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Title
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Art and Artists in Climate Justice
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Description
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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 Kenza Vandenbroeck (Instagram: @moon__beam) and Kendall Mar (Instagram: @kandykaym), two grassroots organizers whose art is an extension of their activism. We'll talk about the different ways art can influence our world, how to make effective art for social change, and what it's like to be an artist in a world of environmental challenges. You can watch the live-recorded Zoom video interviews or read the transcripts recorded in Summer 2020.
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Type
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video file
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Date
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27 October 2020
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Identifier
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https://doi.org/10.6084/m9.figshare.13146746.v2
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Identifier (PID)
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yul:1153670
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Title
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Youth Perspectives on Climate Justice
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Description
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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.
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Type
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video file
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Date
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27 October 2020
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Identifier
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https://doi.org/10.6084/m9.figshare.13146740.v1
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Identifier (PID)
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yul:1153669
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Title
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Digital Activism and Climate Justice
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Description
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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.
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Type
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video file
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Date
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27 October 2020
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Identifier
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http://hdl.handle.net/10315/38023
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Identifier (PID)
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yul:1153664
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Title
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Indigenous Perspectives on Climate Justice
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Description
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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.
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Type
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video file
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Date
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2 November 2020
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Identifier
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https://doi.org/10.6084/m9.figshare.13146716.v2
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Identifier (PID)
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yul:1153665
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Title
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An Introduction to Climate Justice Activism in Toronto
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Description
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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.
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Type
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video file
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Date
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18 November 2020
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Identifier
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https://doi.org/10.6084/m9.figshare.13256162.v2
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Identifier (PID)
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yul:1153673
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Title
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The Feminist Porn Archive Project: Questions from a Working Ontologist
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Description
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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.
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Type
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videorecording
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Identifier (PID)
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yul:770322
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Title
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Bleeding to Life
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Description
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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.
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Type
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Moving image
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Date
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Fall/Winter 2016
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Identifier
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intensions8-iandeleon
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Identifier (PID)
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yul:1156010
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Title
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Simulacra, by Steve Hudak
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Description
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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.
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Type
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Moving image
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Date
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Spring/Summer 2014
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Identifier
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intensions7-stevehudak
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Identifier (PID)
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yul:1156002
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Title
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Across the Unseen Sea, by Tereza Stehlíková
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Description
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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.
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Type
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Moving image
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Date
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Spring 2018
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Identifier
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intensions9-terezastehlikova1
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Identifier (PID)
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yul:1156004
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Title
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Dinner for Deep Surface Divers, by Tereza Stehlíková
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Description
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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.
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Type
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Moving image
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Date
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Spring 2018
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Identifier
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intensions9-terezastehlikova2
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Identifier (PID)
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yul:1156005
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Title
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Desierto (Desert), by Regina José Galindo
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Description
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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
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Type
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Moving image
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Date
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Fall/Winter 2016
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Identifier
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intensions8-reginajosegalindo
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Identifier (PID)
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yul:1156003
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Title
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X, by Rebecca Belmore
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Description
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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
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Type
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Moving image
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Date
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Fall/Winter 2012
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Identifier
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intensions6-rebeccabelmore
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Identifier (PID)
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yul:1156001
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Title
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Buried Traces, by Michelle Smith
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Description
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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.
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Type
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Moving image
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Date
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Fall/Winter 2011
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Identifier
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intensions5-michellesmith
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Identifier (PID)
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yul:1156000
