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Qouleur’s Annual 2qtpoc Festival Graces Montreal Audio

It is proposed that datafication enables media to be delivered to audiences in fluid multi-way recombination for universal and individual or group consumption that can be live or independent of time or platform. This is dependent on having an adaptive organisational structure to support such data flows. The argument is made for‘Public Service 3.0’, a twenty-first century version of public service media. In thinking about urban surveillance, what if «risk» is the better civic framework over the conventional wisdom of «privacy»? In this light, I ask how are ubiquitous automation technologies («smart») such as Bluetooth and visual-capture IoT deployed in public space? Yet, I am interested in the slippage between the language of «efficiency» and the complexities of deploying what are, in effect, surveillance technologies in public space. If one looks closely at the structures of data acquisition, holding, and analysis, one finds a complicated scenario of «efficiency» obfuscating the values of transparency, consent, and privacy. Part of the attraction of such case studies is that the city agents are largely working toward a public good; it is the complexity and invisibility of machine-to-machine automation that presents new challenges for human-computer interaction.

  • This summer, Vtape is supporting Phase 1 of curator/scholar Andrea Fatona’s crucial research project the State of Blackness Database.
  • This, in turn, challenges existing understandings of freedom of expression and the political economy of time.
  • I graduated from McGill University in 2016 with an honours degree in Middle East Studies and a minor in Anthropology.
  • For the past five years, filmmaker Tiffany Hsiung has been working tirelesslyon a National Film Board feature documentary about these women and their stories entitledThe Apology.
  • Born in Oakland and raised in the Bay Area, she attempts to catalyze a political, yet ethereal aesthetic through combining her anti-colonial and anti-imperialist politics with a commitment to spirituality within the arts.

So, instead, I’m going to share some tangentially related thoughts – better yet, some feelings – the most I can muster together this week on the thought of rage and love. McGill University is one of Canada’s best-known institutions of higher learning and one of the leading universities in the world. With students coming to McGill from some 150 countries, our student body is the most internationally diverse of any research-intensive university in the country. McGill was founded in 1821 thanks to a generous bequest by James McGill, and since then, we’ve grown from a small college to a bustling university with two campuses, 11 faculties, some 300 programs of study, and more than 37,500 students. The University also partners with four affiliated teaching hospitals to graduate over 1,000 health care professionals each year.

Centre For Gender Advocacy Launches Trans Discrimination Case Against Quebec Superior Court

Cherish enjoys traditional hand drumming, contemporary singing and has trained with Micah Barnes at the Banff Centre Vocal Intensive. Working within the gap between body as material and body as experienced reality, Dong has estabilished the body—often her own body—as a visual territory in her work and a primary material to activate social commentary on immigration, race and gender. With Varro curating performance art alongside film screenings in 2016, along with bringing filmmaker John Waters – well known for his transgressive and politically volatile films – to Regina in June 2017, we just might see a reinvigoration of the QFF scene on the Prairies and elsewhere. Corporations do not openly control programming, but many organizers are attuned to the kind of homonormative and neoliberal diversity politics large corporations tend to support.

This 11th festival is implicitly different from the previous edition, in that we for the first time leaves the white box, the art institution, in presenting also our evening program in our common public space. The SummerWorks Performance Festival is Canada’s largest curated performance festival of theatre, music, dance and live art. Every August for 11 days, SummerWorks takes over Queen Street West in a celebration of new and essential voices across from across Canada and beyond. This year’s Festival, running from August 4th to August 14th, features 69 unique projects, as well as parties, events and workshops. The 2016 program travels landscapes and languages, genres and locations–from ensemble pieces to one-on-one experiences and from main stages to secret, immersive locations. The CEIA–Experimentation and Information Center of Art–is an initiative that for over 10 years in Brazil performs actions aimed at stimulating production and training in contemporary art.

Festival À La Maison: Recipes

The paper’s central argument asserts that there is a disconnect between how musicians see themselves and conceptualize their labour practices, and how industry officials understand and characterize musician labour. Applying the theories of McLuhan—in particular the ones about space, borders, environment/anti-environment and change—we will consider how he dealt with questions of individual and collective rights in the face of media change. Women have moved into key creative positions in the Canadian film and TV industry and they’re getting significantly more government funding for productions. Making such inroads in the traditionally male-dominated screen industry has been a long fight.

Though it hasn’t been able to avoid large corporate sponsorships entirely, it has maintained its radical politics. In 2000, Gary Varro, Queer City Cinema’s executive and artistic director, screened pornography and other sexually charged films and videos alongside videos about marriage, family, and community. It is difficult to say exactly how much corporate sponsorship factors into queer festivals’ budgets. As non-profit organizations, most film festivals are under no obligation to disclose these figures to anyone but their members or boards of directors. This isn’t to say that governments and public funders don’t constrain radical politics and creativity. Funding applications and reporting mechanisms entrench certain assumptions about what is worthy of funding. The difference, however, is that there are far fewer avenues to pursue accountability in private or corporate spheres than with public funders.

His work interrogates the multi-scalar incursion of borders within US private sphere, along with trans/border travel of LGBT rights rhetoric. He has worked for over 16 years across two continents in the «civil society sector.» In 1994 Debanuj founded the first HIV prevention program for men-who-have-sex-with-men in Kolkata, India. His work in the US has largely been within the environmental rights, sexual rights and immigrant rights movements.

Prior to joining Council, Lise Ann worked in the theatre community as a director and dramaturg with a passion for new Canadian plays. She served as the Artistic Director of the Great Canadian Theatre Company from 2005 to 2012 and the Artistic Associate and Literary Manager of the National Arts Centre English Theatre from 2001 to 2005. Dr. Smith is an Assistant Professor in Communication, Popular Culture & Film at Brock University.

Sensibility and reason are their sworn enemies, which they regularly trounce at all opportunities. This EAHR Speaker Series event is made possible with the support of The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and the Department of Art History at Concordia University. EAHR gratefully acknowledges Bryan Jim for the design of the catalogue, along with the support of Artexte, the Concordia University Department of Art History, and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art. The catalogue and launch party are made possible with the further support of the Faculty of Fine Arts Dean’s Discretionary Fund.

Open to ALL artists , a daytime series of workshops will provide multiple tools and approaches to performance creation , facilitated by Elder, mid-career and emerging queer artist guides. Evenings are reserved for participant-led Open Space events and/or skill-sharing sessions, as well as public events in collaboration with local radical queer festivals Qouleur and PerversCité. Social media platforms train users to behave like individual billboards on a word-of-mouth highway. In Singapore, activists struggle to get migrant labour struggles into the public sphere. But as long as we do our learning on social media platforms, our knowledge will only reflect the principles of self-promotion. Montreal’s bi-spiritual, queer-trans, people of colour festival is a grass roots organization that focuses on queer identity and brings together artists, writers, performers, and activists. The festival promotes art created by and issues of concern to members of the gay, lesbian, bisexual, transgender, transsexual, and queer community as well as focusing on the unceded indigenous territory. Look for an art exhibit, performances, discussions, films, and a keynote panel.

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