Photo of Caroline Langill
Photo of Caroline Langill
Caroline Langill
Faculty of Liberal Arts and Sciences
416-977-6000, Ext. 225

Area(s) of Expertise

Curatorial Studies, Digital and Electronic Media, Art, Science and Technology


Caroline Seck Langill is a Peterborough-based writer and curator whose academic scholarship and curatorial work looks at the intersections between art and science, as well as the related fields of new media art history, criticism and preservation. She is known for the way her writing considers machine aesthetics and scientific approaches to cultural production and histories. Her website Shifting Polarities, produced while researcher in residence at The Daniel Langlois Foundation, tracks the history of electronic media in Canada and includes interviews with pioneers of media art. With Dr. Lizzie Muller, UNSW, Sydney, she has been co-investigator on two SSHRC-funded research projects: The Living Effect, investigating the notion of –aliveness"in media art objects, and, in partnership with the Banff Centre, the symposium Curating Lively Objects: Postdisciplinary Perspectives on Media Art Exhibition. This ongoing research resulted in the exhibition Lively Objects for ISEA: Disruption (2015) in which undisciplined objects were woven through traditional displays and historical tableau at the Museum of Vancouver. Dr. Langill is an Associate Professor at OCAD University where she holds the position of Dean, Faculty of Liberal Arts and Sciences and the School of Interdisciplinary Studies.


Ph.D., Canadian Studies, 2009, Trent University, Peterborough, Ontario

Dissertation: Shifting Polarities: Canadian Electronic Media Art and Institutional Space,1970-1990

MFA, Visual Arts, Interdisciplinary Media, 1998, York University, Toronto, Ontario

Thesis: Dissolution, Four Versions (Nominated for the York Thesis Prize), Exhibition: Art Gallery of York University, Dissolution

AOCA, General Studies, 1986, Ontario College of Art, Toronto, Ontario

Hon. BSc., Biology, 1975, Carleton University, Ottawa, Ontario

Selected Exhibitions

Lively Objects, Co-curator with Lizzie Muller, Museum of Vancouver, August 16 "October 12, 2015.

thelivingeffect, Guest Curator, Ottawa Art Gallery, 4 November 2010 to 30 January 2011, Ottawa, Ontario.

Brian's Songs, Collaboration with Gordon Langill, Audio installation, Nuit Blanche, October 2011.

act three (2007) and Al, Mediating Conflict / La mediation du conflit, Group exhibition curated by Sylvie Lacerte, Maison de la Culture du Plateau Mont-Royal. 2008.

FLOCK [in], Plan B [Marc Fournel and Thomas Ouelette Fredericks]

Interaccess Electronic Media Arts Centre, Toronto Ontario, 2006.

The Quarter Century: SAW Video, Programme of work by 18 video artists, Produced at SAW Video Coop between 1972 and 2007, National Archives of Canada, Ottawa, Ontario, 2006.

SOLUS, A Gala programme of video art for Behind the Mind's Eye Film

Festival, Peterborough, Ontario, 2005.

Awards \ Grants

2015 SSHRC Connections Grant, –Curating Lively Objects: Post-disciplinary perspectives on media art exhibition,"with Dr. Lizzie Muller

2011 SSHRC Insight Development Grant, –The Living Effect: Autonomous Behaviour in Early Electronic Media,"with Dr. Lizzie Muller

2007-2004 Ontario Graduate Scholarship, Trent University

2006 Researcher in Residence, La Fondation Daniel Langlois, Montreal, QC

2004 Symons Trust Scholarship, Trent University

2003 Ontario Arts Council, Media Production Grant

2003 Ontario Arts Council, Interdisciplinary Arts Grant

2000 The Canada Council for the Arts, B Grant

Selected Publications

–Curating Lively Objects: Post-disciplinary affordances for new media art,"Curating the Digital, Eds. Nick Bryan-Kinns, David England, Thecla Shiphorst. Springer, 2016 (in press).

–The Living Effect: Autonomous Behaviour in Early Electronic Media Art,"Relive, Eds. Sean Cubitt and Paul Thomas. Cambridge, Massachusetts: MIT Press. 2013.

*–The Menace of Things: David Cronenberg's Vibrant Objects,"Cronenberg Virtual Museum Project. Toronto: Toronto International Film Festival. 2013.

–Elements in the Genesis of Digital Art,"Art & Culture Numerique(s): Panorama International, Enghien-les-Bains: Centre des art d–Enghien-les-Bains et de l–Institut

Fran–ais, 16-21. 2012.

"–Me Calling Him "Him Calling Me""Tom Sherman's Recent Video Work,"C Magazine 112 (Winter 2011/12) 16-21.

–Travelling Down Philippe Blanchard's Time Tunnel,"Catalogue Essay, Philippe Blanchard, Time Tunnel, InterAccess, September 2011.

–Vera Frenkel's String Games and the Germination of New Media Art in Canada,"Ensemble Ailleurs: Together Elsewhere. Eds. Louise Poissant and Pierre Tremblay. Qu–bec: Presses de l–Universit"du Qu–bec. 2010.

'self-Emulation: Upgrades in new media art and the potential loss of narrative."Convergences: The International Journal of Research into New Media Technology. Eds. Jessica Santone and Will Straw. Special Issue: Cultural Memory and Digital Preservation. Vol. 15, no. 3.UK: SAGE Publications. 2009.

–Corridors of Practice: Technology and Performance Art on the North American Pacific Coast in the 1970s and Early 80s."Place Studies in Art, Media, Science and Technology: Historical Investigations on the Sites and the Migration of Knowledge. Eds. Andreas Broeckmann and Gunalan Nadarajan. VDG, Weimar. 2009.

–Negotiating the Hybrid: Artists, Theory and Genetic Technologies,–

Leonardo's Choice: Genetic Technologies and Animals, Carol Gigliotti, ed. New York: Springer Publications. 2009.