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

  If existing media systems and networks maintain and monetize off of colonialism, exploitation, state-sanctioned violence, and follow patriarchal operation manuals, then how do practices intent on resisting these motives...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  The years between the Mansfield footage being taken, Mercury’s career and death, and Ryan’s M:ST performance can serve as a timeline for the different ways that queer people have...

• FAVA TV: Bringing Media Art to the Masses

  “As formats change, we have a more automated process rather than having to feed it tapes again. The other thing is by decentralizing it, we can approach it...

• Stalking Our Doppelgängers: An Interview with Filmmaker Isaac Ezban

  *GM: The mirror is important in Parallel because it is the portal to other universes. But you also use mirrors in your earlier films to convey human identity...

• 1700 films, 1000 people, and 150 clubs: a not-so-Amateur Movie Database

  AMDB’s research team also works with librarians, data specialists, and archivists to continuously enhance records in addition to expaning the database. Records are enhanced by adding archival film holdings...

• Edmonton Sound Travels

  Marcel Dion In many ways, the current Edmonton sound art scene goes back to a campus radio show that began the year before the Sound/Art exhibit: Departures, hosted by...

• Behind the Screen: Lessons from Making IN PLAINVIEW

  *TH: While you can easily access In Plainview anytime you want via Amazon’s streaming service, the road to getting it on there wasn’t nearly as quick as logging...

• An object is a slow event.

  Based now in Mexico City after having spent the last several years studying at Edinburgh College of Art and at CalArts in Los Angeles, De Laborde’s practice has evolved...

• Our Lexicon of Dark Corners to Light Up is Always Expanding

  LUMA: This might be a good opportunity to speak about your current residency at Falaise Park Field House, which continues through 2017. IRIS: The Fieldhouse residency has really allowed...

• Machine Language Protocol: Jeremy Shaw’s QUANTIFICATION TRILOGY

  The three short films in Vancouver-born, Berlin-based director Shaw’s Quantification Trilogy, Quickeners (2014), Liminals (2017), and I Can See Forever (2018), look like documentaries dating from the near to...