And as the film world continues its rapid transition from traditional 2 D celluloid film to 3 D digital, a weekend conference at the TIFF Bell Lightbox is aimed at boosting the Toronto film community鈥檚 chances of capitalizing on the next wave in film 鈥� 3-D, wrote the :

The [] conference is co-sponsored by 91亚色鈥檚 Faculty of Fine Arts and the 3-D Film Innovation Consortium (3D FLIC), a group of GTA-based film companies.

Ali Kazimi, professor in the University鈥檚 film department, said the three-day event will bring together an 鈥渆clectic mix鈥� of filmmakers, artists, academics and theorists. 鈥淚t鈥檚 a truly interdisciplinary event. We believe it鈥檚 not just a first in Canada, we believe it鈥檚 the first time anywhere in the world that these...fairly disparate groups of people have been brought together to discuss the future of 3-D cinema,鈥� Kazimi said.

鈥淚 think this is going to be a very special event for the city. Our project has really put Toronto on the map because with this incredible sharing of knowledge,鈥� he added.

Until the debut of Avatar in December, 2009, there was little interest in 3-D as a new frontier in film, Kazimi said. 鈥淣ow everybody is jumping on the bandwagon. As a filmmaker, I feel it鈥檚 a very exciting time because when used properly, 3-D offers a whole new language for filmmakers,鈥� Kazimi said.

The conference and 3D FLIC also involve psychology and computer science researchers within the . The centre's conference on runs June 15-18, allowing researchers to attend both events.

For more background on the Toronto International Stereoscopic 3D Conference, see its or this .

Posted by Elizabeth Monier-Williams, research communications officer, with files courtesy of YFile鈥� 91亚色鈥檚 daily e-bulletin.

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The , a one-of-a-kind gathering of experts in stereoscopic 3D art and entertainment, takes place in Toronto June 11 to 14. Major figures from the USA, UK, Russia, Germany and Canada will convene at TIFF Bell Lightbox to address and analyze the latest developments in the field.

Speakers include renowned German director , Irish director and U2 stage designer , , co-founder of IMAX and leading international film historian .聽 Minister , will deliver remarks.

The Toronto International Stereoscopic 3D Conference is organized by the (3D FLIC) and researchers from 91亚色, including the . Bridging academia and industry, the event is designed to create dynamic synergies to funnel cutting-edge research into 3D production and best practices, to continue to improve the stereo 3D experience and respond to the growing audience appetite for 3D entertainment across all platforms.

Saturday, June 11
What: 聽聽聽聽聽聽聽聽聽聽聽聽聽 Official opening night of the Toronto International Stereoscopic 3D Conference

When: 聽聽聽聽聽聽聽聽聽聽聽聽 5pm (Please arrive 1 hour early for sound feed)

Where:聽聽聽聽聽聽聽聽聽聽聽聽 Cinema 2, TIFF Bell Lightbox, Reitman Square, 350 King Street West, Toronto

Remarks:

• Juana Awad, 3D FLIC Project Director
• , Associate Dean Research, Faculty of Fine Arts, 91亚色
• James Weyman, Manager of Industry Initiatives, Ontario Media Development Corporation
• Awad introduces Ali Kazimi, Faculty of Fine Arts, 91亚色
• Kazimi presents German filmmaker and keynote speaker Wim Wenders

5:30pm Keynote address by Wim Wenders, titled 鈥淥n PINA鈥�

Sunday, June 12
What: 聽聽聽聽聽聽聽聽聽聽聽聽聽 Toronto International Stereoscopic 3D Conference, remarks by Honourable聽 Michael Chan, Minister of Tourism & Culture.

When: 聽聽聽聽聽聽聽聽聽聽聽聽 10am (Please arrive 1 hour early for sound feed)

Where:聽聽聽聽聽聽聽聽聽聽聽聽 Cinema 2, TIFF Bell Lightbox, Reitman Square, 350 King Street West, Toronto

Remarks:

• Juana Awad, 3D FLIC Project Director
• Nell Tenhaaf, Professor of Visual Arts, Faculty of Fine Arts, 91亚色
• Honourable Michael Chan, Ontario Minister of Tourism & Culture
• Tenhaaf introduces Bill White, partner, 3D Camera Company

10:30am Mini Keynote Canada鈥檚 lead on the Stereoscopic 3D World Stage

• Dr. Paul Salvini (CTO Side FX Software)
• Dr. Kevin Tuer (MD Canadian Digital Media Network)

For more details, see and a previous .

Artistic Direction and Organization Juana Awad, 3D FLIC Project Director 91亚色; Professor Janine Marchessault, Canada Research Chair in Art, Digital Media and Globalization, 91亚色; and Sanja Obradovic, PHD Candidate Communication and Culture, Ryerson University/91亚色.

By Amy Stewart, publicist, Faculty of Fine Arts

Republished courtesy of YFile鈥� 91亚色鈥檚 daily e-bulletin.

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The first of its kind in Canada, the Toronto International Stereoscopic 3D Conference is organized by the 3D Film Innovation Consortium (3D FLIC), and researchers from 91亚色.

See the for start times, remarks and speakers.

Bridging academia and industry, the event is designed to create dynamic synergies to funnel cutting-edge research into 3D production and best practices, to continue to improve the stereo 3D experience and respond to the growing audience appetite for 3D entertainment across all platforms.

The conference will offer film and TV production companies, 3D practitioners and enthusiasts the opportunity for far-ranging discussions about contemporary challenges and possibilities in stereoscopic 3D. It will feature keynotes, panel discussions and presentations, with screenings and master classes rounding out the program.

Keynote presenters include renowned German director , who will discuss the creation of his 3D documentary , about the influential choreographer Pina Bausch; Irish director and stage designer Catherine Owen, who will share her experiences co-directing U23D, the first film shot in digital 3D; Graeme Ferguson, co-founder of IMAX and one of the filmmakers behinds some of its most successful films, and Thomas Elsaesser, renowned international film historian.

httpv://www.youtube.com/watch?v=VaB5Nc0XNOY&feature=player_embedded

The live-action nature drama Bugs, the science-fiction action blockbuster and , the IMAX exploration of the profound impact of the Hubble Space Telescope on the way we view the universe, will all be screened and聽introduced by their producers.

Panels include Stereography and Cinematography, Producing and Directing Stereo 3D, Expanding the Tool Set: Post-production and visual effects, Shooting for Conversion, Stereoscopic Perception and Cinema, History of Experiments in 3D Film and Photography, and many more.

All panels, presentations, keynotes and screenings will be held at the 350-seat 3D-capable cinema at TIFF Bell Lightbox, giving all speakers the possibility to show footage during their presentations.

The Toronto International Stereoscopic 3D Conference runs immediately prior to , June 15聽to 19, allowing for synergies and exchanges between the two international events.

The conference is produced and presented by 3D FLIC and 91亚色.聽Presenting partners: Social Sciences and Humanities Research Council of Canada, Graphics Animation and New Media (GRAND) NCE, Ontario Media Development Corporation (OMDC). Supporting partners: City of Toronto, Canadian Digital Media Network, Goethe Institute Toronto, IMAX, Cinespace Film Studios, 3D Camera Company, Creative Post, Studio SysAdmin and Geneva Films. Additional support from: FilmOntario and Computer Animation Studios of Ontario (CASO). Master classes co-presented by TIFF Bell Lightbox.

A full聽conference pass is $180. Passes for students and seniors are聽$60. A day pass is $75, with student and senior聽day passes priced at $25.聽Tickets for the Wim Wenders master class are $25 each, and $15 for聽students and seniors. Tickets for other master classes are $15 each, with students and seniors tickets priced at $10 per class.

Information and conference registration forms can be found on the website.

Republished courtesy of YFile鈥� 91亚色鈥檚 daily e-bulletin.

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The movie, which unites new research into visual perception with the practical aspects of 3D filmmaking, is part of an attempt to boost the local film economy and improve the 3D viewing experience 鈥� with less nausea, eye strain and headaches.

The computer-generated animation portions were created by Starz (which did the 3D animation for the Disney feature ). The live-action set was shot by 91亚色 professor using a LiDAR device (light detection and ranging, or laser radar) to create a 3D map of the set. The information was integrated into the software with the animated images to ensure accurate placement of the birds against the backdrop and to study depth perception.

Kazimi, whose background is in documentary filmmaking, is cautious about the kind of sweeping generalizations being thrown around about 3D film language, but he believes it heralds fundamental changes in film storytelling, especially in slowing down the pace of films. "There's a lot more visual information for the viewer to absorb and you need to provide the time," he says.

His 91亚色 colleague, psychologist , is studying how people see 3D, including issues of ghosting, image disparity and motion that can make the experience unsatisfying. Simple things such as screen size and even where you sit in the theatre make a big difference. By sitting at the middle, or toward the back, the viewer can enjoy the most comfortable experience. Seats on the aisles, she suggests, "should probably be discounted."

Complicating 3D experience is the issue of "vection" or the illusion of self- motion which can occur while watching 3D. For some, it may create motion sickness.

Lovebirds will get its world premiere at the Toronto International Stereoscopic 3D Conference, June 11-14 at the Toronto International Film Festival Bell Lightbox.

The 3D FLIC project is led by Professor Nell Tenhaaf; the includes filmmakers, vision scientists, psychologists and industry partners.

Posted by Elizabeth Monier-Williams, research communications officer, with files courtesy of YFile鈥� 91亚色鈥檚 daily e-bulletin.

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The world premiere of the 52-minute documentary KOOP: The Art of Wanda Koop will open the聽8th annual on tomorrow at The Royal Conservatory, TELUS Centre for Performance & Learning, Koerner Hall, 273 Bloor St. W., in Toronto. A Q&A with Knight, the film鈥檚 director and co-producer, along with Koop and critic and urban planner Jane Perdue will follow the screening. The pre-screening reception will start at 6:30pm, the screening at 7pm and a celebration at 8:30pm. KOOP will screen again in Calgary on March 24.

Watch the documentary's trailer on .

Knight鈥檚 film looks at Koop as she prepares massive new works depicting archetypal cities and familiar yet disquieting landscapes for two 25-year retrospectives, one at the Winnipeg Art Gallery and another 鈥� Wanda Koop: On the Edge of Experience 鈥� at the National Art Gallery in Ottawa until May 15. She is an artist who questions how and what people see or notice, and in turn, shows through her art what people missed with their first glance, as well as what remains out of sight.

Right: Katherine Knight

A documentary, filming for Koop began in June as Knight, an award-winning photographer known for evocative landscapes with a strong narrative atmosphere, cinematographer and 91亚色 alumna Marcia Connolly (MFA 鈥�10) and embarked upon a week-long trip on a freighter along the St. Lawrence River from Quebec City to Port Cartier. Travel has often provided inspiration for Koop. This voyage along one of Canada鈥檚 most significant and fabled waterways not only provided a shared experience for the artist and the filmmakers, it also allowed the audience to share in some of the raw visual materials Koop uses to create her art.

"I was making a documentary about an artist who didn't want to be filmed painting," says Knight. So instead, she filmed Koop as she gathered inspiration. "It was about putting the audience into the framework that the artist works in. So the audience can actually travel along with the artist."

The examination of the visual continues as the film looks at聽the science of vision, colour and perception. It places the audience in the , where Koop has her vision tested by聽91亚色 senior research scientist聽Olivera Karanovic and Laurie Wilcox, graduate program director in the Department of Psychology,聽in the 3D Vision Research lab to聽take a look at聽how聽she sees 鈥� she apparently has great 3D vision.

Left: Artist Wanda Koop has her vision checked in the 91亚色 Vision Research lab聽in the opening scene of聽the film Koop

The artist鈥檚 studio as a factory of the imagination also plays a role in the work created, and the film explores this, taking the audience into Koop鈥檚 newly renovated factory, where she makes, archives and markets her artwork. There, hundreds of paintings, thousands of sketches and tables full of the painter鈥檚 tools contribute to the visual and physical space.

"I'm really interested in making documentaries about artists that get inside the creative process," says Knight, a longtime friend of Koop and fan of her art. Koop has won several national and international awards for her artistic achievements and was made a member of the Order of Canada in 2006. In 1998, she founded Art City as a storefront art centre in Winnipeg. The goal is to bring together contemporary visual artists and inner-city youth to explore the creative process.

Right: Wanda Koop's studio

Several alumni worked on the documentary, including project editor Jared Raab (BFA Spec. Hon. 鈥�07), who聽was declared one of the by the Toronto Star. Raab will begin shooting a feature in March with alumnus Matt Johnson (BFA). The score for Koop is by Montreal-based composer Sam Shalabi, who worked on Knight鈥檚 2009 documentary Pretend Not to See Me: The Art of Colette Urban, which was awarded special mention at the Ecofilm Festival in Rhodos, Greece, in June 2010. Pretend Not to See Me will screen at 2011, Thursday, March 17, at 5pm at the Rainbow Cinemas, Market Square, 80 Front St. E. (at Jarvis) in Toronto.

Left: Wanda Koop on the freight boat

Knight co-founded Site(Media)inc. with David Craig in 2006 with a passion to make documentaries and short films. Its first film, Annie Pootoogook, was commissioned by Bravo Canada and Aboriginal Peoples Television Network. A professor in 91亚色鈥檚 Faculty of Fine Arts, Knight has exhibited her photographs extensively in solo and group shows across Canada and in the United States. Her works are in many public and corporate collections, including the Canadian Museum of Contemporary Photography, Banff Centre and The Canada Council Art Bank. She was awarded the Canada Council's Duke and Duchess of 91亚色 Prize in Photography in 2000 in recognition of the excellence of her work.

Tickets to the opening night of KOOP are $175 per person and can be purchased by visiting the website or calling 416-368-8854 ext. 101.

Republished courtesy of YFile 鈥� 91亚色鈥檚 daily e-bulletin.

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In order to see 3D images properly, our left and right eyes have to view separate images. Because 3D display technology isn鈥檛 perfect, there are times when images intended for one eye become contaminated by images meant for the other. Researchers have uncovered a link between this phenomenon, dubbed 鈥渃rosstalk鈥�, and the amount of depth in the images we see onscreen.

鈥淥ur study found that the more interference from crosstalk, the less depth you鈥檒l see. This reduction in depth can make 3D images appear less realistic,鈥� says Inna Tsirlin, a PhD student in psychology working in 91亚色鈥檚 , part of the .

Right: An image that is undistorted by crosstalk

To minimize such visual distortions, crosstalk should be kept at levels of four per cent or lower, the study recommends. 鈥淔or viewers to see as much depth as intended, 3D displays should ensure that less than four per cent of the left image leaks into the right eye, and vice versa,鈥� Tsirlin says.

Tsirlin and her collaborators conducted experiments using a custom-built display. They introduced precise amounts of crosstalk to a pair of lines presented separately to participants鈥� left and right eyes. The brain combines these 2D images to perceive them as one image in 3D.

Participants were asked to indicate the amount of depth they perceived using a virtual ruler. The study showed that crosstalk was detrimental at even the smallest depths tested, and became more disruptive as depth increased.

鈥淔or example, instead of seeing two objects at ten centimetres apart in depth, you would see them at five centimetres apart if the crosstalk is high enough. We also found that the detrimental effect of crosstalk on the perceived amount of depth is stronger when there is a larger depth range in a 3D image. So, there will be聽more disruption for objects at one millimetre apart than for objects at ten centimetres apart in depth,鈥� says Tsirlin.

Left: The same image showing the distortion caused by crosstalk

Previous research has established that crosstalk causes viewing discomfort, which can include eye strain, headaches and dizziness. Tsirlin says optimizing hardware for a crosstalk level below four per cent may resolve these issues as well.

Tsirlin is supervised by 91亚色 Professors and , who co-authored the study. Their initial findings were recently presented at the international Stereoscopic Displays and Applications 2011 conference in San Francisco.

The research was conducted as part of the (3D FLIC), an interdisciplinary collaboration of scientists, filmmakers and industry partners such as Cinespace Studios, IMAX, Christie Digital and Starz Animation. 3D FLIC is funded by the聽Ontario Media Development Corporation聽(OMDC) and the聽Ontario Centres of Excellence (OCE).

Tsirlin鈥檚 research is supported by a (NSERC) graduate scholarship. She was among the first cohort of students to complete 91亚色鈥檚 Neuroscience Graduate聽Diploma Program.

Republished courtesy of YFile鈥� 91亚色鈥檚 daily e-bulletin

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Two 91亚色-led industry-academic partnerships have received a total of $1,237,136 through the 's (NSERC) Strategic Projects Grants program.

Sergey Krylov, professor in the Faculty of Science聽& Engineering and Canada Research Chair in Bioanalytical Chemistry, has received $773,200 over three years to explore new therapies to treat metastatic cancers聽鈥� secondary tumors that originate from a malignant primary tumor and subsequently invade different organs.

Right: Sergey Krylov

Laurie Wilcox, associate professor in the Faculty of Health鈥檚 Department of Psychology, is co-principal investigator on Depth in Motion with Ali Kazimi, associate professor in the Faculty of Fine Arts鈥� Department of Film. Theirs will be the first research project to rigorously assess human responses to moving content in stereoscopic 3D film (S3D), while challenging current practices and intuitions filmmakers have garnered through 2D and static 3D experience. The grant is provided through a collaborative initiative between NSERC and the ; NSERC has provided $286,836 while the Canada Council has provided $177,100 for a cumulative three-year total of $463,936.

Left: Laurie Wilcox

Krylov has partnered with , whose Canadian offices are based in Concord, Ontario, to create personalized diagnoses and therapy monitoring for metastatic cancers. Current difficulties in detecting and eradicating these tumors significantly contribute to cancer mortality rates; therapies that are efficient for one patient often do not work for others. Their research uses "aptamers"聽鈥� short DNA strands capable of selectively binding molecules on cell surfaces聽 to serve as tracers for metastatic cancer tumors and, potentially, as vehicles to deliver drugs to metastatic cells.

Wilcox and Kazimi will collaborate with , associate professor in the Faculty of Science & Engineering鈥檚 Department of Computer Science & Engineering and member of the , to create an independent S3D film installation based on a piece of dance choreography and presented in both a large-scale S3D projection format and on multiple S3D displays. Audience members will move through a gallery space and choose to view the large-scale screen or one of the alternative displays containing different motion in depth sequences. The project will evaluate movement鈥檚 effect through depth on observer preferences, determine if these preferences are contingent on the nature of the movement, and determine if pacing differences exist between 2D and S3D film content.

Right: Ali Kazemi

Jim Mirkopolos, vice-president of operations for Toronto-based , is the project鈥檚 industry collaborator; Cinespace's Kleinburg studios are providing space to set up and test the installation later in the project.

鈥淭hese projects build on 91亚色鈥檚 expanding expertise in digital media and life science research, and our value-added industry-academic partnerships,鈥� said Stan Shapson, vice-president Research & Innovation. 鈥淒epth in Motion is a natural next step in the 3D film research 91亚色 began through the in partnership with Toronto-based industry leaders, and demonstrates the innovation unleashed when the creative arts and science converge. Professor Krylov鈥檚 work with in 91亚色 Region has a six-year history that involves two past successful collaborations and will further contribute 91亚色鈥檚 scientific expertise to the region鈥檚 growing and vibrant biotech sector.鈥�

91亚色鈥檚 projects were among 120 chosen to receive a total of $55 million in funding under聽NSERC鈥檚 Strategic Project Grants program, which aims to turn the results of academic research into real benefits for Canadians.

The announcement was made by聽Gary Goodyear, minister of state (Science聽& Technology) in Waterloo, Ontario. 鈥淪upporting science and research is critical to Canada鈥檚 future economic growth,鈥� said Goodyear. 鈥淭his investment will bring together 100 teams of some of the world鈥檚 top researchers to work with industry on promising new projects that will help strengthen our economy, create jobs and bring other benefits to communities.鈥�

鈥淭hese Strategic Project Grants show that the NSERC community has risen to the challenge and is putting the federal S&T strategy to work,鈥� said NSERC President Suzanne Fortier. 鈥淲e received a high number of quality submissions, and the peer review committees were impressed with the research teams鈥� excellence, their proposals鈥� importance and potential impact, and the strong support from partners.鈥�

For a complete list of NSERC recipients, visit the website.

By Elizabeth Monier-Williams, research communications officer.

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Stewart is in the first wave of people with a great deal of experience filming in 3-D and is very busy shooting concerts, commercials and more. At an industry panel on 3-D at TIFF, he implored independent filmmakers, especially of documentaries, to pitch content-hungry networks like Discovery. However, his biggest concern with 3-D is keeping the quality up.

鈥淢y biggest concern is the production of very bad 3-D and it will be coming . . . whenever a film comes out and it doesn't look great, it's not good for the whole industry.鈥� he says. 鈥淧eople who don't know how to produce it properly are going to start shooting 3-D. The indie film world is going to start shooting 3-D, but they need to understand how to produce proper 3-D so it doesn't hurt people's eyes.鈥�

Ali Kazimi echoes that thought. A filmmaker and film professor in 91亚色鈥檚 Faculty of Fine Arts, he is part of a Toronto-based group called , which teams filmmakers and vision scientists to study the technology and its effects. 3-D requires a new visual grammar that filmmakers are learning and still working out. He says the organization鈥檚 work has shown that human brains process a 3-D image completely differently than 2-D.

鈥淲ith 3-D you actually have the responsibility of the comfort and, to a degree, the well-being of your audience as well,鈥� he says. 鈥淭o shoot 3-D really requires a fundamental understanding of stereoscopic depth perception, and how the human brain works mechanically and optically. If you don鈥檛 have that then you鈥檒l get bad 3-D,鈥� causing many problems such as eye strain, nausea and headaches.

One good reason to want it to succeed is that Toronto is poised to be an important centre for 3-D production. The is funding 3D FLIC and local businesses like Brash 3-D Studios, the 3-D Camera Company and Spatial View (whose a glasses-free 3-D approach has already yielded an iPhone product and an iPad prototype) are doing well and hoping to cash in as 3-D acceptance continues to grow.

Posted by Elizabeth Monier-Williams, with files courtesy of YFile鈥� 91亚色鈥檚 daily e-bulletin.

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鈥淭he studios are realizing there鈥檚 a golden goose here because you get all these bums in seats that will pay a 30 per cent premium,鈥� says Ali Kazimi, an independent filmmaker and professor in 91亚色鈥檚 Department of Film in the Faculty of Fine Arts.

. . .

Several Toronto firms are participating in a provincially funded research project called 3D FLIC. The two-year project combines the talents of visual scientists at 91亚色 with film makers and their suppliers.

One of the driving forces behind the project is Jim Mirkopoulos, vice-president at family-owned Cinespace Film Studios.

鈥淭wo years ago we really became interested, before the big wave hit, in how to optimize our space for 3D so we could help spur Ontario鈥檚 transformation into a 3D centre of excellence,鈥� Mirkopoulos says.

The company partnered with 91亚色 and 3D Camera Company, shot a few test projects and then applied to the Ontario Media Development Corp. for a grant. The project received $1.4 million in funding.

鈥淭he idea is to build a competency in 3D that surpasses other jurisdictions in North America,鈥� Mirkopoulos says, and generate jobs in the new 3D industry.

Kazimi, the film maker, educator and member of 3D FLIC, says a lot of work lies ahead.

鈥淚t鈥檚 a new medium. It鈥檚 akin to switching from black and white to colour, compounded many times,鈥� he says. 鈥淲e really don鈥檛 know at this stage what are the true possibilities of 3D story telling in film language.鈥�

But it鈥檚 also a huge business opportunity for the city, Kazimi says.

Between Mirkopoulous, White and others, Toronto is becoming a hub of 3D activity, he says. 鈥淧eople are coming to Toronto because of them.鈥�

More information about 3D FLIC is available on the and in the . To read the complete Star article, .

Republished courtesy of YFile鈥� 91亚色鈥檚 daily e-bulletin.

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91亚色 had several different presentations at Discovery 2010. Professors , George Zhu, , Costas Armenakis, , Hugh Chesser and Baoxin Hu from the Department of Earth & Space Science & Engineering had several displays, including an underwater robot, a nanosatellite, computer vision and a Mars rover.

Professor Regina Lee and her students, also from the Department of Earth & Space Science, showed off their Mars rover and the massive trophy they won for placing first in the 2009 University Rover Challenge in Utah (where the land apparently resembles the surface of Mars 鈥� who knew?). The group also placed second in the 2010 competition this month.

Professor kept crowds happy playing his iPhone app, 鈥溾�� which debuted at . 91亚色鈥檚 digital media display also featured the projects funded by the Ontario Media Development Corporation (, led by Professor Nell Tenhaff in the Faculty of Fine Arts) and the Ontario Research Fund (the , led by Professor John Tsotsos in the Faculty of Science & Engineering).

Meanwhile, , a partner in the 91亚色-led 3D FLIC project, drew crowds who didn鈥檛 mind sharing 3D glasses to experience their stunning 3D television footage.

, a Regional Innovation Network for biotechnology in 91亚色 Region for which 91亚色 is a founding partner, was also represented by Janet Leclair and Sana Mulji Dutt.

Among the event鈥檚 highlights were the awards ceremonies, including the , innovation awards and many awards for Ontario鈥檚 best researchers, students and companies.聽 Amongst these was the award for . The winning team, lead by Armen Bakirtzian, included a 91亚色 MBA candidate, Ara Hasserjian.

Discovery 2010 provided an excellent introduction and overview for Sarah Fuller who joined 91亚色 May 17 as associate director, research agreements and intellectual property where she

will lead 91亚色鈥檚 technology commercialization group. If your research involves non-academic partners (such as community, government, industry) or if you are required to transfer research funding, information or materials to another institution, Sarah can be reached at extension 20579 or by e-mail at sfuller@yorku.ca.

So what鈥檚 next for now? 91亚色 is actively supporting industrial collaborations for faculty and students. Through expert services, industry liaison and technology commercialization under the Office of the Voce-President Research & Innovation, 91亚色 will help connect your research to industrial partners. Companies can also explore working with 91亚色 researchers and grad students.

For more information, contact David Phipps, director, Research Services and Knowledge Exchange at 416-736-5813 or dphipps@yorku.ca.

By David Phipps, director, Research Services and Knowledge Exchange.

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