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Biographies of the speakers at the fourth annual DOCAM Summit

Bruno Bachimont
A graduate of the École des Mines de Nancy in Computer Engineering, Professor Bruno Bachimont completed a PhD in Computer Science at the Paris VI University, in 1990, on automatic problem solving, as well as a PhD in Philosophy at the École Polytechnique, in 1996, on the relationship between technology and knowledge. Bruno Bachimont is a professor at the Université de Technologie de Compiègne where he teaches computer science, logics and philosophy. He is also the Scientific Manager of the Department of Research and Innovation at the Institut National de l’Audiovisuel (France’s legal deposit institution for all television and radio material). Professor Bachimont is currently involved in knowledge and content engineering from a multidisciplinary perspective, borrowing from philosophy of technology, as well as document and ontological engineering. He has elaborated an original methodology for building and designing ontologies and has been working for many years on multimedia indexing and management. Bruno Bachimont is now involved in digital preservation, particularly that of cultural and artistic contents. In this context, he works at elaborating a digital philology and hermeneutics, at both practical and theoretical levels.

Émilie Boudrias
In 2002, Émilie Boudrias earned a Bachelor’s degree in Communication (Multimedia profile) from Université du Québec à Montréal (UQAM). She is currently a Master’s student in the Communications program at UQAM. Her thesis focuses on the conservation of interactive media. Prior to beginning her Masters program, she worked for more than three years with the Elektra Digital Arts Festival as a development officer. While pursuing her studies, Émilie is participating as a research assistant in the DOCAM Conservation and Preservation Committee, which is chaired by Richard Gagnier.

Guillaume Boutard
A graduate of the Université Pierre & Marie Curie, Guillaume Boutard has been working as a research engineer for seven years at IRCAM. He has been involved in projects dealing with content indexing, semantic network and, since CASPAR, with the preservation of artistic heritage. He has been active also as a festival manager and a live contemporary music performer.

Marie-Ève Courchesne
Marie-Ève Courchesne holds a Bachelor’s degree in Communication (Media profile) from the University of Ottawa and a Master’s degree in Museology from Université de Montréal. With her work oriented towards the democratization and mediation of contemporary art, she never ceases to refine her knowledge of art history and museum practice. Her research efforts focus on heritage, the mediation of contemporary art, and collections management. Marie-Ève is currently a research assistant with the DOCAM Alliance.

Frédérique Dubé
Frédérique Dubé is completing her Master’s degree in Communication Sciences at Université de Montréal, under the supervision of Milton Campos. Her research focuses on the exploration of how three Quebec poets perceive the experience of collaborating on a joint poetry writing project in a discussion forum. Since March 2008, Frédérique has been the head of the multimedia project team at NT2, the Laboratoire de recherches sur les œuvres hypermédiatiques at UQAM.

Rolf Erwin Wolfensberger
Rolf Erwin Wolfensberger’s former academic training includes a PhD in Social History and Historical Anthropology. He is currently the Curator for photography, film and video, and the Conservator for electronic media artworks at the Museum of Communication in Berne, Switzerland. Wolfensberger also represents the Museum within MEMORIAV, the Swiss association for the preservation of the audiovisual cultural heritage. At the moment, he is completing his MA thesis in MediaArtHistories at the Danube University of Krems, Austria.

Richard Gagnier
Richard Gagnier is the Head of Conservation at the Montreal Museum of Fine Arts since Fall 2007. He graduated from the Université de Montréal with a B.Sc. (Honours) in Chemistry, and a minor in Art History, with a strong component on modern and contemporary art, theory and discourse. He completed the course requirements of the Masters program in the Art Conservation (MAC) Research stream at Queen’s University, Kingston, Ontario. In 1984, he joined the team of the Restoration and Conservation Laboratory, at the National Gallery of Canada, where he successively developed an expertise as Assistant Conservator and Conservator of Contemporary Art until 2007. His practice encompasses contemporary art media, such as painting, sculpture, installation, as well as timed-based media. He is currently a researcher within DOCAM, where he leads the activities of the sub-committee Case studies – Conservation. He is the Canadian representative for INCCA in North America (INCCA-NA).

Erik Gebers
Holding both a doctorate and an engineering degree at the Université de Technologie de Compiègne, Erik Gebers currently works as a research engineer at the CNRS, within the Heudiasyc laboratory. He is involved in the CASPAR European project on the preservation of scientific, cultural and artistic heritage. He also works in collaboration with the Innovation Unit “Ingénierie des Contenus et Savoirs” (Knowledge and Content Engineering) on the industrialization of publishing processes.

Ivanka Iordanova
Ivanka Iordanova graduated as an architect from the University of Architecture and Civil Engineering in Sofia, Bulgaria. For the last ten years, she has been specializing in digital architecture and taught studios and courses at the School of Architecture of the Université de Montréal. She recently finished writing her PhD thesis in this domain. As a research assistant at the Canadian Centre for Architecture, she works on the DOCAM project on the conservation and cataloguing of digitally born architectural projects.

Mona Jimenez
Mona Jimenez is an Associate Professor and Associate Director in New York University’s graduate program in Moving Image Archiving and Preservation. Her focus is on video and digital media preservation, and the history and theory of old and new media, including custom electronic devices from the 1970s and 1980s. She has consulted extensively on preservation projects with public television stations, community media stations, museums, libraries, artist spaces, and web-based groups, and was the founding Director of the US national consortium Independent Media Arts Preservation. She has worked on key symposia advancing media preservation practice, including TechArcheology: Installation Art Preservation, as well as the Video History Project (www.experimentaltvcenter.org). She co-wrote, with Liss Platt, the “Videotape Identification and Assessment Guide” (www.arts.state.tx.us/video) and, as a researcher-in-residence at the Daniel Langlois Foundation for Art, Science, and Technology, created a cataloguing template for custom and commercial machines used to make media artworks (http://www.fondation-langlois.org/flash/e/index.php?NumPage=708).

Caitlin Jones
Currently freelance curator, researcher and writer, Caitlin Jones was formerly the Director of Programming at the Bryce Wolkowitz Gallery in New York. Prior to this, Jones held a combined curatorial and conservation position at the Solomon R. Guggenheim Museum. At the Guggenheim, she co-curated the groundbreaking exhibition “Seeing Double: Emulation in Theory and Practice” and coordinated the Deutsche Guggenheim exhibition, “Nam June Paik: Global Groove 2004.” As a key member of the Variable Media Network, Caitlin has also been responsible for developing important tools and policy for the preservation of electronic and ephemeral artworks. She is a staff writer for the new media art organization Rhizome.org and her writings have appeared in a wide range of exhibition catalogues, periodicals and other international publications.

Andrea Kuchembuck
Andrea Kuchembuck holds a B.Sc. in Architecture and Urban Planning from the University of São Paulo, Brazil, and a Master’s degree in Museology from Université du Québec à Montréal (UQAM). Her research focuses on the preservation and management of born digital objects within a heritage context, notably the confluence of archival, library and museological practices. She has worked in the Architecture Archives and Collection Archives at the Canadian Centre for Architecture (CCA), where, as a research assistant for the DOCAM Alliance working under the Head of Conservation, she participated in the conservation and restoration case study of the Embryological House project by Greg Lynn. Currently, Andrea is a research assistant with DOCAM’s Documentation and Archival Management Committee and is working on the digital file of artworks.

Johann Holland
A graduate of the Université de Technologie de Compiègne, Johann Holland is currently a research engineer at a CNRS laboratory where he is involved in projects dealing with the preservation of cultural and artistic heritage. He also works with the Institute for Research and Innovation of the Centre Pompidou, within a program of research and development of cultural and collaborative technologies.

Caroline Seck Langill
Caroline Seck Langill is a Peterborough-based artist whose practice encompasses visual and new media art, curatorial projects and scholarly writing. Over the past decade, she has pursued scholarship in new media art history. As a PhD candidate in Canadian Studies at Trent University and as a researcher-in-residence at the Daniel Langlois Foundation for Art, Science, and Technology (FDL), she has focused on the institutional exclusion of electronic media artwork produced by Canadian artists between 1970 and 1990. Presently, she is an Assistant Professor in Liberal Studies at the Ontario College of Art and Design, where she teaches courses dealing with technology and digital culture.

Alexis Lenk
Alexis Lenk is the Coordinator, Collections Documentation, at the Canadian Centre for Architecture. She graduated from the University of Leicester, with a Masters in Art Gallery Studies, and from McGill University, with an undergraduate degree in Art History.

Corina MacDonald
Corina MacDonald recently completed her Masters degree in Library and Information Studies at McGill University, and currently works as an information analyst at the Canadian Heritage Information Network. She is also a research assistant with DOCAM’s Terminology Committee. Her interests include the social dimensions of information behaviour in technological environments, as well as the representation, use and preservation of digital objects.

Paule Mackrous
Paule Mackrous is a PhD student in Semiology at Université du Québec à Montréal (UQAM) and is studying the effects of presence. Her areas of interest primarily involve emerging Web art forms (hypermedia art, virtual worlds). Through her writing, she is collaborating on a number of current and contemporary art journals and sits on the editorial boards for .DPI, la revue électronique du Studio XX and bleuOrange, revue de littérature hypermédiatique. She is currently working as a research assistant at NT2, the Laboratoire de recherches sur les œuvres hypermédiatiques.

Michal Maša
Michal Maša graduated with his PhD in Computer Science at the Czech Technical University in Prague in 2007. He is currently researching the area of new media art preservation with a special focus on multimedia performances based on motion tracking devices and interactive 3D projections. Over the past several years, he has been working with Polhemus electromagnetic motion tracking systems. He has published several papers at various international conferences, including Eurographics.

Antoni Muntadas
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Yvonne Ng
Yvonne Ng is a recent graduate of the Moving Image Archiving and Preservation program at NYU. She is currently the Junior Research Fellow at Preserving Digital Public Television, an NDIIPP-funded project between WNET, WGBH, PBS, and NYU. Previously, Yvonne worked with media collections at the New York Public Library for the Performing Arts, NYU Libraries Media Preservation Unit, and the Canadian Filmmakers Distribution Centre in Toronto.

Amélie Paquet
Amélie Paquet is a PhD student in Semiology at Université du Québec à Montréal (UQAM). Her work focuses on how the experience of the present is conveyed in 20th century French literature. She holds a Master’s degree in Literary Studies. Her thesis is based on the auto-da-fé and the idea of the burning book. She leads a number of literary blogs on the Internet and has actively participated in the work done at NT2, the Laboratoire de recherches sur les œuvres hypermédiatiques, since its founding.

Sarah Resnick
Sarah Resnick graduated from the Moving Image Archiving and Preservation program at NYU in 2007. She currently works as an archivist at the studio of musician and multimedia artist David Byrne. Previously, Sarah worked with film and media collections at the Museum of Modern Art, Eyebeam, Anthology Film Archives, and NYU Libraries Media Preservation Unit.

Geneviève Saulnier
Geneviève Saulnier obtained a B.A. from the Université du Québec à Montréal (UQAM) and a Certificate in Chemistry from Concordia University in Montreal. In 2003, she completed a Masters degree in the Conservation of Paintings at Queen’s University. Showing a great interest for modern and contemporary art, she has developed her field of expertise through internships at the Canadian Conservation Institute (CCI-ICC) and the National Gallery of Canada (NGC). After working briefly as a research assistant at the Centre de Conservation du Québec (CCQ), she joined the NGC again in 2004, as an assistant for the conservation of contemporary art. Since 2007, Geneviève is in charge of NGC’s modern and contemporary art restoration and conservation department, which includes paintings, time-based media, installations, and sculptures.

Howard Shubert
Howard Shubert is Curator at the Canadian Centre for Architecture where he oversees the archives of Peter Eisenman, John Hejduk, Cedric Price, Aldo Rossi, and James Stirling. He holds degrees in Economics, Art History, and Architectural History from McGill University and the University of Toronto.

Pavel Smetana
Pavel Smetana is the Director of CIANT (Centre International d’Art et des Nouvelles Technologies) that he founded in Prague in 1998. He has managed European projects supported within CULTURE 2000, MEDIA Training and the 5th Framework Programme (IST). He was an expert on New Technologies and Arts at the Council of Europe. In 1996, he co-organized a conference in Prague entitled “A New Space for Culture and Society” and directed the ENTERmultimediale festival (2000, 2005). He is currently the Head of Department of VR-3D-AL at the École Supérieure des Beaux Arts in Aix-en-Provence. He is an artist in the field of virtual and mixed reality, interested in the development of interface technologies. He is the author of several renowned video and interactive installations, including Room of Desires and The Mirror, some of which were awarded prizes, such as the Grand Prix de Locarno and the UNESCO Prize.

Alice van der Klei
Alice van der Klei holds a PhD in Comparative Literature from Université de Montréal; her thesis focused on hypertext. She has published in journals and composite works and is assistant editor of bleuOrange, revue de littérature hypermédiatique. She teaches hypermedia literature at Université du Québec à Montréal (UQAM) and is responsible for information and communication at NT2, the Laboratoire de recherches sur les œuvres hypermédiatiques at UQAM.

Gaby Wijers
Coordinator of collection, preservation and related research at the Netherlands Media Art Institute (Amsterdam), Gaby Wijers has a background in librarianship, theatre and informatics. She participated in various international projects dealing with the documentation and preservation of media art and coordinated the project Preservation of Video Art in the Netherlands. She also participated in “404 Object not found,” the OASIS archive, Inside Installations and is currently the content coordinator for GAMA. Selected publications include: “The Sustainability of Video Art: Preservation of Dutch Video Art Collections”, eds. Gaby Wijers, Evert Rodrigo, Ramon Coelho, Foundation for the Conservation of Modern Art: Amsterdam, 2003; “Control and Preservation of Videotapes: An introduction to the handling, storage and conservation of analogue and digital videotapes”, NL version Cr no. 1, 2002. Since 2005, she edits the online newsletter Monitoring Media Art Preservation with information and news about ongoing research, presentations and publications dealing with video and media art preservation. She is also a guest lecturer at the University of Amsterdam.

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