Posts by: webmaster
– 2021 Call for Applications –
Submission Deadline: FRIDAY, AUGUST 13, 2021 (5pm)
 

For over four decades, TIFF has been committed to transforming the way people see the world through film. Central to this commitment is our pledge to preserve and promote Canada’s moving-image culture through educational initiatives and learning opportunities. TIFF is currently accepting applications for the 2021 Jeffrey and Sandra Lyons Canadian Film Scholarship, supporting the development of scholarship or research-creation that activates the archive. The award aims to:

  • increase access to the reference and archival collections of the Film Reference Library (FRL);
  • support research and research-creation that deepens knowledge about Canadian film and media;
  •  and strengthen the relationship between cultural and academic institutions in pursuit of knowledge mobilization.

TIFF encourages proposals from scholars, researcher-creators, and artists whose project would benefit from the unique collections of the FRL. Applications were previously accepted from MA, PhD, and post-doc students exclusively. In recognition of the interdisciplinary nature of film and media research, and the diversity of methodological approaches within the field, we have expanded the eligibility requirements to include those enrolled in any master’s program who are pursuing related research.

This Scholarship provides the recipient access to the extensive resources and collections of the FRL for one month between October 2021 and May 2022. On-site access to research materials will be conducted safely and in line with COVID-19 protocols. Digital research may be possible, depending on the Special Collection and the research material requested. The successful applicant will be provided with a stipend of $1,000 CAD, a designated office space, and access to the FRL’s collections in support of their research. Special Collections of particular interest include the archives of experimental filmmaker Mike Hoolboom; the Conquering Lion Pictures Archive of materials related to the works of filmmakers Clement Virgo and Damon D’Oliveira; the Deepa Mehta Archive; the Christopher Chapman archive; and the archives of score composer Christopher Dedrick.

The FRL is the ultimate free resource for filmmakers, students, researchers, screenwriters, and film and television professionals. A proud affiliate member of the International Federation of Film Archives (FIAF), the FRL is dedicated to the preservation of Canada’s cinematic history, maintaining extensive archival and research collections with a focus on Canadian cinema. The collection is a library and archive that includes a comprehensive reference collection on all aspects of filmmaking and cinema studies (books, periodicals, research files, audio-visual materials, photographs), and Special Collections representing over 100 industry figures in Canadian cinema. Visit tiff.net/library to learn more about our collections, access the online catalogue, and browse Special Collections.

The Jeffrey and Sandra Lyons Canadian Film Scholarship is generously supported by the Jeffrey & Sandra Lyons Endowment Fund at TIFF. 

As part of TIFF’s commitment to promoting diversity and inclusion in the Canadian film and media industries, we encourage and prioritize applications from equity seeking groups. We encourage you to self-identify in your application. TIFF is an equal-opportunity employer and is committed to providing accommodations in our hiring process for people with disabilities. If you require an accommodation, please inform us in advance and we will work with you to meet your needs.

 


 
 
 – Appel de candidatures 2021 –
Clôture des candidatures : LE VENDREDI 13 AOÛT 2021 (17 h)
 

Depuis plus de quatre décennies, le TIFF se voue à transformer la vision du monde, par le biais du cinéma. Au cœur de notre engagement, nous cherchons à préserver et à promouvoir la culture canadienne de l’image en mouvement à l’aide d’initiatives éducatives et de possibilités d’apprentissage. Le TIFF accepte actuellement les candidatures pour la Bourse du cinéma canadien Jeffrey et Sandra Lyons de 2021, afin d’appuyer le développement d’études et de recherche-création qui pourront mettre à profit l’archive. Ce prix vise à :

  • donner l’accès aux collections de références et d’archives de la Bibliothèque de référence cinématographique (Film Reference Library ou FRL, en anglais) ;
  • soutenir la recherche et la création de recherche qui favorisent l’approfondissement de la connaissance du cinéma et des médias canadiens ;
  • et à renforcer la relation entre les institutions culturelles et académiques pour favoriser la mobilisation du savoir.

Le TIFF encourage les universitaires, chercheurs-créateurs et artistes travaillant sur des projets qui bénéficieraient de l’accès aux collections uniques de la FRL à présenter des propositions. Antérieurement, seulement les candidatures d’étudiants inscrits à un programme de maîtrise, de doctorat ou de post-doctorat étaient acceptées. En reconnaissance de la nature interdisciplinaire de la recherche cinématographique et médiatique ainsi que de la diversité des approches méthodologiques dans le domaine, nous avons élargi les critères d’admissibilité afin d’inclure les étudiants inscrits à tout programme de maîtrise qui font des recherches connexes.

Cette Bourse offre au chercheur l’accès aux vastes ressources et collections de la FRL pour une période d’un mois entre octobre 2021 et août 2022. L’accès sur place au matériel sera effectué en toute sécurité et conformément aux protocoles de la COVID-19. La recherche numérique peut être possible selon la Collection spéciale et le matériel de recherche demandé. Le candidat retenu recevra une allocation de 1 000 $ CAD, un bureau désigné et l’accès aux collections de la FRL pour soutenir leur recherche. Les Collections spéciales d’intérêt particulier incluent les archives du cinéaste expérimental Mike Hoolboom ; l’archive Conquering Lion Pictures du matériel lié aux œuvres des cinéastes Clement Virgo et Damon D’Oliveira ; l’archive Deepa Mehta ; l’archive Christopher Chapman ; et les archives du compositeur de musique de film Christopher Dedrick.

La FRL est la ressource ultime pour les cinéastes, étudiants, chercheurs, scénaristes, et professionnels du cinéma et de la télévision. Fier membre affilié de la Fédération internationale des archives du film (FIAF), la FRL se voue à la préservation de l’histoire cinématographique du Canada, par le maintien de vastes collections d’archives et de recherche axées sur le cinéma canadien. La collection est une bibliothèque et une archive comprenant une vaste collection de références sur tous les aspects des études concernant la production de films et le cinéma (livres, périodiques, dossiers de recherche, matériels audiovisuels, photos), ainsi que des Collections spéciales représentant plus de 100 chefs d’industrie du cinéma canadien. Consultez tiff.net/library pour en apprendre davantage sur nos collections, pour accéder au catalogue en ligne et pour découvrir les Collections spéciales. 

La Bourse du cinéma canadien Jeffrey et Sandra Lyons bénéficie du généreux soutien du fonds de dotation Jeffrey & Sandra Lyons au TIFF. 

Dans le cadre de l’engagement du TIFF à l’égard de la promotion de la diversité et de l’inclusion dans les industries canadiennes du cinéma et des médias, nous encourageons et priorisons la soumission de demandes de groupes luttant pour l’équité. Nous vous encourageons de vous auto-identifier dans votre demande. Le TIFF souscrit au principe de l’égalité en matière d’emploi et s’engage à accommoder les personnes handicapées dans notre processus d’embauche. Si vous avez besoin de mesures d’adaptation spéciales, veuillez nous en informer à l’avance et nous travaillerons avec vous pour répondre à vos besoins.

 
 

Call for papers:
States of Immersion: Bodies, Medias Technologies 

Edited collection — Estimated publication 2023
(Version française ci-bas)

Over five days in October 2020, the conference “Immersivity and Technological Innovations” brought together more than fifty researchers and artists to address questions raised by virtual reality and, more broadly, by immersive media. To tackle the question of media immersivity and its related technological innovations, event participants addressed subjects ranging from the different “ramas” (panoramas, cyclorama, circorama, sensorama, etc.) to artificial intelligence through to a range of extended realities (augmented, virtual, mixed, etc.). The presentations questioned the ‘innovative’ nature of contemporary immersive media, by foregrounding a historical perspective often missing from industry discourses. While the latter continues to feed the fantasy of an ever-more-total immersion, we seek instead to propose a reflection on the role of the body, the media and the technologies of the development of immersion.

The organizing committee of the conference “Immersivity and Technological Innovations” is seeking contributions to bring together our reflections on all types of immersive experiments in a collective work. This proposed edited collection was presented to Santiago Hidalgo, co-director of the collection “Cinema and Technology” (Amsterdam University Press), who confirmed his interest.

Understanding contemporary immersive forms requires a range of approaches aimed at decoding the notion of immersivity through its different sociohistorical, disciplinary, technological and artistic contexts. It is also essential to develop a better understanding of the formation of media fantasies based on the appeal of immersion. How has the notion of immersivity been informed by art history, literature, cinema and video game studies? Do contributions from the field of design and applied sciences map easily onto these conceptions of immersion? What can past experiments in immersive media teach us about this (as yet unfulfilled) fantasy of totally immersive virtual experiences? What roles do bodies, spaces and narrative play in fostering and maintaining immersivity? What are the aesthetic aims of works that take advantage of the latest immersive technologies? What purposes do immersive technologies serve? Have virtual reality and other contemporary avatars of immersion managed, as these practices have become more professionalized, and despite their relatively slow adoption by the general public, to define their frames? Finally, can we recognize, within the emergent and specific conventions of these new forms, techniques of spatialization and storytelling that originate in ancient forms of immersive visual spaces, to use Oliver Grau’s expression?

In the context of the edited collection States of Immersion, we seek contributions that will foster a dialogue between the corporeal, affective and technological aspects of immersion. We encourage proposals that question the novelty of immersivity and those that propose new ways of looking at “immersive” forms of media. We invite contributions that address these issues from one or more of the following perspectives (including but not necessarily limited to):

  • (Pre-)history of immersive media (panoramas, cinéorama, sensorama, cinerama, etc.).
  • The limits of immersivity (challenges and flaws).
  • Psychological and cognitive approaches to the concept of immersivity.
  • The place of the body (agency, incorporation, presence, senses, affect).
  • Large formats (from Monet’s Nymphéas to IMAX).
  • Situating immersivity (sites, spaces and immersive locations).
  • Suspension of disbelief (automatons, conversational agents, Artificial Intelligence)
  • Creating immersivity (screenwriting, programming and the creation of immersive experiences).
  • Economic and logistical challenges of immersivity.
  • Institutionalization of immersive media forms.
  • (Photo)realism and other conventions.
  • Immersive systems in education or training scenarios (medical, military, etc.).
  • Accessibility and safety (universal and inclusive approaches to mediated immersivity).
   Beyond the traditional format of academic essays, we welcome suggestions for other types of reflections, such as interviews with artists working in immersive media or other forms of intellectual engagement that we have not listed here.
If you have an idea for content, we’re all ears!
 

Other information

In addition to the edited collection, we are considering other possibilities for the submissions, depending on the number of proposals we receive and in which language. These include the possibility of a special issue of a journal, depending on the thematic connections across the proposals.  

Submissions

The submission process will have two stages:

  1. First, please submit your proposals to immersivite@gmail.com by July 15, 2021 with the following details: 1) Title; 2) a 500-word proposal + 50 word bio; 3) three key references; 4) up to five keywords; 5) the language in which you would like to submit the text (English and/or French).Responses will be sent in September.
  1. Full papers (25,000-35,000 characters including spaces, excluding bibliography) must be submitted for review by December 1, 2021. Submissions may be sent to immersivite@gmail.com.

Editorial Committee

Philippe Bédard (Carleton University), Alanna Thain (McGill University) and Carl Therrien (Université de Montréal).

 

 


 

Appel à contributions :
L’immersion sous toutes ses formes : corps, médias, technologies

Ouvrage collectif — Publication prévue 2023

Pendant cinq jours en octobre 2020, le colloque « Immersivité et Innovations Technologiques » a réuni plus de cinquante chercheu.r.se.s et artistes autour des questions soulevées par la réalité virtuelle et les médias immersifs en général. Mobilisé.e.s par la question de l’immersivité médiatique et par les innovations technologiques afférentes, les intervenant.e.s de l’événement ont abordé des sujets allant des différents “-ramas” (panoramas, cyclorama, circorama, sensorama, etc.) à l’intelligence artificielle en passant par l’éventail des réalités étendues (augmentée, virtuelle, mixte, etc.). Ces conférences ont su remettre en question le caractère innovant des médias immersifs contemporains en ramenant à l’ordre du jour une perspective historique souvent évacuée dans les discours de l’industrie. Alors que ces derniers continuent d’alimenter le fantasme d’une immersion toujours plus totale, il est de notre ressort de proposer une réflexion sur le rôle du corps, des médias et des technologies dans le développement de l’immersion.

Le comité d’organisation du colloque « Immersivité et Innovations technologiques » vous propose de réunir nos réflexions sur tout type d’expérimentations immersives au sein d’un ouvrage collectif. Ce projet d’anthologie a été présenté à Santiago Hidalgo, codirecteur de la collection « Cinéma et technologie » (Amsterdam University Press), qui nous confirme son intérêt.

Comprendre les formes immersives contemporaines implique un éventail d’approches visant à déchiffrer la notion d’immersivité à travers différents contextes sociohistoriques, disciplinaires, technologiques et artistiques. Il nous apparaît également essentiel de développer une compréhension critique de la formation des fantasmes médiatiques associés à l’immersion. Comment l’histoire de l’art, la littérature, les études cinématographiques ou vidéoludiques ont-elles réfléchi l’immersivité? Est-ce que les apports des sciences du design peuvent s’arrimer facilement avec ces conceptions de l’immersion? Qu’est-ce que les pratiques immersives antérieures nous apprennent de l’idéal (encore irréalisé) d’une expérience virtuelle totalement englobante? Quels rôles le corps, l’espace et le récit jouent-ils dans la production et le maintien d’une expérience immersive? Quelles sont les visées esthétiques des œuvres qui tirent profit des dernières technologies immersives? À quelles fins les fonctions immersives des technologies sont-elles utilisées?  La réalité virtuelle et les autres avatars contemporains de l’immersion sont-ils parvenus, au fil de la professionnalisation de ces pratiques, et malgré leur adoption relativement lente par le grand public, à trouver leur cadre? Finalement,  peut-on reconnaître, au sein des conventions spécifiques à ces nouvelles formes qui émergent actuellement, des techniques de mise en espace et de mise en récit qui trouvent leur origine dans des formes antiques d’espaces imagés immersifs, pour reprendre l’expression d’Oliver Grau?

Dans le cadre de l’anthologie L’immersion sous toutes ses formes, nous sommes à la recherche de contributions qui sauront faire dialoguer les enjeux corporels, affectifs et technologiques de l’immersion. Nous encourageons les propositions qui remettent en question la nouveauté de l’immersivité et celles qui proposent de nouveaux regards sur les formations médiatiques dites « immersives ». Nous invitons les contributions touchant à ces questions dans l’une ou plusieurs des perspectives suivantes (sans nécessairement s’y limiter) :

  • (Pré-)histoire des médias immersifs (panoramas, cinéorama, sensorama, cinerama, etc.).
  • Les limites de l’immersivité (menaces et défauts).
  • Approches psychologiques et cognitives du concept d’immersivité.
  • La place du corps (agentivité, incorporation, impression de présence, les sens, l’affect, l’empathie).
  • Formats surdimensionnés (des Nymphéas à IMAX).
  • Situer l’immersivité (sites, lieux et espaces immersifs).
  • Suspension du jugement critique (automates, agents conversationnels et intelligence artificielle). 
  • Créer l’immersivité (scénarisation, programmation et production d’expériences immersives).
  • Enjeux économiques et logistiques liés à l’immersivité.
  • Institutionnalisation des formes médiatiques immersives.
  • (Photo)réalisme et autres conventions.
  • Systèmes immersifs d’éducation ou d’entraînement (médecine, aéronautique, armée, etc.).
  • Accessibilité et sécurité (approches universelles et inclusives à l’immersivité médiatique).
   Outre les contributions universitaires typiquement attendues dans ce genre d’ouvrage, nous aimerions aussi proposer d’autres types de réflexions, qu’il s’agisse d’entretiens avec des artistes qui œuvrent dans le milieu des médias immersifs ou de toute autre forme de production intellectuelle que nous n’aurions pas considérée.

Si vous avez une idée de contenu, nous sommes tout ouïe!

 

Informations supplémentaires

En plus du projet d’anthologie, nous étudions plusieurs possibilités pour la publication des textes qui seront remis, et ce, en fonction du nombre de propositions et de leur langue. Les options que nous prévoyons incluent la publication d’un ouvrage collectif accompagné d’un numéro de revue thématique, selon les maillages thématiques des propositions reçues.

Soumissions

Le processus de soumission se déroulera en deux temps:

  1. Veuillez d’abord soumettre vos propositions à immersivite@gmail.com au plus tard le 15 juillet 2021 avec les détails suivants :  1) Titre; 2) une proposition de 500 mots + bio de 50 mots; 3) jusqu’à trois références clés; 4) jusqu’à cinq mots-clés; 5) la langue dans laquelle vous pourriez soumettre le texte (français et/ou anglais).
                
    Les réponses seront envoyées au mois de septembre.
  2. Les textes complets (25,000-35,000 signes espaces compris, excluant la bibliographie) devront être soumis pour évaluation au plus tard le 1er décembre 2021. Les textes pourront être envoyés à immersivite@gmail.com.

Comité éditorial

Philippe Bédard (Carleton University), Alanna Thain (McGill University) et Carl Therrien (Université de Montréal).

Tagged with:
 

Call for Applications – Postdoctoral Fellowship

“The Sociability of Sleep: Careful Design for Collective Conditions”
Université de Montréal and McGill University, Montreal, Canada
DEADLINE: June 15, 2021
 
We are seeking a postdoctoral fellow for a 10-month position to work on the new interdisciplinary research-creation project: The Sociability of Sleep. The candidate will work directly with Professors Aleksandra Kaminska (Director of the Bricolab, Université de Montréal, Communications) and Alanna Thain (Director of the Moving Image Research Lab, McGill University, English) and have the opportunity to work with project collaborators. These include researchers and practitioners from communication and media studies, media arts, cinema and performance, psychiatry, psychology, and clinical medicine across Montreal’s universities.
 
The Sociability of Sleep is funded through a special initiative to support interdisciplinary, experimental, and intensive projects. We explore exceptional and everyday experiences of sleep and its problems to generate new knowledge and empathies for sleep conditions, defined as a disordered and debilitating relation between sleep and wakefulness (including, but not limited to somnambulism, insomnia, narcolepsy, parasomnias, dreams and nightmares, sleep apnea, chronodiversity, etc.). Through collaboration between artists, scientists, and media studies scholars, we aim to generate novel sleep situations that make perceptible, and thus actionable, our key intuition: that sleep is much more social than it might seem. In sleep, we become radically vulnerable in a way that requires social forms of care: individuals are experts of their somatic experience, and yet access to the sleeping self relies on the perception of human and technological others. How might exploring a sleeper subjectivity—the quotidian ways we navigate time, space, ourselves, and others—help us rethink and reanimate the sociability of sleep itself?
 
We engage these questions by working on 1) developing interdisciplinary approaches to sleep research taking advantage of the tools, methods, and insights of arts, humanities and social sciences; 2) thinking critically and historically about technologies of sleep, including biometrics and sleep tracking apps; and 3) identifying, analysing, and producing artistic interventions into sleep in design, media, and performance, to see how they might enrich normative treatment of sleep conditions. Our approach is rooted in art-science experimentation, collaboration, prototyping, and various forms of “critical making” that integrate and engage with qualitative or quantitative research data. Over the two years of the project, we have planned a series of experimental events, including Sleep Salons, maker labs and prototyping workshops, artist residencies, pedagogical videos, a summer school, and a final exhibition.
 
We are looking for a critical and engaged researcher with an established interest and expertise in sleep. We are open to a variety of (inter)disciplinary backgrounds, including: media studies, communications, cinema studies, performance studies, science and technology studies, media arts, visual and sound arts, disability studies, design, urban planning, architecture, Indigenous studies, gender, feminist and sexuality studies, critical race studies, visual and material culture, information science, history of science, neuroscience, psychology, psychiatry, sociology, research-creation, curation, critical making, etc.
 
The fellow’s primary responsibilities will be to facilitate the collaborative activities across the team, while also developing their own research within the project. They will have the opportunity to be implicated in all aspects of the project with specific responsibilities to be determined according to their particular interests and profile. These may include curation, programming, medical or public outreach, publishing collaborations, workshop design, prototyping, exhibition design, etc. The position is best suited for someone with strong organizational and communication skills, experience working collaboratively, and an enthusiastic approach to interdisciplinary teams and research.
 
The fellow will have a workspace and access to equipment, mentoring, and support through the project headquarters at the Bricolab and the MIRL, as well as the opportunity to access partner resources and expertise, including the Topological Media Lab (Concordia), the Visualisation Laboratory and Screen (UdeM), Artefact Lab (UdeM), Hexagram, GRAFIM, the Dream & Nightmare Laboratory within the Center for Advanced Research in Sleep Medicine (UdeM, Hôpital du Sacré-Coeur), and the Sleep Lab (McGill Health University Centre), among others.
 
Eligibility: Candidates must have received a PhD within the past 5 years, or have a doctoral defence scheduled prior to Sept. 15, 2021.  Regardless of field or discpline, they must have demonstrated expertise in a relevant area of sleep-related research. The fellowship is open to both national and international scholars. Fluency in English is essential; working knowledge of French is an asset.
 
We welcome and encourage applications from racialized persons/visible minorities, women, Indigenous persons, persons with disabilities, ethnic minorities, and persons of minority sexual orientations and gender identities, as well as from all qualified candidates with the skills and knowledge to engage productively with diverse communities.
 
Start date and duration: The position is from Sept. 1, 2021 to June 2022, with the possibility of a renewal for a second 10-month term (July 2023-April 2023).
 
Salary: The salary is $35,000 CAD for 10 months, plus 17% in benefits. The fellow will also have access to a research stipend for materials and research dissemination.
 
TO APPLY
Documents required: 1) a current CV, 2) a cover letter describing your training, relevant research interests and a brief description of the work you would like to pursue in relation to the project including, if relevant, any anticipated material needs (max 2 pages), and 3) contact information for 2 referees.
 
Please send your application as a single PDF file to both a.kaminska@umontreal.ca and alanna.thain@mcgill.ca. Zoom interviews for shortlisted candidates will be held on June 17-18.
 
Deadline: June 15, 2021

https://bricolab.org/2021/05/25/sleep-postdoc/

Tagged with:
 
Job TitleProfessor, Bachelor of Film and Television (BFTV) (Part-time)
Faculty/DepartmentFaculty of Animation, Arts and Design
LocationOakville, Ontario, Canada
Application DeadlineJune 7, 2021
Job NumberJ0521-0892

 

Sheridan is looking for outstanding individuals to join our faculty team in the Bachelor of Film and Television. This program offers students a comprehensive set of practical and critical thinking/writing skills, as well as knowledge in the Canadian film and television industries.  We are looking for part-time professors with knowledge and experience working in African and Black Diaspora Cinemas, Indigenous media, and/or Queer Media to teach in related courses including:  

  • BUSM43314 Business of Film and Television 2
  • MEDA13431 The Art of Cinema
  • MEDA30146 The Experimental Tradition
  • MEDA29501 Media Theory and Criticism
  • LITT23796 The 7-Minute Screenplay

To view course outlines, visit: https://ulysses.sheridanc.on.ca/coutline/searchform.jsp

Sheridan professors are responsible for developing an effective learning environment for students while respecting their diverse cultural and educational backgrounds, experiences, and individual learning styles. 

What You’ll be Doing

  • Delivering course curriculum in classroom and/or online, which includes ensuring student awareness of course objectives, approach and evaluation techniques
  • Tutoring and academic counselling of students, while evaluating student progress/achievement and assuming responsibility for the overall assessment of the students’ work within assigned courses
  • Defining, evaluating and validating learning outcomes and designing appropriate strategies and tools for assessing student learning
  • Developing individualized instruction and multi-media presentations and incorporating technology into the learning process where applicable
  • Attending periodic faculty meetings

About You

You have a passion for sharing your knowledge with others and contributing to the advancement of your field.

You respect equity and diversity and value participating in and creating safe and inclusive environments at work and in the community.

You have excellent communication and interpersonal skills and enjoy working as part of a team.

You are an agile individual with an ability to respond and adapt to change while using your problem-solving skills to most appropriately and effectively support each student’s unique needs.

The successful candidate(s) will also meet the following qualifications:

  • PhD in Film Studies, Communication Studies or a related field.
  • Minimum of 3 years related professional experience.
  • Advanced knowledge and experience in African and/or Black Diaspora Cinemas, Latin American cinemas and/or Queer Media.
  • Practical experience in filmmaking would be an asset. 
  • Experience with online learning tools (e.g. Blackboard, Google Classroom), teaching with Zoom or a similar platform.
  • Experience in teaching and curriculum development at the post-secondary level.

Who We Are:

At Sheridan, we are passionate about the transformational role we play in people’s lives.  Our graduates enjoy a well-deserved reputation for their ability to succeed in the workplace from day one. This is a testament to Sheridan’s dedicated and caring faculty and staff, who have strong ties to industry and ensure our students have hands-on learning experiences and the best possible preparation for their future careers. We’re building a new, groundbreaking model of higher education — one that prepares graduates with the hard and soft skills to navigate change in a complex world.  As a member of the Sheridan community, you will have the opportunity to shape our teaching and learning experience and help prepare the future leaders of tomorrow.

Other Details

Campus Location: Trafalgar (may be assigned activities at any Sheridan campus) once normal campus operations resume. This position is currently working remotely.  

Reference #: 21/PT/23

Employee Group: Non-full-time Faculty

Salary Range: Based on relevant educational qualifications and experience

Start Date: September 6, 2021

Application Deadline: Monday June 7, 2021

Sheridan is deeply committed to promoting diversity, advancing equity and fostering a culture of inclusion. Therefore, we invite applications from marginalized and equity-seeking groups. Persons with a disability may contact the Human Resources department to request accommodation at any stage of the recruitment process.

You may be asked to provide copies of your educational credentials at the time of interview. Upon hire, we require official confirmation of educational credentials and Canadian equivalency assessments, if applicable.

Tagged with:
 
Associate Dean
Film, Television and Journalism
Faculty of Animation, Arts and Design

Sheridan is currently seeking an Associate Dean position in Film, Television and Journalism. The successful candidate will be a strategic and operational leader, balancing and aligning the vision, objectives and planning of Sheridan with those within the FAAD. The Associate Dean is responsible for providing leadership to faculty, staff and students in a number of specified programs within the Faculty.

 

With a leadership approach that is inspiring, inclusive, responsive, collaborative, creative, and nimble, the Associate Dean position will cultivate a workplace of inclusivity and diversity while continuing to strive for outstanding course curriculum and delivery.

 

Specific Responsibilities include:

 

  • Building (with faculty) a strong identity, positive reputation, and clear sense of mandate and direction for the School/Department and Faculty through the achievement of shared educational objectives that are current, effective, relevant to student needs and workplace expectations, as well as consistent with the strategic direction of the College and Faculty;
  • Strategic planning and actively participates and is instrumental in the development, implementation and leadership of the Faculty strategic plan as part of the academic planning process of the College;
  • Providing leadership in ensuring a high quality of teaching and faculty commitment to professional development and currency in their discipline, profession and industry;
  • Facilitating a sense of shared responsibility among faculty and staff for the strategic development and management of enrolment plans, program budgets and effective and efficient allocation of work and resources to address both immediate operational requirements and longer-term program and institutional priorities;
  • Leading strategic development and management of budgets including an efficient allocation of fiscal and physical resources to services;

The ideal candidate will have a passion for education, a Masters degree (Ph.D. is an asset), and ideally, a proven track record of outstanding leadership experience within a post-secondary institution.

 

Other Details:

Payband: NO

Hiring Range: $122,995 – $130,682

Salary Range:  $122,995 – $153,744

 

Sheridan is deeply committed to promoting diversity, advancing equity and fostering a culture of inclusion. Therefore, we invite applications from marginalized and equity-seeking groups. Persons with a disability may contact the Human Resources department to request accommodation at any stage of the recruitment process.

 

Applicants must apply online at https://www.sheridancollege.ca/working-at-sheridan. Consideration of candidates will begin October 30th, 2020. The projected start date for this position is January 2021.

Tagged with:
 

CARNEGIE APPOINTMENT IN HUMANITIES AND COMPUTING – DALHOUSIE UNIVERSITY

 

The Faculty of Arts and Social Sciences (FASS) at Dalhousie University, in cooperation with the Faculty of Computer Science (FCS) at Dalhousie University and the History of Science and Technology Program (HOST) at the University of King’s College, invite applications for a probationary, tenure-stream Assistant Professor level position in Humanities and Computing.

The successful candidate will teach 2 courses per year in FCS: 1 section each of CSCI 1800 (Computing and Society in History) and CSCI 1801 (Case Studies in Computing and Society) OR 2 sections of either class, with each section having an enrolment of up to 250 students. The faculty member will also have further annual teaching duties in FASS and/or HOST, to be confirmed at time of appointment based upon the teaching load of the chosen FASS home department. A 1 course release will be granted for serving as course director of CSCI 1800 and 1801. This position is a Carnegie appointment, meaning that the colleague will be a member of King’s Faculty rather than of the Dalhousie Faculty Association and will be expected to contribute to the administration of King’s as well as of Dalhousie. The appointment is intended to further a meaningful exchange of ideas and expertise in Humanities and Computing across King’s and Dalhousie, and to ensure that the new colleague has a strong community of support. The new colleague’s home for research purposes, including funding, grant application support, conference travel, etc., will be in FASS and King’s as per existing Carnegie appointment practices, but they will be encouraged to form research collaborations and connections with colleagues in the Faculty of Computer Science as well as with HOST and FASS colleagues. At Dalhousie, their main administrative home will be in FASS, but they may also be expected to contribute to administration within the Faculty of Computer Science: for example, by serving as a FASS representative on relevant FCS committees.

A record of, or demonstrated potential for, excellence in teaching and research in Humanities and Computing (broadly construed) and specific competency in areas relevant to the History of Science and Technology is required. A record of publication will be an asset. Applicants must have in hand, by the start date of the appointment, a Ph.D. in a field appropriate for appointment in a FASS department (see list at https://www.dal.ca/faculty/arts/departments.html). Salary will depend upon qualifications and experience.

Applications should include: a complete curriculum vitae, writing sample, teaching dossier (including evidence of teaching effectiveness), a statement of research and teaching interests and philosophies, and the names and contact information for three referees. All materials must be submitted electronically through https://dal.peopleadmin.ca/postings/5992 . The closing date for applications is June 7, 2021.

GREAT CAREERS. GREAT CHOICE.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. Dalhousie University is committed to fostering a collegial culture grounded in diversity and inclusiveness. The university encourages applications from Indigenous persons, persons with a disability, racially visible persons, women, persons of a minority sexual orientation and/or gender identity, and all candidates who would contribute to the diversity of our community. For more information, please visit https://www.dal.ca/hiringfordiversity.

Tagged with:
 

For its third issue, The Neutral is soliciting contributions for ‘The Unhuman’

The human body is already unhuman, populated by a microbiome that sustains its life, and yet, discourses of the unhuman are harnessed to draw the parameters of what it means to be human. This construction of the human depends upon what is jettisoned as unhuman in order to reaffirm the position and borders of what or who is considered human, particularly as marginalized groups are subjected to dehumanization. By the term “unhuman,” we aim to invoke an unmaking of the human or category of the human, in keeping with the proliferation of scholarship that has emerged as a response to the posthuman turn in the humanities and the rise of the anthropocene discourse, both of which have been critiqued for not fully engaging pressing issues such as colonialism, race, capitalism, disability, and more.  In this issue of The Neutral, we seek essays that address the unhuman, that think with the unhuman, and in doing so, offer ways of critiquing anthropocentrism, particularly as it is bolstered by a Western, imperialist concept of the human, through moving image media.We also seek to examine how the human is already enfolded within the unhuman, and integrated with its environment, other species, and technology, and imaginings of monstrous and alien life forms.

The distinction between the human and nonhuman animal has long troubled philosophers, including Aristotle, Descartes, Kant, and Heidegger, who have attempted to index attributes that belong to humans alone. Derrida, however, acknowledges the positionality of the animal, an animal that returns one’s gaze. He proposes to examine the relationship between species as an “abyssal rupture,” as a multiplication of differences, which also gestures towards the limitations of what the human can know, and the aporia in its knowledge of other species. And Deleuze and Guattari’s concept of “becoming-animal” which follows their rhizomatic methodology in which they counter prevailing tendencies to categorize organisms according to stable characteristics, instead, opening up to the possibilities of continually shifting relationalities. Other thinkers draw us towards the place where the border of the human collapses, including Julia Kristeva’s abject, Georges Bataille’s eroticism, and Sigmund Freud’s unconscious. Potential papers might ask: How do moving images visualize or theorize the abyssal rupture, or rhizomatic structures? How does film present vegetal or subterrestrial ontologies?

Posthumanism offers philosophical frameworks and practices that have engendered the impetus to decenter traditional human subjectivity and subjecthood, marked temporally as coming after humanism and its search for an essential, universal human subject with sovereign agency. However, the turn towards the study of nonhuman life forms is a premature move for scholars such as Sylvia Wynter and Paul Gilroy, who rightly point out that racialized persons are still struggling to attain recognition of their rights as humans. Afropessimists like Frank B. Wilderson III go further still in asserting that the human is given coherence by anti-Blackness and that the Black/human relation is structurally irreconcilable. Meanwhile, scholars such as Mel Y. Chen take up questions of the nonhuman to illuminate new perspectives on racialized, queer, and differently abled bodies. Potential papers might ask: What limitations or illuminations do discourses of animality, monstrosity, or technologization hold for marginalized populations, and how does moving image media navigate these tensions?

Posthumanism is also symptomatic of a convergence of anti-humanism, post-humanism and post-anthropocentrism within the technological and digital age. Norbert Wiener’s cybernetics or using feedback as a way to communicate with the inhuman produces potentials of understanding technology as systems of interactions. Recognizing sense organs as key components in relations between machine and multispecies life, the use of systems enables a bounded relation of humans, ecology, and machines. Richard Grusin, more recently, in his anthology named The Nonhuman Turn (2015), invites proponents of posthumanism and new materialism to consider that which falls outside the domain of ‘human’ altogether. Contemporary scholarship that emerged in recent years which engages the “other-than-human” often maintains that the continuum between bodies human and nonhuman has been eroded by our ever-increasing entanglements with technology. Yet, it also seems to gesture at the idea that the nonhuman has ultimately always resided within the human. How can we begin to address the ways in which this scholarship remains problematic, for its attempts to expand the prescribed categories of human still perform exclusion? Have we indeed moved past humanism, or simply reworked its main tenets so that it can begin to account for our contemporary moment?

As the representations of what defies “normality,” monsters are aberrations of the human, and such become the site upon which humans work out their anxieties about sexuality, gender, and race. Monstrosity also offers ways of re-examining what constitutes the human, as Jeffrey Jerome Cohen’s “zombie-oriented ontology” emphasizes human corporeality, and thinks through the body as a vessel that has been emptied of its subjecthood. Science fiction also grapples with unhuman life forms, presenting imaginative possibilities of what extra-terrestrial beings might be, from the malevolent forces of epics disaster films to a more nuanced approach that considers the alien as communicating an understanding about what it means to be earthly, to be human, and the human’s responsibilities to its planet. Potential papers might ask: How might we understand horror, sci-fi, and ecocinema in light of thinking beyond the human? What do speculative fictions help us understand about the limitations of being human?

For this issue, ultimately, we ask: What role(s) do film and moving image media play in the construction and/or conceptualization of the unhuman? How does it emerge as both a condition and a discourse? How have the ontological and epistemological pressures that animate the “unhuman” been facilitated, crystallized, and/or reflected by media? 

Please submit completed essays between 5,000-7,000 words in length, including endnotes and citations, as a Word document in Chicago style by registering on our website’s submission portal by July 15, 2021.

 


 

Version Française

Pour son troisième numéro, The Neutral sollicite des contributions pour ‘The Unhuman’

La distinction entre l’animal humain et non-humain a longtemps troublé les philosophes, dont Aristote, Descartes, Kant et Heidegger, qui ont tenté d’indexer des attributs qui n’appartiennent qu’aux humains. Derrida, cependant, reconnaît la positionnalité de l’animal, un animal qui renvoie le regard. Il propose d’examiner la relation entre les espèces comme une « rupture abyssale », comme une multiplication des différences, ce qui signale aussi limites de ce que l’homme peut savoir, et l’aporie dans sa connaissance des autres espèces. Et le concept de « devenir-animal » de Deleuze et Guattari qui suit leur méthodologie rhizomatique dans laquelle ils contrarient les tendances dominantes à catégoriser les organismes selon des caractéristiques stables, ouvrant au contraire les possibilités de relationalités en constante évolution. D’autres penseurs nous entraînent vers là où la frontière de l’humain s’effondre, notamment l’abject de Julia Kristeva, l’érotisme de Georges Bataille et l’inconscient de Sigmund Freud. Des articles potentiels pourraient demander: comment les images en mouvement visualisent-elles ou théorisent-elles la rupture abyssale ou les structures rhizomatiques? Comment le film présente-t-il des ontologies végétales ou souterraines?

Le posthumanisme offre des cadres et des pratiques philosophiques qui ont engendré l’élan pour décentrer les subjectivités humaines traditionnelles et la subjectivité elle-même, marquées temporellement comme venant après l’humanisme et sa recherche d’un sujet humain essentiel et universel avec une action souveraine. Cependant, le tournant vers l’étude des formes de vie non humaines est une décision prématurée pour des universitaires tels que Sylvia Wynter et Paul Gilroy, qui soulignent à juste titre que les personnes racialisées ont encore du mal à obtenir la reconnaissance de leurs droits en tant qu’êtres humains. Des « Afro-pessimistes » (issue de l’Afropessimism) comme Frank B. Wilderson III vont encore plus loin en affirmant que c’est l’anti-noirceur qui rend l’humain cohérent et que la relation Noir / humain est structurellement inconciliable. Pendant ce temps, des chercheurs tels que Mel Y. Chen abordent les questions du non-humain pour éclairer de nouvelles perspectives sur les corps racialisés, queer et ayant des capacités différentes et/ou handicaps. Des articles potentiels pourraient demander: quelles limites ou potentiels éclairages les discours sur l’animalité, la monstruosité ou la « technologisation » présentent-ils pour les populations marginalisées, et comment les images en mouvement permettent-elles de surmonter ces tensions?

Le posthumanisme est également symptomatique d’une convergence de l’antihumanisme, du post-humanisme et du post-anthropocentrisme à l’ère technologique et numérique. La cybernétique de Norbert Wiener ou l’utilisation du feedback comme moyen de communiquer avec l’inhumain produit des potentiels de compréhension de la technologie en tant que systèmes d’interactions. Reconnaissant les organes sensoriels comme des éléments clés dans les relations entre la vie des machines et la vie multi-espèces, l’utilisation de systèmes permet une relation délimitée entre les humains, l’écologie et les machines. Richard Grusin, plus récemment, dans son anthologie intitulée The Nonhuman Turn (2015), invite les partisans du posthumanisme et du nouveau matérialisme à considérer ce qui ne relève pas du domaine de « l’humain ». La recherche contemporaine qui a émergé ces dernières années et qui engage « l’autre qu’humain » soutient souvent que le continuum entre les corps humains et non humains a été érodé par nos enchevêtrements toujours croissants avec la technologie. Pourtant, elle semble également suggérer l’idée que le non-humain a finalement et ultimement toujours résidé dans l’humain. Comment pouvons-nous commencer à aborder la manière dont ces courants et discours académiques restent problématiques, car leurs tentatives d’élargir les catégories prescrites d’humains continuent d’exclure? Avons-nous en effet dépassé l’humanisme, ou simplement retravaillé ses principes fondamentaux pour qu’il puisse commencer à rendre compte de notre moment contemporain?

En tant que représentations de ce qui défie la « normalité », les monstres sont des aberrations de l’humain et deviennent ainsi le site sur lequel les humains développent leurs inquiétudes concernant la sexualité, le sexe et la race. La monstruosité offre également des moyens de réexaminer ce qui constitue l’humain, car « l’ontologie orientée zombie » ou « zombie oriented ontology » (dans son anglais original) de Jeffrey Jerome Cohen met l’accent sur la corporéité humaine et pense à travers le corps comme un vaisseau vidé de sa subjectivité. La science-fiction engage aussi des formes de vie inhumaines, présentant des possibilités imaginatives de ce que pourraient être les êtres extraterrestres, des forces malveillantes des films catastrophes et épiques, à une approche plus nuancée qui considère l’extraterrestre comme communiquant une compréhension de ce que signifie être terrestre, être humain, et les responsabilités de l’homme envers sa planète. Des articles potentiels pourraient demander: Comment pourrions-nous comprendre l’horreur, la science-fiction et l’écocinéma à la lumière d’une pensée qui va au-delà de l’humain? Qu’est-ce que les fictions spéculatives nous aident à comprendre sur les limites de l’être humain?

Pour ce numéro, ultimement, nous demandons: quel (s) rôle (s) les médias cinématographiques et de l’image animé jouent-ils dans la construction et / ou la conceptualisation du un-humain? Comment émerge-t-il à la fois comme condition et comme discours? Comment les pressions ontologiques et épistémologiques qui animent le un-humain sont-elles facilitées, cristallisées et / ou reflétées par les médias?

Veuillez soumettre les articles composés entre 5 000 et 7 000 mots, y compris les notes de fin et les citations sous forme de document Word dans le style de Chicago à submission portal avant le 15 juillet 2021.

Tagged with:
 

First Forum Graduate Student Conference 2021
October 21, 22, 28, & 29
Division of Cinema and Media Studies
School of Cinematic Arts, University of Southern California

 
POST(ING) CALL FOR PROPOSALS

We’re posting through it. All of it.
  • posting on social media
  • trolling and shit-posting
  • post-theoretical paradigms and movements
  • digital labor, content moderation and algorithms
  • the postal service and infrastructure
  • fans and celebrities
  • posters and physical media
  • going postal
  • doomscrolling and attention economies
  • the post-network TV era
  • post-Covid-19
  • bots and computation
  • publics and publicity
  • signposting and speech acts
  • Postmates and gig economies
  • outposts, fence posts, and borders
  • post-production
  • posting through it
  • job posts and impostor syndrome

 

Our Call for Posts — The organizing committee of the 2021 First Forum Graduate Student Conference invites our fellow graduate student scholars to submit abstracts that explore the wide range of meanings suggested by the word “posting” as it relates to the fields of cinema and media studies, communication, gender and sexuality studies, ethnic studies, and science and technology studies.

While posting might immediately refer to the work of participating in digital networks and the increasingly visible labor, affect, and resources that participation demands, we invite submissions that touch upon a range of mediums, methodologies, and approaches, from post-production to the postal service. “Post-“ might suggest the numerous post-intellectual moments scholars speculate we have been entering and exiting since the 1970s. Yet, even the formation of these post-modern, feminist, racial, historical moments themselves have been called into question, leading some to ask if we are now in the post-post-modern, the post-post-feminist era or if there was anything “new” about these moments in the first place. Meanwhile, many of us try to imagine a post-Covid era as old and new social arrangements struggle to emerge. The tireless Twitter troll and commenter on the human condition @Dril asks us to consider “posting ethically, within reason,” a position the organizing committee asks applicants to take seriously as they reflect on the multivalent meanings of “posting.” Clearly, the novel social, historical, and political arrangements that make posting and the “post-” meaningful are being reevaluated by people across a wide range of contexts that invite scholarly attention and interrogation.
 
In order to encourage attendance, reduce burnout, and ensure the health and safety of participants, students, and the broader Los Angeles community, First Forum 2021 will be a virtual conference, with panels and events held over two weeks on October 21, 22, 28, and 29.
 
Submissions should include an abstract (-300 words) and a short biography (-150 words). Conference presentations will be 15-20 minutes. Applicants must submit their materials by June 9, 2021 to firstforumconference@gmail.com. Please include “Name + First Forum 2021 Submission” in the subject line. We warmly welcome non-traditional projects, including but not limited to, video essays and art exhibitions alongside traditional academic papers.
 
The UC Santa Barbara Media Fields Collective is excited to announce the call for papers for issue 17 of Media Fields: Critical Explorations of Media in Space.


Please email submissions to submissions@mediafieldsjournal.org by June 4, 2021.
You can review our submission guidelines at mediafieldsjournal.org.



Call for Submissions

Modularity and Modification
Media Fields: Critical Explorations of Media in Space, Issue 17


To move, media must be flexible. Think, for instance, of the remarkably consistent form of the upscale multiplex that has made a home for global blockbuster cinema in China, Mexico, India, Belgium, and Canada alike. Or consider the efforts of communities who have had to salvage, appropriate, and alter telecommunications infrastructure—developing their own technical expertise in the process—in an effort to bring internet connectivity to remote areas neglected by corporate service providers. While distinct, these examples each raise the question of how media flexibility is underpinned by the tension between modularity and modification.

Modularity involves the repetition, standardization, and recombination of existing forms: exhibitors use the standard form of the multiplex to signify the “world-class” status of their up-to-date cinemas, while amateur technicians rely on widely used antennas, wires, and protocols to plug into existing internet infrastructure. Conversely, modification calls on the ability to adapt given materials (including technologies, practices, ideas, and senses of self) to prevailing conditions: theatre chains grapple with issues of urban development, audiences, and taste cultures as they develop new sites in new locales, while communities adapt technology to the resources they have, the landscapes they inhabit, and the histories they share to make their projects work. In these and other examples, media forge the channels along which modular elements can be disseminated and within which opportunities for modification take root.

Considering these concepts as an entry point for the study of media in space immediately conjures associations with Michel de Certeau’s opposition between strategy and tactics. If modularity offers the opportunity to expand the “proper place” of the powerful and extend the imposed terrain on which the subjected must move, modification suggests the potential to rework that terrain along tactical lines. The modularity of communication infrastructures and media forms might suggest narratives of spatial and temporal compression and, in turn, buttress colonial narratives that render distant, foreign spaces more legible, accessible, or profitable for powerful interests. Conversely, the modification of modular media genres, formats, technologies, and environments evokes profuse examples of narratives of localized or regionalized difference, adaptation, resistance, and even refusal.

Such associations between modularity, modification, power, and resistance do not hold seamlessly, and are useful only to the extent that they are contextualized and questioned. Media scholarship that engages in this work does not necessarily dispense with familiar associations with these concepts but expose the frictions and counternarratives that arise out of close, critical analysis. Reconsidering these associations raises questions including: What are productive ways of conceptualizing modification without fetishizing neoliberal concepts of ingenuity that displace the responsibilities of media institutions and telecommunications services onto individuals? How might we understand corporate modularity as involving forms of differentiation that enable flows of capital and hegemony? Where can we see the activities of user or audience modification being channeled or controlled by powerful interests? In what ways does modularity emerge from individuals, social groups, and communities rather than being imposed on them? Can we uncover or recover cases that subvert binaries associating modularity with the homogenous, the corporate, and the global and modification with the heterogenous, the individual, and the local?

The Media Fields Editorial Collective in the Department of Film and Media at the University of California, Santa Barbara seeks papers that interrogate the imbrication of modularity and modification in spatial practices and imaginaries and put forward thought-provoking examples of how they might be operationalized in the service of today’s media scholarship.

Potential paper topics include, but are not limited to:

  • Technological standards and standardization
  • Circulating genres and formats
  • Digital “modding”
  • Film and television “packaging”
  • Franchises, sequels, spinoffs, ripoffs, and reboots
  • Platform systems and their users
  • Communication infrastructures and their nodes

Tagged with:
 
Posting Date: May 5, 2021
Job Title: Post-Doctoral Fellow
Department: Film and Media
Description of Area or Topic of Research: Media Archives

 

The Vulnerable Media Lab located in the Department of Film and Media at Queen’s University is inviting applications to a 1-year MITACS Accelerate Post-Doctoral Fellowship to work with our partners Reelout Queer Film Festival and Archive/Counter Archive to begin August 1, 2021.

 

Candidates must have defended their dissertation by July 15th, 2021.  (This is a firm deadline)

The successful candidate is expected to focus on research into archival processes, including ethical best practices and community-based methods for digitization, restoration, preservation, metadata production, and data management for analog and/or digital-born media, with particular engagement with LGBTQ2, Indigenous, Black or BIPOC communities in the Americas.

 

We invite applications from archivists and/or digital humanities interdisciplinary scholars who have earned a doctorate in one of the following areas, in order of priority: media preservation/archival or information studies, museum studies, communications, digital media, cultural studies, art history or related discipline, and have expertise in such fields such as asset/collections management, Indigenous knowledge architectures, digital media production. The position requires that the candidate has strong skills and experience in community arts engagement, and familiarity with open-source content management systems and, ideally, post-production software. Required soft skills include outstanding writing and communication skills, a strong collaborative working style, good time management, and adaptability. Working knowledge of Spanish or French would be considered an asset. 

This Post-Doctoral position will include opportunities to produce publications and curate media online and onscreen, participate in conference presentations and directly contribute to content design for VML and Reelout’s platforms, as well as for Archive/Counter-Archive’s hybrid publications. Working with a range of Queen’s partners (including Art Conservation, Queen’s Library and Archives, The Agnes Etherington Art Centre, and the Centre for Advanced Computing) and with graduate students in Cultural Studies, Art History, Art Conservation, and Screen Cultures and Curatorial Studies, the successful candidate will be well positioned to develop their projects and expand their skills. It is expected that the candidate will divide their time between the Vulnerable Media Lab on Queen’s Campus and Reelout’s office in Kingston, with research trips to archives in Toronto. 

 

The Vulnerable Media Lab is a state-of-the-art CFI-funded facility serving as the base for a number of research projects related to Indigenous, BIPOC, 2SLGBTQ+ and women’s histories.  The researchers aim to develop methods and processes to ensure this media is preserved and made available according to culturally specific and ethically driven forms of access, thus engaging in new conversations about cultural heritage.

 

Remuneration: $55,000
Start Date and Duration of Appointment: August 1, 2021-July 31, 2022
Required Qualifications: PhD in one or more of the following areas, in order of priority:media preservation/archival or information studies, museum studies, communications, digital media, cultural studies, art history or related discipline, and have expertise in such fields such as asset/collections management, Indigenous knowledge architectures, digital media curation and design. Strong skills and experience in community arts engagement, and familiarity with open-source content management systems.
Required Documentation: Cover letter describing experience and research intention; CV; names and contact information of two references. 
Application Deadline: June 15, 2021
Application Procedure: Apply by email to Dr. Susan Lord, Director of the Vulnerable Media Lab <vml@queensu.ca>

 

 

EMPLOYMENT EQUITY: The University invites applications from all qualified individuals.  Queen’s is strongly committed to employment equity, diversity, and inclusion in the workplace and encourages applications from Black, racialized/visible minority and Indigenous/Aboriginal people, women, persons with disabilities, and 2SLGBTQ+ persons.

 

ACCOMMODATION IN THE WORKPLACE: The University has policies in place to support its employees with disabilities, including an Accommodation in the Workplace Policy and a policy on the provision of job accommodations that take into account an employee’s accessibility needs due to disability. The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact Dr. Susan Lord vml@queensu.ca

 

Anishinaabemowin: Gimaakwe Gchi-gkinoomaagegamig atemagad Naadowe miinwaa Anishinaabe aking

 

Kanien’keha (Mohawk): UNe Queen’s University e’tho nońwe nikanónhsote tsi nońwe ne Haudenasaunee tánon Anishinaabek tehatihsnónhsahere ne óhontsa.

 

English: Queen’s University is situated on traditional Haudenosaunee and Anishinaabe territory.

 

For more information on the history of this land, and why it is important to acknowledge this land and its people, please see this link to the Queen’s Encyclopedia: http://www.queensu.ca/encyclopedia/t/traditional-territories 

 

PSAC Local 901, Unit 2 – info@psac901.org

 

 

postdoc job posting VML