As a MA Media Studies graduate student at Concordia University in 2012, I voted to strike at Graduate Student Association (GSA) general assemblies. I was also an occasional as a GSA spokesperson at conferences held by la Coalition large de l’Association pour une solidarité syndicale étudiante (CLASSE), the largest student union and the more critical defender of accessible education. This archive project of the 2012 student strike is the result of my MA research-creation project. It assembles more than 3000 oppositional artefacts : posters, protest signs, banners, memes, direct actions, videos, publications, etc. The website is always in development to make its contents more accessible. [GO TO ARCHIVE WEBSITE]
Étudiant à la maîtrise à l’Université Concordia en 2012, j’ai exercé mon droit de vote aux assemblées de mon association (GSA) et j’ai voté pour la grève. J’ai aussi été à l’occasion le représentant de mon association lors des grandes assemblées tenues par la Coalition large de l’Association pour une solidarité syndicale étudiante (CLASSE). Ce projet d’archives de la grève étudiante de 2012 est le résultat de mon projet de recherche-création de maîtrise. Il rassemble plus de 3000 artéfacts contestataires : affiches, pancartes, bannières, memes, actions directes, vidéos, publications, etc. Le site est toujours en développement afin de mettre en valeur sont contenu. [VOIR LE SITE DES ARCHIVES]
DID YOU GET MY POSTCARD? : immediacy intimacy & the time/space compendium of remediated semi-public correspondence is the remediation of a collection of postcards received by or sent to David, the project’s protagonist.
It began as a research-creation final project for Matt Soar’s Media Research Lab, within the Media Studies MA Graduate Program in Concordia University’s Department of Communication Studies. The project, along with the eleven others produced in the class, was launched at a collective vernissage on Dec. 7, 2011.
The postcard remediations are displayed chronologically in bulk based on the date they were initially mailed. They are subdivided into collections listed in the right-hand column links. Two collections are from extended trips that David took in Europe 1985-86 and in East Asia 1990-91. Another set is of postcards from around the globe that have been sent to David or that David has sent himself since his collection began. Two special categories: Sunset Postcards and Postcard Politics were added to the project as bonus mini sections that include postcards that were not necessarily received nor send by David. The newest collection are postcards from Montréal: new digital postcards produced to introduce a creative component to archival nature of the project, hence giving it life. [GO TO POSTCARD WEBSITE]
I have held a keen interest in South Sudan since mid 2008, after a long conversation with a friend who had been working in southern Sudan since 2005. I realized that I knew little about southern Sudan. Canadian media coverage about Sudan was limited to the violence in Darfur and provided little context of the north-south dichotomy.
In early 2009, I decided to remedy my ignorance and visit southern Sudan. My 7-week trip brought me to villages in several regions of southern Sudan, inlcuding: Abyei, Juba, Wau, Northern Bahr el Ghazal, Warrap State. A contract aa an independent mobile journalist (MoJo) with the Canadian International Development Agency (CIDA) allowed me to visit many CIDA-funded projects implemented by either World Vision, UNICEF or the UN’s International Organization for Migration.
I invite you to read early posts on the blog to get an impression of my 2009 visit. I was fortunate to meet and interview dozens of men and women from remote villages who generously shared their stories with me. I also met with local journalists who detailed the challenges of their work with committed enthusiasm. I invited southern Sudanese to share their life stories with me, some of which I have already edited into my Video Portrait Series. [GO TO SOUTH SUDAN WEBSITE]
Cumulus Press was founded by David Widgington in 1998 as a single book project to publish an architectural walking guide of Montréal. During the research phase of the book, Widgington met Kirk Johnson, then a Master’s student in Creative Writing. Johnson joined the book project as co-writer, which was published as Montréal Up Close: a pedestrian’s guide to the city. Cumulus’ second title, Companion Pieces, was Kirk’s first collection of poetry, and the beginning of Cumulus’ ten-year stint as a bona fide publisher.
One of the important features of Cumulus’ publishing program is its Tendril Anthology Series, a space reserved for the apprenticeship of talented young writers to cast shadows of themselves. It was also a place for established writers to show us what they were writing when they were under the age of 25 with each book’s Trestle chapbook. The series made it to three volumes, showcasing over forty young writers with A Trestle Chapbook by George Elliott Clarke, Elisabeth Harvor and Cleo Paskal.
Another significant segment of Cumulus’ publishing program are books about globalization, activism, indy media, and other facets of social movements that offer a critical perspective of social issues. Titles like: Autonomous Media, Picture This!, Extraction!: comix reportage, Counter Productive, The Hero Book, North of 9/11 fit well into this category.
In 2008, Cumulus Press celebrated its 10th anniversary at a huge party, where publisher, David Widgington, also announced that the press was about to close. Averaging two titles a year since its inception, Cumulus’ twenty titles have etched a premanent mark within Montréal’s publishing scene and a conistent presence across Canada. Widgington is a founding organizer of Expozine in 2002, which initiated Canada’s largest annual small press, comic and zine fair. [GO TO ARCHIVED CUMULUS PRESS DETAILS]
Le collectif de vidéastes engagé.e.s Les Lucioles a été actif de 2002 à 2007. Le site web demeure néamoins en ligne pour perpétuer la mémoire du collectif et des sujets de luttes qu’illes ont documenté.e.s
Tous les textes, images et vidéos sur le site peuvent être utilisés, à condition que ce ne soit pas dans un but lucratif ou commercial. [VOIR LE SITE LES LUCIOLES]