I’m Sorry, What Was The Question?
1 ― Lisa Feldman Barett, How Emotions Are Made: The Secret Life of the Brain, Houghton Mifflin Harcourt, Boston, 2017, https://how-emotions-are-made.com/notes/Categorization and https://how-emotions-are-made.com/notes/Categorical_perception, accessed on April 13, 2022.
2 ― David Altmedj, Interview directed by Catherine Tatge, Art 21: Art in the Twenty-First Century, Season 6, Episode 2, Boundaries, produced by Art21, Public Broadcasting Service, Arlington, VA, 2012, https://search.alexanderstreet.com/preview/work/bibliographic_entity%7Cvideo_work%7C2800659, accessed on April 11, 2022.
3 ― Jeffery Sconce, “‘Trashing’ the academy: taste, excess, and an emerging politics of cinematic style”, Screen Magazine, 36:4, 1995, pp. 371–393.
4 ― Paul Watson, “There’s no accounting for Taste: Exploitation cinema and the Limits of Film Theory”, Trash Aesthetics: Pop culture and it’s Audience, Eds by Deborah Cartmell, I.Q. Hunter, Heidi Kaye and Imelda Whlehan, Pluto Press, London, 1997, pp. 66–83.
5 ― Susanne Buchan, “Animation, in Theory”, Animating Film Theory, Eds. Karen Beckman,Duke University Press, Durham NC, 2014, https://www.jstor.org/stable/j.ctv11sn1f6.11, accessed on June 1, 2022.
6 ― Dario Argento, Suspuria, Produzioni Atlas Consorziate (P.A.C.), Rome, 1977, https://youtu.be/hPs2ExUL_bc, accessed on June 1, 2022.
7 ― Jan Svankmajer, Alice, Channel Four Films, Condor Films, Hessischer Rundfunk, Schweizerische Radio- und Fernsehgesellschaft (SRG), Czech Republic, 1988, YouTube excerpt, 3 min, https://youtu.be/11831Y1y7eA, accessed on June 1, 2022.
8 ― Ingmar Bergman, “the Knight meets Death”, The Seventh Seal, AB Svensk Filmindustri, 1957, YouTube excerpt, 2min, https://youtu.be/f4yXBIigZbg, accessed on June 1, 2022.
9 ― Open Culture, “Terry Gilliam Reveals the Secrets of Monty Python Animations: A 1974 How-To Guide”, Open Culture, November 6 2020, https://www.openculture.com/2020/11/terry-gilliam-reveals-the-secrets-of-monty-python-animations-a-1974-how-to-guide.html accessed on June 1, 2022.
10 ― “1974: TERRY GILLIAM on CUTOUT ANIMATION | The DIY Film Animation Show | Classic clips | BBC Archive”, YouTube video, uploaded by BBC Archive, from The Do-It-Yourself Film Animation Show, London, originally broadcast 5 May, 1974, https://youtu.be/LaG_EiFX7a0, accessed on April 11 2022.
11 ― Carolyne Weldon, “Inside the Disturbed and Disturbing Collage Films of Avant-Garde Genius Arthur Lipsett”, National Film Board of Canada, NFB Blog, Montreal, October 5, 2016, https://blog.nfb.ca/blog/2016/10/05/arthur-lipsett-week/, accessed on April 11 2022.
12 ― Shiya Tsukamoto, Tetsuo: Iron Man, 1989, YouTube movie trailer, 3 min, uploaded by Arrow Video, https://youtu.be/ShJvheZHXdI, accessed on April 13, 2022.
13 ― Norman McLaren, Pas de Deux, National Film Board of Canada, 13 min https://www.nfb.ca/film/pas_de_deux_en/, accessed on April 13, 2022.
14 ― Vera Chytilova, “Scissors” from Daisies, Filmové studio Barrandov, 1966, Clip from YouTube, 25 seconds, uploaded by Film Struck, https://youtu.be/P_XXNTQwv68, accessed on April 13, 2022.
15 ― Aldous Harding, “Aldous Harding live performance in KEXP studio” KEXP, Seattle, October 16, 2019, YouTube video, https://youtu.be/O-_yCMPNNEo, accessed on October 14, 2021.
16 ― Frederico Fellini, “Fellini’s Language of dream” interview by Jonathan Cott, Scraps from the Loft, December 5, 2017, originally published in Rolling Stones Magazine, February 1984, https://scrapsfromtheloft.com/2017/12/05/fellinis-language-of-dreams-rolling-stone-interview-1984/, accessed on December 7, 2020.
17 ― Jacob Olsen, “The History of the Color Turquoise: Which Came First, The Stone or the Color?”, Color Meanings, Copenhagen, Denmark, https://www.color-meanings.com/history-color-turquoise/, accessed on June 1, 2022.
18 ― Raphaëlle Moine, translated by Pierre Taminiaux, “From Surrealist Cinema to Surrealism in Cinema: Does a Surrealist Genre Exist in Film?” Yale French Studies: Surrealism and Its Others, 2006, No. 109, pp. 98-114, London UK, Yale University Press, 2006.
19 ― Frances S. Connelly, “Introduction: Entering the Spielraum”, The Grotesque in Western Art and Culture, Cambridge University Press, New York, 2012.
20 ― Noël Carrol “The Grotesque Today: Premilinary Notes on a Taxonomy”, from Modern Art and the Grotesque, Eds Frances S. Connelly, Cambridge University Press, New York, 2003, pp. 291-311,
21 ― Justin D. Edwards and Rune Graulund, Grotesque, London and New York, Routledge, 2013.
22 ― Philip Thomson, The Grotesque, Methen & Co Ltd, London, 1972.
24 ― Julia Kristeva, “Pouvoirs de l’horreur : Essai sur l’abjection“, Éditions du Seuil, Paris,1980, pp.145-148.
25 ― Merlin Sheldrake interviewed by Russell Brand, “#177 Interconnection”, Under the Skin, March 19, 2021. Podacast, 1:19:58, https://thepodcastplayground.com/podcast/177-interconnection-with-merlin-sheldrake/, accessed on April 12 2022.
Profile Picture
1 ― David Robson, “Neuroscience: why do we see faces in everyday objects?”, British Broadcasting Corporation, London, July 29, 2014, https://www.bbc.com/future/article/20140730-why-do-we-see-faces-in-objects, accessed on March 19, 2021.
2 ― Max McClure, “Infants process faces long before they recognize other objects, Stanford vision researchers find”, Stanford News, Stanford, CA, December 11, 2012, https://news.stanford.edu/pr/2012/pr-infants-process-faces-121112.html, accessed on March 19, 2021.
Dinos Are Not Dead
1 ― Rachel Funnell, “Exclusive: How Were The Dinosaur Noises in Jurassic Park Made, And Were They Accurate?” I Fucking Love Science, October 6, 2020, https://www.iflscience.com/plants-and-animals/exclusive-how-were-the-dinosaur-noises-in-jurassic-park-made-and-were-they-accurate/, accessed on November 26, 2021.
2 ― W. J. T. Mitchell, “The Surplus Value of Images”, Mosaic: An Interdisciplinary Critical Journal, Vol. 35, No. 3, September 2002, pp. 1–23, http://www.jstor.com/stable/44029949, accessed on December 3, 2020.
3 ― Emma Bryce, “Why Are There So Many Pigeons?” Live Science, October 27, 2018, https://www.livescience.com/63923-why-cities-have-so-many-pigeons.html, accessed on April 19, 2021.
4 ― University of California Museum of Paleontology, “Are Birds Really Dinosaurs?” Dinobuzz: current topics considering Dinosaurs, University of California, Berkeley, CA, January 22, 1998, https://ucmp.berkeley.edu/diapsids/avians.html, accessed on March 9, 2021.
5 ― Lowell Dingus and Timothy Rowe, “Chapter 12: The Evolutionary Map for Dinosaurs”, The Mistaken Extinction, New York, W. H. Freeman, 2018, http://www.geo.utexas.edu/courses/302d/Mistaken%20Extinction/Chapter%2012.pdf, accessed on March 9, 2021.
6 ― Gregory Zinman “The Joshua Light Show: Concrete Practices and Ephemeral Effects”, American Art, Vol. 22, No. 2, 2008, pp. 17–21, https://www.jstor.org/stable/10.1086/591166, accessed on November 26, 2021.
Audiovisual Sketch Series | Winter 2019
1 ― David Altmedj, The Pit, 2011, polystyrene, expandable foam, wood, epoxy clay, epoxy gel, sand, synthetic hair, resin, acrylic paint, latex paint, glass eye, Musée d’Art Comtemporain de Montréal, Montreal, https://flux.macm.org/en/the-gallery/the-pit/, accessed on December 1, 2020.
2 ― Michael DeForge, Very Casual, Koyama Press, Toronto, 2018.
3 ― Michael Deforge, Big Kids, Drawn & Quarterly, Montreal, 2014
4 ― Josh White, Laurie Anderson – O Superman, Warner Bros. Records, Los Angeles, CA, 1982, YouTube music video, 9 min uploaded by Nonesuch Records, https://youtu.be/Vkfpi2H8tOE?t=107, accessed on December 1, 2020.
5 ― Têtes à claques, “The Will Waller 2006”, Têtes à claques, 2008, YouTube clip, 4 min, https://youtu.be/hJgQCbRsq-I, accessed on December 1, 2020.
6 ― Marc-André Rioux, Isabelle Allard et al, “Théâtre Espace Go — Saison 2013–2014”, Ad campaign, Cosette, Montreal, 2013.
7 ― Norman McLaren, Pas de Deux, National Film Board of Canada, 13 min https://www.nfb.ca/film/pas_de_deux_en/, accessed on April 13, 2022.
Pond
1 ― Rei Naito, “Matrix”, Installation, Teshima Art Museum, Teshima, Japan, 2010.
2 ― Okakura Kakuzō, The Book of Tea, Dover Publications, Mineola, NY, 1964, originally published 1906.
3 ― Tanizaki Jun’ichirō, In Praise of Shadows, Leete’s Island Books, New Haven, CT, 1977 originally published 1933.
4 ― Team Lab Borderless, Mori Digital Art Museum, Tokyo, Japan, 2018.
Antidote
1 ― Michael Reich, She’s Allergic to Cats, Normal, Subtractive, 2016, YouTube movie trailer, 2 min, uploaded by Normal TV, https://www.youtube.com/watch?v=pvok3bGOXN8&ab_channel=NormalTV, accessed on April 15, 2021.
2 ― Erin Shchirreff, Still, silent installation video, 2019.
3 ― Sky Gooden, “How Artist Erin Shirreff Reveals the Secrets of Modernist Sculpture”, Frieze, February 22, 2019, https://www.frieze.com/article/how-artist-erin-shirreff-reveals-secrets-modernist-sculpture, accessed on March 3, 2021.
Crreeeeps
1 ― Matthew David Surridge, “FANTASIA 2018, DAY 5, PART 1: NEOMANILA”, Black Gate: Adventures in fantasy literature, Aug 8, 2018, https://www.blackgate.com/2018/08/08/fantasia-2018-day-5-part-1-neomanila/, accessed on June 2, 2022.
2 ― Nick Allen, Rogert Ebert, July 13, 2018, https://www.rogerebert.com/festivals/fantasia-2018-just-a-breath-away-nightmare-cinema, accessed on June 2, 2022.
3 ― Anna Hawkins, How to Chop an Onion, dual channel video installation, 2016, https://annahawkins.net/How-to-Chop-an-Onion, accessed on June 2, 2022.
4 ― Dominique Chateau, “Art, Otherwise Than Art Cinema and Contemporary Art: A Mutual Challenge”, Post-cinema: Cinema in the Post-art Era, eds Dominique Chateau, José Moure, Amsterdam, Netherlands, Amsterdam University Press, 2020.
5 ― Walter Murch, “Touch of Silence”, Lecture, Institut Francais, London, Friday 17 April 1998, in Soundscape, eds Larry Sider, Diane Freeman, Jerry Sider, Wallflower Press, London, 2003.
Video Sketch Series | Spring 2020
1 ― Bill Waterson, Calvin and Hobbes, originally published January 10, 1994, U go comics, https://www.gocomics.com/calvinandhobbes/1994/01/10, accessed on May 26, 2022.
Dirty Talk
1 ― Norman Wilner, “Canadian directors are making films in self-isolation”, Now Toronto, May 12, 2020, https://nowtoronto.com/movies/canadian-directors-making-films-in-self-isolation, accessed on March 29, 2021.
2 ― Frances S. Connelly, “Introduction: Entering the Spielraum”, The Grotesque in Western Art and Culture, Cambridge University Press, New York, 2012.
3 ― Noël Carrol “The Grotesque Today: Premilinary Notes on a Taxonomy”, Modern Art and the Grotesque, Eds Frances S. Connelly, Cambridge University Press, New York, 2003, pp. 291-311.
4 ― Justin D. Edwards and Rune Graulund, Grotesque, London and New York, Routledge, 2013.
5 ― Philip Thomson, The Grotesque, Methen & Co Ltd, London, 1972.
Chrysalis
1 ― Ferris Jabr, “How Does a Caterpillar Turn into a Butterfly?”, Scientific American, Munn & Co., New York: August 10, 2012, https://www.scientificamerican.com/article/caterpillar-butterfly-metamorphosis-explainer/, accessed on May 5, 2022.
2 ― Lewis Carroll, Alice’s Adventures Underground, London, UK, British Library, 1893, p.51-52, https://www.bl.uk/works/alices-adventures-in-wonderland, accessed May 31, 2022.
3 ― Ellen Cushing, “Late-Stage Pandemic Is Messing With Your Brain”, The Atlantic, Washington, D.C., March 2021, https://www.theatlantic.com/health/archive/2021/03/what-pandemic-doing-our-brains/618221/, accessed on May 5, 2021.
Masticating Whorl
1 ― Ferris Jabr, “How Does a Caterpillar Turn into a Butterfly?”, Scientific American, Munn & Co., New York, NY, August 10, 2012, https://www.scientificamerican.com/article/caterpillar-butterfly-metamorphosis-explainer/, accessed on May 5, 2022.
2 ― Justine Sergent & Yitzchak M. Binik, “On the Use of Symmetry in the Rorschach Test”, 43:4 (1979), 355-359, DOI: 10.1207/s15327752jpa4304_3, https://sci-hub.se/10.1207/s15327752jpa4304_3, accessed on May 30, 2022.
3 ― David Sonnenschein, Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema, Michael Wiese Productions, Studio City, CA, 2001.
5 ― Grande Rencontre des Arts Médiatiques, 2015, https://archives.perceides.ca/festival-2015/grande-rencontre-des-arts-mediatiques-en-gaspesie/index.html, accessed on May 5, 2022.
6 ― Hito Steryl, “In Defence of the Poor Image”, e-flux Journal, Issue #10, Brooklyn, NY, November 2009, https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/, accessed on May 3, 2022.
7 ― Jonathan Walley, “Identity Crisis: Experimental Film and Artistic Expansion”, October, Summer 2011, Vol. 137, The MIT Press, Cambridge, MA, 2011, pp. 23–50, https://www.jstor.org/stable/23014886