February 12, 2010
“Screen World Symposium”



  • Welcome: Rae Staseson (Chair, Communication Studies)
  • Opening Remarks: Charles Acland (Communication Studies)

9:15-10:45 Blurred Boundaries in Media Use

  • Chair: Alice Ming Wai Jim (Art History)
  • Nikki Porter (Communication Studies) “The end of television schedules?: Temporal contexts and time-shifting technologies”
  • Tamara Shepherd (Communication Studies) “‘It’s not a phone, it’s a platform’: The iPhone and Convergence Culture”
  • Olivier Asselin (Art History and Film Studies, Universite de Montreal) “Augmented cinema”
  • Amanda Williams (Hexagram) “Configuring Interactive Spaces with and without Screens”

11:00-12:30 Materials of Moving Image Culture

  • Chair: Kim Sawchuk (Communication Studies)
  • Lorna Roth (Communication Studies) “Beyond Shirley, the Ultimate Norm: Colour Balance, Visual Technologies, and Cognitive Equity”
  • Charles Acland (Communication Studies) “Media Mobility and the Post- WWII A/V Environment”
  • Haidee Wasson (Cinema Studies) “Suitcase Cinema: Towards a History of Portability”
  • Peter Lester (Communication Studies) “Navigating the Digital Transition”

1:30-3:00    Projecting Media Art Spaces

  • Chair: Peter Lester (Communication Studies)
  • Andrea Zeffiro (Communication Studies) “Locating Practice: Emergent Methodologies for Emergent Technologies”
  • Ingrid Holzl (Art History and Communication Studies, McGill University) “Photography as Projection”
  • Alice Ming Wai Jim (Art History) “Game Culture and New Media Art in China”
  • Kim Sawchuk (Communication Studies) “Out in the Cold: Meteorological Mediation, Mobile Technologies, and the Embodied Endothermic User”

Keynote from Janine Marchessault (Canada Research Chair in Art, Digital Media, and Globalization, York University),
“The Screen as World: Terre des hommes as Global Media Experiment”


  • Charles Acland is author of Screen Traffic (Duke UP, 2003) and editor of Residual Media (University of Minnesota Press, 2007). His next books are Swift Viewing in a Cluttered Age (Duke UP, 2011) and Useful Cinema (Duke UP, 2011), co- edited with Haidee Wasson (Cinema Studies). Acland is editor of the Canadian Journal of Film Studies.
  • Olivier Asselin teaches contemporary art and film production. Recently, he has written a catalogue on Angela Grauerholz (Canadian Museum of Contemporary Photography, 2010) and co-edited two collection of essays—Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture, with Christine Ross and Johanne Lamoureux (Mc Gill-Queen’s University Press, 2008) and The Electric Age, with Silvestra Mariniello and Andrea Oberhuber (University of Ottawa Press, 2010).
  • Ingrid Holzl is currently working on a book on the obsolescence and obscenity of the photographic image and its conversion from sign to signal in contemporary art. Her publications include Der Autoporträtistische Pakt – Zur Theorie des fotografischen Selbstporträts am Beispiel von Samuel Fosso. Muenchen: Wilhelm Fink 2008.
  • Alice Ming Wai Jim is an Assistant Professor in the Department of Art History at Concordia University where she teaches courses on contemporary art, media art and ethnocultural art histories.
  • Peter Lester teaches a variety of courses in media studies and audio-visual culture. He has published research on the history of the 16mm film industry in Canada.
  • Janine Marchessault is a Canada Research Chair in Art, Digital Media and Globalization in the Faculty of Fine Arts at York University. She is the Co- Founder of Future Cinema Lab, a research facility devoted to ‘new stories for new screens’ as well as the Director of the Visible City + Archive, a comparative study of public art and architecture in 21st century cities. She is the author of Marshall McLuhan: Cosmic Media (Sage 2005) and is the (co) editor of several collections including Fluid Screens, Expanded Cinema (with Susan Lord, University of Toronto Press 2007) and Locating Migrating Media (with Greg Elmer et.al., Lexington Press 2010). Dr. Marchessault is a founding member of the Public Access Curatorial Collective and the journal Public: Art/Culture/Ideas and a past President of the Film Studies Association of Canada.
  • Nikki Porter has co-authored publications in the Canadian Journal of Communication and Feminist Interventions in International Communication. She is completing her dissertation on the temporal logics of television.
  • Lorna Roth is author of Something in the Air: The Story of First Peoples Television in Canada, and is currently working on a book manuscript called Colour Balance: Race, Representation, and “Intelligent Design” exploring the ways in which skin colour is imagined, embedded, and colour-adjusted over time in products and technologies that have a sense of “flesh” within their design.
  • Kim Sawchuk is the editor of the Canadian Journal of Communication, and co-founder of wi: journal of mobile media, the Mobile Media Lab (Montreal-Toronto) and StudioXX (Montreal). She is the author of numerous articles on mobile media and her recently co-edited The Wireless Spectrum (with B. Crow and M. Longford) is being published by University of Toronto Press (2010).