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• 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...

• Supporters

   In addition to our public funders, Luma wishes to acknowledge the generous support of the Alberta Media Arts Alliance Society for the final issue.  AMAASLogo 800px Luma relies heavily...

• 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...

• Behind the Screen: Lessons from Making IN PLAINVIEW

  *TH: No one denies that having more money can help you make a better film. But having a smaller budget shouldn’t limit you to making a lower-quality film....

• 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...

• St. Martins, New Brunswick

  The trails leading to the caves are overrun with calf-like children and their heifer mothers. In defiance, I discover untraveled, rocky ledges, grab branches for support—nettles catching, but not...

• Kevin Rice

  *Kevin Rice* has been working with film since 2007. His practice is predominately based in the darkroom where he researches all aspects of photochemistry and performs in depth experiments on...