Our current lines of research include:

  • The feminist orientation of research-creation approaches including remediation, reactivation and reenactment;
  • The histories of female and LGTBQ artists in the Global South and the Americas;
  • Sound and sound art as they intersect with notions of race, gender, and the environment;
  • The environmental entanglements of digital technologies, its histories and infrastructures;
  • The histories and theories of embodiment and performance;
  • The aesthetics and practices of interactive and immersive arts.

 

Some current projects include:

  • Weaving the Electric Wave: Latin American Composers, 1914-1989 (Gabriela Aceves Sepúlveda)
    This project examines the significance of Latin American female avant-garde composers in the global histories of experimental art, and the histories of music and women and technology in 20th Century Latin America and the Caribbean.
  • Reactivation, Remediation and Reenactment as Feminist Explorations in the Media Arts Archive. (Gabriela Aceves Sepúlveda)
    This project investigates three methods of research-creation (RC): remediation, reactivation and reenactment to explore and historicize the feminist orientations that inform the academic turn towards RC in the last decade through an engagement with the Archive of media arts. It will apply these three RC methods to develop low fidelity prototypes to recreate some aspects of three pioneering media art projects by female artists that address critical questions about human and nonhuman relations mediated by technology and our ontological relation with technology and the environment. The proposed project seeks to reveal how the specific media art projects selectively theorized a critique of dualisms (binaries) through their making and engagement with technology, what I describe as a feminist orientation.
  • Towards other Histories of Immersive Arts and Technologies (Gabriela Aceves Sepúlveda, Matilda Aslizadeh, Sarah Shamash, Claudia Pederson, Debora Faccion and Matt Bernico) Bringing together recent insights by media archaeologists (Huhtamo and Parikka 2011, Parikka 2012), decolonial thinkers (Mignolo 2011a, b), feminist and indigenous media scholars (Zylinska 2014, Todd 1996, Todd 2015) this project seeks to give visibility to diverse genealogies of immersion, outside the dominant western art historical canon, to contextualize our current interest for embodied and multi-sensorial experiences.
  • Mothering Bacteria (Gabriela Aceves Sepúlveda, Freya Zinovieff, prOphecy sun and Steve Di Paola)
    Complicates the idea of the ‘other’ and enfolds within it a discourse that rejects the idea of the self as a singular entity existing apart from the multi-species, multi-organism entanglement that is nature. The work references the unequal power structures by which women’s bodies have been, and are, subjugated and simultaneously acknowledges the act of mothering as a performative process in which motherhood is sensed and embodied as a political act. Drawing on de-colonial and posthuman narratives, this interactive multidisciplinary work illuminates the boundaries between the political, the biological and the ecological. Through the physical act of immersion, through time, light and sound, it transcribes the alien bacterial bodies within us all, to eviscerate the conceptual demarcation between self and other.
  • Sound in the Anthropocene (Freya Zinovieff and Gabriela Aceves Sepúlveda)
    In the age of the Anthropocene, all ecosystems, no matter how remote, are influenced by the power relations between humans, technology, and other organisms. Within the contact zone, these power relations can be understood as geopolitical entanglements between species and technologies, played out amongst the landscape. I present a framework for listening that explores the contact zone as a site of human, technology, and multispecies relations. The framework is constructed of five enquiries for listening. The enquiries situate the listener as a dynamic actant within the soundscape and invite them to attend to the agential and political entanglements therein, via the lived sensations of their body. The enquires ask, how might the fleeting experience of sound be savoured through its ability to elicit experiences of embodiment, placing the listener within a web of relations between species and the systems of Earth.
  • Collective Housing and New ideas of Home (Joanne Shin, William Odom and Gabriela Aceves Sepúlveda)
    This is an ethnographic study that explores how people living in collective households in the Vancouver lower mainland area approach ownership and every day sharing in these their home. Collective households are a housing model made of multiple, often unrelated, residents within a single dwelling seeking to share limited personal living space and resources in order to create a home-based on collectively agreed values, rulesand community vision. Often diverse by design and values, collective households challenge conventional assumptions of domestic space design and research by presenting non-normative living configurations. This project is developed in collaboration with Professor William Odom.
  • Remediating Mama Pina’s Archive / [Re] Activating Mama Pina’s Cookbook (Gabriela Aceves Sepúlveda)
    Through different methods of remediation, this project investigates the family cookbook as an archival technology.
  • Ageing, Activism, and the Archives: Feminist Explorations across the Americas (May Chazan and Gabriela Aceves Sepúlveda).
    This project looks at women’s activism across the Americas through the lens of ageing and their interest in developing and reactivating their own archives through digital technology.