Artist, producer, designer and Artengine’s Artistic Director, Ryan Stec, in conversation with DEL participant, artist, and foresight strategist, Macy Siu, where they discuss her collaborative project the Offer Need Machine (ONM/NOM). Within this discussion Siu addresses themes of anti-capitalist alternatives in relation to networks of decentralized reciprocity, eroding established attitudes around the value of artistic and cultural labour, time as currency, and culminates in a call for more-than-human design.

Relevant Links:
https://www.directionstonowhere.com/
https://www.instagram.com/_macysiu_/?…
https://twitter.com/macymssiu?lang=en
https://fromlater.com/
https://www.carfacontario.ca/Board-of…

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.
Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caArtist, producer, designer and Artengine’s Artistic Director, Ryan Stec, in conversation with DEL participant, artist, and foresight strategist, Macy Siu, where they discuss her collaborative project the Offer Need Machine (ONM/NOM). Within this discussion Siu addresses themes of anti-capitalist alternatives in relation to networks of decentralized re …

Chapters

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Introduction
Introduction
0:31

Introduction

0:31

What inspired the project
What inspired the project
1:40

What inspired the project

1:40

Ideal hope for the project
Ideal hope for the project
4:18

Ideal hope for the project

4:18

Anticapitalist alternative
Anticapitalist alternative
6:40

Anticapitalist alternative

6:40

Informal networks
Informal networks
8:16

Informal networks

8:16

Time as currency
Time as currency
10:32

Time as currency

10:32

Need offer machine
Need offer machine
12:42

Need offer machine

12:42

Rules of engagement
Rules of engagement
14:02

Rules of engagement

14:02

Artengine’s Artistic Director Ryan Stec in conversation with Digital Economies Lab (DEL) participant, strategist, designer, artist and independent creative director, Julie Gendron, where they discuss Gendron’s work on the Need Offer Machine (NOM/ONM). Within this discussion Gendron addresses quantifying value by breaking down the mechanics of trust, recreating the ephemerality of chance interaction, and rating and evaluating with care. In addition, Gendron shares personal experiences that have inspired her work on the Need Offer Machine, such as Art City in Winnipeg and her recent residency in Iceland.

Related Links:
https://twitter.com/julielyngendron

About

https://vucavu.com/en/about
http://www.vivo.com/en/

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.
Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caArtengine’s Artistic Director Ryan Stec in conversation with Digital Economies Lab (DEL) participant, strategist, designer, artist and independent creative director, Julie Gendron, where they discuss Gendron’s work on the Need Offer Machine (NOM/ONM). Within this discussion Gendron addresses quantifying value by breaking down the mechanics o …

DEL participant, designer, technologist and graduate of the MIT Media Lab, Kalli Retzepi, chats with us about her work with the DEL, collaborating to create the Offer Need Machine (ONM/NOM). In addition to this project, we discuss how the ecological metaphors of ecosystems and networks influence her creative practice. Inspired by mycelium networks and the Wood Wide Web, Retzepi speaks to the benefits of collective care, building uncertainty, creating failure, and reconfiguring the value of an hour (sans monetization).

Relevant Links:
https://kalli-retzepi.com/

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.
Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caDEL participant, designer, technologist and graduate of the MIT Media Lab, Kalli Retzepi, chats with us about her work with the DEL, collaborating to create the Offer Need Machine (ONM/NOM). In addition to this project, we discuss how the ecological metaphors of ecosystems and networks influence her creative practice. Inspired by mycelium net …

DEL participant, artist, educator and researcher, Suzanne Kite, discusses her project, An Artist’s Almanac, the influence of Afrofuturist practices of collective imagining on her project and new ways of understanding knowledge itself. Suzanne discusses the workshop she led with Alisha B. Wormsley, Jas M. Morgan, and Lupe Pérez during the HTMLLES festival in Montreal and how it was shaped by Afrofuturist research and practice. She also reflects on the ethics of technology and how it shapes our way of knowing the world.

Relevant Links:
http://kitekitekitekite.com/
https://milieux.concordia.ca/indigeno…
https://htmlles.net/calendrier/an-art…

HOME

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.

Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caDEL participant, artist, educator and researcher, Suzanne Kite, discusses her project, An Artist’s Almanac, the influence of Afrofuturist practices of collective imagining on her project and new ways of understanding knowledge itself. Suzanne discusses the workshop she led with Alisha B. Wormsley, Jas M. Morgan, and Lupe Pérez during the HTMLLE …

Chapters

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Introduction
Introduction
0:00

Introduction

0:00

almanac project
almanac project
1:00

almanac project

1:00

transformation
transformation
5:20

transformation

5:20

consultation
consultation
7:17

consultation

7:17

workshop
workshop
9:32

workshop

9:32

working with others
working with others
12:12

working with others

12:12

structure
structure
14:46

structure

14:46

technology
technology
16:50

technology

16:50

DEL participant Izzie Colpitts-Campbell talks with us about her work in the DEL, her art and design practice and her role as a community organizer in the trailblazing group Dames Making Games. In our chat we discuss the evolving story of DMG, the relationship between media arts and game design practices, as well as how these creative sectors relate to big questions in the rest of society.

Relevant Links:
https://izziecolpitts.com/
https://dmg.to/about
https://damagelabs.ca/

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.

Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caDEL participant Izzie Colpitts-Campbell talks with us about her work in the DEL, her art and design practice and her role as a community organizer in the trailblazing group Dames Making Games. In our chat we discuss the evolving story of DMG, the relationship between media arts and game design practices, as well as how these creative sectors r …

Chapters

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Intro
Intro
0:31

Intro

0:31

Critical Code
Critical Code
1:09

Critical Code

1:09

Training
Training
2:24

Training

2:24

About dmg
About dmg
3:27

About dmg

3:27

How did dmg start
How did dmg start
5:04

How did dmg start

5:04

Digital art
Digital art
10:19

Digital art

10:19

Prosperity for artists
Prosperity for artists
11:48

Prosperity for artists

11:48

Success together
Success together
13:50

Success together

13:50

DEL participant, strategist, and organizer, Jerrold McGrath, talks with us about his new project UKAI, Artscape Launchpad, expanding our ways of knowing, and creating out of death and decay. In this discussion, we cover topics such as creating and the scarcity mindset; relinquishing privilege to make space; the question of creating useful people in place of useful things; and job creation in the cultural sector.

Relevant Links:
https://www.ukai.ca/

Artscape Homepage

https://www.artscapedanielslaunchpad….
https://fermentai.substack.com/
https://newnotnormal.ukai.ca/

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.
Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caDEL participant, strategist, and organizer, Jerrold McGrath, talks with us about his new project UKAI, Artscape Launchpad, expanding our ways of knowing, and creating out of death and decay. In this discussion, we cover topics such as creating and the scarcity mindset; relinquishing privilege to make space; the question of creating useful people in plac …

Chapters

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Introduction
Introduction
0:00

Introduction

0:00

How do we organize
How do we organize
1:09

How do we organize

1:09

The limits of organizing
The limits of organizing
4:05

The limits of organizing

4:05

No incentive to make space
No incentive to make space
8:29

No incentive to make space

8:29

Politics of togetherness
Politics of togetherness
10:50

Politics of togetherness

10:50

Kai Uchi
Kai Uchi
15:05

Kai Uchi

15:05

The Gig Economy
The Gig Economy
19:32

The Gig Economy

19:32

Musical Chairs
Musical Chairs
21:06

Musical Chairs

21:06

DEL participant, creative coder, mixer, artist, and poet, Kofi Oduro, talks with us about his collaborative work at the Digital Economies Lab, the Anti-Airbnb Experience, the Offer Need Machine (ONM/NOM), and his recently released ambient, audio-visual album Colorscape: Hues into Grooves. Woven between these topics are the themes of creating care, generous exchange, the value of an hour, undervalued labour, the woes of digital assimilation, and the scalability of coding care.

Relevant Links:
https://kofioduro.myportfolio.com/
https://open.spotify.com/album/7GMBsi…
Tweets by IllestPreacha
https://www.instagram.com/illestpreacha/

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.
Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caDEL participant, creative coder, mixer, artist, and poet, Kofi Oduro, talks with us about his collaborative work at the Digital Economies Lab, the Anti-Airbnb Experience, the Offer Need Machine (ONM/NOM), and his recently released ambient, audio-visual album Colorscape: Hues into Grooves. Woven between these topics are the themes of creating c …

Chapters

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Introduction
Introduction
0:30

Introduction

0:30

Digital Economies Lab
Digital Economies Lab
1:58

Digital Economies Lab

1:58

Playing with Technology
Playing with Technology
5:20

Playing with Technology

5:20

The Offer Need Machine
The Offer Need Machine
11:40

The Offer Need Machine

11:40

Building Trust
Building Trust
15:06

Building Trust

15:06

Feedback Mechanisms
Feedback Mechanisms
18:47

Feedback Mechanisms

18:47

Other Units
Other Units
21:21

Other Units

21:21

Types of Exchange
Types of Exchange
23:56

Types of Exchange

23:56

A conversation with DEL participant and author, Tim Maughan, about digital infrastructure, the role of organized labour in the creative landscape and the DEL project Artwork_Local404. We talk about technology and capitalism and consider what part of an artist’s work could be organized, how this would affect their well-being and what form collective action might take. Tim also talks about how we need to rethink many of the platforms of tools of the digital world as public infrastructure and this may change how we understand what the government could do with them.

Relevant Links:
http://timmaughanbooks.com/
Tweets by timmaughan
https://artwork404.com/

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.

Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caA conversation with DEL participant and author, Tim Maughan, about digital infrastructure, the role of organized labour in the creative landscape and the DEL project Artwork_Local404. We talk about technology and capitalism and consider what part of an artist’s work could be organized, how this would affect their well-being and what form collecti …

Famous New Media Artist Jeremy Bailey helped shape the structure of the Digital Economies Lab and here we discuss their vision for artistic prosperity in the 21st century. We chat about artists’ complicated relationship to capital and how we are in an exciting moment of transformation.

Relevant Links:
https://www.jeremybailey.net/
https://www.leanartist.org/
http://www.goodpointpodcast.com/

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.

Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caFamous New Media Artist Jeremy Bailey helped shape the structure of the Digital Economies Lab and here we discuss their vision for artistic prosperity in the 21st century. We chat about artists’ complicated relationship to capital and how we are in an exciting moment of transformation. …

Chapters

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Intro
Intro
0:00

Intro

0:00

What drew you to the lab
What drew you to the lab
1:10

What drew you to the lab

1:10

Tension between art and capital
Tension between art and capital
4:30

Tension between art and capital

4:30

Materialization of art
Materialization of art
8:30

Materialization of art

8:30

Network of care
Network of care
15:00

Network of care

15:00

Artists responsibility
Artists responsibility
19:00

Artists responsibility

19:00

How to engage artists
How to engage artists
22:45

How to engage artists

22:45

How to share knowledge
How to share knowledge
27:45

How to share knowledge

27:45

DEL participant, artist and National Director of the Independent Media Arts Alliance, Emmanuel Madan, discusses the DEL project Artwork_Local404 and the Arts ecosystem, with its unique cycles of growth, death and regrowth. Emmanuel reflects on how important language and participation is in the make-up of any initiative, and together we discuss how time is essential for reflection and meaningful building.

Relevant Links:
https://artwork404.com/
https://imaa.ca/source/
http://www.undefine.ca/en/artists/the…

Home

Produced by the Artengine Stream Team:
Mikki Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/

Production Design Consultation: Leslie Marshall/MAVNetwork http://www.mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos

Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.

Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.

Operational funding for Artengine is provided by the City of Ottawa, the Ontario Arts Council and the Canada Council for the Arts.

For more information on Artengine and its projects go to http://artengine.caDEL participant, artist and National Director of the Independent Media Arts Alliance, Emmanuel Madan, discusses the DEL project Artwork_Local404 and the Arts ecosystem, with its unique cycles of growth, death and regrowth. Emmanuel reflects on how important language and participation is in the make-up of any initiative, and together we disc …

What are the opportunities when the abstract world of computing encounters the material world?
Led by Greg J. Smith with Sarah Brin and James Hayes
http://artengine.ca/unhanded

The world inside the computer is one built on rules that we have written. The world outside is more complicated and largely out of our control. How do the rules of making inside the abstract world of computing push up against the complicated material one around us? What kind of errors and opportunities arise when the two worlds meet? Is a new aesthetic always bound up in formal exploration of algorithms or is there something else that can happen? Is it important for there to be a new aesthetic or is it inevitable?

Sarah Brin
Sarah Brin is a new media curator. Her research interests include digital fabrication, participation, artist-made games, and public spaces. Some of her prior projects include working as the Public Programs Manager for Autodesk’s Pier 9 Workshop, where she commissioned digital fabrication projects from creatives working with architecture, design, fine art, and other disciplines. At Autodesk, she founded the Experimental Research Lab, an interdisciplinary research group focused on creating accessible public discourse surrounding meaningful applications of technology. She also curated the largest art exhibition currently orbiting Earth’s atmosphere.

Sarah holds an M.A. in Art and Curatorial Practice in the Public Sphere from the University of Southern California, and a B.A. in European Cultural Studies from Brandeis University. You may have seen her projects in SFMOMA, MOCA, Babycastles, The Armand Hammer Museum, UCLA, LACE, Vice and elsewhere. She doesn’t live anywhere in particular at the moment. More info: http://www.sarahbrin.com.

James Hayes
James is a PhD candidate at the Azrieli School of Architecture and Urbanism and a researcher at the Carleton immersive Media Studio. His research focuses on coupling digitization technologies such as laser scanning and photogrammetry with digital fabrication technologies like 3D printing, CNC routing and robotic milling. Most recently he became a founding partner of If Then Architecture Inc., a firm that aims to leverage the power of digital technologies in the realization of architecture.

James is also a sessional lecturer at Carleton University and has worked in architectural practice in Ottawa and Dublin, Ireland. He holds a B.Sc. in Architecture from Lawrence Technological University, and an M.Arch. from Carleton University.

Greg J Smith
Greg J. Smith is a Toronto-based writer and editor that is interested in media art and its broader cultural implications. He is the Editor-in-Chief of HOLO magazine and a Contributing Editor at Creative Applications Network. Greg’s writing has appeared in Rhizome, ICON, Musicworks, the V2_ Institute for the Unstable Media’s Blowup Reader eBook series, and numerous catalogue essays.

Greg has presented work internationally at festivals and institutions including Sónar+D (Barcelona),Resonate (Belgrade), MUTEK (Montréal), the Western Front (Vancouver), and he serves on the Board of Directors at InterAccess. Over the last decade, he developed and taught numerous media and communications related courses within the CCIT program (U of T Mississauga/Sheridan College), OCAD, and McMaster University. More info: http://serialconsign.com/What are the opportunities when the abstract world of computing encounters the material world?
Led by Greg J. Smith with Sarah Brin and James Hayes
http://artengine.ca/unhanded
 …

This is part two of Cheryl L’Hirondelle’s visit to the Artengine Studio. You can watch Part 1, an artist alk on her work Nipawiwin Akikodjiwan: Pimizi ohci, here.

In our conversation, we follow up on a number of interesting threads from her artist talk. We discuss the reality and challenges of making work in the time of climate crisis as we hope that we have laid out enough pathways for people to follow toward change, but that she never really knows what be the tipping point for work of this nature but dialogue, of the type we have recorded here, is essential to sharing the stories and ideas driving the work.

We dig deeper on the concept of interspecies communication and the role her Cree worldview plays here. We discuss the act of listening as being tuned to the energies of various things, and this is an essential part of communication. In this conversation, L’Hirondelle discusses her PhD research on language and the concept of ‘sound shapes’ and their connection to the land and earth.

This conversation was followed by an excellent Q&A. We are currently working on an edited transcript of the entire conversation. Please get in touch if you are interested in the larger document.

MORE ABOUT CHERYL L’HIRONDELLE

Cheryl L’Hirondelle (Cree/Halfbreed; German/Polish)​ is an interdisciplinary, community-engaged artist, a singer/songwriter and a critical thinker whose family roots are from Papaschase First Nation, amiskwaciy wâskahikan (Edmonton, Alberta) and Kikino Metis Settlement, Alberta. Her work critically investigates and articulates a dynamism of nêhiyawin (Cree worldview) in contemporary time-place with a practice that incorporates Indigenous language(s), audio, video, virtual reality, the olfactory, music and audience/user participation to create immersive environments towards ‘radical inclusion.’

As a songwriter, L’Hirondelle’s focus is on both sharing nêhiyawêwin (Cree language) and Indigenous and contemporary song-forms and personal narrative songwriting as methodologies toward survivance. She has exhibited and performed widely, both nationally and internationally.

L’Hirondelle is the recipient of two imagineNATIVE New Media Awards (2005, 2006), and two Canadian Aboriginal Music Awards (2006, 2007) and most recently a Governor General’s Award for Visual and Media Arts (. She holds a master’s degree in Design from OCAD University’s Inclusive Design program (2015) and is a member of the University’s Indigenous Education Council. She is currently completing a practice-based PhD with SMARTlab/University College Dublin, Ireland. Cheryl is also the CEO of Miyoh Music Inc., an Indigenous niche music publishing company and record label.This is part two of Cheryl L’Hirondelle’s visit to the Artengine Studio. You can watch Part 1, an artist alk on her work Nipawiwin Akikodjiwan: Pimizi ohci, here.
 …

As part of our exhibition project, Entanglements, we invited Cheryl to visit the Artengine Studio to provide insight on this brand new work.

Nipawiwin Akikodjiwan: Pimizi ohci is a multi-channel audio video installation about eels, hydroelectric power and the Chaudiere falls or PipeBowl falls. The work involves placing you within the context of the falls as they stand now and consider the near planetary journey of the eels as they gather from across the globe to reproduce in the Great Sargasso Sea.
 
When we initially invited Cheryl to produce a work for the Entanglements show, she was drawn to the area around Victoria Island partially because of its particular significance to both local and international Indigenous people. She was thinking about Chief Theresa Spence’s hunger strike and the Idle No More movement, but as she began to hear more about the falls and the infrastructure around it she was drawn to another idea.

An eel ladder built into the dam facility on Chaudiere Island is meant to assist the endangered American eel to find its way back up river after its journey to reproduce out in the sea. This notion of a ladder for eels lead L’Hirondelle into a process of creation situating the plight of the eel through her own research and collaboration with an inter-species communicator.

Listen to the talk to here more of L’Hirondelle’s creation process and her collaboration with the eels.As part of our exhibition project, Entanglements, we invited Cheryl to visit the Artengine Studio to provide insight on this brand new work.
 …

What new relationships to materials emerge in the use of digital and mechanical tools?
Led by Rachel Gotlieb with Joanna Berzowska, Garnet Hertz and Greg Sims
http://artengine.ca/unhanded

In this panel we ask about the variety of new relationships with materials that emerging with the increasing ubiquitousness of digital technologies. With the increased complexity of tools we wonder how do we learn about materials? How do we get to know them? How do we share this knowledge? We can now know the molecular structure of wood or metal without touching it. Is this a more intimate relationship than working directly with our hands? Does it matter? If the objects coming out of digital and mechanical processes are more removed from our handywork, how might they carry the mark of the machine? Should we be able to read the machine in the material?

Joanna Berzowska
Joanna Berzowska is Associate Professor of Design and Computation Arts Department at Concordia University in Montreal [http://www.concordia.ca/design] as well as the founder and research director of XS Labs [http://www.xslabs.net], a design research studio with a focus on innovation in the fields of electronic textiles and reactive garments. She is also the Head of Electronic Textiles at OMsignal [http://www.omsignal.com], a wearable and smart textile platform that enables leading fashion brands to design smart apparel.

A core component of her research involves the development of enabling methods, materials, and technologies, focusing on innovation in composite functional fibers, soft electronics, and additive manufacturing. Joanna’s art and design work has been shown in the V&A in London, the Cooper-Hewitt Design Museum in NYC, the Millennium Museum in Beijing, the Art Directors Club in NYC, the Australian Museum in Sydney, NTT ICC in Tokyo, SIGGRAPH, ISEA, SIGCHI, and Ars Electronica Center in Linz among others. She holds a graduate degree from the MIT Media Lab. She lectures internationally about the field of electronic textiles and related social, cultural, aesthetic, and political issues. More info: http://www.berzowska.com/

Rachel Gotlieb
Rachel Gotlieb is currently Adjunct Curator at the Gardiner Museum. She served as the founding Curator of the Design Exchange between 1990–2002, and co-wrote Design in Canada (Knopf Canada, 2001). She has curated and co-curated several important exhibitions, including: Pop: Design from the Space Age (Design Exchange 1994); Thor Hansen: Crafting a Canadian Style (Textile Museum of Canada, 2005), , and Beaver Tales: Canadian Art and Design (University of Toronto Art Centre, 2008). She has taught design history at Ryerson University School of Fashion, OCAD and Sheridan College. She created and implemented the Studio North and Prototype exhibits for Canadian artisans at the Toronto Interior Design Show, as well as conceived and directed its Conversations in Design annual symposium. She is a PhD candidate in Art History at Queen’s University in Kingston, Ontario.

Garnet Hertz
Dr. Garnet Hertz is Canada Research Chair in Design and Media Arts and is Associate Professor in the Faculty of Design and Dynamic Media at Emily Carr. His art and research explores themes of DIY culture and interdisciplinary art / design practices. He has shown his work at several notable international venues in thirteen countries including SIGGRAPH, Ars Electronica, and DEAF and was awarded the 2008 Oscar Signorini Award in robotic art. Hertz is founder of Dorkbot SoCal, a monthly Los Angeles-based lecture series on DIY culture, electronic art and design. He has worked at Art Center College of Design and University of California Irvine. His research is widely cited in academic publications, and popular press on his work has disseminated through 25 countries including The New York Times, Wired, The Washington Post, NPR, USA Today, NBC, CBS, TV Tokyo and CNN Headline News. More info: http://conceptlab.com/

Greg Sims
Greg Sims is an artist, designer and educator based in Toronto, Canada. He completed his undergraduate studies at OCAD University and later pursued postgraduate studies in England at the School of Jewellery- Birmingham City University. Since completing his MA degree in 2003, Sims has taught extensively at NSCAD University in Halifax and more recently at OCAD University. He teaches studio courses from Introductory to Master’s level, as well as developing curriculum and teaching courses in digital design and fabrication.What new relationships to materials emerge in the use of digital and mechanical tools?
Led by Rachel Gotlieb with Joanna Berzowska, Garnet Hertz and Greg Sims
http://artengine.ca/unhanded
 …

In Conversation
Thursday, November 26 , 2015
Artist nichola feldman-kiss in conversation with Artengine’s Artistic Director Ryan Stec.
Presented in the context of the exhibition witness.
—
Conversation
Le jeudi 26 novembre 2015
une causerie entre l’artiste nichola feldman-kiss et le directeur artistique de Artengine Ryan Stec.
Présenté dans le cadre de l’exposition témoin.In Conversation
Thursday, November 26 , 2015
Artist nichola feldman-kiss in conversation with Artengine’s Artistic Director Ryan Stec. 

Key moments

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Nicola Feldman Kiss
Nicola Feldman Kiss
2:07

Nicola Feldman Kiss

2:07

Anatomy of the Orbit
Anatomy of the Orbit
57:55

Anatomy of the Orbit

57:55

The 1000 Cranes
The 1000 Cranes
1:17:08

The 1000 Cranes

1:17:08

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Ottawa Art Gallery4.6(961)Art museum

Ottawa Art Gallery

183

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About

In this conversation, 221A’s Head of Strategy, Jesse McKee, talks with us about the centre’s 4-phase research initiative Blockchain and Padlocks, funded by the Canada Council’s Digital Strategy Fund. To contextualize this project, Jesse shares a brief history of artist-run centres in Canada and comments on the implications blockchain has for recollectivization. Follow along as Jesse drops literary Easter eggs that are framing their research at 221A.

Relevant Links:

221A

https://221a.ca/research-initiatives/…

DOMA

Produced by the Artengine Stream Team:
Mikke Gordon aka Seiiizi https://twitter.com/s3iiizi
Ryan Stec
Kimberly Sunstrum https://www.kmbrlysnstrm.com/
Editorial Assistant
Erin Galt
Production Design Consultation
Leslie Marshall/MAVNetwork http://mavnetwork.com/
Post-Production Support: Chris Ikonomopoulos
DEL Theme Music by Mikki Gordon aka Seiiizi
Artengine’s Digital Economies Lab brought together a diverse group of artists, designers and other creatives to rethink the infrastructure of cultural production in the 21st century.
Funding for the Digital Economies Lab was received through the Canada Council for the Arts Digital Strategies Fund.In this conversation, 221A’s Head of Strategy, Jesse McKee, talks with us about the centre’s 4-phase research initiative Blockchain and Padlocks, funded by the Canada Council’s Digital Strategy Fund. To contextualize this project, Jesse shares a brief history of artist-run centres in Canada and comments on the implications blockchain has for re …

Chapters

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Introduction
Introduction
0:00

Introduction

0:00

Key Findings
Key Findings
3:00

Key Findings

3:00

Context
Context
7:08

Context

7:08

New Collectivization
New Collectivization
11:43

New Collectivization

11:43

New Possibilities
New Possibilities
16:32

New Possibilities

16:32

Social Tokens
Social Tokens
21:35

Social Tokens

21:35

Land Trust
Land Trust
26:50

Land Trust

26:50

Governance
Governance
29:31

Governance

29:31

Future Cities Forum
February 23rd, 2018 Ottawa, Canada
Presented by Artengine and Impact Hub Ottawa in partnership with the National Capital Commission Urbanism Lab

A trio of keynotes kicked-off the Future Cities Forum including science-fiction writer and futurist Madeline Ashby, urban designer Ken Greenberg, and professor Tracey Lauriault, a researcher who specializes in big data and the city.

This diverse group shared their speculations on future cities in the context of emerging and disruptive technologies. How will and can we adapt the key lessons of urban design of the twentieth century and not be seduced by the same techno-utopianism that shaped cities in the past? As we are transformed and extended into the network, how will a citizen be in public or private in our new data-driven city? Who will be the heroes and anti-heroes of the cities to come?Future Cities Forum
February 23rd, 2018 Ottawa, Canada
Presented by Artengine and Impact Hub Ottawa in partnership with the National Capital Commission Urbanis …

Agit P.O.V. (Petit Objet de Vélo) est un projet de microhacking pour vélos, inspiré par l’effet d’optique POV ou persistance rétinienne, les pratiques de propagande active de l’avant-garde russe (AGIT Prop) et le projet SpokePOV de Limor Fried (LadyAda).

Un modeste circuit de 12 DELs, un microcontrôleur et une pile fixés aux rayons de la roue d’une bicyclette ainsi que la programmation adéquate et l’énergie du cycliste suffisent à illuminer la rue de messages poético-politiques. Agit P.O.V. convie les participants à un atelier et une performance textuelle mobile dans les rues de nos cités – celles de la ville de Valcourt pour l’occasion. Nos vélos peuvent ainsi porter une voix poétique et créative.

À la surveillance passive, on peut juxtaposer son corollaire : l’infiltration active. À la manière d’un micro escadron pacifique et silencieux ou d’agents libres furtifs, l’expérience participative d’Agit P.O.V. permet de s’insinuer dans l’espace public et redonne aux citoyens volontaires les moyens d’une expression trop peu valorisée. Porteurs d’une parole muette, mais proactive, les participants au projet sont alors les vecteurs de transmission de perspectives nouvelles, qui contribuent à ouvrir notre vision du monde.

Parallèlement, les artistes se sont intéressé aux questions de permaculture et de développement durable. Ils ont entrepris de parcourir la région afin d’en documenter les initiatives d’ingéniosités locales. Leur résidence nomade les a également amenés à explorer la problématique de la déforestation en Estrie versus celle en Amazonie, et les coûts humains s’y rattachant. La recette d’une soupe « décolonisée » – créée en collaboration avec la chef sherbrookoise Catherine Migneault (Tournesols et tabliers) – de même qu’un prototype de bol en céramique, modélisé à partir de données extraites d’une mine de cuivre péruvienne à ciel ouvert, témoignent également de l’investigation des artistes. Par une posture proactive, les artistes questionnent leur inscription dans un système économique, et sa portée possible. L’ensemble du projet se positionne ainsi comme une initiative d’activisme tranquille, présenté au public sous la forme d’une documentation entrelaçant processus de recherche factuelle et de création artistique.

Biographie

Alexandre Castonguay travaille dans le domaine des nouveaux médias. Ses œuvres exploitent à la fois la technologie désuète et les logiciels libres. Ses récents projets en art communautaire, Cocíclo et Agit P.O.V., se situent à l’intersection de préoccupations sociales et artistiques et tentent de redonner un caractère tangible et collectif à notre expérience de la ville.

Son travail a été présenté au Canada et lors de nombreuses expositions à Paris, New York, Mexico, Berlin et Beijing, notamment. Ses œuvres font partie des collections du Los Angeles County Museum of Art, du Musée des beaux-arts de Montréal, du Musée d’art contemporain de Montréal, du Musée national des beaux-arts du Québec, ainsi que de plusieurs autres collections publiques et privées.

Membre fondateur du laboratoire médiatique Artengine, Alexandre Castonguay est professeur à l’École des arts visuels et médiatiques de l’UQAM.

En voir plus
artengine.ca/acastonguay

Mariángela Aponte Núñez est une artiste transdisciplinaire. De la création individuelle à la création collective, ses pratiques explorent, l’intersection des médias traditionnels, des techniques artisanales, de l’électronique expérimentale »low-fi » et peu coûteuse, et s’inscrivent dans des préoccupations d’ordre esthétique, environnementales, sociales et politiques, souvent à travers des méthodologies inspirées par l’art collaboratif et les pratiques DIWO. Aponte Núñez a été artiste en résidence avec France-Colombie 2017 (La Chambre), avec El Puente_lab, RESÒ 2015 (Cittadellarte – Fondazione Pistoletto) et avec Prix ​​ELAP 2012 (MAECI, Canada); elle est co-créatrice d’Agit P.O.V. depuis 2012. Ses projets individuels et collaboratifs ont été présentés à Cali, Bogotá, La Havane, Turin, Biella, Strasbourg, Montréal, Québec et Buenos Aires. Elle est titulaire d’une maîtrise en technologie et esthétique des arts électroniques (UNTREF, Buenos Aires) et d’une licence en arts visuels (Universidad del Valle, Cali).

En voir plus
mariangelaaponte.comAgit P.O.V. (Petit Objet de Vélo) est un projet de microhacking pour vélos, inspiré par l’effet d’optique POV ou persistance rétinienne, les pratiques de propagande active de l’avant-garde russe (AGIT Prop) et le projet SpokePOV de Limor Fried (LadyAda). 

Sporobole

94

Videos

About

Noah and Ryan participate in a Community Engagement Interview to discuss the 10-week artist residency they are part of, where 8 artists have been coming up with concepts to be turned into public artwork at the future Zibi development site in Ottawa-Gatineau. Facilitated by Brendan de Montigny.

Follow Noah:
http://www.noahscheinman.com/
https://www.instagram.com/noah.schein…

Follow Ryan:

Fostering critical optimism.

https://www.instagram.com/artengine/
Tweets by artengine
https://www.instagram.com/if_projects/

Learn about the residency and artists here: https://bit.ly/32w1XfHNoah and Ryan participate in a Community Engagement Interview to discuss the 10-week artist residency they are part of, where 8 artists have been coming up with concepts to be turned into public artwork at the future Zibi development site in Ottawa-Gatineau. Facilitated by Brendan de Montigny. 

Artscape

447

Videos

About

Madeline Ashby
Future Cities Forum
February 23rd, 2018 Ottawa, Canada
Presented by Artengine and Impact Hub Ottawa in partnership with the National Capital Commission Urbanism Lab

A trio of keynotes kicked-off the Future Cities Forum including science-fiction writer and futurist Madeline Ashby, urban designer Ken Greenberg, and professor Tracey Lauriault, a researcher who specializes in big data and the city.

This diverse group shared their speculations on future cities in the context of emerging and disruptive technologies. How will and can we adapt the key lessons of urban design of the twentieth century and not be seduced by the same techno-utopianism that shaped cities in the past? As we are transformed and extended into the network, how will a citizen be in public or private in our new data-driven city? Who will be the heroes and anti-heroes of the cities to come?Madeline Ashby
Future Cities Forum
February 23rd, 2018 Ottawa, Canada …

Ken Greenberg
Future Cities Forum
February 23rd, 2018 Ottawa, Canada
Presented by Artengine and Impact Hub Ottawa in partnership with the National Capital Commission Urbanism Lab

A trio of keynotes kicked-off the Future Cities Forum including science-fiction writer and futurist Madeline Ashby, urban designer Ken Greenberg, and professor Tracey Lauriault, a researcher who specializes in big data and the city.

This diverse group shared their speculations on future cities in the context of emerging and disruptive technologies. How will and can we adapt the key lessons of urban design of the twentieth century and not be seduced by the same techno-utopianism that shaped cities in the past? As we are transformed and extended into the network, how will a citizen be in public or private in our new data-driven city? Who will be the heroes and anti-heroes of the cities to come?Ken Greenberg
Future Cities Forum
February 23rd, 2018 Ottawa, Canada
 …

In grateful memory of our dear friends and colleagues Dr. Sandra Alfoldy (1969–2019) and Dr. Valérie Lamontagne (1968-2019).

How do we talk about making in the 21st century?
Led by Steven Loft with Sandra Alfoldy, Tom Bessai and Valerie Lamontagne
http://artengine.ca/unhanded

The Unhanded Symposium brings together a range of perspectives from different disciplines to discuss, debate and interrogate what it means to make objects in the 21st century. Through a series of four panel discussions we will explore ideas around language, materials, mistakes, challenges and opportunities when working at the intersection of digital and physical technologies.

Our first panel considers the way we talk about making. Which terms do you we use to describe what is done now? Some reach back to claim connection to european traditions of craft while others search for new broadly inclusive language. What is important in staking a claim on terms and definitions? How do we facilitate constructive and inclusive conversations about making?

Dr. Sandra Alfoldy received her Ph.D. in craft history from Concordia University in 2001, and completed her postdoctoral fellowship at the University of Rochester in 2002. Her current research focuses on the relationship between craft and popular culture. She is the author of “The Allied Arts: Architecture and Craft in Postwar Canada” (McGill Queen’s University Press, 2012), “Crafting Identity: the development of professional fine craft in Canada” (McGill Queen’s University Press, 2005), editor of “Neocraft: Modernity and the Crafts” (NSCAD Press, 2007), and co-editor of “Craft, Space and Interior Design: 1855-2005” (Ashgate Press, 2008).

Valérie Lamontagne is an artist-designer and PhD scholar researching “Performative Wearables: Bodies, Fashion, Technologies and Laboratory Cultures” at Concordia University where she teaches in the Department of Design & Computation Arts. She has curated and collaborated on design and media arts exhibitions and events such as: “The Future of Fashion is Now” at Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2014); “TechnoSensual” at MuseumsQuartier, Vienna, Austria (2012); “Clothing Without Cloth” at V2_ Institute for the Unstable Media, Rotterdam, Netherlands (2011); “Electromode” at Vancouver Winter Olympics, Canada (2010); “Sartorial Flux” at A+D Gallery, Columbia College, Chicago, USA (2006); “Ellipse” at Musée National des Beaux Arts du Québec, Canada (2002); and “Location / Dislocation” at New Museum, New York, USA (2001). Her artworks and designs have been featured internationally in festivals, galleries, museums, magazines and publications. She is the owner & designer at 3lectromode, a wearable electronics atelier dedicated to avant-garde crafting and consulting in fashionable technologies; and founder-director of Agence Simultané, a post-digital incubator and production company.

Steven Loft is a Mohawk of the Six Nations with Jewish heritage. A curator, scholar, writer and media artist, in 2010 he was named Trudeau National Visiting Fellow at Ryerson University in Toronto, where he continued his research into Indigenous art and aesthetics. Loft has held positions as Curator-In-Residence, Indigenous Art at the National Gallery of Canada (2008-2010); Director/Curator of the Urban Shaman Gallery, Winnipeg (2002-2008); Aboriginal Curator at the Art Gallery of Hamilton (2000-2002) and Producer and Artistic Director of the Native Indian/Inuit Photographers’ Association (1993-1998). He is currently the coordinator of the Aboriginal Arts Office of the Canada Council for the Arts. He co-edited Transference, Technology, Tradition: Aboriginal Media and New Media Art (Banff Centre Press, 2005) and is the editor of the Coded Territories: Indigenous Pathways in New Media (University of Calgary Press, 2014).

Tom Bessai, OAA, MRAIC Managing Director, Design Fabrication Zone, Ryerson University and Principal, Denegri Bessai Studio Architecture. Bessai is a registered architect in Ontario. He is the Managing Director of the Design Fabrication Zone at Ryerson University, an institutional incubator focused on innovative digital fabrication practices and workflow. Under DFZ direction, the lab will feature versatile robotics infrastructure with the capacity for advanced fabrication and augmented reality production and performance. Tom is a founder and principal for technology and design research at Denegri Bessai Studio. The work of the studio has appeared in a range of local and international publications. DB Studio has won numerous awards including the 2016 Ontario Association of Architects Award for Best Emerging Practice. Before founding DB Studio with partner Maria Denegri, Tom worked for several prestigious architects including Arriola Fiol Arquitectos in Barcelona and the office of Frank Gehry in Los Angeles.In grateful memory of our dear friends and colleagues Dr. Sandra Alfoldy (1969–2019) and Dr. Valérie Lamontagne (1968-2019).
 …

Cheryl Pagurek: Connect
April 12 – August 11, 2019

This is an interactive video and four-channel audio installation that uses 3D depth sensing technology and computer programming to probe our daily experiences of connecting to a digitally networked world. Participants discover local and global video imagery and sound through the moving shapes of their own bodies as they enter the room.

CURATOR
Michelle Gewurtz

PARTNERS/COLLABORATORS
Artengine

————————————

Cheryl Pagurek. Connexion
Du 12 avril au 11 août 2019

Cette installation interactive vidéo à quatre canaux audio se sert de la technologie de détection de la profondeur 3D et de la programmation informatique pour interroger nos expériences quotidiennes de connexion au monde numériquement réseauté. Les participants et participantes découvrent des images et des sons locaux et mondiaux par le biais des formes de leurs corps se déplaçant dans la pièce.

COMMISSAIRE
Michelle Gewurtz

PARTNERAIRES/COLLABORATEURS
ArtengineCheryl Pagurek: Connect
April 12 – August 11, 2019
 

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Ottawa Art Gallery4.6(961)Art museum

Ottawa Art Gallery

183

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About

Artificial Imagination: art making in the age of the algorithm
Session Three: Consciousness and the poetic machine

Ben Bogart, Sofian Audrey and Allison Parish, moderated by Nora O Morchú

The third conversation of the day is focused on acts of consciousness and the machine. With much resources invested in the instrumental or problem-solving aspect of artificial intelligence and machine learning, what do we make of the useless parts of the technologies? Scientific thinking tends towards an explanatory model of the universe where everything can be known, but what role does creativity have in a world where everything is known? Will an AI machine be able to recognize its own poetry? Perhaps most importantly, can machines dream and will those dreams matter to us?Artificial Imagination: art making in the age of the algorithm
Session Three: Consciousness and the poetic machine

 …