SPEAKERS

BAL, Alex
BARDINI, Thierry
CHATONSKY, Grégory
CONESA, Jean-Claude
COTE, Mario
CZEGLEDY, Nina
DANIELS, Steve
DUBOIS, Jean
ELDER, R. Bruce
EPOQUE, Martine
FISCHER, Hervé
FLEISCHER, Alain
GARDNER, Paula
JOOSSE, Angela
LaBELLE, Guillaume
LANGILL, Caroline
MATHIEU, Marie-Christine
NOLAN, Jason
OUELLET, Pierre
PALMIERI, Christine
PAPON, Frédéric
POISSANT, Louise
POULIN, Denis
PRUSKA-OLDENHOF, Izabella
RODIONOFF, Anolga
SLOPEK, Edward
SNYDER, Don
TREMBLAY, Pierre
VAN ALSTYNE, Greg

Caroline Langill
Lecturer (LTA), PHD student, Canadian Studies, Trent University, Peterborough

- Conference Video

Caroline Seck Langill is an artist, writer and independent curator living in Peterborough, Ontario, Canada. Presently, she is a PhD candidate at the Frost Centre for Canadian and Indigenous Studies at Trent University, where she is researching the contestation of the exhibitionary complex by artists working with technology, and the exclusion of early electronic media from the Canadian art historical canon. Langill was a 2006 researcher in residence at the Daniel Langlois Foundation for Art, Science and Technology, in Montreal. A web launch of her project will occur in the near future. She has taught courses at the Ontario College of Art and Design, related to art and technology, as well as cultural history, and is currently a lecturer in Canadian Studies at Trent University. Her videos, films and installation works have been exhibited nationally and in the UK.

TELECONFERENCING, ART, AND THE GERMINATION OF NEW MEDIA IN CANADA
This talk will broach the history of new media through the teleconferencing technologies utilized by artists in the 1970s. Vera Frenkel's "String Games" (1974), performed within teleconferencing facilities of Bell Canada, as well as Bill Bartlett's SAT-TEL-COMP project at Victoria's Open Space in the late 1970s, are just two works that will be discussed. Despite the promise of these community driven projects teleconferencing did not inspire artists to continue working with this innovative communcations media. Why not? Was it a question of accessibility, expense? These questions and other will be addressed relative to the history of new media in Canada.