Keynote speaker – Eldritch Priest
Eldritch Priest writes on sonic culture, experimental aesthetics and the philosophy of experience from a ’pataphysical perspective. Currently, he is a postdoctoral fellow in the Department of Communication at University of Montréal and a scholar in residence at the Centre for Theory and Criticism at Western University. Eldritch is a composer and improviser, as well as a founding member of the Sonic Research Institute at York University, as well as the experimental theory group “The Occulture.”
Professional Panel Speaker – Nandita Biswas Mellamphy
Nandita Biswas Mellamphy is Associate Professor of Political Science (Western), Fellow of the Center for Transformative Media (The New School, New York NY), and Co-Founder & Co-Director of Nietzsche Workshop @ Western (NWW). Dr. Biswas Mellamphy is the author of The Three Stigmata of Friedrich Nietzsche: Political Physiology in the Age of Nihilism, co-editor of The Digital Dionysus: Nietzsche and the Network-Centric Condition, and has published in periodicals/anthologies such as Deleuze Studies; Foucault Studies; Design Ecologes; Ozone: Journal of Object-Oriented Ontologies; Collapse: Journal of Philosophical Research & Development; Nietzsche as Political Philosopher; Nietzsche & Political Thought; Leper Creativity: The Cyclonopedia Symposium; and most recently M.I.T. Press’s The Imaginary App.
Professional Panel Speaker – Julian Jason Haladyn
Julian Jason Haladyn is a Canadian writer, curator and artist. His is the author of Marcel Duchamp: Étant donnés, as well as numerous collaborative and solo journal articles and book chapters on art, film and visual theory in such publications as Drain, Parachute, C Magazine, On Site Review, Broken Pencil, and The Burlington Magazine. With Miriam Jordan he also co-authored a catalogue for their curated video program The Films and Videos of Jamelie Hassan, which documents and critically examines Hassan’s use of moving image art forms. As an artist he has exhibited his solo and collaborative art projects nationally and internationally at such galleries as Modern Fuel, Ottawa Art Gallery, Art Gallery of Peterborough, and Cho-houng Gallery (South Korea). He is a Professor of Liberal Arts and Sciences at OCAD University.
Professional Panel Speaker – Dan Mellamphy
Dan Mellamphy is a lecturer in Interdisciplinary Theory at Huron University College, adjunct of the Centre for Theory and Criticism at Western University, and research fellow of the Center for Transformative Media at Parsons: The New School in New York City. He is the editor of The Digital Dionysus: Nietzsche & the Network-Centric Condition (2015) as well as a chapter-contributor to anthologies such as Marshall McLuhan’s & Vilém Flusser’s Communication & Aesthetic Theories Revisited (2015); The Imaginary App: MIT-Press Software Studies (2014); Alchemical Traditions from Antiquity to the Avant-Garde (2013); and Leper Creativity: Proceedings of the Cyclonopedia Symposium (2012). Co-founder of the Nietzsche Workshop @ Western (“the NWW”), the UWO Electro-Governance Group (“the EGG”) and the Centre for Peripheral Theory(“the CPT”), professor Mellamphy has published his work in interdisciplinary periodicals including Culture Machine;Fibreculture; Foucault Studies; Deleuze Studies; Ozone: Journal of Object Oriented Ontology; Collapse: Journal of Philosophical Research & Development; Parrhesia: Journal of Critical Philosophy; Platform: Journal of Media and Communication; Janus Head: Journal of Interdisciplinary Studies in Literature, Continental Philosophy & the Arts; andSymposium: Canadian Journal of Continental Philosophy. His most recent publications include a contribution to a forthcoming anthology of essays in architectural theory (The Funambulist Papers: Volume Two, forthcoming) and a contribution to an anthology of essays on philosophical approaches to serial killing (Serial Killing: A Philosophical Anthology, forthcoming), the former dealing with the architectural principle of Vastupurushamandala in Vedic architecture and the latter with the Hindu goddess Mahakali.
Professional Panel Chairperson – Christof Migone
Christof Migone is an artist, curator and writer. His work and research delve into language, voice, bodies, performance, intimacy, complicity and endurance. He co-edited the book and CD Writing Aloud: The Sonics of Language and his writings have been published in Aural Cultures, S:ON, Experimental Sound & Radio, Musicworks, Radio Rethink, Semiotext(e), Angelaki, Esse, Inter, Performance Research, etc. He has released nine solo audio cds on various labels and numerous others for the Blackwood Gallery between 2008 and 2013. A monograph on his work, Christof Migone – Sound Voice Perform, was published in 2005. In 2006, the Galerie de l’UQAM in Montreal presented a mid-career survey of his work accompanied by a catalog and a DVD entitled Christof Migone – Trou. A book compiling his writings on sound art, Sonic Somatic: Performances of the Unsound Body was published in 2012 by Errant Bodies Press. He has been the recipient of commissions from the Tate Modern, Dazibao, Kunstradio, Centre for Art Tapes, New Adventures in Sound Art, Radio Canada, New American Radio. He is a founding member of Avatar (Québec City). He currently lives in Toronto and is an Assistant Professor in the Department of Visual Arts at Western University in London, Ontario.
Derrick Chang, MA Art History, Critical and Curatorial Studies, University of British Columbia
Derrick Chang is an independent curator with a focus on research dealing with issues of political art, queer experience and the body in performance. His exhibition Queering Citizenship was exhibited May 16 – June 28, 2014 at Satellite Gallery in Vancouver towards the completion of an MA in Critical and Curatorial Studies at the University of British Columbia. Derrick is currently working as part of a curatorial collective on a project that proposes a hitchhiker’s guide which connects visual art, science, social media and technology to future global environmental practices. It is tentatively titled, Whole Earth: The Collective Catalyst #WE:CC.
Sofia Cutler, MA English Literature, McGill University
Cinthya Guzman, MA Sociology, University of Toronto
As a Master of Arts student in Sociology at the University of Toronto, I have spent my time looking at ways of studying boredom through a sociological perspective. However, my interest with boredom \ developed throughout my undergraduate career at Dalhousie University, where I wrote my thesis, “ Problematic or Productive: Experiences of Boredom in Everyday Life.” The Canadian Sociological Association recognized my achievements by awarding me with Most Outstanding Graduating Student of 2014. Currently, I have written papers on the development of a particular perspective of boredom, through a Simmelian lens. Aside from this, I have sought to quantify the experience of boredom by using the General Social Survey Time-Use and Well-being 2011, in order to see how boredom, or feeling trapped in a daily routine, is an experience that develops within a particular segment of society. I wish to continue my doctoral studies by focusing on this ubiquitous experience, and developing a theory of how boredom can be used to transform society, rather than constraining it.
David Hollands, Ph.D. Cultural Studies, Trent University
David Hollands holds a BA in Film Studies from York University, and an MA in Cinema Studies from the University of Toronto. He concentrates specifically on cinematic narratives, genre studies, and technologies of the cinema. David is currently working toward completion of his Ph.D. in Cultural Studies at Trent University. His dissertation attempts, in part, to expand the use of film historian Tom Gunning’s concept of the “cinema of attractions” to fields where it is not commonly used as an interpretative strategy, such as those of genre studies.
Dave Kemp, Studio PhD, Western University
Dave Kemp is a visual artist whose practice looks at the intersections and interactions between art, science and technology: particularly at how these fields shape our perception and understanding of the world. His artworks have been exhibited widely at venues such as at the McIntosh Gallery, The Agnes Etherington Art Centre, Art Gallery of Mississauga, The Ontario Science Centre, York Quay Gallery, Interaccess, Modern Fuel Artist-Run Centre, and as part of the Switch video festival in Nenagh, Ireland. His works are also included in the permanent collections of the Agnes Etherington Art Centre and the Canada Council Art Bank. Dave obtained his PhD in Art and Visual Culture from the University of Western Ontario and is a graduate from the Master of Visual Studies program at the University of Toronto where he also completed the Collaborative Program in Knowledge Media Design. Prior to this, he earned an Image Arts (photography) BFA from Ryerson University and his BScE in Mechanical Engineering at Queen’s University. He currently works as a sessional instructor at Western University.
Andrea Liu is a New York-based visual art and performance critic and performer who writes about the juncture between modernism and post-modernism, dematerialized post-studio art, and the de-historicization of minimalism into a formalist aesthetic. She is Director of Counterhegemony: Art in a Social Context Program, a fellowship program for visual and performing artists at NIDA which will have its second iteration in New York 2016. She has been artist-in-residence at Museum of Fine Arts at Houston Core Program, Atlantic Center for the Arts, Ox-Bow/Art Institute of Chicago, Millay Colony, Jacob’s Pillow, Art & Law Program, ZK/U-Berlin (Zentrum fur Kunst und Urbanistic), Christiania Researcher-in-Residence, Woodstock Byrdcliffe Guild and was a Core Participant in Anton Vidokle’s New Museum Nightschool Program. She has written for Art US, Afterimage, e-flux (AUP), Social Text, New Museum Six Degrees Blog, Movement Research Journal, Pastelegram, and New York Arts Magazine. She has given talks at Sculpture Center, Black Mountain College Museum, LMCC Archetime Conference, Banff Centre, NYU Performance Studies Conference, Triangle Arts Association, Jan van Eyck Academie Alumni Conference, and UDK-Berlin. She has curated exhibitions/projects at Centre for Contemporary Art-Vilnius, Homesession Barcelona, and is founder of the temporary gallery the Naxal Belt (Brooklyn). She was a literature major at Yale University and thereafter studied literary criticism at Centre Parisien d’Etudes Critiques.
Shelagh Pizey-Allen, MA Communication and Culture, York University
Shelagh Pizey-Allen is a former piano teacher and an MA student in the Communication and Culture Program at York University, where she works as an assistant editor for TOPIA: Canadian Journal of Cultural Studies and where she is currently on strike as a member of CUPE 3903. She is an improvising musician and collaborates as one-third of an amplified piano trio based in Winnipeg (https://bbrrddnn.bandcamp.com). Her interest in boredom and the work of Erik Satie emerges from her engagement with drone and experimental music.
Mike Pszczonak, Studio MFA, Western University
Mike Pszczonak’s practice concerns the senses – specifically observation, with an interest in the relationship between historical and contemporary uses of light in the perception of objects. Pszczonak is a Toronto based artist living in London, Ontario. He received his Bachelor of Arts within the studio art program at the University of Guelph and is currently an MFA candidate at the University of Western Ontario.
Constanza Salazar, MA Art History & Culture, University of Guelph
Constanza Salazar is finishing her dissertation from the University of Guelph, on “Materialism to Speculative Realism: The Objects of Conceptual and Post-Conceptual Art,” in which she concentrates on overcoming the assumptions of Conceptual Art as the dematerialization of art. Her research takes up the new philosophical movement by Graham Harman called Speculative Realism, and attempts to look at art objects through this lens to analyze the new implications of interpretation and visual perception. She obtained a BFA from the University of Waterloo in which she specialized in Fine Arts and Philosophy. She hopes to continue an interdisciplinary study of Art History in her future PhD studies to research Post-Humanist Art through the work of Stelarc. She hopes to develop Speculative Realism with aesthetics and art history in order to analyze the ontological implications of Contemporary Art and challenge the methods of analysis in the discipline.