Moving Trailer 2017 – 2019 by Quite Ourselves

Moving Trailer 2017-2019 is a retrospective of three years of the Moving Trailer project. Each year, Moving Trailer took place for a short period of time in a rented truck, which shifted between a state of moving and parked. The pause caused by the global pandemic cut short our already-fleeting public interventions. In this space, we felt an urgency to gather and share our archive. Opening the publication invites you
into scenarios unfolding in different locations in Montreal and Quebec. Always, the interior space of a rented moving truck keeps transforming into something else.

Moving Trailer 2023, CHEUNG LEE GLOBAL (Ahreum Lee & Joni Cheung (Snack Witch)). Photo by Sara Faridamin.

Quite Ourselves is an act of being “quite ourselves,” fostering playful idea sharing and exercises, experimental works and venues, and keeping an open roster for artists who identify with the mandate of the collective. QO was formed under the context of felt issues of minority status, identity, language barriers and experimental art practice which left members feeling marginalized and out of place in their original Montreal art scene. Since QO’s founding in 2017, the group has worked towards highlighting kinship and collaboration through artmaking and exhibition.


Digitized Diasporic Memory by Candide Uyanze

Digitized Diasporic Memory explores the relationship, intersections, connections, and divergences of experiences between Black diasporic people. With an understanding of diaspora as networked, rhizomatic, and tentacled, the project seeks to create a space for connection, in an environment where connection is not easily accessed or sustained.

The project visualizes audio segments from synchronous and asynchronous conversations between several members of the diaspora residing across Turtle Island. Each audio node represents a response to the previous participant’s contribution.

Digitized Diasporic Memory expands Le Cunff’s idea of personal networked thinking into collective thinking, or what can be described as mind-to-mind networks, wherein several individuals connect their ideas. The project is part database, part conversational archive, part open-access library, part collective memory bank, part digitized memory, and part chain of memories which bring to the fore the possible connections between Black diasporic experiences and narratives. It addresses the need for intra-diasporic validation, belonging, understanding across differences, and knowledge-sharing.

Candide Uyanze is an award-winning creative technologist working at the intersections of digital media, access, and open source. She’s particularly interested in exploring themes of memory, identity, and virtually-mediated human connection between members of the African diaspora. She does so using web, video, photography, and tech-driven interactive installations.

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calling tidal by Jasmine Liaw

‘calling tidal’ is an installation where participants/viewers may interact with a tank of water. With an animated floor projection, the piece emulates a colourful, cybernetic space where movement becomes communicative through audio-visual responses. The interactive projection changes based on presence and movement, including water movement, sound frequency, or walking. This use of transparent materials represents nature’s vulnerabilities to economic/industrial decisions by humanity. The piece emulates a portal as if the participant emerges into an urgent calling state with the natural world. Its vibrant colours represent the overwhelmingness and blinding intensity of the space that mirrors climate anxiety. Exploring the paralinguistic response, the immersion of the hand in the water triggers a waterproof JSN-SR04T ultrasonic distance sensor with Arduino. When the sensor is triggered due to the close proximity of the participants’ hand, a Cytron mp3 player shield plays the sound of a voicemail filtered glacier crashing into the ocean.

Jasmine Liaw is a queer emerging Chinese-Canadian interdisciplinary artist. Bicoastal, she works in so-called Toronto and Vancouver. Her connective practice focuses on conceptual realms of dance and digital/new media landscapes. Jasmine is compelled to explore her contemporary views of identity and the agency of climate anxiety.

website | social

Seis8s by Luis N. Del Angel

Seis8s is a web-based computer language that allows real-time interaction with digital audio and localized musical knowledge. Seis8s revolves around Spanish-language commands related to Latin dance music such as Cumbia and Salsa. This music is a 20th-century derivation of Afro-Caribbean rhythms for social dancing that developed in the Hispanic Caribbean.

Seis8s is meant to connect the users (i.e. performer and audience) with cultural layers influencing computer-music languages. This project explores 1) a computer-music language to be derived from Spanish; 2) to appeal to an imagined community in/from Latin America; and 3) to explore how sociocultural commonalities of that community intersect with music software.

Special thanks to Drs. David Ogborn, Christina Baade, and Rossana Lara. Thanks to the Mexican Fund for Culture and Arts (FONCA), the Mexican Council of Science and Technology (CONACYT), and Canada’s Social Sciences and Humanities Research Council (SSHRC).

Luis is currently a Hamilton-based audiovisual interdisciplinary artist. His interests revolve around critical code studies, new interfaces for musical expression, live coding, Latin American musicology, and participatory action research. Luis is a member of the live coding collectives RGGTRN, the Cybernetic Orchestra and Grupo D’Binis.