Back Issues

2013

Volume 38, Issue 1 Cover

Vol 38, No 1 (2013): Media Manoeuvres


Loudmouth Printhouse is an ottawa based, artist run, printing cooperative. Website http://loudmouthprinthouse.com

2012

Volume 37, Issue 4 Cover

Vol 37, No 4 (2012): Tracing Innis and McLuhan


« Satosphère » par André Jodoin. Salon de massage McLuhan est une installation immersive et participative de Luc Courchesne dans la Satosphère.
Volume 37, Issue 3 Cover Image

Vol 37, No 3 (2012): Digital Life


Image courtesy of Loudmouth Printhouse, an Ottawa based, artist run, printing cooperative. Website: http://loudmouthprinthouse.com
Volume 37, Issue 2 Cover

Vol 37, No 2 (2012): Practices of Persuasion


Loudmouth Printhouse is an Ottawa based, artist run, printing cooperative. Website: http://loudmouthprinthouse.com
Volume 37, Issue 1

Vol 37, No 1 (2012): Media Arts Revisited (MARs)


In 2009 Toronto media artist, Nell Tenhaaf completed the interactive sculpture Push/Pull with her LoFi Lab team. This image is a detailed close-up of the surface of Push/Pull, highlighting the visible ends of optical fibre cable and the sculpture's sensuous use of copper wire mesh. Courtesy of Paul Petro Contemporary Art. Photo: Zev Farber.

2011

Cover Page

Vol 36, No 4 (2011): Transitions


Ottawa photographer Hugh Durant took this shot in the Mauerpark near Prinzlauer Berg, Berlin. The park has become a true people's park with a famous flea market. It is surrounded by longer stretches of the Wall than can be normally seen.
CJC Volume 36, Number 3 Cover Image

Vol 36, No 3 (2011): Canadian Fascinations


"Costumed group representing the days of Montcalm and Wolfe and the conquest of Canada at an historical ball. Ottawa, Ontario, February. 1896 (detail)." Topley Studio, Library and Archives Canada, PA-137982
CJC Vol 36, No 2 Cover

Vol 36, No 2 (2011): The Senses of Technology


The Arlington Tests, 1915 (detail). Photographer unknown. 88-159-17669. Beaton Institute, Cape Breton University. With thanks to Michael Longford for suggesting this image.

2010

Volume 35, Issue 4

Vol 35, No 4 (2010)

On December 3, 2004, twenty years to the day since the Bhopal disaster, the Yes Men (http://www.theyesmen.org) infiltrated a major international news outlet to draw fresh attention to an horrific event that had claimed thousands of lives, and permanently poisoned many more. Jude Finisterra (a pseudonym), posing as a spokesperson for Dow (which had recently bought Union Carbide), announced on BBC World Television that the company had decided to take full responsibility for the events in Bhopal. This action, and many more, are featured in the documentary The Yes Men Fix the World (Bichlbaum, Bonanno, & Engfehr, 2009).

Cover image for Vol. 35, Issue 3

Vol 35, No 3 (2010)


EMP blaster bug by Andrew Scott (2004). Acrylic on PVC gel and iron. Andrew Scott is an artist, musician, and sound designer from Vancouver BC. His work is inspired by biology, technology, and science fiction. His robot bugs are among his favourite works, as they were created solely for his own amusement.

Additional photos of Andrew's artwork may be found here. Andrew can be reached at uma@direct.ca.
Cover Image

Vol 35, No 2 (2010)


"La consommation de pornographie chez les hommes gais"

Front cover image by permission of Justin Jorgensen, www.justinspace.com, from his well known series Obscene Interiors: Hardcore Amateur Decor, which he describes as “a collection of real online male personal ad photos and my critique of the decorating found within.”


2009

Volume 34, Issue 4 Cover Image

Vol 34, No 4 (2009): Race, Ethnicity, and Intercultural Communication


"Mustang Suite" was created by Dana Claxton, an interdisciplinary artist who works in film, video, photography, performance, aboriginal broadcasting, and pedagogy. She was born in Saskatchewan of Lakota Sioux descent, and now makes Vancouver, British Columbia, her home. For detailed information see http://www.danaclaxton.com.
Cover image: Surveillence in Vancouver high schools

Vol 34, No 3 (2009)


Surveillance in Vancouver high schools. Image by Richard Smith, aka Flickr user 'smith.' Uploaded 2006. Made available under a Creative Commons Attribution 2.0 Generic license.
CJC 34.2 Cover Image

Vol 34, No 2 (2009): Rethinking Public Relations


The Oui/Non Referendum Indicator (proposed installation for Mont Royal, Montréal).
Photomontage by Matt Soar.
Cover Page

Vol 34, No 1 (2009): Reality/Television


Shirley With Her Colour Cards
by Lorna Roth.

This photo was taken at the Fuji Film and Television Research Lab headquarters in Mt. Fuji, Japan, in 2004. It is part of an ongoing series of colour balance imagery related to Lorna Roth’s international research on technologies, skin colour, and sociocultural cognition. Her book, Colour Balance: Race, Technologies, and “Intelligent Design” is in progress. For more information about her work visit http://artsandscience.concordia.ca/comm/faculty/roth.html.

2008

Cover Page

Vol 33, No 4 (2008)

Cover image, Z_Orb, by Sabine Bitter.

Sabine Bitter works with Helmut Weber. They have collaborated on projects addressing urban geographies, architectural representations, and related visual politics. Their series of photo- and video-works such as Recent Geographies, Caracas Hecho en Venezuela and LIVE LIKE THIS! engage with specific moments and cultural logics of globalization as they are materialized in architecture as a frame for social meaning.

Cover Page

Vol 33, No 3 (2008): Wireless Technologies, Mobile Practices


Photo by Bryce Macfarlane.

[murmur]’s Spadina Avenue installation was launched in October 2005 and funded primarily by Toronto’s “Live With Culture” program.
Cover Page

Vol 33, No 2 (2008): Mediating Spaces

Lake Trout Monument, Great Bear Lodge, August 2003 ..... Peter C. van Wyck

The long abandoned Great Bear Lodge was once a popular fly-in fishing camp situated on the Leith peninsula, a little over 50 km southwest of Port Radium. It was also the site of a 5000' runway used by Eldorado Mining and Refining to receive materials from the south and to transport radium and uranium ores from the mines at Port Radium for processing at Port Hope, Ontario. It is still home to uranium contaminated soil and debris. And the fish.


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