It’s official, I completed my Certificate in Restorative Justice (focus on Education)! This program is designed with an option to complete in one year, but it took me three years — between raising the funds, allowing myself time to really process the material, and coping with unexpected developments at my institution (which served as the primary case study and focus of my coursework). While the program itself was not necessarily a good fit, studying with Christianne Paras and Krystal Glowatski was a privilege. These amazing mentors were careful to remind us that restorative justice is not a panacea, particularly when it comes to contending with systemic and institutional violence. Everything I’ve learned has been transformative for my relationships with students, my classroom spaces, and the kinds of collegial initiatives I’ve sought out since then. I also get a kick at adding SFU to my list of ‘alumna’ institutions.
Animation is rarely featured in books and catalogues on experimental cinema, and figurative animation is almost entirely excluded. Why? One of my goals as a media scholar and curator is to promote figurative animation as a tradition with a rich history of daring artistic experimentation. This past month (April 2023) I presented my recent writing on experimental figurative animation at the Society for Cinema and Media Studies conference in Denver.Continue reading “Talk: “Elusive Flesh: Figure and Body in Experimental Animation””
Last year I encouraged artist and curator Celina de Leon to adapt her moving-image work I am the same, I am always changing into a triptych installation. Celina first developed this project as a speculative response to the work of Ana Mendieta in my course on avant-cinema histories. On November-10-2022 it debuted as part of Celina’s first solo show, at the RBC Media Gallery. I am proud and grateful to have written a short curatorial text for this bold and vulnerable work.Continue reading “Curatorial text: “I am the same, I am always changing””
How can animation explore nomadic and indigenous cosmologies?Continue reading “Event: Nomadic Cosmologies: Conversation with Alisi Telengut”
I’m stunned and grateful to receive the 2022 SCMS award for best essay in an edited collection. My colleague Perrin Grauer published a lovely profile of the essay and the award here. The published essay, devoted to a feminist history of film editing, owes much to my editors James Leo Cahill and Joshua Malitsky, as well as the staff of RGALI and Muzei Kino archives in Moscow.
On May-27-2022 I had a chance to present the Rear-Window Cinema project at a curated speaker series organized by the Digital Arts Community extension of SIGGRAPH (Special Interest Group on Computer Graphics and Interactive Techniques). The theme of this particular edition was “Expanded and Experimental Animation.”Continue reading “Talk: SIGGRAPH Digital Arts Community”
On May-12-2022, I co-chaired the following workshop with Malini Guha (Carleton University). The workshop included presentations by Sue Shon (Emily Carr University of Art + Design) and Benjamin Woo (Carleton University). Click continue for more details.Continue reading “Workshop Event: Alternative Grading”
On February-4-2022 I’ll be moderating a virtual book conversation with Jordan Schonig, author of the book The Shape of Motion: Cinema and the Aesthetics of Movement (2022), and Ryan Pierson, author of the book Figure and Force in Animation Aesthetics (2019). Click on “Continue” for description.Continue reading “Book Event: How to Talk About Movement”