The Department of Dance presents
Dance Innovations 2020: Detail and Distance –
Extraordinary works for extraordinary times.
Series A: Detail
November 25th at 7:00pm LINK
Features new choreographic works from fourth year students.
Series B: Distance
November 26th at 7:00pm LINK
Features new choreographic works from fourth year students.
Series C: Distant Measures
November 27th at 7:00pm LINK
Features third year performance students and the York Dance Ensemble.
Each series will premiere on their respective date shown above and will be available to watch on demand till Friday, December 11, 2020.
Artistic Director: Susan Lee
Course Director: Modesto Amegago
Guest Artist: Don Sinclair
Check out the promo reel for this event here.
Media Arts @ York presents How in the World to Carmen Sandiego: Making an Interactive Special
DATE: Thursday, December 3, 2020
Join Emmy-nominated director Jos Humphrey as he takes us through the creation of Netflix’s interactive animated special Carmen Sandiego: To Steal or Not to Steal.
Carmen Sandiego debuted in 1985 with the first of twenty-two video games, and went on to become a best-selling game franchise through the ’80s and ’90s. Three TV shows followed, winning six Emmys and building the mysterious globetrotting thief into an iconic heroine.
Carmen made a dramatic return in 2019 with a new series streaming on Netflix featuring the titular character and her tech-whiz sidekick, Player. This fresh take presents an intimate look into Carmen’s past where viewers not only follow her escapades but also learn who in the world is Carmen Sandiego and why she became a super thief.
In March 2020, Netflix followed up its Black Mirror: Bandersnatch interactive special with Carmen Sandiego: To Steal or Not To Steal: “Don a disguise or fly away? Stick to the plan or go rogue? Carmen’s on a mission — and she needs your help. You drive the action in this interactive adventure, helping Carmen save Ivy and Zack when V.I.L.E. captures them during a heist in Shanghai.”
Jos Humphrey is one of the directors on Netflix’s Carmen Sandiego, which received 2020 Emmy nominations for Best Directing for an Animated Program and Best Special Class Animated Program. From primitive pencil-and-paper beginnings in classical animation, his 20-year career has included animating, storyboarding, writing and directing on numerous award-winning TV series and a theatrical feature.
Carmen Sandiego: To Steal or Not To Steal
Netflix Futures interactive special trailer
Presented by York University’s Department of Cinema and Media Arts.
Moderated by Alison Humphrey, CMA PhD candidate.
Come enjoy our December Student Social. Bring your best or favourite art to showcase, or just come watch other creatives share their work. All kinds of art are welcome including, but not limited to: short films, music compositions, music performances, paintings, sculptures, dance routines, monologues, theatre performances, digital art, or whatever your heart desires! We want to see it. Interested in showcasing your artwork? Use our sign-up form.
Talk and Workshop: Suzanne Kite and Devin Ronneberg
Thursday, December 17th
View the event via YouTube Live HERE
Kite aka Suzanne Kite (http://kitekitekitekite.com/) is an Oglála Lakȟóta performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD candidate at Concordia University. Kite’s scholarship and practice investigate contemporary Lakota ontologies through research-creation, computational media, and performance. Recently, Kite has been developing a body interface for movement performances, carbon fibre sculptures, immersive video and sound installations, as well as co-running the experimental electronic imprint, Unheard Records. Kite has also published in several journals and magazines, including in The Journal of Design and Science (MIT Press), where the award winning article, “Making Kin with Machines,” co-authored with Jason Lewis, Noelani Arista, and Archer Pechawis, was featured. Currently, she is a 2019 Pierre Elliott Trudeau Foundation Scholar, a 2020 Tulsa Artist Fellow, and a 2020 Women at Sundance x Adobe Fellow.
Devin Ronneberg is a multidisciplinary artist of mixed Okinawan, Kanaka Maoli, and European heritage, works primarily in sound and sculpture. He received his BFA from California Institute of the Arts, Santa Clarita, California. Through sculpture, sound art, computational media, and design, his practice is currently concerned with emergent technologies and their unseen implications. He is an experimental aircraft designer with Berkut Engineering and co-runs the imprint Private Selection Records. He has recently exhibited at the Bemis Center for Contemporary Arts and received a Sundance Institute Nonfiction Storytelling grant through the John D. and Catherine T. MacArthur Foundation.
Presented as part of the online exhibition -:: Invisibility :: Complexity :: Resistance :: Intentionality ::- presented by Digital Media and the Department of Computational Arts at York University.
About This Exhibit
The year 2020 has seen the unfolding of a pandemic and a global response that is unprecedented in its scale and scope at any time in history. It has been a time of great loss, including the loss of life, the loss of financial and personal security, the loss of opportunity, and the loss of human connectivity. As artists, thinkers, and creative practitioners, this is an essential moment for us to engage the world and use our unique perspective to confront the urgent matters of our time. The computational approach to making provides us with a unique standpoint in this conversation where we bridge the domains of art, science, and technology to critically engage the world through a discourse on technology at its roots. By using code and signals as an expressive medium we can reimagine past, current, and future technologies, steering technological impact and influencing our mutual prosperity and collective futures.It is in this spirit that Digital Media and the Department of Computational Arts at York University presents our December 2020 Online exhibition: Invisibility :: Complexity :: Resistance :: Intentionality. As part of this exhibition, we will be hosting a series of events that include an exhibition launch, guest speakers, a workshop, and performances from students and faculty.
This event is part of the Regeneration: All Our Relations series organized through Sensorium: The Centre for Digital Art and Technology and is supported by the Indigeneity in Teaching and Learning Fund at York University
Quarantine: A Telematic nO(t)pera (pocket edition)
Quarantine: A Telematic nO(t)pera is a piece by Doug Van Nort, created for the Electro-Acoustic Orchestra (EAO), for the virtual space of connected isolation, for Casper the cat, and for self-sanity. It is not an Opera, but it is not not an Opera. It is a composition for musical, visual and virtual engagement. The music consists of six movements that span disparate sonic landscapes. It is organized by pre-composed palettes that integrate text, graphics, Soundpainting and software instruments, and are augmented with additional real-time composition via EAO’s unique Soundpainting conducting. This content is a crystallization of ideas that have emerged from months of regular online rehearsals that date back to the beginning of the pandemic, bringing together performers from three continents and numerous time zones. As a meditation on (and a product of) our network-mediated present, the nO(t)pera also introduces diverse networks of improvised collaboration: cross performer-machine collaboration, performer-animal collaboration and audience-machine-performer collaboration.
This first performance, created for the Winter Solstice, is a “pocket edition” in that it is the first performance of musical and dramaturgical content that will be performed again, in an expanded fashion, in 2021.
Please note!: In one movement of the piece, the audience will be invited to improvise drawing input that will be interpreted by machine learning algorithms, and in turn will determine the overall structure and sonic content of the music.
Streaming is free and all are welcome to join.
Composition and Direction:
Doug Van Nort
Tom Bickley (EWI+electronics), Lo Bil (voice), Viv Corringham (voice+electronics ), Björn Eriksson (feedback boxes), Faadhi Fauzi (synths), Colin James Gibson (guitar), Yuanfen Gu (notpera granular patch), Rory Hoy (bass+electronics), Melanie Jagmohan (guitar+legos), Kathy Kennedy (voice+electronics), Aida Khorsandi (notpera FM patch), Nicholas Lina (bass), Kieran Maraj (kin/electronics), Diane Roblin (inside piano/synths), Omar Shabbar (guitar+electronics), Danny Sheahan (violin+electronics), Peter Vukosavljevic (percussion), Doug Van Nort (conducting/composing).
Casper, the cat
Cat-herding and video work:
Virtual Staging and visuals:
Deep Machine Learning (conducting/drawing recognition):
Designing for Sovereign Nations – Workshop and Public Talk with Sadie Red Wing
Public Talk – Designing for Sovereign Nations
Jan 8; 3:30 – 5pm EST
[Zoom and Youtube Live]
Sadie Red Wing (sadieredwing.com) is a Lakota graphic designer and advocate from the Spirit Lake Nation of Fort Totten, North Dakota. Red Wing earned her BFA in New Media Arts and Interactive Design at the Institute of American Indian Arts. She received her Master of Graphic Design from North Carolina State University. Her research on cultural revitalization through design tools and strategies created a new demand for tribal competence in graphic design research. Red Wing urges Native American graphic designers to express visual sovereignty in their design work, as well as, encourages academia to include an indigenous perspective in design curriculum. Currently, Red Wing serves as a Student Success Coach for American Indian College Fund (Denver, CO) where she specializes in student retention and resource building for the Native American demographic in higher education spaces.
Workshop – [Jan 8 ; 2 – 3 pm EST] [Zoom]
Participants to the workshop can opt to receive a physical package by post (the Anti-Anxiety Delivery Service), which will include a set of instructions that will direct ways in which you can re-think physical space and engage the senses commonly detached in digital realms. During the workshop we will be discussing these experiences through the lens of indigenous material culture and visual sovereignty.
[All package contents will be sanitized and handled with gloves prior to delivery]
To RSVP please email firstname.lastname@example.org
This event is part of the Regeneration: All Our Relations series organized through Sensorium: The Centre for Digital Art and Technology and is co-organized by the Department of Design.
Brought to you by the Department of Design, the School of the Arts, Media, Performance & Design
Technologies are intrinsically social. They reflect human values and affect human behaviour. The social dynamics of technology materialize through design features that shape how a technology functions and to what effect. The shaping effects of technology are represented in scholarly fields by the concept of “affordances.”
Affordances are the ways design features enable and constrain user engagement and social action. This has been a central construct for designers and technology theorists since foundational statements on the topic from JJ Gibson and Don Norman in the 1970s and 80s. With the rise of digitization and widespread automation, “affordance” has entered common parlance and resurged within academic discourse and debate.
Davis provides a conceptual update on affordance theory along with a cogent scaffold that shifts the orienting question from what technologies afford, to how technologies afford, for whom, and under what circumstances?
“How Artifacts Afford” introduces the mechanisms and conditions framework of affordances in which technologies request, demand, encourage, discourage, refuse, and allow social action, varying across subjects and circumstances. Underlying thesemechanisms and conditions framework is a sharp focus on the politics and power encoded in sociotechnical systems.
In this timely theoretical reboot, Davis brings clarity to the affordance concept, situates the concept within a broader history of technology studies, and demonstrates how the mechanisms and conditions framework can serve as a transferrable tool of inquiry, critique, and (re)design.
Jenny L. Davis is a sociologist at the Australian National University. She works at the intersection of social psychology and technology studies. She is the author of How Artifacts Afford: The Power and Politics of Everyday Things (MIT Press 2020). Jenny is Co-Director of the Role-Taking Project, Director of the Pause Project, Chief Investigator on the Humanising Machine Intelligence team, serves on the board for Theorizing the Web, co-edits the Cyborgology blog, and serves as Chair-Elect for the Communication, Information, Technologies and Media Sociology section of the American Sociological Association (CITAMS).
Revolt. She Said. Revolt Again. by Alice Birch
This Theatre@York online presentation challenges the ideas of sex, self-worth, work, responsibility, and much more, in relation to the female experience by deconstructing language, symbols and institutions of everyday life. Thanks to the hard work of MFA directors Mandy Roveda and Alison Wong, Performance Facilities, Work Study students, assistant directors, and the significant talents of the third-year conservatory actors, Birch’s irreverent text is truly transformed from the page to the screen in this breathtaking adaptation.
The play is set to stream:
• Thursday, January 21, 2021 – 7:00pm
• Friday, January 22, 2021 – 7:00pm
• Saturday, January 23, 2021 – 7:00pm
• Sunday, January 24, 2021 – 7:00pm
Tickets for specific performances are available as of Tuesday, January 19, 2021.
Tickets are free of charge.
“Revolt. She Said. Revolt Again.” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.
Public Talk with Marysia Lewandowska
Tuesday, January 26 2:30-4:30 pm EST
This event will take place on Zoom.
Please RSVP to email@example.com and a Zoom Link will be sent out prior to the event.
The persistence of Covid-19 conditions sets the context for Marysia Lewandowska’s second In Practice presentation. Last summer her seminar, entitled What Constitutes the Site of Practice, offered reflections on living in London under lockdown following her It’s About Time project at the Venice Biennale. Continuing these investigations, Marysia’s public talk entitled Institutional Healing will survey how art institutions are increasingly becoming places of care, providing intellectual and spiritual sustenance to support the wellbeing of the public. Even during the pandemic, artists and curators have found ways to engage virtuality in order to transform formerly neglected values associated with sharing and caring into productive experiences of collectivity. This context has informed Marysia’s recent thinking as an artist-curator, which she will elaborate in relation to her new project at the healing baths at Baden, Baden, Germany.
Marysia Lewandowska is a Polish-born artist-curator based in London who has been exploring the public functions of institutions such as museums, galleries and archives for over twenty years. Her exhibitions, films and projects involving the property of others can be viewed at www.marysialewandowska.com
This event comprises the second component of In Practice, the 2020 Goldfarb Summer Institute curated by professors Jennifer Fisher and Barbara Balfour of the Department of Visual Art and Art History. In Practice continues to interrogate what it means to engage with “practice” as a lens for dynamic relationality, performativity and ethics in aesthetic expression. In Practice has featured collaborative, feminist, Indigenous, contemplative and activist practices in contemporary art and curating that impact personal, political and cultural transformation. Guest presenters for the summer seminars included Marysia Lewandowska, Karen Finley, Jess Dobkin, Lisa Myers, Emelie Chhangur, Marcus Boon and Gabe Levine.
This event is organized by the Department of Visual Art and Art History in conjunction with Sensorium: Centre for Digital Arts and Technology. We gratefully acknowledge the Goldfarb family’s generous support of Visual Art and Art History Summer Institute.
Image caption: Marysia Lewandowska, “It’s About Time,” film still, Venice 2019.
CURATING PRESENCE IN ACUTE PALLIATIVE CARE: A MEDITATION ON MULTIPLICITY
Public Talk with Marcia Brennan
The 2021 Goldfarb Annual Lecture
Wednesday, February 3, 2:30-4:30 pm EST
Please RSVP to firstname.lastname@example.org and a Zoom Link will be sent out prior to the event.
Drawing on her creative clinical experiences in Acute Palliative Care, Professor Brennan will examine the ways in which the curatorial model might be expanded to consider how aesthetics can serve as a form of care for people facing the end of life. Just as the artworks are produced during critical junctures of transition, they often appear as meditations on multiplicity as people imagine various forms of presence. Dr. Brennan’s talk will be followed by a public conversation with Jennifer Fisher and questions from the audience.
Marcia Brennan is the Carolyn and Fred McManis Professor of Humanities at Rice University, where she works in the fields of Art History, Religious Studies and the Medical Humanities. She also serves as a literary Artist in Residence in the Department of Palliative Care and Rehabilitation Medicine at the University of Texas M. D. Anderson Cancer Center. Her books include Life at the End of Life: Finding Words Beyond Words (Intellect), Curating Consciousness: Mysticism and the Modern Museum (MIT Press), Modernism’s Masculine Subjects: Matisse, the New York School and Post-Painterly Abstraction (MIT Press), and Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics (MIT Press).
This event is presented in conjunction with the nascent Art and Wellness initiative in the School of Art, Media, Performance and Design. Dr. Brennan’s work exemplifies the important role that artist and curatorial residencies can bring to practices of caring and curing in hospitals and other health care contexts.
Dr. Brennan’s lecture is organized by the Department of Visual Art and Art History in conjunction with Sensorium: Centre for Digital Arts and Technology. We gratefully acknowledge the Goldfarb family for their generous support.
Image caption: Lyn Smallwood, The Black Bird (2020)