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• FAVA TV: Bringing Media Art to the Masses

  “We used to laugh at him. We called it Space Station Andy, it sounded so outrageous! He had a lot of good ideas, but the scope of it...

• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  Currently, as we live through a pandemic with government mandated self-isolation, we are facing increasingly online and networked existences. So many interactions and behaviours that consisted of physical humyn...

• Requiem for a Glacier: Mourning Climate Change

  The video installation moves back and forth between whole and split screens, an effective way of showing the terrain as the viewer gets to see the site and...

• The Art Experience vs The Art Object: Performing Arts in the Digital Realm

  To achieve liveness, at some point, you must be live. You cannot replicate that moment of the shredded canvas, and pre-recorded content can be perfectly copied again and...

• On Collectives, Projects, Film Itself, and a Sausage Factory

  *LM: I’m really especially interested in this film-lab-in-a-sausage-factory thing you are doing now. Can you tell me more about it?* KR: Certainly. My partner, Nazli Dinçel, and I recently moved...

• FAVA TV: Bringing Media Art to the Masses

  With that boost, they started building the app one partner at a time. Soon, other arts organizations, the Edmonton Folk Music Festival, Shumka dance, and other media arts...

• Editor's Note

  Media art and film creators are particularly fortunate given their creations can often be made available to the online masses either for free or behind a paywall. Still...

• Human Rights and Film at 150

  *AC: The CMHR is located in Winnipeg and as a national museum celebrates stories from across Canada and around the globe. How have you enabled people to engage...

• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  Yet, art institutions have fallen under more scrutiny in the context of the pandemic.⁸Though artists are expected to continue production for income and reputation, online art production has changed the...

• The Texture of the Gesture: Exploring Apostasy and Ancestry in Jeremy Moss' THESE WAYS I TRANSGRESS

  Beyond this material treatment, the process of recording images for the film may be the most compelling element of the work. Moss travelled with his family (a trip...