PAPERS ON NEW MEDIA ART:
MutaMorphosis: Challenging Arts and Sciences. Organizedby Pavel Smetana & Roger Malina, et al.
Prague, CzechRepublic, November 8-10, 2007
Paper: Art,(bio)technologies & (dis)abilities: Challenges of an Expanding Body/Mind
VSMM 2003: 9thInternational Conference on Virtual Systems and Multimedia. Organized by Hal Thwaites.
Montreal:October 15-17, 2003.
PaperRead: “From Virtual Reality and Artificial Life toReal Life: The Emergence of Bio-Tech Art” Hybrid Reality: Art, Technologyand the Human Factor.
INVENCAO:THINKING THE NEXT MILLENIUM
Sao Paulo, Brazil,August 25-29, 1999
TransdisciplinaryConference on art, culture and new technologies organized by ISEA(Inter-Society of Electronic Arts), Leonardo ISAST, CAiiA-Star (Centre forAdvanced Inquiry in the Interactive Arts), Itau Cultural Institute.
Paper Read: Interactive Strategies & Dialogical Allegories: Encountering David Rokeby's TransformingMirrors Through Marcel Duchamp's Open Windows & Closed Doors. (Dealswith issues of interactivity in the sound, video and computer installations ofcontemporary Canadian artist, David Rokeby, in light of the dialogicalstrategies of Marcel Duchamp).
CANADIANSOCIETY FOR AESTHETICS CONFERENCE / UAAC (Learned Societies Congress)
Universityof Sherbrooke, June, 1999
Session Chaired by Adele Ernstrom (Bishop’sUniversity) and Allister Neher: “The Transformation of Aesthetics ThroughArtistic Practice.”
Paper Read: DialogicalAllegories & Interactive Technologies: A Redefinition or Negation ofAesthetics? (On interactive artworksof David Rokeby in relation to modernist aesthetics)
UNIVERSITIESART ASSOCIATION OF CANADA, Annual Conference
Universityof Western Ontario, London, Ontario, 5-8 November, 1998
Session Chaired by Madeline Lennonentitled, “The Seeing ‘I’: Portrait/Self Portrait.”
Paper Read: TheSpecular Eye/I: Representation/Self-Representation.(On the techno-performances of French artist, Orlan, and theportrait-performances of the contemporary Canadian photographer, DianaThorneycroft)
WOMEN ANDART CONFERENCE
Rutgers University,May 18, 1998
Paper read: Changing Reality: JamelieHassan's Representations of Generations and Geographies.(On theinstallations of contemporary Canadian artist, Jamelie Hassan: how her “visualhistories” of different ethnicities operate as a model for countering theproblems in writing and theorizing feminist art histories)
COLLEGE ARTASSOCIATION, 86th Annual Conference,
Toronto,February 25-28, 1998.
Session Chaired by Martha Kellerentitled “Off-Color”
Paper read: Color(s)Colored by Culture. (On scientific color theories as an expression ofEnlightenment culture, and the manifestation of Homi Bhabha's notion of the“Third Space” in the paintings of native Canadian artist, Jane Ash Poitras)
COLLOQUIA,CONFERENCES & ROUND TABLES (Modern Art & Culture)
XIVTHINTERNATIONAL CONGRESS OF AESTHETICS: AESTHETICS AS PHILOSOPHY
Ljubijana, Slovenia,1-5 September 1998
Paper Read: Becoming and Forgetting: MarcelDuchamp's Allegory of Oblivion. -(On an allegorical and poststructuralist reading of Duchamp's work)
VIthINTERNATIONAL CONGRESS OF THE INTERNATIONAL ASSOCIATION FOR SEMIOTIC STUDIES:SEMIOTICS BRIDGING NATURE AND CULTURE,
Guadalajara,México, July, 13-18, 1997
Paper Read: Art,Culture and the Estrangement from Nature. (On Adorno, Horkheimer, Duchamp and their notions of a sublime "female" nature and on the engendering of aesthetics)
CANADIANSOCIETY FOR AESTHETICS CONFERENCE (Learned Societies Congress),
Brock University,St. Catharines, May 27-30, 1996
Paper Read: “The Machine Age: Marcel Duchamp and the Dialectic of Enlightenment.” (Impact of the first and second industrial revolutions upon human subject)
COLLEGE ARTASSOCIATION, 84th Annual Conference,
Boston,February 21-24, 1996.
Session Chaired by Francis M. Naumann,entitled, “Marcel Duchamp and the Ready-made: From Origin to Consequence.”
Paper Read: “The PatatautologicalSignifiers: Ready-mades, Dialogism, and the Case of the (Dis)Appearing Object.”(On Duchamp's philosophical premise and the role of the ready-made in hisoeuvre)
UNIVERSITIES ART ASSOCIATION OF CANADA, Annual Conference
Guelph University,Guelph, November 1995
Session Chaired by Gerta Moray,entitled “Nature and Art”
Paper Read: “Adorno, Horkheimer &Duchamp: Reflections on Nature, Culture, Gender.” (On the gendering of nature and culture in the work of Critical Theorists and Duchamp)
UNIVERSITIES ART ASSOCIATION OF CANADA, Annual Conference
Nova Scotia Collegeof Art and Design, Halifax, November 1994
Chair of Session: Visions and Revisions of Modernity
Paper Read: “Re-Visioning Marcel Duchamp: Modernity as a Gendered Game.” (On Duchamp's gendered representations of technological progress and modern Enlightenment epistemology)
PUBLIC LECTURES & INTERVIEWS
VISION TV – FrankenART – 18 April 2007
Bioteknica (Shawn Bailey &Jennifer Willet) Concordia University - 3D Organic Tissue Prototypes (SoftSculptures)
TÉLÉ- QUÉBEC– Méchant Contrast - 5 février 2007
Participation in a special program on art andbiotechnologies
WOMEN’S ART SOCIETY OF MONTREAL, MCCORDMUSEUM, March 7, 2006
Presentation:“Creating Life Stranger thanFiction: Art in the Biotech Age”
CANALSAVOIR, May 28 2004
Participationin a televised round table - L'ACFAS : “Rencontredu biologique, de l’esthétique et de l’éthique”
(Invitationdeclined because of time conflict)
THE MONTREAL MUSEUM OF FINE ARTS, AuditoriumMaxwell-Cummings, October 16, 1995
. “Color in Modernist Painting: Light,Vision and Subjectivity.” (Coincidingwith the William S. Paley Collection Exhibition, at the Montreal Museumof Fine Arts, October 16, 1995 to January 7, 1996).