Jaime Angelopoulos’ large-format drawing, �ճ󾱱��,��and Julieta Maria’s four-minute digital video, Soil, are now part of this outstanding collection of works created by then-emerging artists, reflecting  the evolution of artistic sensibility, technology and expression over the past 35 years.

Right: "Thief" by Jaime Angelopoulos

Toronto philanthropist Samuel Sarick established the Purchase Award in1976 – just two years after 91��ɫ's Graduate Program in Visual Arts was established. Each year since then, one or more works have been selected for acquisition from the thesis exhibitions of students graduating from the program. In addition to serving as a showcase of the leading edge of contemporary work, the collection is an important component of the historical record of the visual arts department and its alumni.

(MFA ‘10) identifies herself as a sculptor who also works in installation and large-scale drawing.

“My drawings often depict aspects of my sculptural forms, while also informing the sculpture-making process,” she said. “My current drawings combine graphic geometric fragments and bright color hues with organic shapes and textures evocative of animals. To reconcile oppositional elements within a drawing is to discover a balance between contradictory ideas.”

Angelopoulos has an upcoming solo show May 4 to 21 at Toronto’s , located at 401 Richmond St. W. The opening reception takes place Friday, May 4 from 8 to 10pm.

Angelopoulos has presented her work across Canada and beyond. Her solo exhibitions and performances include venues such as Parisian Laundry in Montreal, Stride Gallery in Calgary, Anna Leonowens Gallery in Halifax, Meadows School of the Arts in Dallas, Texas, and at the Banff Centre for the Arts.

In contrast to Angelopoulos’ physical art-making, (BFA ‘04, MFA ‘10) is a new media artist working in a variety of media including video, interactive video installations and web. Soil is a prime example of her recent work, which centres on video documentation of staged actions.

Soil shows the artist’s face in profile, open-mouthed, lying horizontally against a white background. Soil starts pouring down from the upper side of the frame, gradually filling her mouth.

“Closeness to the earth implies being close to life and death, to the visceral,” said Maria.

Left: A scene from "Soil" by Julieta Maria

“In the video, I take the soil trying to engage in minimal movement or expression. The openness of the mouth, however, gives a sense of willingness to receive the dirt. It’s a situation that is not resolved, as the soil keeps falling and accumulating. The soil comes from above, as a kind of fate.”

Maria is a co-founder of in Toronto, where she currently serves as executive director. She has participated in several international screenings and exhibitions, including Scope Basel in Switzerland in 2010, the Hemispheric Institute of Performance and Politics in Colombia in 2009, and the Interactiva Biennale in Mexico 2009, among others.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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Two graduates will present their theses – and compete for prizes – at the Graduate Program in Education Spring Colloquium May 26.

Opiyo Oloya (right) (PhD ’10) and master’s graduand Farra Yasin will explain their final academic projects in the Senior Common Room, 021 Winter’s College, from 4:30 to 6pm.

Oloya is a high school principal who fled Uganda in the early 1980s. The former pro-democracy fighter’s dissertation, “Becoming a Child Soldier: A Cultural Perspective from Autobiographical Voices”, explores how Ugandan rebel group the Lord’s Resistance Army (LRA) transformed abducted children into soldiers. Oloya highlights the importance of culture in turning children into soldiers and in creating a resilience to survive their ordeal in the bush. As a researcher, Oloya is also interested the peace process, humanitarianism and the impact of war on society and culture.

Yasin teaches Grade 8, has a passion for writing and used to run an art gallery. Her MEd thesis explores middle-school students’ use of comic strip figures and creative writing to construct their identity. She has presented her work at conferences of the National Council of Teachers of English, the Congress of the Humanities and Social Sciences, and the Faculty of Education Graduate Students.

All are welcomed to attend. Refreshments will be served.

Republished courtesy of YFile – 91��ɫ’s daily e-bulletin.

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Expand the definition of art as a health tool, and consider it as an essential link, as a bridge between those who heal and those who need healing. The art becomes a shared language, and if culture gets involved the artistic process becomes symbolic. It builds trust, which fosters communication, which lays the foundation for a discussion about, for example, preventing HIV

That's how art is used by Sarah Flicker, a professor in [the Faculty of Environmental Studies] at 91��ɫ, who studies HIV prevention in aboriginal communities across Canada and uses art to get the interest of young natives.

Flicker is one of three professors who will be a part of "Café Scientifique," a public roundtable of sorts that will consider how the arts are being used in health programs these days [organized by the ].

. . .

Flicker starts by telling me that aboriginals represent three per cent of Canada's population, but have nine per cent of HIV infections – and at a younger age. Flicker's project is to find ways of having a meaningful conversation about HIV with young natives. Problem is, some native communities are not interested in "traditional research methods." Enter art.

“From theatre to photography to carving to hip-hop,” she says, when I ask her what types of arts her project has employed. She adds throat singing to the list, and graffiti at the Kahnawake Mohawk reserve near Montreal.

“Using the arts in our particular project has been tremendously successful,” she says. “It’s fun, it’s participatory, it helps build pride and self-esteem. . . It really helps them relate to culture and tradition, in a way that’s non-threatening.”

Using contemporary or traditional art forms — created by the young natives, with the guidance of artists brought in by the project — enhances recall of the health information, she says. It also builds skills, as the artists pass on their own knowledge and inspirations, and many young natives have their first opportunity to handle photographic equipment or real artist’s brushes.

“We were just astonished with the creativity we had unleashed,” Flicker says, as the research visited reserves from B. C. to Atlantic Canada. “What’s incredible is how the themes have resonated from community to another.”

They resonated so well that the art of some communities is used in others to get the health message across — such as a hip hop song composed by young natives in Kettle Creak, near Sarnia. Another group made a stop-motion film, using photography to show how HIV was affecting their community. “It’s in their words that art is healing,” Flicker says.

You can see the art of her project at takingaction4youth.org. The Café Scientifique will begin at 5:30 p.m. Wednesday, March 23 at Mambo Nuevo Latino, 77 Clarence St. in the Byward Market. “The idea is to make health research accessible to the public,” Flicker says.

Posted by Elizabeth Monier-Williams, research communications officer, with files courtesy of YFile– 91��ɫ’s daily e-bulletin.

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The film will be screened tonight in the Nat Taylor Cinema, N102 Ross tonight from 6:30 to 9:15pm. Created by New 91��ɫ filmmaker Ellen Weissbrod, this documentary film pays tribute to  and her life. It also explores public responses to a recent major exhibition, held in Rome, New 91��ɫ City and St. Louis, devoted to her work and that of her father Orazio.

The film features an interview with Elizabeth Cohen, 91��ɫ professor of history, women's studies and humanities in the Faculty of Liberal Arts & Professional Studies.

"Artemisia Gentileschi painted really dramatic and gutsy stuff, and has become one of the heroines of women's history," says Cohen. "As a young woman, Artemisia was raped by a colleague of her father's and there is a trial record that documents her family situation and these events. This archival material is my research area and I speak about it in the film."

But the film is more than historical, says Cohen, because it also represents in a beguiling way the strong and moving responses of modern students and museum visitors to Gentileschi's work and story.

"The film-maker Ellen Weissbrod, from New 91��ɫ, will be present," says Cohen. Following the film, there will be a panel discussion featuring Cohen, along with professors from the Departments of Women's Studies, Film Studies, Visual Arts and History.

A Woman Like That tracks the filmmaker's journey to understand Artemisia Gentileschi in her own times and for 21st -century viewers. It features interviews with scholars and writers who brought the painters' work to North American attention. Weissbrod also travels to Italy to talk with museum curators, art dealers and collectors of Gentileschi's work.

The screening is free and open to the public.

Republished courtesy of YFile – 91��ɫ’s daily e-bulletin.

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The world premiere of the 52-minute documentary KOOP: The Art of Wanda Koop will open the 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’s 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’s 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 – Wanda Koop: On the Edge of Experience – 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��ɫ alumna Marcia Connolly (MFA ’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’s 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 the science of vision, colour and perception. It places the audience in the , where Koop has her vision tested by 91��ɫ senior research scientist Olivera Karanovic and Laurie Wilcox, graduate program director in the Department of Psychology, in the 3D Vision Research lab to take a look at how she sees – she apparently has great 3D vision.

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

The artist’s 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’s newly renovated factory, where she makes, archives and markets her artwork. There, hundreds of paintings, thousands of sketches and tables full of the painter’s 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. ’07), who 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’s 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��ɫ’s 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��ɫ 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 – 91��ɫ’s daily e-bulletin.

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This massive public art project had four separate calls for entries: two open and two invitational. In developing their proposals, artists were asked to be sensitive to the site, the location of the artwork elevated above grade and the fact that people would be viewing the works while moving past them as well as when they were stationary.

Submissions were categorized based on the media used to create the pieces: digital interlay protected by glass, specialty glass, perforated metal screen and mixed media. All the works share the same dimensions: 30 inches high and a monumental 40 feet long, made up of four 10-foot-long panels.

More than 350 entries were submitted by artists from across the Greater Toronto Area for the two open competitions. Two independent juries, each judging two competitions, selected the winning works.

“The quality of the artworks and their scale and siting are setting a new standard for transit art projects in Toronto,” said Rina Greer, the art consultant who coordinated the project with Catherine Williams for the City of Toronto.

Five 91��ɫ artists have transformed the streetscape with their unique creations.

Spadina Road features the first of two works contributed by Professor Judith Schwarz,����hair of the Department of Visual Arts. Her abstract piece Weather Sampler, made of mill-grade stainless steel sheets, is a playful representation of various kinds of weather experienced by Torontonians. Geometric shapes are organized and repeated to represent sunspots, heat rising from the pavement, overcast days, clouds moving overhead, sleet and rain.

Above: Weather Sampler by Judith Schwartz

One stop west at Tweedsmuir Avenue, commuters will encounter Professor Yam Lau’s Nearness and Distance – A Chinese Ruler. It’s a digitally printed interlay representing the traditional, but now obsolete, system of measurement that would have been used to build inspirational places like the Forbidden City in Beijing and the Great Wall of China. For Lau, systems of measurement are never simply abstract. They can embody a world that is both poetic and emotional.

Above: Nearness and Distance – A Chinese Ruler by Yam Lau decorates the Tweedsmuir Avenue stop

Moon Transit by 91��ɫ visual arts alumna (BFA ‘79) is found at Christie Street. The work is constructed of two layers of laminated tempered float glass with pigmented glass enamel accents. It depicts the phases of the moon in an arcing passage through drifting clouds. This upward view was inspired by the escarpment location of St. Clair Avenue, high on a ridge above downtown Toronto. A month of moons unfolds like successive frames of a film or a series of time-lapse photographs. The sequence is integrated into a gestural sky whose graphic conventions are drawn from historical engravings like those depicting early views of Toronto.

Above: Titled Moon Transit, this artwork can be found at Christie Street. It was created by 91��ɫ visual arts alumna Jeannie Thib

Schwarz’s second contribution, Origami Remix, is installed at Dufferin Street. It features organic shapes and patterns on a garden theme, rendered in stainless steel. The stylized profiles evoke flowers, petals, stamen, floating pollen and vines. These images expand and recur along a sinuous curve to suggest process and alteration over time. Repeated and remixed at a different scale, the shapes coalesce into designs suggestive of garden ornamentation, decorative fences and patterns that allude to retro linoleum, wallpaper and picnic oilcloth.

Above: Schwartz's Origami Remix can be seen at the Dufferin Street

Caledonia Road is the site of Sidewalk Tango by 91��ɫ alumna (MFA ’94). Nind’s digitally printed interlayer expresses the richness and cultural diversity of the street life along St. Clair West. The street’s ambience offers a cacophony of colours, odours and tactile experiences: baskets of fruits and vegetables, displays of shoes and clothing, pots overflowing with flowering plants, domestic paraphernalia of hardware and household supplies.

Above: 91��ɫ alumna Sarah Nind's Sidewalk Tango

Art / Work, by photographer (MFA ‘07), marks the stop at Silverthorne Avenue. Inspired by 1920s modernist art photography and film and the then-novel techniques of montage, collage and transitional dissolves, Art / Work draws on the archival record of construction on St. Clair Avenue in the twenties, as found in the Toronto Transit Commission files in the City of Toronto Archives. A long-time local resident, Ingelevics makes this history visible through images of labour and labourers from this earlier period.

Above: Art/Work by 91��ɫ alumnus, photograper Vid Ingelevics marks the stop at Silverthorne Avenue

The distance between Yonge Street and Keele Street is just over six kilometres. The public art installations at transit stops are the finishing touches on the dedicated right-of-way streetcar lane for the 512 St. Clair streetcar loop. As a special initiative, the TTC is offering a two-hour time-based transfer for Route 512 that allows passengers to get on and off the streetcar to enjoy the artworks as well as the shops and restaurants along the way.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin

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Throughout November, the Vari Hall Rotunda will play host to displays and demonstrations featuring our faculty and graduate researchers. Drop by between 10 am and 2 pm each Wednesday to learn what 91��ɫ's researchers are doing.

The Research Month index on 91��ɫ's Research website contains complete information about the researchers, research centres and research support groups participating in the event.

Social sciences and humanities research – Nov. 3

Confirmed participants include:

• Institute for Science & Technology Studies
• 91��ɫ Centre for Education & Community

Science and engineering research – Nov. 10

Confirmed participants include:

Health research – Nov.17

Confirmed participants include:

• Professor Joseph DeSouza, Faculty of Health, Department of Psychology
• Professor , Faculty of Health, School of Nursing
• Professor Jennifer Kuk, Faculty of Health, School of Kinesiology & Health Science
• Professor Gail Mitchell, Faculty of Health, School of Nursing
• Professor Jennine Rawana, Faculty of Health, Department of Psychology
• Professor Rose Steele, Faculty of Health, School of Nursing
• LaMarsh Centre for Research on Violence & Conflict Resolution
• 91��ɫ Institute for Health Research

Fine and performing arts research — Nov. 24

Confirmed participants include:

Want to participate?

Do you have completed works, prototypes, technology, or works in progress that you could demonstrate? Do you have graduate/undergraduate students working with you who could assist and help talk about the work? If you have other ideas, we would love to hear about them.

Interested faculty members or research centres should contact Elizabeth Monier-Williams in the Office of the Vice-President Research & Innovation at ext. 21069 or eamw@yorku.ca. Please note that space is limited and allocated on a first-come, first-serve basis.

Other research-related events

These research-related events will also be running in November:

• Nov. 6 – , featuring Professor Poonam Puri from Osgoode Hall Law School and Professor Steven Gaetz from the Faculty of Education among other speakers.
• Nov. 10 – Toward a Behavioral Neuroscience of Parenting, sponsored by the Department of Psychology in the Faculty of Health.
• Nov. 24 & 25 – at the Metro Toronto Convention Centre (by invitation only).
• Nov. 26 – Campus visit from Suzanne Fortier, president of the .
• Nov. 30 – Campus visit from David Malone, president of .

By Elizabeth Monier-Williams, research communications officer

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, which was officially launched last night in Toronto, explores different aspects of copying and looks at everything from quilting and cooking to gang warfare and martial arts as cultures of the copy. Published by Harvard University Press, it features an entire chapter on the saga of Louis Vuitton and the fake handbags which have become ubiquitous today.

“Teaching contemporary literature and culture at a university, I was interested in students’ attitudes about sampling, cutting and pasting, plagiarism, downloading and such matters,” says author , a professor in 91��ɫ’s Department of English in the Faculty of Liberal Arts & Professional Studies.

Boon also blogs about this subject in the blog.

“What struck me is that they were completely unable to justify their interest in these things – mostly because they involve copying and they’d repeatedly been told that copying is bad. At the same time," he says, "when I looked at the literature on intellectual property, I was struck by the fact that most of it was written by legal scholars, who seemed to offer no analysis of copying itself, beyond the fact that it was a useful tool that could also be misused. So I wanted to rethink the idea of copying, and show how fundamental philosophical issues shape the way we think about it today.”

The book details how the dominant legal-political structures that define copying obscure the broader processes of imitation that have constituted human communities for ages, and that continue to shape subcultures today. In Praise of Copying draws on contemporary art, music and film, the history of aesthetics, critical theory, and Buddhist philosophy and practice to illustrate how and why copying works – what the sources of its power are and what political stakes are involved if we re-negotiate the way we value copying in the age of globalization.

Boon asks why copying another person’s actions or works makes us so uncomfortable. “If you really think about it, is there anything that doesn’t involve some form of copying? In order to speak and to learn, we have to copy. We can talk about plagiarism, and it’s true that very few people would say it’s good to pass off another’s work as your own," says Boon. "But industrial economies are built around making copies, most of which have their origin in something that used to belong to the public domain.”

He argues that we should all consider and confront the ways in which our lives are shaped by the act of copying: “We all do it, and our laws should reflect this. As a society, we should be asking ourselves what is the most profound or joyful use of our capacities for copying. In other words, it’s not a question of whether we should copy or not – but how we copy and what.”

In Praise of Copying was launched at the The Annex Live, 296 Brunswick Avenue in downtown Toronto, presented by This Is Not A Reading Series.

To download a free pdf of the book, visit the web page on the website.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin

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CineSiege, 91��ɫ’s annual juried student film festival, is often the harbinger for success at festivals around the world. After, the winner of the CineSiege Best Sound Award in 2009, is the latest good news story. Inspired by Dennis Cooper’s poem "After School, Street Football, Eighth Grade", After is a humorous and dark coming-of-age film that visualizes three teenage boys’ fantasies about an older teenage football player.

Right: A scene from Mark Pariselli's short film After

Directed by Mark Pariselli (BFA Spec. Hons. '09), this short film is one of only two Canadian works shortlisted for the prestigious Iris Prize (the most valuable single prize lesbian, gay, bisexual and transgender [LGBT] short film competition) and has screened at high-profile festivals all over the world, including in the cities of Paris, Athens, Montreal, Seattle and Chicago, and at festivals in Germany and Switzerland.

At the Inside Out Toronto LGBT Film & Video Festival that took place May 20 to 30, Pariselli received an honorable mention for the Best Up-and-Coming Toronto Film or Video Maker ward.

is the feature film debut by director Andres Livov-Macklin (BFA Spec. Hons. '04) and producer Hugh Gibson (BFA Spec. Hons. '04). The aluCine Toronto Latin Media Festival presents the Toronto premiere of this documentary film, screening July 9 to 12, at 7pm nightly at The Royal.

Above: A Place Called Los Pereyra tells the story of a tiny community in the Argentine jungle

It tells the story of how life in a tiny community in the Argentine jungle is unexpectedly changed by a visiting charitable mission. Subtle, sweet, often humorous, but also poignant, A Place Called Los Pereyra examines adolescence, charity and the clash of two worlds.

The two alumni will attend each screening and be available to answer questions after the film concludes.

Another 91��ɫ film duo picked up prizes at Toronto’s Worldwide Short Film Festival June 1 to 6 for their work on , a six-minute dance film shot in a women's change room. The Best Experimental Short Prize was won by director (BFA Spec. Hons. '06) and the Kodak Award for Best Cinematography in a Canadian Short went to cinematographer (BFA Spec. Hons. '07). Choreographer (BFA Spec. Hons. '87) is part of the creative team for Slip, which also includes (BFA Spec. Hons. '06) as producer and several 91��ɫ dance alumni in the cast.

Left: Slip is a six-minute dance film shot in a women's change room and features the choreography of 91��ɫ alumna Yvonne Ng

(BFA Spec. Hons. '96) is the winner of the 2010 Astral Media Mentorship, coordinated by the Foundation for Women in Film & Television-Toronto (WIFT-T). The mentorship is a national competitive program that gives one Canadian female or male producer who is a visible minority, Aboriginal or an individual with a disability the opportunity to develop their marketing strategy and hone their pitch and presentation skills in preparation for the Banff World Television Festival, which took place June 13 to 16. Lau received a festival bursary and a five-day pre-festival mentorship that included meetings with Astral Media and three intensive workshops with industry consultants.

“This mentorship is so important at this time of limited resources within the industry,” said Sadia Zaman, WIFT-T executive director. “During day-to-day work there are few opportunities to simply build presentation skills and to focus on career development. Our partnership with Astral Media will allow Mishann to do just that."

Lau has been writing, directing and producing independent short films for the past 12 years. Her films have screened at the San Francisco International LGBT Film Festival, the International Women’s Film Festival in Cologne, Germany, and the Michigan Womyn’s Music Festival. She was also selected to create shorts for the 1997 On the Fly Festival, the 2004 Toronto Reel Asian International Film Festival and the 2007 Pride Video Launch.

On the faculty front, three professors have had recent festival success.

Visual arts Professor Katherine Knight’s documentary about Newfoundland-based performance artist Colette Urban, , which made its Toronto premiere at the Reel Artists Film Festival (see YFile, Feb. 25), won a special mention at the in Rhodos, Greece – its first international screening.

Film Professors John Greyson and Ali Kazimi’s film Rex Vs. Singh picked up the prize for best Canadian short film at Inside Out. (For more info on this experimental exploration of Vancouver history and human rights, see YFile, Aug. 20, 2008.)

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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The conference, which is hosted by the 91��ɫ Centre for International & Security Studies follows two successful events, hosted by the University of Bristol in 2008 and the Newcastle Universityin 2009. 91��ɫ's conference will be the third Popular Culture & World Politics Conference. This year's event seeks to continue the growing conversation on the intersections of various forms of popular culture and the study of world politics from a range of disciplines and practices in the social sciences, humanities and the arts.

Conference organizers are currently seeking collaboration and proposals for performances, screenings, panels or individual papers, on any aspect of world politics and popular culture. The two-day conference will also involve a series of performances, exhibitions and public events to be held at 91��ɫ and other parts of Toronto that will explore the dynamic links between popular culture, performance and world politics through cinematography, photography, art, music, video games, television and the Internet.

The conference intends to showcase Toronto-based artistic projects, pieces and performances related to the theme of world politics and international relations. The organizers welcome any proposals for collaboration or involvement based on the above themes from members of the 91��ɫ community and local artists.

If you are interested in attending the conference, you should submit a brief abstract, limited to 250 words, of your paper or performance. Click here to learn more. The deadline for submissions is April 14.

Republished courtesy of YFile– 91��ɫ’s daily e-bulletin.

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