All Voices, Nameless and Singular is a dance performance in which Emilie Morin uses choreography and commercial telecommunication technologies (Skype) to construct images of herself with her own personal laptop and iPhone. The lens of the ‘conventional selfie’ acts as the conceptual framework of her performed and performative experimentations. Morin explores how a conscious embodiment of the choreographed gestures can create new relations within her dancing body, between the body and the images, and between the audience and the images.
Reenacting Archives of Performance Art as Artists’ Game is a research-creation that explores strategies of artistic reenactment of performance archives (Caronia 2009) remediated by video game technologies for artistic purposes (Sharp 2015).
With Compartment_Complex, an interactive multi-screen video installation, Ké Medley asks: how does one subvert analog video’s obsolescence to engender new forms of mediated experience and prevent its eclipse from media history? In appropriating and subverting the aging aesthetic of CRT televisions, his primary objective is to better understand the implications of obsolescence and explore new ways of experiencing materiality.
Medley’s research places itself firmly in the field of Media Archeology. Materiality is a fundamental component of his research, where he investigates both the technical and cultural components of past media objects such as analog video. He is particularly interested in artifacts of mundane life or bygone eras, putting an emphasis “on the forgotten, the quirky, the non-obvious apparatuses, practices and inventions” (Parikka, 2013).