Archive | December 2014

CFP: RE-CREATE 2015: The 10th anniversary and sixth international conference on the histories of Media, Art Science and Technology

Reminder DEADLINE extended January 12, 2015

Hexagram, Concordia University and Université du Québec à Montréal in collaboration with Media@McGill and CIRMMT- McGill Montréal, Canada.
5-8 November 2015
Re-Create CFP Submission:

Re-Create 2015, the sixth international Conference on the Histories of Media Art, Science and Technology will mark the 10th Anniversary of the Re conference series. Re-Create 2015 is devoted to exploring what theories, methodologies and techniques can be used to understand past, present and indeed, future paradigms of creative material practice involving technologies within research contexts from a historical and critical point of view.

The title Re-Create is an abbreviation for the term “research-creation”, part of a growing international movement which goes by many names: “practice-led research,” “research-led practice,” and “artistic-research,” among others.

While the link between research and practice seems to be a new horizon, the media-based arts have long been at the intersection of the humanities, sciences, and engineering and present a critical site in which to take up the changing relationships between knowledge, power, and economy.

Research normally signifies modes of acquiring new knowledge that coherently and systematically advance a field and is grounded and validated by both social frameworks (peers) and existing bodies of knowledge. Similarly, research in conjunction with material practice demands that making be historically, theoretically and methodologically framed and valorized.

Re-Create 2015 seeks to interrogate the historical entanglement of  research and making within a wide and diverse set of international sites, disciplines and contexts: from non-institutional creative research initiatives driven by artists and designers in the streets, to the labyrinths of industry funded research labs and universities. From unknown or ignored histories of research-based practices in Latin America, Asia and Indigenous communities to government funded initiatives, the conference will thus critically explore the ongoing and productive tensions between theory, method and making in the histories of media art, science and technology.

Potential contributors to the conference should focus thematic panel sessions or individual papers on one of the following areas of concentration:
:: LAB STUDIES: Studies on how artists and designers have historically worked in industry, universities and collective, grass roots-based research environments
:: CURATORIAL ACTIONS AND PRACTICES: How have research paradigms historically entered into curatorial practices and how have they been framed, exhibited and articulated?
:: ANTI-INSTITUTIONAL RESEARCH: Historical profiles of non-institutionally based research-driven explorations.
:: THEORETICAL FRAMEWORKS: How have theoretical paradigms in media, art, science and technology historically evolved structuralism in the 1960s or media studies to current work in affect theory, media archaeology, critical post-humanist approaches derived from STS, appropriation and remix aesthetics, feminist new materialism, queer and postcolonial studies, enactive and distributed cognition?
:: METHODOLOGIES: What can methodological tools emerging from the human and social sciences like ethnography, historiography, archaeology, genealogy and other qualitative techniques provide to the historical and critical positioning of practice?
:: INTERDISCIPLINARY INTERSECTIONS AND IMPACTS: Exploration of the formation and rise of interdisciplinary research fields (image science, sound studies, science studies, sensory studies, environmental studies) and their impact on the construction of media art histories.
:: DIGITAL HUMANITIES: What is the historical relationship between the digital humanities and the histories of media art, science and technology?
:: SITES: How historically have sites of research and practice in media art, science and technology evolved outside of the predominant spheres of Europe and North America and what forms have they taken?

The conference program will include competitively selected peer-reviewed individual papers, panel presentations and poster sessions as well as a number of keynotes and invited speakers and a parallel satellite program of events with Hexagram partners including core cultural institutions in Montreal. In the interest of maintaining a concentrated conference program, there will be a series of plenary sessions as well as accompanying poster sessions. Each of the plenaries as well as the poster sessions will mix together scholars and practitioners representing different cultural perspectives. The conference will be held in English and French, with live translation.

Re-Create 2015 welcomes contributions from researchers, artists, designers, scholars and technologists working across diverse disciplines, sites and practices. We particularly encourage scholars and creators from international contexts outside of Europe and North America.

The conference will take place in Montreal hosted by Hexagram, the international network for media, art, design and digital culture ( It is the largest network of its kind in Canada and one of the largest internationally dedicated to research-led creative practices. Ten years after the inaugural Re-Fresh conference at the Banff New Media Institute in 2005, the return of the conference to Canada and specifically to Quebec, offers a pertinent context to address the evolution of research in the histories of media, art, science and technology ( The conference will be held across the two core Hexagram sites at Concordia University and the Université du Québec à Montréal (UQAM). The venues are within walking distance from each other, centrally located in vibrant, downtown Montreal – the digital arts and culture capital of North America.

250 word abstracts of proposals, panel presentations and posters should be submitted in either Text, RTF, Word or PDF formats. Texts can be submitted in French and in English. The DEADLINE for submissions is January 12, 2015. INFORMATION about the submission process and general information can be found at: Re-Create Submission Site:

Conference partners include Media@McGill, CIRMMT-McGill, Cinémathèque québécoise, DHC-Art, Elektra/ACREQ, Goethe-Institut Montreal, Department fpr Image Science Danube University and others to be announced.

Conference chairs and Hexagram Co-Directors: Chris Salter, artist, Concordia University Research Chair and Associate Professor, Design and Computation Arts, Concordia University (QC/CA/US/DE) and Gisèle Trudel (QC/CA), artist and professor, École des arts visuels et médiatiques, Université du Québec à Montréal.

Re-Create Local Organizing Committee: Thierry BARDINI, Barbara CLAUSEN, Ricardo DAL FARRA, Jean DUBOIS, Jean GAGNON, Alice JIM, Jason LEWIS, Jonathan LESSARD, Louise POISSANT, Chris SALTER, Cheryl SIM, Jonathan STERNE, Alain THIBAULT, Gisele TRUDEL, Marcelo WANDERLEY

Re-Create 2015 International Advisory Board: Marie-Luise ANGERER, Monika BAKKE, Samuel BIANCHINI, Georgina BORN, Andreas BROECKMANN, Annick BUREAUD, Michael CENTURY, Joel CHADABE, Dooeun CHOI, Ian CLOTHIER, Sarah COOK, Nina CZEGLEDY, Sara DIAMOND, Diane DOMINGUES, Jean Paul FOURMENTRAUX, Zhang GA, Sébastien GENVO, Orit HALPERN, Jens HAUSER, Denisa KERA, Felipe César LONDONO, Natalie LOVELESS, Glenn LOWRY, Rafael LOZANO-HEMMER, Roger MALINA, Sally Jane NORMAN, Nicolas NOVA, Jussi PARIKKA, Christiane PAUL, Simon PENNY, Andrew PICKERING, Sundar SARRUKAI, Yukiko SHIKATA, Michel VAN DARTEL, Ionat ZURR

MAH Honorary Board: Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL

MAH Conference Series Board: Sean CUBITT, Oliver GRAU, Linda HENDERSON, Erkki HUHTAMO, Douglas KAHN, Martin KEMP, Machiko KUSAHARA, Tim LENOIR, Gunalan NADARAJAN, Paul THOMAS


Roman Catholic Art in Chile and England

Francesco Grandi (1831-1891), Saint Francis Borgia Prays in Front of the Most Blessed Sacrament, Rome 1870, oil on canvas, detail, Santiago (Chile), Saint Ignatius of Loyola Roman Catholic Church (Photo: Giulio Archinà — © Studio PrimoPiano [])

Francesco Grandi (1831-1891), Saint Francis Borgia Prays in Front of the Most Blessed Sacrament, Rome 1870, oil on canvas, detail, Santiago (Chile), Saint Ignatius of Loyola Roman Catholic Church (Photo: Giulio Archinà — © Studio PrimoPiano [])

CVAC has received a generous support from Santander Universities to conduct series of research trips and meetings in Chile in relation to the ongoing project ‘Rome in the World: Pius IX and the Foundation of Global Catholic Heritage’, led by Dr Stefano Cracolici and Dr Giovanna Capitelli. The purpose of these visits is to compare the dissemination of 19th-century Roman Catholic repertoire in Chile and England. In Chile, the turn to Rome to decorate Catholic churches and institutions chimed with the political strategy to disenfranchise a recently independent country from its colonial bonds; in England, it served to refuel with sacred energy the restoration of the English Catholic landscape after its devastation during the early modern period. In both cases, we argue, Rome contributed to create zones of civilisational prestige for an imagined community shared globally. The possibility to conduct a comparative study supported by community-led initiatives in Chile and England would allow us to frame the investigation of a cultural heritage of local significance within a global context, and to explore new avenues for broadening our collaboration, achieving international recognition and exploring innovative forms of impact activities.

In collaboration with our Chilean co-investigator, Prof Fernando Guzmán Schiappacasse (Director of CEP), we intend to develop a collaborative partnership between the Centre for Visual Arts and Cultures at Durham University and the Centro de Estudios del Patrimonio (CEP) at the Universidad Adolpho Ibañez in Santiago and Valparaiso, with the additional involvement of the Durham Centre for Catholic Studies and Centre for the Ethics of Cultural Heritage. During our visit to Santiago, we will conduct a series of meetings with non-academic partners working in the heritage and conservation sectors, such as the Fundación Altiplano, the Centro de Conservación, Restauración y Estudios Artísticos (CREA) and Centro Nacional de Conservación y Restauración (CNCR). Further contacts will be established with crucial cultural institutions, such as the Centro de Estudiantes del Colegio San Ignacio de Alonso de Ovalle, the Centro Patrimonial Recoleta Dominica CPRD) and the Dirección de Bibliotecas, Archivos y Museos (DIBAM) in Santiago.

Stefano Cracolici,

Durham University

Ant Macari: Eustace’s Loop

Ant Macari (1)

“Eustace’s Loop”. Image by Susie Green.

As part of its ‘Contemporary Art In Focus’ series, CVAC supported a performance piece entitled Eustace’s Loop, written and presented by Ant Macari in the Norman Chapel of Durham Castle on November 29, 2014

“How am I to flow like water (when) lost am I, in a time stream of my own thoughts, not flowing but sinking in this stagnant pool.”

This, the central philosophical question that Ant Macari posed in his experimental mystery play, is a timeless one, but particularly relevant in our ‘information age’. The idea of flow and consciousness is prominent in both religious literature and the currently fashionable ‘mindfulness’ meditation practice derived from Buddhism. The aim is to be naturally in tune with our purpose and environment, but it is difficult to develop our lives in the flow with a consciousness mired in thoughts.

Eustace’s Loop was a performance piece that explored metaphysical ideas. The artist – inspired by the secluded Norman Chapel and in particular the carving of a stag atop one of its magnificent stone columns – focused on the myth of St Eustace, the patron saint of hunters. Originally a Roman captain named Placidus, Eustace was converted to Christianity when he came across a white stag with the crucified Christ between its antlers, while hunting in the forest. In Eustace’s Loop Macari explored the theme of grace. Placidus is offered the state of grace when we meet him; he is at a crossroads, confronted with his own destiny and martyrdom he struggles to understand what is required, what is on offer and what attitude he should take to it. The artist acted out Placidus’ quest for sacred knowledge by writhing along the chapel floor holding a mistletoe plant (the golden bough) to consult with four of the stone columns representing the sceptres of the gods. No answers were offered; the narrative was simply looped back seven times to the discussion about grace and the quest. The play considered the nature and power of myth and ritual and the performance echoed the repetition that is central to both.

Placidus’ impressive costume with its soft white cloak and feathers and its golden helmet and body armour helped the artist to dominate the space. There was humour: we were gently reminded of the unfamiliarity of a single god when Placidus wrongly identified Him as Plato, Diana and Jupiter in turn. A joke at the expense of the Bishop was rendered powerless in its constant re-telling.   However, this was a work of gravitas. Macari is a prodigiously talented artist and acting in performance was a departure for him. It is commendable that Durham University provided him with the space and funds to develop his practice in this way. He belongs to a vibrant community of young avant-garde artists and musicians based in the North East, and to end his commission he curated an evening of site-specific experimental music in the Norman Chapel on December 5th.

Hazel Donkin

December 2014