Closing Reception

FY Great Hall Event
Friday, March 14, 2008 - 7:00pm to 8:00pm

The Great Hall showcases the accomplishments of this year’s first-year students with a week-long exhibition and series of exciting events. Take this opportunity to recognize the fabulous imaginations and acuity of this year’s first-year students and their works. Events highlight environmentally friendly art, wearable art, performance and new media. Be sure to check it all out!

Closing Reception:
Join first-year Faculty of Art students for pizza and refreshments to celebrate the culmination of a week of inspired student achievement.

Venue & Address: 
Auditorium 100 McCaul St., Toronto, Ontario

Inter(PR)axis: Mapping a Practice of Media Art

Saturday, January 26, 2008 - 2:00pm to 10:00pm

Organized by Nina Czegledy
Presented by: InterAccess, York University Department of Film's Norman Jewison Series, the Ontario College of Art & Design and OCAD's mobile digital project, Portage: The Canadian Mobile Experience.

Inter(PR)Axis is a free one-day conference addressing the historical context, current practice and future directions of media art in Toronto and beyond, as a parallel event with the InterAccess exhibition IA25: Mapping a Practice of Media Art. Conference panelists from the Ontario College of Art & Design and York University ' many of whom have been integral to the development of InterAccess over the past 25 years ' will reflect on the historical and contemporary context of Canadian media art, as traced through these two important educational programs, the surrounding community, and the innovative activities of InterAccess, Canada's first and premier centre for electronic art. Keynote speaker Machiko Kusahara, whose research ranges from the history of Japanese automata to device art, will address these issues in terms of current international media art practices.

Keynote Speaker:
Machiko Kusahara, Ph.D Media Scholar/Curator, Waseda University, Tokyo.

Mike Darroch, Patricio Davila, Judith Doyle, Anna Friz, Paula Gardner, Simone Jones, Janine Marchessault, David McIntosh, Jim Ruxton, Geoffrey Shea, Nell Tenhaaf, Norman White.

Nina Czegledy, John Greyson, Michael Longford.

Conference Schedule:

9:00 am: Introductions
Sara Diamond, President, Ontario College of Art & Design
Nina Czegledy, Senior Fellow, KMDI, University of Toronto, Adjunct Associate Professor Concordia University

9:15 am: Media Theory and Practice: Historical reflections
Moderator John Greyson, artist/filmmaker, Assistant Professor, York University

Art and Architecture at the Onset of Canadian Media Theory
Janine Marchessault, Canada Research Chair, Director, Visible City Project + Archive (VCPA), York University and Michael Darroch, Postdoctoral Research Fellow (FQRSC), York University

Worldpool (1978) to Odyssey (2008): Toronto episodes in Art Exchange
Judith Doyle, Artist, Chair of Integrated Media, Ontario College of Art & Design

Mobile Media Workshop in a Suitcase: A case study of the transcultural intersection of art and new technologies
David McIntosh, Associate Professor, and Patricio Davila, MA (candidate), Ontario College of Art & Design

Digital Appearances
Simone Jones, Artist, Associate Dean, Faculty of Art, Ontario College of Art & Design

11:15 am: Coffee break

11:30 am: Keynote ' Device Art: A New Approach to Bridge Art, Design, Technology and Entertainment
Machiko Kusahara, Media Scholar/Media Art Curator, Professor, School of Letters, Arts and Sciences, Waseda University, Tokyo, Japan.

12:30 pm: Lunch

1:30 pm: Media Theory and Practice: Toronto Context
Moderator Nina Czegledy

Dynamics of Interactivity
Nell Tenhaaf, Artist, Associate Professor in Visual Arts, Associate Dean of Fine Arts, York University

Subtle Technologies, A Historical Perspective
Jim Ruxton, Artist, Director, Subtle Technologies Festival, Toronto

Why artists make robots?
Norman White, Artist, Instructor, School of Image Arts, Ryerson University

2:45 pm: Coffee break

3:00 pm: Media Art Current Trends and Future Directions
Moderator: Michael Longford, Associate Chair Department of Design, Faculty of Fine Arts, York University

Mobile Anarchy from Resistance to Microsurveillance: The Portage Project
Paula Gardner, Associate Dean, Faculty of Liberal Studies, Ontario College of Art & Design,

Anna Friz, Artist, Research Associate, PhD Candidate, Communication and Culture/York University PhD Candidate, York University

i = i + 1
Geoffrey Shea, Artist, Assistant Professor, Researcher, Ontario College of Art & Design

4:45 pm: Closing remarks
Dana Samuel, Director/Curator, InterAccess Electronic Media Arts Centre
Nina Czegledy

Inter(PR)Axis was developed and organized by Nina Czegledy, media artist, curator, Senior Fellow, KMDI, University of Toronto, Adjunct Associate Professor Concordia University, co-chair Leonardo Education Forum, in collaboration with the Ontario College of Art & Design, York University and InterAccess Electronic Media Arts Centre. Special thanks to the Gladstone Hotel for sponsoring accommodations for Machiko Kusahara.

Presented as a parallel event to the exhibition IA25: Mapping a Practice of Media Art
Curated by Nina Czegledy and Angella Mackey
with Simone Jones & Julian Oliver, Lorena Salom', Galen Scorer and Norman White
Exhibition opens January 25 with a reception at 8:00 pm and runs until March 8, 2008
InterAccess Electronic Media Arts Centre, 9 Ossington Avenue, Toronto
Gallery hours: Wednesday through Saturday, 12-5 pm

Celebrating 25 years of expanding the cultural space of technology, InterAccess is a registered, charitable, artist-run centre dedicated to the research, production, exhibition and education of electronic and new media art.

Jennifer Cherniack, Assistant Curator/Education Coordinator
InterAccess Electronic Media Arts Centre
9 Ossington Avenue, Toronto, Ontario

Venue & Address: 
Auditorium 100 McCaul St., Toronto, Ontario


Tuesday, October 16, 2007 - 4:00am to Saturday, December 15, 2007 - 5:00am

New media artist OCAD alumna Andres Pang announces the opening of Polyphony, a public artwork which extends from Toronto to New York. Installed at the Ontario College of Art & Design in Toronto and Polytechnic University in New York, Polyphony utilizes state of the art VOIP to broadcast sounds in public spaces from one city to another, allowing the listener-participant to be in two places at once in Real Time.

Through the use of sound, Pang explores the concepts of presence and distance. Not only does sound make a place feel vast, it is a presence whose absence is felt the moment it stops. Both a cognitive and psychological medium, sound as a carrier of elusive information stimulates the mind and memory, and elicits association more effectively than vision. In addition, sound changes as it travels through a space and challenges one's perceptions of that space.

Continuing the historical trajectory that began with the telegraph, Polyphony explores the use of cutting edge sound technology to bridge space and time. Polyphony is a many facetted work that makes the most of a technology's perceptual and conceptual dimensions.

Venue & Address: 
Ontario College of Art & Design 100 McCaul Street, Lobby, Toronto, Ontario

Chromatic Festival

Image of a mirrored disk with lights and symbols
Friday, May 27, 2016 - 4:00am to Saturday, May 28, 2016 - 4:00am

Experience art in a unique environment featuring new and innovative creative work from Montreal and Toronto’s rising artists as well as from the intentionally renowned Daniel Iregui and Mike Pelletier. Combining innovative initiatives, new media, digital art installation, painting, video projection, street art, and music, Chromatic Toronto is in the city at Rally Ossington for a two-day event only!

Be part of the Chromatic Night on May 27 for a celebration of both burgeoning art scenes with DJ sets and a live mural painting, or experience the Chromatic Day in a family friendly atmosphere.

Venue & Address: 
Rally Ossington 12 Ossington Ave.
CHROMATIC NIGHT Fri. May 27 7:30 p.m. - 2 a.m. Tickets: $10 advance, $15 door CHROMATIC DAY Sat. May 28 11 a.m. - 6 p.m. Tickets: $5 door, free for children 12 and under

Call for submissions for Phantoms and Mirages Within the Archival Paradigm

photograph of large blocks of shredded paper
Wednesday, December 16, 2015 - 5:00am to Friday, January 8, 2016 - 5:00am

Phantoms and Mirages Within the Archival Paradigm is an exhibition exploring issues pertaining to contemporary archival and preservation practices.

In his essay Preservation is Overtaking Us, Robert Koolhaus argues that preservation has risen to an almost absurd degree, where objects, sites, and buildings with even the most minimal importance are subjected to preservation. The saturation of images and objects presented in postmodern society raises the issue of what to keep. What contemporary objects are truly important if everything is preserved?

Like the Kunstkabinett of the European renaissance preceding them, archives present an alluring spectacle evoking mysticism and the promise of elusive information. They invite observers to enter and access a wealth of knowledge, and present a potential for discovery. However, while this may seem compelling and positive in theory, those seeking information must be conscious that this image of objectivity is merely a mirage. Information is often skewed and contorted, or altogether displaced. The combined influences of censorship and curation alter “fact” in a way that has the power to dictate how future generations may perceive historical events and fleeting contexts. As a result, archival information may ultimately refer more to a suggested interpretation of historic events than concrete fact, dictating history in favour of its preservers. The archive presents an alternate reality, an image of mirage. The creation of these altered identities and histories result in the creation of an ulterior plane – archives exist as entities outside of the factual world.

In Phantoms and Mirages Within the Archival Paradigm, we aim to challenge how we interpret history through the material presented in archives, and the state of our fluctuating contemporary identity. What is absent from archives will be explored: obsolete technologies, marginalized communities and those without the financial means to archive and preserve disappear from the archival records, or become represented through the narrative of an outside source. The loss of spirituality and aura of objects when they are archived will also be examined, as a phantom of the archival paradigm. If archives exist from a desire for self-preservation, do they retain the spirit of the individual or group? By examining archival practices we aim to create discourse concerning the aforementioned dilemmas.

We are currently accepting “new media” and digital artwork submissions for consideration related to themes of archives and preservation, and the issues surrounding them. We are also accepting work in the form of essays and related critical writings.
Please include:
- A 250-word description or proposal of your intended artwork, as well as all relevant information pertaining to your work. (including documentation or visual aids for proposed works)
- CV or brief artist statement.
- Examples of past work (photos, videos, portfolio or website).
All applications should be sent via email to: by 11.59 pm, Friday January 8th, 2016.


After Dubai: Electronic Arts in the 21st Century Roundtable

Image of a desert
Friday, January 30, 2015 - 8:00pm to 10:00pm

After Dubai: Electronic Arts in the 21st Century
A Roundtable Discussion

Moderated by Caroline Langill and featuring presentations by Judith Doyle, Lynne Heller, Martha Ladly, Nina Leo and Dot Tuer.

In November 2014, the 20th International Symposium on Electronic Art was hosted by Zayed University in Dubai. One of the most important events for new media art, the symposium included over 200 interdisciplinary discussions and presentations of creative practices applying new technologies in electronic media.
Please join us on January 30 for special presentations by OCAD University faculty and ISEA 2014 participants Judith Doyle, Lynne Heller, Martha Ladly, Nina Leo and Dot Tuer. The presentations will be followed by a roundtable discussion moderated by Caroline Langill on the future of electronic arts at OCAD U and beyond.

For more information, contact Farrah Aslam,

Image caption: Lynne Heller and Jackie Calderwood, Engines of Difference, 2014

Venue & Address: 
Lambert Lounge, OCAD University Room 187, 100 McCaul Street

In Fragments: New Media Works by Lindsay Fisher

Photograph of a human eye looking to the left
Thursday, October 23, 2014 - 4:00am to Sunday, October 26, 2014 - 4:00am


In Fragments is a collection of new media works by Lindsay Fisher that break down and critique perceptions of the deviant body. Through youTube videos and digital self portraiture, Lindsay utilizes the style of animated GIFs to investigate a visual culture of “spectacle” in the form of feminism, freakery and the everyday act of performing ourselves.

Opening reception:
Friday, October 24, 6 p.m.
Accessible, free, and open to the public

This exhibition is part of the University Arts Association of Canada on disability arts and culture; and the Common Pulse Festival and Symposium funded through SSHRC. This event is co-sponsored by Tangled Art + Disability.

Venue & Address: 
Open Gallery 49 McCaul St.


Installation by Dr. Julie Nagam. Photo courtesy Dr. Julie Nagam.
Dr. Julie Nagam. Photo courtesy Dr. Julie Nagam.

Dr. Julie Nagam is an emerging artist, curator and Assistant Professor in OCAD U’s Faculty of Liberal Arts and Sciences and the Indigenous Visual Culture program, and she is the recipient of a major Social Sciences and Humanities Research Council of Canada (SSHRC) Insight Development grant for The Kanata Indigenous Performance, New and Digital Media Art Project. It’s a landmark effort to map and identify Canadian Indigenous performance, digital and new media art that will culminate in an inclusive, interactive website archive for researchers and the Indigenous community. 

“I’m excited about the potential of the funding,” said Nagam. “This is a project that needed to happen. There’s a strong connection between Indigenous performance, digital and new media artwork, but until now there’s been a gap in both access and scholarship in these areas, especially in the Canadian context. The project will provide archive material for up-and-coming scholars, curators and artists with vital resources in the fields of performance, new and digital media.”

Nagam, together with her co-applicants, Dr. Carla Taunton, an Assistant Professor, Art History and Critical Studies at the NASCAD University, and Dr. Heather Igloliorte, Assistant Professor, Art History, Concordia University, are working together collaboratively and each bring regional specializations to the mapping process of the project. Nagam’s focus is on central Canada and the central north, while Igloliorte is covering the north and Taunton is working on emerging east coast aspects. 

The project team will research creative practices, aesthetics, performance and digital media, tracing Indigenous practices and methodologies throughout Canada. They’ll look at existing archives at V-tape, ImagineNATIVE, Obx Laboratory for Experimental Media, Isuma, Arnait Video and Unikaat, to name only a few. In addition to the website archive, the team will also work together on a special Indigenous performance and digital media themed edition of a peer-reviewed journal. The funding also creates opportunities to hire, support and mentor Indigenous graduate students here at OCAD U and other Canadian universities.

An important aspect of the website archive is the team will be developing interactive elements. Artists themselves will be invited to engage with it, add new content, help fill in gaps and get involved. “We want participation from the artists so they can add to the story and catch missing work,” said Nagam. “Web and new media work can so easily get lost, so the artists can help identify important pieces and add to their profiles.”

The grant will help fund project development for two years and is valued at $70,000, but as Nagam notes, this is only the beginning. “I would like to see a large-scale research project and a commitment to documenting this rich archive,” said Nagam. “It has so much potential. It will be great to expand the team, add to the website archive and build a large-scale exhibition and conference that would visualize and analyze this rich body of knowledge.”

About Julie Nagam

Dr. Julie Nagam’s research focus is on (re) mapping the colonial state through creative interventions within concepts of native space. She specializes in cultural geography, Indigenous critical theory, cultural and post-colonial theory, gender, activism and racial configurations within history, space and creative practices. Her site-specific research has taken her to Pangnirtung, Nunavut, rural and remote areas of Manitoba and Iceland, and she has conducted research on the Indigenous histories of Toronto for the Visible City Project + Archive.

Nagam is also an active mixed media artist working in drawing, photography, painting, sound, projections, digital media and curatorial projects. Some of her recent work includes “Where White Pines Lay Over the Water,” a sound and media installation shown here in Toronto and in Brazil, and “Singing Our Bones,” an interactive installation which was part of Landslide/Possible Futures in Markham ON, and Ecocentrix in London England.

Learn More

Social Sciences and Humanities Research Council (SSHRC)

Julie Nagam faculty biography

OCAD U’s President’s Speaker Series continues with a free workshop and talk by Lev Manovich

OCAD U’s President’s Speaker Series continues with a free workshop and talk by Lev Manovich
Thursday, February 16, 2012 - 5:00am

(Toronto—February 16, 2012) Dr. Sara Diamond, President of OCAD University (OCAD U) welcomes renowned digital culture theorist, data visualization artist and educator Lev Manovich on Friday, March 23. He will give a free practical workshop (2 to 5:30 p.m.) and lecture (6:45 p.m.) exploring the dynamic field of information and scientific visualization. Both events are open to everyone; (registration for the workshop is required).

A celebrated thinker, designer, digital media artist, and programmer, Lev Manovich is the publisher of several books, including The Language of New Media (The MIT Press, 2001), considered to be the first systematic and rigorous theory of new media to be published, and hailed as "the most suggestive and broad-ranging media history since Marshall McLuhan." His other publications include Software Takes Command (released under CC license, 2008) and Soft Cinema: Navigating the Database (The MIT Press, 2005).

In The Language of New Media, an accessible and insightful study, Manovich places digital media within the histories of visual and media cultures of the last few centuries. He discusses digital media's reliance on conventions of old media, such as the rectangular frame, and shows how digital media creates the illusion of reality and engage audiences. He also analyzes categories and forms unique to new media, such as the interface and database.

OCAD U President's Speaker Series:
Lev Manovich: "How to compare one million images? Visualizing patterns in
art, games, comics, cinema, web, and print media"

Friday, March 23, 6:45 p.m.

Manovich shares OCAD University's significant engagement with the growing field of information and scientific visualization and visual analytics. "The explosive growth of cultural content on the web including social media, and the digitization work by museums, libraries and companies, make possible a fundamentally new paradigm for the study of cultural content," says Manovich. "We can use computer-based techniques for data analysis and interactive visualization employed in sciences as well as the artistic techniques developed in media and digital art to analyze patterns and trends in massive visual data sets. We call this paradigm Cultural Analytics."

"In 2007 we established Software Studies Initiative at University of California, San Diego (UCSD) and California Institute for Telecommunication and Information (CALIT2) to begin putting this vision into practice. I will show examples of our research including visualization of art, film, animation, video games, magazines, graphic design and other visual media. I will also discuss how working with massive cultural data sets — such as one million Manga pages — forces us to question most basic concepts of cultural analysis which we normally take for granted."

Workshop with Lev Manovitch
Friday, March 23, 2 to 5:30 p.m.

In 2007 Lev Manovich established the Software Studies Initiative to develop "Cultural Analytics" — intuitive visual techniques and software tools for exploring massive sets of cultural images and video in new ways. The examples of lab work include visualization of artistic development of van Gogh, Mondrian, Rothko and other artists; mapping the "design space" of variations in hundreds of Google logos; exploring visual languages of Manga by analyzing one million Manga pages; and many other projects which take on everything from motion graphics to 19th century American newspapers. The lab received grants from both National Science Foundation (NEH) and National Science Foundation, and its visualizations have been included in many exhibitions.

In this workshop Manovich will lead the participants though the number of the lab's project, discussing the methods and practical techniques which make them possible. Participants will be introduced to the powerful open source ImageJ digital image processing platform used in all these projects, and the lab's recently released free ImagePlot software.

Register for the workshop  (Free)

OCAD University - 135 Years of Imagination
Auditorium (both workshop and talk), 100 McCaul Street, Toronto
416-977-6000  |

Manovich is a Professor at the Visual Arts Department, University of California, San Diego (UCSD) where he teaches practical courses in digital art as well as history and theory of digital culture. He also founded and directs the Software Studies Initiative at California Institute for Telecommunications and Information Technology (CALIT2), which facilitates work in the emerging field of software studies. The lab is also developing a new paradigm of Cultural Analytics: data mining and visualization of patterns in large cultural data sets. Manovich is also Visiting Research Professor at Goldsmith College (London, UK), De Montfort University (Leicester, UK) and College of Fine Arts, University of New South Wales (Sydney, Australia). Among Manovich's accomplishments is receipt of a National Endowment for the Arts Humanities High-Performance Computing grant (2008), a Guggenheim Fellowship (2002-2003), a Digital Cultures Fellowship from UC Santa Barbara (2002), a Fellowship from The Zentrum für Literaturforschung, Berlin (2002), and a Mellon Fellowship from Cal Arts (1995). His writings have been published in over thirty countries, and he has delivered more than 300 lectures, seminars and workshops around the world over the last ten years.

OCAD University (OCAD U): 135 Years of Imagination
OCAD University ( is Canada’s “University of the Imagination.” The university, founded in 1876, is dedicated to art and design education, practice and research and to knowledge and invention across a wide range of disciplines. OCAD University is building on its traditional, studio-based strengths, adding new approaches to learning that champion cross-disciplinary practice, collaboration and the integration of emerging technologies. In the Age of Imagination, OCAD University community members will be uniquely qualified to act as catalysts for the next advances in culture, technology and quality of life for all Canadians.

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Download this release as a PDF document.

For more information contact:

Sarah Mulholland, Media & Communications Officer
416-977-6000 Ext. 327 (mobile Ext. 1327)

OCAD University appoints David Rokeby as adjunct professor

Monday, February 11, 2013 - 5:00am

(Toronto—February 11, 2013) The Faculty of Art at OCAD University (OCAD U) has appointed Canadian interactive installation artist David Rokeby as Adjunct Professor. His appointment started January 31 and continues until December 31, 2016.

Rokeby is widely considered a pioneer of interactive new media art. His complex digital installations, environmental works and public sculptures explore multi-sensory perception, architecture and embodiment.

“Mr. Rokeby’s deep knowledge of interactive art and commitment to technological innovation will inform and complement our ongoing research and curricular initiatives across the Faculty of Art and OCAD U,” said Vladimir Spicanovic, Dean of OCAD U’s Faculty of Art. “His creativity will surely inspire many of our students and faculty.”

David Rokeby has been creating interactive sound and video installations with computers since 1982. His early work Very Nervous System (1982-1991) is acknowledged as a pioneering work of interactive art, translating physical gestures into real-time interactive sound environments. Very Nervous System was presented at the Venice Biennale in 1986, and was awarded the first Petro-Canada Award for Media Arts (1988) and Austria's Prix Ars Electronica Award of Distinction for Interactive Art (1991).

Several of his works have addressed issues of digital surveillance, including Watch (1995), Taken (2002), and Sorting Daemon (2003). Taken was exhibited at the Witney Museum of American Art in New York in 2007. Another of his surveillance works, Watched and Measured (2000) was awarded the first BAFTA award for interactive art from the British Academy of Film and Television Arts in 2000.

Other works by Rokeby engage in a critical examination of  the differences between human and artificial intelligence. The Giver of Names (1991-) and n-cha(n)t (2001) are artificial subjective entities, provoked by objects or spoken words in their immediate environment to formulate sentences and speak them aloud.

Rokeby's installations have been exhibited extensively around the world. He has been featured in retrospectives at Oakville Galleries (2004), FACT in Liverpool (2007), the CCA in Glasgow (2007) and the Art Gallery of Windsor (2008). He has been an invited speaker at events around the world, and has published two papers that are required reading in the new media arts faculties of many universities.

In 2002, Rokeby was awarded a Governor General's Award in Visual and Media Arts, the Prix Ars Electronica Golden Nica for Interactive Art (for n-cha(n)t) and represented Canada at the Venice Biennale of Architecture with Seen (2002). In 2004 he represented Canada at the São Paulo Bienal in Brazil. In 2007 he completed major art commissions for the Ontario Science Centre and the Daniel Langlois Foundation in Montréal. His 400 foot long, 72 foot high sculpture long wave was featured at the Luminato Festival in Toronto (2009).

In 2011 and 2012, Rokeby was a guest artist at Le Fresnoy Studio Nationale in Tourcoing, France, and artist-in-residence at the Ryerson Image Centre at Ryerson University, in Toronto. He developed substantial new works for exhibitions in both places in 2012. He is currently working in partnership with Michael Awad on a large kinetic mobile for the public art component of the new Ripley’s Aquarium. Rokeby, who graduated from OCAD University’s Experimental Arts program in 1984, is represented by Pari Nadimi Gallery.

OCAD University (OCAD U):
OCAD University ( is Canada’s “university of imagination.” The university, founded in 1876, is dedicated to art and design education, practice and research and to knowledge and invention across a wide range of disciplines. OCAD University is building on its traditional, studio-based strengths, adding new approaches to learning that champion cross-disciplinary practice, collaboration and the integration of emerging technologies. In the Age of Imagination, OCAD University community members will be uniquely qualified to act as catalysts for the next advances in culture, technology and quality of life for all Canadians.

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Download this release as a PDF document.

Sarah Mulholland, Media & Communications Officer
416-977-6000 x327 (mobile x1327)