Credits – “Bumble Domicile”
Science consultation and technical assistance: Dr. Laurence Packer, Professor of Biology, York University; Dr. James D. Thomson, University of Toronto Department of Ecology and Evolutionary Biology, and lab members Jessamyn Manson and Michael Otterstader; Dr. Stephen L. Buchmann, adjunct professor of Entomology at the University of Arizona; and, Professor Peter Hallett, University of Toronto and Department of Natural History, Royal Ontario Museum, in co-ordination with Koffler Scientific Reserve at Jokers Hill – University of Toronto.
Bee/wasp trading cards: Amro Zayed and Rob Cruickshank (living bee images), Claudia Ratti – Packer Lab, York University (macro images), The Barcode of Life Data Systems (colour-coded DNA barcodes), Jessamyn Manson (text), Kevin Steele (text/image assembly), Anneli West (graphic design) Pin and business card: Kat Cruickshank (bumble bee cartoon), Robert Cruickshank (bumble bee hive image), Anneli West (design).
Bombus impatiens hive generously provided by Biobest Canada. Bombus hive box enclosure by Don Taylor – Bookbinder. Pink Bee–Wasp Condo (Franklin Children’s Garden) enclosure woodworking by Reena Katz. Audio recordings of honey bees made with the assistance of Frank Lindsay at Lindsay’s Apiaries, Jonsonville, New Zealand. Laura Paolini, project manager; Mark Pennock, technical installation; Mark Pellegrino, audio installation.
Resonating Bodies – Bumble Domicile was generously supported through the Drylands Institute, InterAccess Electronic Media Arts Centre, New Adventures in Sound Art and the City of Toronto Parks and Recreation. We also wish to thank Seeds of Diversity, Sujeevan Ratnasingham, Dr. Cory S. Sheffield, Dianna Boothe, Joey Gladding, Gene Threndyle, Michele Bakic, Kevin Steele, Greg Doyle and Nick Steadman.
Artist and Technician Biographies (alphabetically listed)
Anne Barros, RCA, received a BA from the College of New Rochelle and an honours diploma in Gold and Silversmithing from Humber College, Toronto. After further study at the Sir John Cass School of Art in London, England, she began practice as a studio silversmith with a specialty in small functional holloware and flatware. Her work has been featured in exhibitions in Canada, the United States, and Germany, and is included in the permanent collections of the Canadian Museum of Civilization, Seymour Rabinovitch, and the Macdonald Stewart Art Centre. She has received numerous awards, including the Canada Council’s Paris Studio. Recent exhibitions include: Manifesta: vision and mastery in contemporary craft, Gallery Stratford (2004), In Service, Nova Scotia College of Art and Design (2004), Fork Lifting, *new* gallery, Toronto (2003). Contact email@example.com
Robert Cruickshank is a Toronto-based multidisciplinary artist. His work in various media includes electronic, kinetic and robotic installations, sound art, electroacoustic music and lo-fi and stereo photography, and has been exhibited in Toronto and internationally. Much of his activity is associated with InterAccess Electronic Media Arts Centre in Toronto, where he has developed a number of hands-on workshops for artists using electronics. His work combines a knowledge of physical computing with an ongoing fascination with sound, light, and motion, and is as much informed by the kinetic art of the early 20th century as it is by contemporary new media art. Works such as Spiral Inscriber (2005) and Sheep Problem (2007) combine micro-controllers with intricate electro-mechanical systems, reminiscent of early clockwork and mechanical devices, and reflect his interest in obsolete technologies. Many of these works are collaborative in nature, and he has been part of several long-term collaborative projects at InterAccess, such as Space Probe (1998), SenseBus (1999) and Art Interface Device (2001 present). He is also a member of InterAccess’ I/O media, a collective of sound and video artists who explore real-time improvised performance. In addition to his skills in electronics and physical computing, Cruickshank brings an extensive background in broadcast technology to his work, and has been a sought-after advisor to artists seeking technical assistance for many years. He brings to this project his expertise in imaging technology, as well as a life-long fascination with ultraviolet light, which is often incorporated into his own artwork. He has sat on the InterAccess Board of Directors from 1996 to the present Contact robcruic [at] sympatico [dot] ca Web: robcruickshank.net
Rob King is a New Media artist, visualist, programmer and researcher based in Toronto, Ontario. He has a BFA in Image Arts: New Media from Ryerson University, and is currently finishing a MA degree in the Communications and Culture joint graduate program at Ryerson and York Universities. His work explores the social dynamics of networked spaces, the potentials of mobile and ubiquitous computing, dynamic and generative processes, intellectual property issues, and system theory. In 2004-5 Rob developed the Locus Experimental Social Interface, an instant messaging program that used machine learning techniques similar to those used by spam e-mail filters to analyze users online conversations. The program found similarities in the ways people conversed online and visualized the results in a variety of literal and abstract ways. Locus was shown in July 2005 as a part of the Pulse exhibition at the Interaccess Electronic Media Arts Center in Toronto, and prints from Locus were shown at the Ryerson President’s Office Exhibition for 2005-2006. Aside from his experiments in social computing, Rob has developed a number of mobile projects and academic research tools. He is the developer of PlayLive, and PSP2MIDI, two applications that enable artists to control digital audio software wirelessly from a Playstation Portable game console. As a visualist, Rob has developed and performed live visual accompaniment with the Toronto-based improvised AV collective I/O Media, sound artists Smash and Teeny, and electronic musician Sans Soleil. Rob also helped develop the mobile projects VIRJ and Things Left Unsaid for Canadian Film Centre Media Lab, and was the primary developer of the Webivore web-scraper tool used by Ryerson University’s Infoscape Research Lab. Currently Rob is finishing his MA, and developing a tool to easily enable artists to create networked and collaborative artworks, and I/O mashups. Contact rob[ at] e-mu [dot] org Web: e-mu.org
Sarah Peebles is a composer, improviser and installation artist. Her studies have included violin, composition and Japanese traditional musics at the University of Michigan School of Music, Toho Gakuen School of Music (Tokyo), Tokyo Association of Shinto Priests and The Okada guild, among others. Much of her practice focuses on found sound manipulated on computer projected via loudspeakers and/or physical objects, often in conjunction with her acoustic and digitally processed shoh performance (Japanese mouth-organ). Her activities have included music for dance, multi-channel sound, radio, video/film, performance art, new media and improvised performance. Venues and producers include Deutchland Radio, BBC3, Radio-Canada, Radio New Zealand, New Adventures in Sound Art, Open Ears Festival, The Kitchen, SIGGRAPH Electronic Theater Evening, The Adelaide Festival of Arts-The Listening Room (ABC), New Adventures in Sound Art, Festival L’espace du Son, Continuum ensemble and the McCluen Festival of the Future. She has received awards from ASCAP, BMI, the McNight Foundation (ACF) and the Japan Foundation Uchida Fellowship, and grants from the Canada Council for the Arts and other provincial/regional funding. Peebles has collaborated with a wide range of musicians and artists, and her music is available on a number of audio and video publications. Contact sarahpeebles [at] gmail [dot] com Web: sarahpeebles.net