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Graduate Program in Communication & Culture

Faculty Profiles

Bruno Lessard

Technology in Practice/ Politics & Policy

University   Ryerson University
E-Mail Address   lessard@ryerson.ca
Phone Number   416-979-5000; ext 6854
Office Location   IMA-320
Office Hours   TBA


Education

PhD: Université de Montréal

Postdoctorate (SSHRC): York University

Biography

Assistant Professor of New Media, School of Image Arts, Ryerson University

Research Interests

Interactive media arts; video game studies; software studies; digital animation and motion capture; data visualization; database documentary; contemporary French thought (Foucault, Deleuze, Badiou, Stiegler, Meillassoux, Jullien, Kacem, Laruelle)

Selected Publications

The Object Image: Adaptation and Interactive Media (forthcoming)

 "Go to Hell: Heroism, the Quick-Time Event, and the Simulated World of Dante's Inferno." All Your History: The Middle Ages and Digital Games. Ed. Daniel Kline. (forthcoming) “

Lumières du Nunavut: visualiser l’archive à l’aide de l’image-objet.” Lumières des Lumière. Ed. Alain Fleischer and Jean-Claude Conésa. (forthcoming) “

Gothic Affects: Digitally Haunted Houses and the Production of Affect-Value.” Popular Ghosts: The Haunted Spaces of Everyday Culture. Ed. Maria del Pilar Blanco and Esther Peeren. New York: Continuum, 2010. 213-224.             

“La mémoire projetée: l’image-archive et l’art écranique in situ.” Ensemble ailleurs / Together Elsewhere. Ed. Pierre Tremblay and Louise Poissant. Quebec City: Presses de l’Université du Québec, 2010. 265-272. “

Site-Specific Screening and the Projection of Archives: Robert Lepage’s Le Moulin à images.” Public: Art/Culture/Ideas 40 (2010): 70-82. “

‘It’s the End of the World!’: The Paradox of Event and Body in Hitchcock’s The Birds.” Film-Philosophy 14.1 (2010): 144-173. “

Between Creation and Preservation: The ANARCHIVE Project.” Convergence: The International Journal of Research into New Media Technologies 15.3 (2009): 315-331.

 “Archiving the Gaze: Relation-Images, Adaptation, and Digital Mnemotechnologies.” Save As…Digital Memories. Ed. Joanne Garde-Hansen, Andrew Hoskins, and Anna Reading. New York: Palgrave Macmillan, 2009. 115-128.

 “‘Disparaître, dit-elle’: The Vanishing of Lol V. Stein as (Dis)Embodied Haunting and Invisible Spectacle.” In the Dark Room: Marguerite Duras and Cinema. Ed. Rosanna Maule and Julie Beaulieu. New York: Peter Lang, 2009. 173-190.

 “Cultural Recycling, Performance, and Immediacy in Philip Glass’s Film Music for Godfrey Reggio’s Qatsi Trilogy.” Sound and Music in Film and Visual Media: A Critical Overview. Ed. Graeme Harper. New York: Continuum, 2009. 493-504.

 “Hypermedia Macbeth: Cognition and Performance.” Macbeth: New Critical Essays. Ed. Nick Moschovakis. New York: Routledge, 2008. 318-334.  

“Missed Encounters: Film Theory and Expanded Cinema.” Refractory: A Journal of Entertainment Media 14 (2008). http://blogs.arts.unimelb.edu.au/refractory/2008/12/26/missed-encounters-film-theory-and-expanded-cinema-–-bruno-lessard/

 

 

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Harold [Innis] taught us how to use the bias of culture and communication as an instrument of research. By directing attention to the bias, or distorting power of the dominant imagery and technology of any culture, he showed us how to understand cultures.
~ Marshall McLuhan