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From 2021 to 2024, four distinct immersive audiovisual installations were produced in situ by the MÉDIANE Research Chair. These annual installations, each of them built with scaffolding and audiovisual equipment, presented distinct research-creation approaches as linked to the artistic expression of the sensor-data of trees and their immediate environment. The numerical data were provided and analyzed in collaboration with two scientific groups, Smartforests Canada (UQAM) and DOT-Lab (Université TÉLUQ), which both study the effects of climate change on forest plots in Canada. This essay explores the emergence of a text field resulting from anonymous comments provided in response to one of the seven questions which constituted a semi-structured interview. It was conducted during the presentation of the artworks in outdoor spaces. The interview enabled to conduct qualitative research into the public's experiences and knowledges.

Keywords: Forest data, Données forestières, Contemporary arts, Arts contemporains, Changements climatiques, Climate change, Semi-structured interview, Entretien semi-dirigé, Structure tubulaire, Tubular structure, Citizen voice, Parole citoyenne, Espace négatif, Negative space, Mouvement, Movement, Quantum field theory, Théorie quantique des champs

Keywords: cinéma québécois, cinéma de genre, distribution, réception du cinéma, sous-cultures

AbstractWhat's in a Name ?The Social Construction of Riskfor AIDS in the Moral Imaginationof IV Drug Users in HarlemThis essay profiles the life stories of five individuals from Harlem in New York City, an impoverished community with high levels of drug use and HIV seroprevalence. AU are intravenous drug users, and each profile is concerned with documenting the way in which risk for HIV infection is perceived relative to other kinds of dangers, as well as the way it is managed relative to other kinds of needs. The paper explores the significance of thèse correspondences, locales thèse ideas within the larger social fabric of the community, particularly as they relate to poverty, and explores the implications of thèse correspondences for AIDS intervention.

AbstractIn 1918, Ray Lewis became editor of Canada's principal film trade journal, the Canadian Moving Picture Digest. She soon owned it, too, and stayed in charge until her death in 1954. If it was uncommon enough for a woman to be journalist and editor, it was truly exceptional for a woman to be in a powerful position in the film industry. Lewis' strong character carried into her work as self-appointed protector of Canadian exhibitors' independence. She used the Digest to agitate against Hollywood control, and tried to promote a distinctly Canadian culture of movie-going.

Over the past ten years, Memory Studies has become a multidisciplinary field based primarily in the English-speaking world and in many European countries. This article aims to show how intermediality acts as a “field operator” allowing us to better trace the linkages currently constituting the area of Memory Studies. In its first part, the article explains how the use of the intermedial method enables us to distinguish Memory Studies from the studies of memory practiced in France. While Memory Studies uses intermedial theory to develop a decentralized approach to memory, focusing on dynamics of transfer and displacement, French studies of memory seem to privilege a media perspective related to a more static, patrimonial, and territorial approach. In its second part, the article considers different conceptions of intermediality currently at play in the field of Memory Studies. Despite numerous references to the work of Bolter and Grusin, Memory Studies seem to suffer from a lack of theorization about intermediality. Media thus occupy a paradoxical place within the field, since they are at the centre of the memory chessboard, but at the same time, they are relatively little analyzed as such.

AbstractThis article questions the relationship between the notion of the apparatus and the problematic of reception, as well as the relationship that may be established between a “theory of the apparatus” (Baudry, Metz) and early cinema. The author shows how a certain number of adjustments would allow for the use of the concept “apparatus” in view of a heuristic study of the early period of cinema. In order to advance some new propositions on the transformation of filmic language, the author develops the notions of the “apparatus of reception” and the “apparatus of production.”

AbstractLocating the gendered anthropological subject at the intersection of the global and the local, the author deals with the installation of maquiladoras in the Northern region of Yucatan, Mexico. This process is one of the dimensions taken by globalization in the region. Multinational capital is clearly in search of the cheapest possible labour and the article examines the dynamics of the devaluation of Yucatec Mayan labour. The data, processed within a political economy framework, show that the economic restructuration rests, at a local level, on historically constructed differences in terms of gender, ethnicity and generations. The specific combination of these three factors gives the process of globalization in Yucatan its unique pace. In spite of the fact that ethnic discrimination and the generation gap are important factors in the devaluation of labour in this region, gender inequalities, consolidated and revitalized by the patriarchal state are the most important factor.

Keywords: Labrecque, économie politique, maquiladora, État, Yucatan, Maya, genre, ethnicité, générations, Mexique, Labrecque, political economy, maquiladora, state, Yucatan, Maya, gender, ethnicity, generations, Mexico