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Title: Youth Perspectives on Climate Justice
Description: As climate change continues to grow and impact our world, so does the response from activists across the world. Climate justice activists take many forms and employ many strategies to effect change in policy of or public opinion on greenhouse gas emissions. Through York University's Academic Innovation Fund dedicated to creating open source, publicly available course content, we've created 6 video segments interviewing grassroots climate justice activists from Toronto, a city with many climate justice organizations and efforts. Here we interview youth organizers and students Allie Rougeot (Instagram: @alienor.r) and Savi Gellatly-Ladd (Instagram: @yellowpeach.es). We'll discuss what youth activism is, what it's like to be a young person in the age of climate change, and how to get involved in climate justice where you are. You can watch the live-recorded Zoom video interviews or read the transcripts recorded in Summer 2020.
Type: video file
Date: 27 October 2020
Identifier: https://doi.org/10.6084/m9.figshare.13146740.v1
Identifier (PID): yul:1153669

Title: Digital Activism and Climate Justice
Description: As climate change continues to grow and impact our world, so does the response from activists across the world. Climate justice activists take many forms and employ many strategies to effect change in policy of or public opinion on greenhouse gas emissions. Through York University's Academic Innovation Fund dedicated to creating open source, publicly available course content, we've created 6 video segments interviewing grassroots climate justice activists from Toronto, a city with many climate justice organizations and efforts. Here we interview digital educators Lindura Sappong and Toni Sappong, two sisters who run the environmental justice Instagram blog @PlasticFreeTO. We'll discuss what it's like to be a digital activist, the efficacy of social media as a tool for social change, and the pitfalls of living virtually. You can watch the live-recorded video interviews or read the transcripts recorded in Summer 2020.
Type: video file
Date: 27 October 2020
Identifier: http://hdl.handle.net/10315/38023
Identifier (PID): yul:1153664

Title: Indigenous Perspectives on Climate Justice
Description: As climate change continues to grow and impact our world, so does the response from activists across the world. Climate justice activists take many forms and employ many strategies to effect change in policy of or public opinion on greenhouse gas emissions. Through York University's Academic Innovation Fund dedicated to creating open source, publicly available course content, we've created 6 video segments interviewing grassroots climate justice activists from Toronto, a city with many climate justice organizations and efforts. Here we interview land defenders and organizers Cricket Guest (Instagram: @cricket.guest) and Sam Wong (Instagram: @luvthemutt). We'll discuss the importance of recognizing colonial violence, traditional knowledge, land stewardship, and Indigenous leadership for effective climate justice and action. You can watch the live-recorded Zoom video interviews or read the transcripts recorded in Summer 2020.
Type: video file
Date: 2 November 2020
Identifier: https://doi.org/10.6084/m9.figshare.13146716.v2
Identifier (PID): yul:1153665

Title: An Introduction to Climate Justice Activism in Toronto
Description: As climate change continues to grow and impact our world, so does the response from activists across the world. Climate justice activists take many forms and employ many strategies to effect change in policy of or public opinion on greenhouse gas emissions. Through York University's Academic Innovation Fund dedicated to creating open source, publicly available course content, we've created 6 video segments interviewing grassroots climate justice activists from Toronto, a city with many climate justice organizations and efforts. Here we meet Christopher Lortie, an ecologist and professor at York University, and Malory Owen, an ecologist and climate justice activist who will be facilitating the future conversations in this series.
Type: video file
Date: 18 November 2020
Identifier: https://doi.org/10.6084/m9.figshare.13256162.v2
Identifier (PID): yul:1153673

Title: Sex, drugs & AIDS
Description: A useful introductory video covering the pertinent facts on transmission and prevention of AIDS.
Type: videorecording
Identifier: 39007051161107
Identifier (PID): yul:85530

Title: The Feminist Porn Archive Project: Questions from a Working Ontologist
Description: Feminists have long been concerned by archival silences and their impact on memory. Most reclamation work has been about uncovering the buried or lost records of women and inserting interpretations of such material inside broad social, political, cultural and historical narratives. Archivists and librarians also create new and sometimes exciting juxtapositions of archival material that allows for radical recontextualizations of womens’ cultural and political contributions. Archival work at every stage is thus a process of transforming private documents into public testimonial. However, in the creation of women’s archives inside institutional archives using traditional archival principles, we replicate neoliberal ideological formations by emphasizing the individual subject and focusing on the records of primarily white straight women of privilege. How might we instead use the new archival media of the Internet to explore feminist theoretical emphases on collectivity, intersubjectivity, intersectionality, and the affective relations of care, desire and intimacy? How do we prevent subjectivity and meaning from being fixed into place but allow for more slippery and promiscuous plays of meaning in a public feminist archive? How might we reboot the archives of women through digitization, and also provoke feminist rethinkings of the technologies of archivization? Linked open data can be viewed as a deeply post-structuralist response to the nomological principle of authority and commandment of the traditional archive and offers us a generative, erotic commingling of information which resists fixity and hierarchy and focuses instead on relationality. In this paper I will speculate about how a feminist porn archive can, through linked data spatializations and their attendant onotologies, offer new ways of thinking about the archive and the archival-able.
Type: videorecording
Identifier (PID): yul:770322

Title: Bleeding to Life
Description: An essay-performance, this media-archaeological examination celebrates the revolutionary potential of recognizing and engaging with our collective, gaping wounds. Taking Caravaggio’s The Incredulity of Saint Thomas as a point of departure, I construct a narrative that links the production of subjectivities in “post”-colonial contexts, with the technosexual networks of resistance and coded information exchange that grew out of the government-manufactured crack epidemic in oppressed neighborhoods throughout the late 70s/early 80s and today. Indebted to the writing of Donna Haraway, Jussi Parikka, Hortense Spillers, & Kanye West. Created specifically for the Dark Diction event on January 16, 2015 at JACK in NYC, organized by Social Health Performance Club. Tattoo work was done by Josh Kil, photos by Laura Blüer, and video by David Ian Griess, and are featured here with those collaborators’ permission.
Type: Moving image
Date: Fall/Winter 2016
Identifier: intensions8-iandeleon
Identifier (PID): yul:1156010

Title: Simulacra, by Steve Hudak
Description: Simulacra represents the culmination of research project exploring spatial and environmental similarities called Mixed-Reality Machinima. The work considers the phenomenological similarities between Grand Theft Auto IV and New York City. Mixing live footage shot in NYC with real-time-rendered video game footage and Second Life footage is what defines this mixed-reality experimental film genre. All research was completed under the supervision and guidance of Dr. David Harris-Smith in the New Media and Communications Masters program at McMaster University. Machinima as a film genre is still young, and while it resonates within gaming culture it has created minimal impact outside of this informed community. However its potential to create film quickly, creatively, and effectively make it a powerful and underutilized tool. What differentiates machinima from computer animation is the production process. An animation production each scene is rendered by a computer in stages, Cinematography, lighting, environments and characters develop slowly, until a scene is ready for final rendering and that output is what the audience experiences. Machinima production more closely resembles a film set, where the environment, lighting, and characters are always rendering in real-time, like a video game. Characters move and interact in real time by joystick, keypad, or keyboard and the screen view is recorded directly and edited, and that output is what the audience experiences. The final work can take many forms, the mixed reality prefix indicates the addition of real footage with rendered footage yet retains filmic conventions. Simulacra resides within and explores the constraints of cinematic practice as described by filmmaker and academic Leo Berkeley (as cited in Horwatt, 2008). With research into film production practice, low and micro budget filmmaking, improvisation, and machinima, Berkeley is a foremost expert on the subject. The narrative and cinematic devices employed in Simulacra directly and intentionally connote filmic expectations; these devices are no less derivative than the content. The work in Berkely's terminology would be less avant-garde and more experimental, as the construct devising it is contrary to normal film making techniques. The work relies directly on them for privilege; just as a frame or a plinthe contextualize art from the world, film and filmic narratives derive contextuality from cinematic devices. Thus the intention in Simulacra has been to employ them openly, strategically allowing the widest possible entry within the media landscape the work is designed to inhabit. In this way the work is meant to test/potentialize a viewership outside of the informed machinima audience. The term 'mixed reality' carries the connotation of referential multiplicity and the contextuality/phenomenology of reality. By 'mixing' them there is an indication that there can be more than one; which intentionally problematizes the distinction between the real and the non-real. This multiplicity creates an interesting reference to fact vs fiction, and whether ideologically there is a disjuncture in mixing them. It is this disjointed effect of multiplicity that Simulacra means to creatively consider.
Type: Moving image
Date: Spring/Summer 2014
Identifier: intensions7-stevehudak
Identifier (PID): yul:1156002

Title: Across the Unseen Sea, by Tereza Stehlíková
Description: Dinner for Deep Surface Divers uses food as a poetic medium, where eating is depicted as a highly sensual act, while exploring the role of the senses and embodiment in informing our vision. Across the Unseen Sea captures the essence of a multi-sensory banquet that I created and which took place in London, in 2013. I based the event on William Morris’s diary entries from his journey to Iceland, in 1871/73 and “translated” these into a multi-sensory immersive performance. The project was developed in collaboration with Charles Michel (cook and researcher at Charles Spence’s Crossmodal Research laboratory, Oxford), as well as a team of dedicated collaborators from various backgrounds and with different professional expertise (set, sound, scent designers, actors, food historians etc.). The film was created with the intention of communicating the subjective, multi-sensory experience of one of the guests, a writer, by audio-visual.
Type: Moving image
Date: Spring 2018
Identifier: intensions9-terezastehlikova1
Identifier (PID): yul:1156004

Title: Dinner for Deep Surface Divers, by Tereza Stehlíková
Description: Dinner for Deep Surface Divers uses food as a poetic medium, where eating is depicted as a highly sensual act, while exploring the role of the senses and embodiment in informing our vision. Across the Unseen Sea captures the essence of a multi-sensory banquet that I created and which took place in London, in 2013. I based the event on William Morris’s diary entries from his journey to Iceland, in 1871/73 and “translated” these into a multi-sensory immersive performance. The project was developed in collaboration with Charles Michel (cook and researcher at Charles Spence’s Crossmodal Research laboratory, Oxford), as well as a team of dedicated collaborators from various backgrounds and with different professional expertise (set, sound, scent designers, actors, food historians etc.). The film was created with the intention of communicating the subjective, multi-sensory experience of one of the guests, a writer, by audio-visual.
Type: Moving image
Date: Spring 2018
Identifier: intensions9-terezastehlikova2
Identifier (PID): yul:1156005

Title: Desierto (Desert), by Regina José Galindo
Description: Desierto, a performance piece, took place July 7th, 2015 in the Gallery Gabriela Mistral in Santiago de Chile. Desierto, Desert, was created for the Chilean context: it speaks of forms of oppression, abuse, racism and colonialism that hide behind the successful industry of pine that has invaded the Mapuche indigenous territory in that country, generating increased damage to the ecosystem. The work is not only about one site, however. In the artist’s words, "[t]he problem of land and indigenous peoples that have been violated and pillaged by wealthy families and the State is not a stranger to Guatemala context…during the war in my country, the scorched-earth strategy was a constant. Thousands of indigenous Maya were kept in their communities, were murdered and their lands expropriated. Many of these lands passed into the hands of the State, oligarchs, or foreigners. Many of these lands are currently exploited through mining, hydroelectric industries or areas of monoculture. In Guatemala there are no pine-forests, but there is another way to annihilate the Earth. In Guatemala, the African Palm has caused havoc. Recently the factory Xerxes (that produces Palm oil Olmec brand) contaminated the rivers’ waters and thousands of fish and other species have died in an ecocide without precedent". Speaking to this violence, in this work, the artist remains naked, buried in the sand dunes of sawdust created inside the Gallery. Sawdust refers to waste resulting after the over exploitation of the land and the ongoing desertification of large tracts of land, both in Guatemala with the cultivation of African Palm, as in Chile with the large scale cultivation of pine and eucalyptus. The desert is no longer the North but the South. Commissioned and produced for the Gabriela Mistral Gallery, Santiago de Chile Curated by Soledad Novoa Donoso Photos by Rodrigo Maulen Video by Andrés Lima, Sebastián Pando
Type: Moving image
Date: Fall/Winter 2016
Identifier: intensions8-reginajosegalindo
Identifier (PID): yul:1156003

Title: X, by Rebecca Belmore
Description: Performed on June 17, 2010 Wall of the Price Chopper, 181 Brock Street, Peterborough, Ontario Performance for Mapping Resistances exhibition. Curated by Wanda Nanibush as part of the Ode’Min Giizis Festival June 17-18, 2010, Peterborough, On Materials: A black truck, an assistant and a trumpet player, bags of milk, four buckets, water four cushions in the colours used in Robert Houle’s “Mohawk Summer,” four stones, a brick wall. Videographers: Nick Ferrio, Jessica Rowland Edited by: Nick Ferrio
Type: Moving image
Date: Fall/Winter 2012
Identifier: intensions6-rebeccabelmore
Identifier (PID): yul:1156001

Title: Buried Traces, by Michelle Smith
Description: By the time I came to make this film, my grandfather had already passed on. There was no one in my family to speak about their experiences growing up Métis. It was in talking to Lorraine Freeman, a Métis community leader in Winnipeg, that I came to really comprehend the extent of racism and challenges of being a ‘halfbreed’ in the first half of the 20th century. My conversations with Lorraine helped me to see that the years of silence around our culture and identity was linked to a much broader colonial legacy. Lorraine was able to say what my family wasn’t. It is as if through this film, I was able to engage with Lorraine’s memory, to access the difficult experiences of my grandfather, to make sense of my family’s silence. Remembering the assault on the body, embodying this past, searching for a voice within this fraught identity. For people who call themselves Métis, the ongoing battle of who belongs, the struggle for political inclusion, is played out in the contested body of the “hybrid halfbreed”. Who we are is framed between fragmented memories, memories denied, images, stories, rumors, and a legacy of colonialism’s crusade for assimilation if not extermination. In the early 19th century, the physiology of the inferior non Anglo-Saxon was his/her cultural identity, a racial classification wherein, as Shohat and Stam write, “a mania for classification, measurement, and ranking – expressed in such pseudo-sciences as phrenology and craniometry – left no domain untouched. Every detail was mastered in the name of abstract hierarchies” (1994: 91). This racism disguised as science was particularly vicious towards persons of mixed race, “dreaded by racists as a monster, an infertile hybrid” (Pieterse in Shoat and Stam 1994: 91). This view shaped the life experience of the Métis Nation in very concrete ways. Bonita Lawrence notes how colonial surveyors classified halfbreeds and Indians based on racial indicators (2004: 88). Those that “looked and acted Indian” were classified as Indians. Others assimilated into the white majority. Yet others of this “mongrel” race remained on the margins, surviving in isolated communities, many just outside the boundaries of the reserve. Some, pushed off their land base, scrip squandered, became the “road allowance people”, making a life and settling on the thin strips of undesignated land on either side of the roadways. I blur the boundaries between past and present – between Lorraine’s voice and my body, between historical footage and contemporary footage of me and my grandmother, between photos of Métis heroes and today’s prairie landscape. Contemporary lives and struggles are infused with the knowledge and experience of the past. I draw connections between current realities and the political repression and social exclusion that came before us. I layer images and suture fragments together. Our identities and memories are unstable and impermeable. I survey my own body: Do high cheekbones or almond shaped eyes make you an Indian? To what extent do lived experience, historical affiliation, family lore, blood quantum and physiology play into notions of cultural identity? Who decides? How does self-identification manifest itself in relation to policy decisions and struggles for rights and recognition? It is not my parents’ or grandparents’ experiences that I “remember”. They were silent about their trauma. Lorraine Freeman’s testimonial becomes my expression in a metaphorical sense, breaking down the division of past and present, infusing my own experience as a Métis person today with the knowledge and experience of this past. This “postmemory” invokes, as Lebow describes in reference to Chantal Ackerman’s work, “a broader, ancestral postmemory” (Lebow 2008 19) For me, Lorraine’s words reflect a collective experience that is life affirming and political. We are still here. We have survived. Buried Traces has been selected and featured in a number of recent festivals and galleries, including: Images Festival 2009, Gimme Some Truth, Festival Prescence Autochtones, GIV summer festival, Métis Media Festival, FIFA 2011, Traverses Festival Toulouse, Métis Health: Culture, Identity, History conference, NAHO; Galleries and Curated Collections: Alternator Gallery Kelowna, Urban Shaman Winnipeg, Topo-vidéographies: Territoires/Territorios Montreal. Copies of the work can be ordered via GIV http://www.givideo.org/ang/indexA/videosA/A-299.html.
Type: Moving image
Date: Fall/Winter 2011
Identifier: intensions5-michellesmith
Identifier (PID): yul:1156000

Title: Ati-atihan: Mother of Philippine Festivals, by Patrick Alcedo
Description: Every January, thousands of people from far and near dance, play music, and pray for three days in the streets of Kalibo, a town in the province of Aklan in the central Philippines. They are celebrating the Ati-atihan, an annual festival in honor of the Santo Ni–o, the Holy Child Jesus, and in remembrance of the indigenous Atis—commonly known as the Negritos—who are the putative ancestors of the Filipinos. The day before the third Sunday when the Ati-atihan reaches its climax with a grand procession, the local government of Kalibo holds a street dancing competition that tourists and residents await with much anticipation. In January 2009 I collaborated with photographer Nana Buxani, videographer Fruto Corre, and editor Florencito Fernandez to document the Ati-atihan and produce the present multimedia project. As a way of calling additional attention to the idea of social constructivism deeply embedded in the Ati-atihan performance—an artificial construction reiterated by the editing and selection of photos and ambient sounds, I asked my brother Peter Alcedo, Jr., who has played music for the Ati-atihan, to compose an original score for the project. In Ati-atihan: Mother of Philippine Festivals, I focus on five participants to illustrate the Ati-atihan’s ever-changing synthesis of sacred and secular, traditional and modern, local and global, serious and playful. This is part of a collaborative project. As a combination of photos, sounds, narration, and music, this multimedia project offers one model for articulating Ati-atihan’s cultural and historical complexity brought about by colonialism and the porosity of Philippine borders. Like any embodied performance, one could immediately conclude that to experience Ati-atihan one has to go to Kalibo during the festival season. But this multimedia project does not push solely for that kind of travel and experience. Rather, its images and the way they have been arranged to move across the screen challenge the limits of the viewer’s location. To experience a festival such as the Ati-atihan, it has become necessary in the contemporary world to also encounter a cultural phenomenon outside of its physical locale and in the virtual realm, an encounter that adds to and re-affirms the hybrid discourse implicit in the performances of this particular festival.
Type: Moving image
Date: Fall 2010
Identifier: intensions4-patrickalcedo
Identifier (PID): yul:1155999

Title: Borders, by Alexandra Gelis
Description: Borders, 2010, is a 3 minute intimate photographic exploration of the bodies belonging to six queer individuals. This animation, made up of hundreds of high-resolution photographs, unabashedly examines the evidence of physical change and transformation: surgery scars, tattoos, and other traces. The bodies are fragmented, as are the stories affiliated with these traces, and identities remain delightfully elusive. Alexandra Gelis is a Colombian Venezuelan, Toronto based multidisciplinary artist with a background in photography, web design and visual arts. She works with photography, video and digital art to explore the image in relation to memory, migration and encounters. Her use of sequential photographs focuses on her relationship with communities where she has worked facilitating photography and video workshops. She also has developed a series of works documenting intimate performances and translating them into photomontages and video installations. Her video work has been shown in several venues in Toronto, Colombia, Venezuela, Panama and the U.S..
Type: Moving image
Date: Fall 2010
Identifier: intensions4-alexandragelis2
Identifier (PID): yul:1155998

Title: One Dollar Click, by Alexandra Gelis
Description: One Dollar Click, 2009, features a 2 minute trip through 400 islands in Kunayala, home of the native Kuna community in Panama, and follows everyday routines and a mixture of signifiers that transforms cultures. Alexandra Gelis is a Colombian Venezuelan, Toronto based multidisciplinary artist with a background in photography, web design and visual arts. She works with photography, video and digital art to explore the image in relation to memory, migration and encounters. Her use of sequential photographs focuses on her relationship with communities where she has worked facilitating photography and video workshops. She also has developed a series of works documenting intimate performances and translating them into photomontages and video installations. Her video work has been shown in several venues in Toronto, Colombia, Venezuela, Panama and the U.S..
Type: Moving image
Date: Fall 2010
Identifier: intensions4-alexandragelis1
Identifier (PID): yul:1155997

Title: A Silence Full of Things, by Alejandra Canales
Description: Political torture continues as a practice used to undermine the “enemy.” As spectators, most people can look away or turn it off. Others live with marked bodies and memories triggered by everyday smells, sights, and sounds. The central question behind this work was how to make a film about someone’s experience of torture. What kind of strategy and what kind of filmscape could embed the sensorial experience? What are the images and sounds? Furthermore how does one make the boundaries of documentary permeable? To be able to look again and ask new questions. A Silence Full of Things gave me the possibility to touch on the issue of political torture from a new perspective: the memory of the senses. From there a filmscape was created that proposes new relations between testimony, sensorial memory, image, sound and the sensorial entanglements of the audience. The film juxtaposes the poetic beauty of intimate imagery with a story about the physical, emotional and psychic wounds of political torture. Miriam narrates and performs her story. It is in this deliberate theatrical performance where shifting relations occur and the story becomes individual and universal at the same time. A Silence Full of Things is self-conscious about strategy, form, style, and effects. The internal composition of the film is made up of a relationship to close up images in order to arrive at the core of the pain through the beauty of the voice and the images: the fragility and delicacy of the lace, the yellowness of the day of the capture, and Miriam’s look to the audience at the film’s closure. Her face leaves us imagining being hit in the stomach. We cannot escape being affected by her expression. What, when and how we imagine documentary films to be saying are other matters. A Silence Full of Things leaves a sensorial mark, and it open questions on how we read the gestures, the signs and the words. Educated in Australia in performance, television, film and video production, Alejandra Canales is currently completing her Doctorate of Creative Arts at the University of Western Sydney. She has taught at the University of Western Sydney and at various community organizations. Her films have been shown at festivals internationally where she has gained recognition from the Film Critics Circle of Australia, and the Women’s International Film Festival among others. Alejandra Canales can be reached at alejaca@hotmail.com
Type: Moving image
Date: Fall 2010
Identifier: intensions4-alejandracanales
Identifier (PID): yul:1155996

Title: Cellu(h)er Resistance: The Body with/out Organs?, by Pam Patterson
Description: Cellu(h)er Resistance: The Body with/out Organs? is a performance/installation that acknowledges the use of theoretical and artistic practices for re-viewing the body-as-matrix. In this work, I reconfigure the (my) female body, marked by the effects of aging, medical interventions and cancer, in public space exploring the challenges and rewards of negotiating the body-as-terrain as a person with a disability and cancer. A feminist investigation and reconstruction of my "matrix" has involved years of excavating my whiteness, my privilege, my ability. As I re-entered the field for this work, following years of disease and illness, the pain of poverty, dis-ability and with a reconfigured surgical body, I shifted my understandings. As multi-disciplinary performance/installation artist, I incorporate, in my practice, performance, drawing, text/theory and photo-derived imagery in various configurations. The detritus I use here as content - the amputated breast, the crippled legs, the swollen, distorted hands, the bags, the sags, the corpulent middle - marks the impact that life has had on my body and art. As a person living with a disability, and in a body altered by breast cancer surgery, I engage with issues around in/visibility, with the body-grotesque as site/sight - and with pain. I energize this content and these issues through a performative/visual praxis. My intention is to conceive of what “life in the face of death” means, and apprehend my own identity, in anxious and immediate (un)certainty in time and space. Repeatedly, I experience my efforts to capture my experiences as/in art as but moment-by-moment wrestling matches with the angel of death. My focus has been not to normalize this struggle, but rather to engage with it as a complex visually and performatively rich intra- and inter-cultural autobiographical site and to see if such engagement might bring me and others closer to understanding life in/and culture(s). Inspired by my daughter and her rediscovery of her Irish heritage and language, I speak in this work, as well, through the figure of 16th century female Irish sea captain Granuaille. Using these and other elements - red “blood”, dirt, paper - to propel my passion, I ritually reconfigure another body for my body. As it is performative, it is (un)accomplished the moment I undertake it. There are sounds, images, becomings. The images - clouded sunsets, my daughter and her horse poised to leap, drawings of a breast, a bowl, a black and white projected film of my younger intact torso, and scattered wall text - remain as traces playing over the gallery walls, as if mis/displaced. As a completed work, Cellu(h)er Resistance: The Body with/out Organs? ironically gains reality as it moves closer to be-coming dis/embodied. Pam Patterson (PhD) focuses her research, art, and teaching, on the body and/in culture. She is Director of WIAprojects which, as a research-for-action program, presents exhibitions, screenings, performances and interdisciplinary arts-informed workshops at the Centre for Women’s Studies in Education, OISE, University of Toronto and with other revues. Patterson also teaches at York University and in the Art Gallery of Ontario studio program. As a performance and visual artist, she exhibits and performs internationally. Her work can be viewed at the Centre for Contemporary Canadian Art (http://ccca.ca)
Type: Moving image
Date: Fall 2009
Identifier: intensions3-pampatterson
Identifier (PID): yul:1155995

Title: D'Arcy Island, an installation by Don Gill
Description: "British Columbia has a leper colony. Its existence is not widely known, for those who compose it are of a race whose affairs never reach the public ear.” (The Dominion Medical Monthly: Ontario Medical Journal, No. 6, Vol. XI, Toronto, December, 1898.) In the nineteenth century D’Arcy Island, a small island off the east coast of Vancouver Island was used by the city of Victoria to quarantine residents diagnosed with leprosy after the discovery of the disease in a few people in 1891. The exhibition D’Arcy Island is part of a larger project, Carceral Landscape, which is concerned with the use of landscape as a device for human incarceration. The idea of Carceral Landscape was germinated by photographer Ansel Adams’s belief that the sublime beauty of the natural environment surrounding the internment camp at Manzanar, California inspired and helped Japanese American internees transcend their detention during WWII. D’Arcy Island critically considers the use of an island as a site of detention or banishment. “While the floor of the Owens Valley is desolate, very hot in summer and very cold in winter, the surrounding mountains are spectacular, especially the Sierra Nevada on the west, culminating in Mount Whitney rising fourteen thousand five hundred feet above the valley floor. The Inyo Range to the east is more of desert character and of lower elevation but is very beautiful in its own way. I have been accused of sentimental conjecture when I suggest that the beauty of the natural scene stimulated the people in the camp. No other relocation centre could match Manzanar in this respect, and many of the people spoke to me of these qualities and their thankfulness for them.” (Ansel Adams: an Autobiography. Little Brown, 1998. Pg 220) D’Arcy Island was exhibited at the Southern Alberta Art Gallery in Lethbridge Alberta in Fall 2006.
Type: Moving image
Date: Spring 2008
Identifier: intensions1-dongill
Identifier (PID): yul:1155990

Title: Private View, performance by A2
Description: Private View, an installation performance by A2 Company / London, was performed in 2004 by 17 people, (including a 90yr old woman & 3yr old child) at the Institute of Contemporary Arts, London. The installation-performance attempted to explore cause and effect: how the least insignificant action can have an effect on the human body’s sensory system and in our lives, & how the consequences of our actions are rarely considered. Staged in inter-joining gallery rooms, Private View created a space of enactment, of memory, of witnessing, of interconnectedness for performer & audience alike. In one room under the title you’ve cheated again, in front of a microphone, a man on a chair randomly ‘pops’ bubble wrap in his hands. The audio is amplified resulting in the sound of gunfire. His actions are filmed. People lie on the floor & jolt impulsively to the ‘popping’ sound. Audience members are encouraged to lie down & follow. Under the title when I die I would like to take the telephone with me just in case there is one more thing I would like to say, a woman lies under a mound of earth with only one arm revealed holding a mobile phone, which rings intermittently. In another room under the title and I remember that I hadn’t stopped moving on, I had actually been moving non-stop and quite fast, without really paying attention to the fact that soon I was going to be very old, an old lady sits in an armchair, her look fixed on a television screen, broadcasting bubble wrap ‘popped’ between finger & thumb. Desensitized through repeated exposure she falls asleep. A bowl of nuts sit untouched by her side. A2, Anton Mirto & Alit Kreiz, create experimental performance projects exploring new personal, social & emotional language forms. A defining feature of their practice is to represent & engage people from different ages, cultures & backgrounds. Future show: the future of death at WUK in Vienna- April 08 For further information or to contact the company visit www.A2company.org
Type: Moving image
Date: Spring 2008
Identifier: intensions1-a2
Identifier (PID): yul:1155991

Title: RE:FORM, by Joseph Medaglia
Description: RE:FORM: Becoming Visible explores the tensions between gay visibility, representation and embodied subjectivity, challenging the assumption that visibility equals liberation and functions transparently. The overall purpose of this piece is to explore how the invisibility of gay sexuality becomes visible and manifests through the body. In order to do this, I draw from the mythic figure of the monster - a figure that embodies difference and otherness. In the video, the monstrous body erupts from a green coloured field and constitutes a visual pattern while at the same time the visual pattern constitutes the body. This relationship symbolizes the paradox of visibility, as the visual structure exists only through the display of bodies. In culture, the representation of identities exists through the visibility of identities, yet identities are limited by concrete representations that replicate dominant ideologies. The visual pattern is intended as a metaphor for structures inherent in representation that attempt to reproduce dominant ideologies. By subjecting the representation of the monster to the visual pattern, I explore the tensions between dominant ideologies and subjects. The growth and collapse of the monstrous body denotes the possibility of resistance to structures in representation. RE:FORM: Becoming Visible resists the efforts to limit identities and explores the possibilities of open, incomplete subjectivity. New forms are created through resistance. The result is a display of growth, collapse, beauty, desire, sexuality and embodiment. Joseph Medaglia is a scholar, artist, designer and educator. He holds a Bachelor of Fine Arts in Visual Art and a Master of Arts in Communication and Culture. His research examines the relationship between representation, identity and the body, in particular as it relates to gay subjects. His creative work employs methods of experimental video, costume, interactive design and more recently, robotics and physical computing. For more information visit www.jmedaglia.ca
Type: Moving image
Date: Fall 2009
Identifier: intensions3-josephmedaglia
Identifier (PID): yul:1155994

Title: Suspended, by Joan Kaufman. Houdini and the Red Suspenders
Description: Using would-be circus performers as subjects, Suspended explores the boundaries between illusion and reality capturing private scenes of performance in which desire for the impossible prevails. Caught in desperate and absurd situations, solitary acts of magic and illusion do not entertain, but instead isolate the characters in a private and unending cycle of performing. Images of suspension conflate opposites: freedom and confinement, determination and futility, bravery and crippling inaction. With references to metaphorical and allegorical principles, Suspended recalls the myth of Icarus who flew too close to the sun and Sisyphus who unwittingly is condemned to an endless purgatory. Like Lucky and Vladamir these individuals are confined to an absurdist reality with no beginning and no end, just endless and determined repetition with darkly amusing results. Fly In A Jar On A Wire is a 5:57 minute video projection with sound on a continuous loop. It depicts a high-wire act in which a novice wirewalker is caught on a length of wire confined by the picture frame. While the performer should feel free and in control, trapped like a fly in a sealed jar, she kicks and bangs at the edges unable to escape. Never reaching the end of the wire and never returning to the beginning, she is suspended in an unrelenting predicament. The sound component reflects her struggle at the edges of her confinement. Houdini and the Red Suspenders is a 1:50 minute video projection with sound on a continuous loop. It begins with an amateur performer studying archival footage of Houdini, once the world’s greatest magician, doing his straightjacket escape of 1923. As the performer watches Houdini, he begins to perform his own escape act that quickly goes awry. Suspended in an absurd situation from which he can’t escape, his failed attempts get repeated over and over while Houdini continuously repeats his escape successfully. The sound component is a recorded piano accompaniment used in silent films of the era. Joan Kaufman is a Toronto-based artist working in photography, video, sound and sculpture. She works in series producing multi-media installations that blur the boundaries between illusion and reality. By creating constructed realities her work is experienced as moments suspended in a larger unfolding narrative. Kaufman has exhibited both nationally and internationally in public and artist-run galleries; is the recipient of Canada Council, Ontario Arts Council and Manitoba Arts Council grants; and has works in both public and private collections. See www.joankaufman.com for more information and to view the complete Suspended photo and video installation.
Type: Moving image
Date: Fall 2009
Identifier: intensions3-joankaufman2
Identifier (PID): yul:1155993

Title: Suspended, by Joan Kaufman. Fly in a Jar on a Wire.
Description: Using would-be circus performers as subjects, Suspended explores the boundaries between illusion and reality capturing private scenes of performance in which desire for the impossible prevails. Caught in desperate and absurd situations, solitary acts of magic and illusion do not entertain, but instead isolate the characters in a private and unending cycle of performing. Images of suspension conflate opposites: freedom and confinement, determination and futility, bravery and crippling inaction. With references to metaphorical and allegorical principles, Suspended recalls the myth of Icarus who flew too close to the sun and Sisyphus who unwittingly is condemned to an endless purgatory. Like Lucky and Vladamir these individuals are confined to an absurdist reality with no beginning and no end, just endless and determined repetition with darkly amusing results. Fly In A Jar On A Wire is a 5:57 minute video projection with sound on a continuous loop. It depicts a high-wire act in which a novice wirewalker is caught on a length of wire confined by the picture frame. While the performer should feel free and in control, trapped like a fly in a sealed jar, she kicks and bangs at the edges unable to escape. Never reaching the end of the wire and never returning to the beginning, she is suspended in an unrelenting predicament. The sound component reflects her struggle at the edges of her confinement. Houdini and the Red Suspenders is a 1:50 minute video projection with sound on a continuous loop. It begins with an amateur performer studying archival footage of Houdini, once the world’s greatest magician, doing his straightjacket escape of 1923. As the performer watches Houdini, he begins to perform his own escape act that quickly goes awry. Suspended in an absurd situation from which he can’t escape, his failed attempts get repeated over and over while Houdini continuously repeats his escape successfully. The sound component is a recorded piano accompaniment used in silent films of the era. Joan Kaufman is a Toronto-based artist working in photography, video, sound and sculpture. She works in series producing multi-media installations that blur the boundaries between illusion and reality. By creating constructed realities her work is experienced as moments suspended in a larger unfolding narrative. Kaufman has exhibited both nationally and internationally in public and artist-run galleries; is the recipient of Canada Council, Ontario Arts Council and Manitoba Arts Council grants; and has works in both public and private collections. See www.joankaufman.com for more information and to view the complete Suspended photo and video installation.
Type: Moving image
Date: Fall 2009
Identifier: intensions3-joankaufman1
Identifier (PID): yul:1155992

Title: Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 3 of 3
Description: Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. Muslim by faith, the children practice memorizing the Quran in Arabic. Their parents teach them to recite one line at a time to ensure that they learn at a young age. They know that seeing this would bring their grandmother joy and make her proud. The video letter is a way to connect with her through these recitations of a shared faith as she doesn’t speak English. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-034 / 001 (03)
Date: 9 Feb. 2003
Identifier: 2019-034 / 001 (03)
Identifier (PID): yul:1152051

Title: Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 2 of 3
Description: Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. The children are practicing Urdu by reciting what they know: a well-known Indian nursery rhyme about a thirsty crow, and a biryani song that the family made-up because the boys found it amusing. The video letter of the boys practicing Urdu is a way to build and maintain a relationship with their grandmother who doesn’t speak English. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs."
Type: video files
Accession / Box: 2019-034 / 001 (02)
Date: 9 Feb. 2003
Identifier: 2019-034 / 001 (02)
Identifier (PID): yul:1152050

Title: Skills Needed to Encourage Students to Share their Accommodation Needs
Type: video recording
Date: 2022-01-100
Identifier: Skills Needed to Model Inclusive Teaching.mp4
Identifier (PID): yul:1155424

Title: Accommodation in Form and in Substance
Type: video recording
Date: 2022-01-100
Identifier: Accommodation in Form and in Substance.mp4
Identifier (PID): yul:1155423

Title: Shifting the Responsibility for Accommodation Dialogue
Type: video recording
Date: 2022-01-100
Identifier: Shifting The Responsibility For Accommodation Dialogue SUBTITLED.mp4
Identifier (PID): yul:1155421

Title: Open Communication During the Field Placement Process
Type: video recording
Date: 2022-01-100
Identifier: Placement Process SUBTITLED.mp4
Identifier (PID): yul:1155420

Title: Ideal Classroom
Type: video recording
Date: 2022-01-100
Identifier: Ideal Classroom SUBTITLED.mp4
Identifier (PID): yul:1155419