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1 HUGH MARTIN Ryerson University, Toronto BFA (Photography Studies)
HUGH MARTIN Curriculum Vitae EDUCATION 2002 Ryerson University, Toronto B.F.A. (Photography Studies), Honours SELECTED EXHIBITIONS 2002-2018 Toronto International Art Fair. Mira Godard Gallery, Toronto 2017 Hugh Martin: Studio Window. Mira Godard Gallery, Toronto 2016 From the Collection. Curated by Anna Jedrzejowski. Ryerson Image Centre, Toronto 2012 Hugh Martin: Silent Lake. Mira Godard Gallery, Toronto. 2010 Photographs. Mira Godard Gallery, Toronto 2007 Hugh Martin: The Great Forest. Mira Godard Gallery, Toronto 2007 Collected. Ryerson Gallery, Toronto 2007 About the Landscape. Mira Godard Gallery, Toronto 2004 Hugh Martin: New Photographs. Mira Godard Gallery, Toronto 2004 Views of Hamilton. Arts Hamilton Gallery, Hamilton 2004 Hugh Martin: Dutch Landscape. Arts Hamilton Gallery, Hamilton 2002 Summer Landscape. Mira Godard Gallery, Toronto 2000 Hugh Martin: Of the City. Ryerson Image Arts Gallery, Toronto 1999 The Photography Lesson. Harbourfront Centre, Toronto PUBLICATIONS & INTERVIEWS Mira Godard Gallery: Silent Lake. Exhibition Catalogue including essay: "Hugh Martin: Sanctuary" written by John K. Grande, 2012 PREFIX PHOTO #16: Walking & Consciousness, "Walls" Portfolio, Nov. '07, pp.20-27. The Walrus, "Hugh Martin: Young Romantic" Interview/Photos, Dec/Jan 2006, pp.110-11. Hammered Out #8 (Hamilton). Several photographs published in Winter/Spring 2006. Arts Beat (Hamilton), "Dutch Landscape" Artist's statement published, Nov. 2004 issue. Cable 14 (Hamilton). Interviewed for "Drawn & Quartered" exhibition, Sep. 2002. 1 GRANTS -
A Case Study of Daniel Libeskind's Roloff Beny Gallery
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery Laura E. Hayward Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Hayward, Laura E., "Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery" (2012). Theses and dissertations. Paper 1399. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. PHOTOGRAPHIC EXHIBITION IN THE ANTI-CUBE GALLERY: A CASE STUDY OF DANIEL LIBESKIND’S ROLOFF BENY GALLERY by Laura Elizabeth Hayward Bachelor of Arts, History in Art, Business, University of Victoria, 2010 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Laura Elizabeth Hayward 2012 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. -
Theorizing Toronto
Theorizing Toronto Ioan Davies The spectres drift across the square in rows. How empire permeates! And we sit down in Nathan Phillips square, among the sun, as if our lives were real. Lacunae. Parking lots. Regenerations. Newsstand euphorics and Revell’s1 sign, that not one countryman has learned, that men and women live that they make that life worth dying. Living. Hey, the dead ones! Gentlemen, generations of acquiescent spectres gawk at the chrome on American cars on Queen St, gawk and slump and retreat. And over the square where I sit, congregating above the Archer they crowd in a dense baffled throng and the sun does not shine through (Lee 1972: 36) Thus wrote the Toronto poet Dennis Lee in the early 1970s, contemplating the new Toronto City Hall and the installation of Henry Moore’s statue The Archer, which had caused a major civic upheaval when it was unveiled.2 It marked the moment when the city began to think seriously about its space, as the introduction of new forms of architecture took over from the old: the futuristic City Hall itself (commanding a space beside the red sandstone of the old gothic City Hall), Mies van der Rohe’s Toronto-Dominion Bank on Wellington street (a mass black-and-glass block replacing older, inter-war stone and brick offices), and the freeing of the old harbour and the railway lands beside Lake Ontario for commercial and public development. Throughout the 1960s and 1970s, the debates over the physical form of the future city centred on which older parts should be preserved, and for what use; where and for whom the new developments should take place; and what would be the pattern of transportation (expressways? public transport?). -
Famcam News Winter 2017
VOL. 2, ISSUE 2 FAMCAM NEWS WINTER 2017 Keeping in touch with The Family Camera Network Winter Update from PI, Thy Phu Happy Holidays! 2017 has been an incredibly productive year for The Family Camera Network. Through collecting activities we have collected over ten-thousand photographs and almost thirty interviews. We curated an original exhibition, presented at the Royal Ontario Museum and the Art Gallery of Mississauga, and we organized a major conference, which sought to reframe family photography. Additionally, through public talks, tours, and panels, we shared our research endeavors and our collection with the public. This newsletter offers a snapshot of a successful and enriching year and it highlights some things to look forward to in the New Year. Thank you everyone for all of your efforts and warm wishes this holiday season. Recent Events & Activities SSHRC Partnership Active Teams & Committees The Family Camera Development Grant Royal Ontario Museum (May 6 – Oct. 29) and Art Gallery of Mississauga (May 4 – Aug. 27) Steering Team Curated by Deepali Dewan (lead), Jennifer Orpana, Thy Phu, Julie Crooks & Sarah Bassnett, Co-Applicants Thy Phu (PI) with Silvia Forni & Sarah Parsons Thy Phu (PI) Sarah Bassnett The Family Camera explored the relationship between photography and the Sarah Bassnett Elspeth Brown Elspeth Brown Deepali Dewan idea of family, and it looked at family photographs as a cultural practice Deepali Dewan Sarah Parsons through the lens of migration. With nearly every photograph featured in this Sarah Parsons exhibition coming from a Canadian home, The Family Camera shed light on Collecting Team Collaborators Deepali Dewan (Lead) how family photos reflect and shape our sense of self, family, community, Nadine Attewell Nadine Attewell and nation. -
Les Numéros En Bleu Renvoient Aux Cartes
210 Index Les numéros en bleu renvoient aux cartes. I13th Street Winery 173 Banques 195 The Upper Deck 64 Tranzac Club 129 37 Metcalfe Street 153 Barbara Barrett Lane 124 Velvet Underground 118 299 Queen Street West 73 Bars et boîtes de nuit Woody’s 78 314 Wellesley Street East 153 beerbistro 85 Bellwoods Brewery 117 Baseball 198 397 Carlton Street 152 Bier Markt Esplanade 99 Basketball 198 398 Wellesley Street East 153 Birreria Volo 122 Bata Shoe Museum 133 Black Bull Tavern 85 Beaches Easter Parade 199 Black Eagle 78 Beaches International Jazz Bovine Sex Club 117 Festival 200 A Boxcar Social 157 Accessoires 146 Beach, The 158, 159 Brassaii 85 Beauté 115 Activités culturelles 206 Cabana Pool Bar 60 Aéroports Canoe 85 Bellevue Square Park 106 A Billy Bishop Toronto City Castro’s Lounge 161 Berczy Park 96 Airport 189 C’est What? 99 Bickford Park 119 Toronto Pearson Clinton’s Tavern 129 Bière 196 International Airport 188 Crews 78 Aga Khan Museum 168 Bijoux 99, 144 Crocodile Rock 86 Billy Bishop Toronto City INDEX Alexandra Gates 133 dBar 146 Airport 189 Algonquin Island 62 Drake Hotel Lounge 117 Bird Kingdom 176 Alimentation 59, 84, 98, 108, El Convento Rico 122 Black Bull Tavern 74 115, 144, 155, 161 Elephant & Castle 86 Allan Gardens Free Times Cafe 122 Black Creek Pioneer Village 169 Conservatory 150 Hemingway’s 146 Alliance française de Lee’s Palace 129 Bloor Street 139, 141 Toronto 204 Library Bar 86 Blue Jays 198 Annesley Hall 136 Madison Avenue Pub 129 Bluffer’s Park 164 Annex, The 123, 125 Melody Bar 117 Brigantine Room 60 Antiquités 84, 98 Mill Street Brew Pub 99 Brock’s Monument 174 N’Awlins Jazz Bar & Grill 86 Architecture 47 Brookfield Place 70 Orbit Room 122 Argent 195 Brunswick House 124 Pauper’s Pub 129 Argus Corp. -
The Twenty-First Annual Convention of the Media Ecology Association June 17-20, 2020
The Twenty-First Annual Convention of the Media Ecology Association June 17-20, 2020 Goals of the MEA To promote, sustain, and recognize excellence in media ecology scholarship, research, criticism, application, and artistic practice. To provide a network for fellowship, contacts, and professional opportunities. To serve as a clearinghouse for information related to academic programs around the world in areas pertinent to the study of media ecology. To promote community and cooperation among academic, private, and public entities mutually concerned with the understanding of media ecology. To provide opportunities for professional growth and development. To encourage interdisciplinary research and interaction. To encourage reciprocal cooperation and research among institutions and organizations. To provide a forum for student participation in an academic and professional environment. To advocate for the development and implementation of media ecology education at all levels of curricula. 2020 Executive Board President: Paolo Granata, University of Toronto Vice President: Peggy Cassidy, Adelphi University Vice President-Elect: Adriana Braga, Pontifícia Universidade Católica do Rio de Janeiro Treasurer: Paul A. Soukup, SJ, Santa Clara University Recording Secretary: Cathy Adams, University of Alberta Executive Secretary: Fernando Gutiérrez, Tecnológico de Monterrey Historian: Matt Thomas, Kirkwood Community College Internet Officer: Carolin Aronis, Colorado State University EME Editor-in-Chief: Ernest Hakanen, Drexel University -
Stan Douglas Born 1960 in Vancouver
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Stan Douglas Born 1960 in Vancouver. Lives and works in Vancouver. EDUCATION 1982 Emily Carr College of Art, Vancouver SOLO EXHIBITIONS 2020 Stan Douglas: Doppelgänger, David Zwirner, New York, concurrently on view at Victoria Miro, London 2019 Luanda-Kinshasa by Stan Douglas, Plug In Institute of Contemporary Art, Winnipeg, Canada Stan Douglas: Hors-champs, Western Front, Vancouver Stan Douglas: SPLICING BLOCK, Julia Stoschek Collection (JSC), Berlin [collection display] [catalogue] 2018 Stan Douglas: DCTs and Scenes from the Blackout, David Zwirner, New York Stan Douglas: Le Détroit, Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg 2017 Stan Douglas, Victoria Miro, London Stan Douglas: Luanda-Kinshasa, Les Champs Libres, Rennes, France 2016 Stan Douglas: Photographs, David Zwirner, New York Stan Douglas: The Secret Agent, David Zwirner, New York Stan Douglas: The Secret Agent, Salzburger Kunstverein, Salzburg [catalogue] Stan Douglas: Luanda-Kinshasa, Pérez Art Museum Miami (PAMM) Stan Douglas: The Secret Agent, Victoria Miro, London Stan Douglas, Hasselblad Center, Gothenburg, Sweden [organized on occasion of the artist receiving the 2016 Hasselblad Foundation International Award in Photography] [catalogue] 2015 Stan Douglas: Interregnum, Museu Coleção Berardo, Lisbon [catalogue] Stan Douglas: Interregnum, Wiels Centre d’Art Contemporain, Brussels [catalogue] 2014 Stan Douglas: -
Digital Preservation: an Introduction
© HATII, University of Glasgow – Delos Summer School Digital Preservation: An Introduction 12 July 2002 Delos Summer School, PISA Dr Seamus Ross Director, Humanities Computing & Information Management Humanities Advanced Technology and Information Institute--HATII University of Glasgow & Director, ERPANET © HATII, University of Glasgow – Delos Summer School HATII Humanities Advanced Technology and Information Institute http://www.hatii.arts.gla.ac.uk/ [email protected] Seamus Ross--'An Introduction to Digital Preservation' 2 © HATII, University of Glasgow – Delos Summer School What Will I talk about • Background to Preservation • Obstacles • Mechanisms for Preservation • Case study of Electronic Records (e.g. email & digital documents) • What is Authenticity Seamus Ross--'An Introduction to Digital Preservation' 3 © HATII, University of Glasgow – Delos Summer School What’s Happening in Preservation • Collaborative Projects— – From Pittsburgh, InterPARES, NEDLIB, to CEDARS/CAMiLEON, Presto • National Initiatives led by Libraries & Archives – Such as ….. UK (NDAD), NEDLIB • Gap between commercial activity and the knowledge in the public sector about these • Legal Challenges to digital preservation (IPR, privacy) but FOI & legal requirements • Recognition that our cultural memory is at risk and that it is composed of many types of digital objects (e.g. audio, VR) Seamus Ross--'An Introduction to Digital Preservation' 4 © HATII, University of Glasgow – Delos Summer School Documents & Records = Institutional Assets Maintaining the Accessibility & Reusability of Intellectual Capital Storage Access Authenticity Seamus Ross--'An Introduction to Digital Preservation' 5 © HATII, University of Glasgow – Delos Summer School Digital resources & problems • Retroconversion of analogue materials (e.g. print, sound, images) • Online resources: electronic journals, books, newsletters • Databases, image & sound banks • Multimedia productions Fundamental Problem: Specially created resources as opposed to purchased products delivered on portable media. -
Department of Drama
UNIVERSITY OF ALBERTA Mentoring Canadian Theatre: Paul Thompson's Influence On The State of Canadian Theatre Through His Work in Collective Creation Dunng the 1970s and Early 1980s Ryan Farrell O A thesis submitted to the Faculty of Graduate Studies and Research in partial Willment of the requirements for the degree of Master of Arts. DEPARTMENT OF DRAMA Edmonton, Alberta Spring, 2000 National Library Bibliothéque nationale u*u ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibrigmphiques 395 Wellington Street 395. rue Weliiigton OlÉewaON K1AOW OttawaON KlAON4 canada carlada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothéque nationale du Canada de reproduce, loan, distn'bute or seIl reproduire, prêter, distriiuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels mybe printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT In this thesis, 1 demonstrate how Paul Thompson's collective creations from the 1970s and early 1980s provided a mechanism by which to attach theatre practice to the creation of dramatic text. 1 demonstrate how Paul Thompson developed his collective creations to help replenish the body of Canadian written work in the country's theatre industry, creating a volume of playable Canadian theatre texts that were developed by Canadians, for Canadians, and based on Canadian subject-rnatter. -
1537793523799 PRIX ITALIA 2018.Pdf
caratteristica del Prix che – fedele alla missione pubblico i brani dedicati a Capri e le circa 700 di Servizio Pubblico della Rai – diventa anche versioni di “O Sole mio” in tutte le lingue. 1948 – 2018: IL 70° PRIX ITALIA quest’anno il luogo per riflettere sul senso della narrazione oggi, in un mondo iper-connesso Altra novità la collaborazione del Prix Italia con il e sempre più diviso tra vero e verosimile, tra Premio Roberto Morrione per il giornalismo La rassegna internazionale promossa dalla Rai torna a Capri manipolazione e rispetto dell’opinione pubblica. investigativo che il 25 settembre alle 14.30 alla dove tutto era cominciato settant’anni fa. Sala Capri del Quisisana presenta in anteprima Dal 25 al 29 settembre cinque giorni di incontri, anteprime, Non a caso a far da Anteprima al Prix - lunedì 24 le 4 inchieste giornalistiche selezionate per settembre alle 14.30 all’Università Federico II di l’edizione 2018. musica e arti per riflettere sul senso della narrazione in un Napoli – è l’incontro con il sociologo e giornalista mondo iperconnesso. Derrick de Kerckhove, già assistente di Marshall Prosegue, inoltre, l’attività di YLAB, la piattaforma McLuhan, su un tema chiave: “Public Mind: la educativa aperta dal Prix Italia agli studenti costruzione dell’opinione pubblica nell’era della città che ospita il concorso. Protagonisti, dell’algoritmo”. Tra gli altri appuntamenti, il quest’anno, gli studenti delle Università e dei workshop di giovedì 27 settembre alle 11.30 alla Master di Napoli, con brevi racconti multimediali Sala Capri del Grand Hotel Quisisana “Il servizio che vengono proposti sul sito Rai del Prix Italia e pubblico e la produzione crossmediale” presentati durante la manifestazione. -
Final List of Participants (Prepcom 3)
Final list of participants (PrepCom 3) 1) STATES AND EUROPEAN COMMUNITY Algeria Representatives: H.E. Mr Idriss JAZAIRY, Ambassadeur/Représentant Permanent, Delegation Of Algeria, [email protected] Mr Said CHABANI, Representative, Delegation of Algeria, - Ms Amina MESDOUA, Representative, Delegation of Algeria, - Mr Mahieddine OUHADJ, Directeur, Ministère de la poste et des technologies de l'information et de la communication, mission.algerie@mission- algerie.ch Mr Boualem SEDKI, Ministre Plénipotentiaire, Delegation Of Algeria, [email protected] Andorra Representatives: Ms Cristina RICO, Desk Officer, Delegation Of Andorra, [email protected] Angola Representatives: H.E. Mr Arcanjo DO NASCIEMENTO, Ambassador, Delegation of Angola, - H.E. Mr Licino RIBEIRO, Representative, Delegation of Angola, - H.E. Mr Pedro Sebastião TETA, Vice-ministre de la Science et Technologie, Ministère de la Science et Technologie Mr Viera BEMBO, Representative, Delegation of Angola, - Mr Joaquim PEDRO, Chef de la Section de Relations Publiques du MCT, Ministère des Postes et Télécommunications, E-mail not provided Mr Aristide SAFECA, Directeur National des Télécommunications, Ministère des Postes et Télécommunications, E-mail not provided Mr Pedro SALES, Representative, Delegation of Angola, - Mr José Manuel BEIRÃO, Directeur Général de l'Institut National de Communications, INACOM-MCT, Institut National de Communications, INACOM-MCT, - Dr António Pedro BENGE, Director do Gabinete de Intercambio Internacional, Delegation -
Cultures on Screen
Cultures on Screen Dialogue with the creative community Looking at 27 years of Catholics working in cinema (1979-2004) Let me start my presentation by quoting three opinions. The first one is an old one. It was expressed around 1920 by Msgr. Charost, bishop of Lille, in France. I found it published in a compilation of a series of documents issued by the Churches about media. I used it in a booklet I wrote about Catholics and Cinema. That compilation was prepared by a group called “Mediatech” linked to the Catholic University of Lyon, under the title: "Les médias.Textes des Eglises" (Centurion, Paris, 1990). That group does not exist anymore. On page 34, one could read the following: (I translate it from the French) "Ce peuple de Flandre… aime à suivre, "These people of Flanders like to follow, passif et réceptif, des fictions lumineuses passive and susceptible, fictions made plus irréelles par leurs combinaisons more unreal by their utter flimsiness than fantaisistes que par leur inconsistance by their fantastic creations. Fascinatio impalpable. Fascinatio nugacitatis nugacitatis obscurat bona. And by a obscurat bona. Et par un changement change so pitiful, its imagination, up to tout aussi déplorable, son imagination, here so simple and quiet, becomes jusqu'ici simple et tranquille, devient aflame through the undefined shock of ardente sous le choc indéfini des images the images rendered, by the magic of the rendues, par la magie de la lumière et par light and by the romantic situations, more les situations romanesques, plus seductive