Abstract and Keywords
This chapter establishes two markers for fifty years of experimental media arts in Canada: Joyce Wieland’s 1967 Bill’s Hat, an expanded cinema event, and Midi Onodera’s To Poll or Not to Poll (2016), the latest in her ongoing series of year-long, Web-based films created for mobile devices, which she has called intimate cinema. This chapter complicates boundaries between histories of contemporary art, film, and video in Canada, and selectively animates the lively people, contexts, events, genres, and networks that have sustained the cultural ecosystems of experimental media arts in Canada. With specific examples drawn from thousands of mediaworks, events, festivals, and symposia, this chapter demonstrates that these ecosystems have been largely self-propelled by artists and mediamakers acting as creative, technical, administrative, pedagogical, and critical advocates since at least the 1960s to ensure the creation of dynamic artworks in dialogue with multiple communities both local and international.
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