https://prophecysun.com prOphecy sun Wed, 08 Feb 2023 02:08:32 +0000 https://prophecysun.com en https://prophecysun.com/top Sun, 03 Mar 2019 04:41:53 +0000 prOphecy sun https://prophecysun.com/top https://prophecysun.com/bio Sun, 03 Mar 2019 17:20:20 +0000 prOphecy sun https://prophecysun.com/bio prOphecy sun︎ bio&nbsp; cv&nbsp; education&nbsp; press&nbsp; I am an interdisciplinary performance artist, queer, movement, video, sound maker, and mother of three. I have a PhD from Simon Fraser University and an MFA and BFA from Emily Carr University of Art + Design. As a practicing artist-scholar and ecofeminist, I contemplate how new technologies, humanity and environment can engage, collaborate and connect to each other through more-than-human shared spaces of temporality. I define the environment as everything that surrounds us, energy, plants, animals, air, water, land, fire, light, spirituality, dreams, stories, bodies, matter, sound, frequencies, politics, literature and culture. I am living between two cities: Vancouver, on the unceded Musqueam, Squamish and Tsleil-Waututh territories. and Nelson, which is on the unceded traditional territory of the sn̓ʕay̓ckstx, Sinixt Arrow Lakes and the Yaqan Nukij Lower Kootenay Band peoples. These regions hold five generations of my family’s experience as settlers and my research delves into this history from a place of curiosity with the landscape; co-composing with voice, objects; extraction and surveillance technologies; and site-specific feminist engagements along the Columbia Basin region, the West coast and beyond. Following a rich genealogy of feminist knowledge production, my work meshes academic and non-academic sources with intersectional and ecological perspectives, to generate a broader conversation within the canon of feminist media art, celebrating conscious and unconscious moments and the vulnerable spaces of the in-between in which art, performance and life overlap. let’s connect :)︎ instagram vimeo twitter soundcloud fb page fb profile website by Deanna Peters/Mutable Subject in Cargo https://prophecysun.com/education Sun, 05 Feb 2023 04:37:04 +0000 prOphecy sun https://prophecysun.com/education prOphecy sun︎ education Ph.D, School of Interactive Arts and Technology, Simon Fraser University, Canada, 2021&nbsp; dissertation Carrying Others: A Feminist Materialist Approach to Research-Creationadvisors Kate Hennessy, Thecla Schiphorst and Maria Lantin examining committee Stephanie Springgay and Gabriela Aceves-Sepúlveda MFA, Emily Carr University of Art &amp; Design, Canada, 2015 awarded Governor Generals Gold Medal for Highest Academic Standing thesis Objects Wrapped in Dreams Wrapped in Objects advisors Randy Lee Cutler and Maria Lantin examining committee Marina Roy https://prophecysun.com/teaching Sat, 04 Feb 2023 23:37:55 +0000 prOphecy sun https://prophecysun.com/teaching prOphecy sun︎ teaching Teaching,&nbsp;classroom education and lab-based workshop facilitation is an important part of my practice. I lead a variety of interdisciplinary and experimental courses in the Graduate and Undergraduate programs at Emily Carr University of Art + Design. Focus is on creative process, materiality, text, sound, performance approaches and writing production, exhibition, and scholarly dissemination. Courses include Media Core, Performance Studios and Graduate Thesis Writing in the Low-Residency program. I was a Drawing and Colour + Design teacher in the foundation program at VCAD from 2020–21. 2023 Sessional Instructor, NMSA-PERF 200-S001, Performance Art Studio Emily Carr University of Art + Design This course facilitates a broad skill and technical level for students interested in focusing on or incorporating performance art into their practice. It introduces issues relevant to performance art today and facilitates the development of a range of performance skills. Students will acquire fundamental skills in the medium and develop an understanding of various approaches, genres, and methods of dissemination and documentation. Students address various contemporary and historical performance concerns through a series of assigned projects, including some based on duration, collaboration, and personal exploration. Students develop a concept and thematic/subject area into clear and concise project proposals and public engagement. Classes combine performance exercises, workshops, readings, and discussions with individual and group critiques. Sessional Instructor, FNDT-160-S005, Core Media Studio I Emily Carr University of Art + Design This course explores creative expression through media forms such as photography, video, sound and immersive installation. Throughout the course, students will explore iterative processes and creative approaches to practice and play using handheld, mobile and accessible technologies and open-source programs. Workshops focus on experimental approaches to sound composition, animation, photography, video recording, editing and post-production. The course includes lectures, guest workshops, artist talks, critiques, formative exercises and projects that will culminate in a series of immersive artworks. Sessional Instructor, GSML-600-S091, Graduate Seminar IV-Projections + Indications Emily Carr University of Art + Design Critically engaged, research-based creative practices dialogue interacts with historical precedents... This course is designed to support the MFA student’s thesis project and essay in the final stages by providing a platform for the discussion of student research, studio work and professional skills for carrying out and effectively communicating research. By the end of the course students will have presented their work in an open critique, honing skills for effectively engaging in and communicating their research. 2022 Foundation Professor, Colour and Design Visual College of Art &amp; Design This course introduces students of all disciplines to the fundamental principles of design and colour theory, such as layout, composition, and balance as well as the theories of colour and how to use color creatively. These concepts will be presented in theory as well as reinforced through specific practical exercises and activities that will serve to demonstrate how each of the concepts is integrated into good design.&nbsp;Topical coverage includes terminology of design, composition, negative space, colour systems and theory, colour and light, tone, hue, saturation, and value of colour, human element of colour. Foundations Professor, Drawing 1 Visual College of Art &amp; Design An introductory level drawing course designed to have students apply the fundamental concepts of drawing, students will experiment with the use of basic shapes and techniques in drawing simple objects comprised of lines, shapes, forms, and shading patterns. This course will cover the notions of perspective, scale, and proportions and their role in the production of realistic looking drawings. Students will gain an understanding of light source placement and shadow casting and how these translate into a final drawing. Students will also receive instruction on the basics of composition. Students will be able to practice the various techniques learned throughout the course by developing drawings in a progressive manner. Sessional Instructor, NMSA 305 SU31B Special Topics in Performance and Technology Emily Carr University of Art + Design ...focuses on the immersive interplay between movement, bodies, light, sound, installation, and digital media technologies.&nbsp;It explores historical and contemporary approaches to performance through various projects, exercises, readings, presentations, and other dissemination. During the semester, students will work both individually and collaboratively to create a series of experimental projects using various technologies. Sessional Instructor, FNDT-160-S036, Core Media Studio I Emily Carr University of Art + Design ...provides a core experience in media. It introduces students to vocabularies, techniques, and methodologies of photography and media arts, including aspects of video, sound, performance, and multi-media installation. Through workshops and in-class studio sessions, discussions, and critiques students will explore a range of approaches and processes that form the basis of media arts. This course will emphasise content, creative process, research, and critical issues in photography and media arts practices, in conjunction with the acquisition of basic technical skills. Sessional Instructor, GSML-604-S091, Media + Visual Arts Graduate Seminar, Projections + Indications Emily Carr University of Art + Design As students enter the actualisation phase of the Thesis Project, this course provides the major forum for discussion and critique of ongoing and integrated theoretical and practical work. Regular contributions to the Virtual Studio are required as specific deliverables for this course. This course is focused on supporting the MFA student in the development of the Exhibition Support Paper and Final Thesis Project Presentations. Through various writing assignments, presentations, and group critiques, you will be asked to examine and take responsibility for the theoretical and artistic precedents you are working with and which influence your creative practice. Class discussions, writing assignments and presentations will help you in the process of contextualising you're artistic research in relation to contemporary issues and debates. Relevant readings may also be added to those outlined below. This seminar is intended to provide a space in which you can continue to develop your own critical writing, while honing skills for effectively engaging in and communicating your research. Foundations Professor, Drawing 1 Visual College of Art &amp; Design ...an introductory level drawing course designed to have students apply the fundamental concepts of drawing. Students will experiment with the use of basic shapes and techniques in drawing simple objects comprised of lines, shapes, forms, and shading patterns. This course will cover the notions of perspective, scale, and proportions and their role in the production of realistic looking drawings. Students will gain an understanding of light source placement and shadow casting and how these translate into a final drawing. Students will also receive instruction on the basics of composition. Students will be able to practice the various techniques learned throughout the course by developing drawings in a progressive manner. Foundation Professor, Colour and Design Visual College of Art &amp; Design ...introduces students of all disciplines to the fundamental principles of design and colour theory, such as layout, composition, and balance as well as the theories of colour and how to use color creatively. These concepts will be presented in theory as well as reinforced through specific practical exercises and activities that will serve to demonstrate how each of the concepts is integrated into good design.&nbsp;Topical coverage includes terminology of design, composition, negative space, colour systems and theory, colour and light, tone, hue, saturation, and value of colour, human element of colour. 2021 Foundations Professor, Drawing 1 Visual College of Art &amp; Design ...an introductory level drawing course designed to have students apply the fundamental concepts of drawing. Students will experiment with the use of basic shapes and techniques in drawing simple objects comprised of lines, shapes, forms, and shading patterns. This course will cover the notions of perspective, scale, and proportions and their role in the production of realistic looking drawings. Students will gain an understanding of light source placement and shadow casting and how these translate into a final drawing. Students will also receive instruction on the basics of composition. Students will be able to practice the various techniques learned throughout the course by developing drawings in a progressive manner. Foundation Professor, Colour and Design Visual College of Art &amp; Design ...introduces students of all disciplines to the fundamental principles of design and colour theory, such as layout, composition, and balance as well as the theories of colour and how to use color creatively. These concepts will be presented in theory as well as reinforced through specific practical exercises and activities that will serve to demonstrate how each of the concepts is integrated into good design.&nbsp;Topical coverage includes terminology of design, composition, negative space, colour systems and theory, colour and light, tone, hue, saturation, and value of colour, human element of colour. Co-Instructor w/Soressa Gardner &amp; Janine Island, SoundJars Vancouver New Music This 4-day online series of workshops and creative sessions invited participants to think in new ways about sound as music. Working both independently and collaboratively, they generated a series of short sound works that helped determine the functions of a new website where others can play with visual-to-sound converters, remix their sound contributions and add their own material to the library. Instructor, Sonic Imaginaries 2: Voice, Performance and Creative Composition, Studio Lab Course Oxygen Art Centre This online studio course surveys the diverse ways sound is implemented as a creative expression in contemporary art practices, installations, soundwalks, public art, theatre, live performance and musical production. Each week explores the crucial role sound plays in the everyday and how it emerges as a strategy to generate new experiences. Throughout the sessions, students work both independently and collectively with DIY tools and other prompts to build and produce a series of experimental sound compositions. Also included are guest speakers who will discuss processes and approaches to sound creation. All levels of experience and creative backgrounds are welcome. 2020 Instructor, Sonic Imaginaries: An Introduction to Creating Electronic Compositions, Studio Lab Course Oxygen Art Centre This online beginner level studio course explores a wide range of methods and conceptual approaches to creating electronic sound. Each week will explore how sound emerges and will survey conceptual and methodological techniques used in music, video, sound art, and other artistic production. Throughout the session’s students will develop, critique, build upon and create an audio-based composition or artwork that expresses their creative voice in a temporal form. Teaching Assistant (Fall), Graduate Colloquium, School of Interactive Arts + Technology Simon Fraser University This Graduate Research Colloquium aims to be a forum for the building of community, for exposure to diversity of research work and method, for fostering understanding of disciplinary commonalities and differences. The class reflects this by exposing students to a broad range of approaches to methods and research in the areas of Interactive Arts, Design, Science, and Technologies. Through this colloquium series, presentations by SIAT faculty, SFU non-SIAT faculty and outside visitors will be scheduled alongside presentations by students. Where possible, presentations by international visiting researchers will be integrated into the program. The emphasis is on a community of research which includes students. The Colloquium is seen as an important counterpoint to the introduction to the research methods course. 2017 Facilitator, Sonic Playground, Between A and B, Vancouver Big Draw Pandora Park Fieldhouse In this hands-on experimental workshop participants explored how to create looping, sound scores using smartphone devices, pedals, tapes, voice, small instruments and intuition. The participants created solo and collaborative pieces comprised of sounds from the landscape, bodies and voice. Techniques and skills learned applied to a wide range of creative projects. 2016 Facilitator, Vocal Playground, Studio Lab Course Pandora Park Fieldhouse This hands-on experimental workshop explores the voice and natural/urban environmental sounds such as the wind, birds, cars, or refrigerators. Participants created looping, textural sound scores comprised of sounds from the landscape and from their own bodies. Using pedals, tapes, voice, small instruments and intuition, participants created solo and collaborative projects. Techniques and skills learned applied to a wide range of creative projects. 2015 Co-Facilitator, spaceDisplaced: Investigating Presence Through Mediated Participatory Environments Workshop w/ Shannon Cuykendall &amp; Kristin Carlson Emily Carr University of Art + Design, and University of California This interdisciplinary telepresence workshop linked four physical spaces, performers and participants through a series of experimental telepresence exercises. The goal was to explore personal, social and environmental forms of presence and how the experience of presence in separate spaces is influenced by the scale, function, sonic potential and accessibility of the space that each person inhabits. Our findings led to new insights about the experience and facilitation of presence at a distance. 2014 Invited Co-Facilitator, Food + Art, Social Practice w/Luciana D’Anunciacao, Faculty of Culture &amp; Community Emily Carr University of Art + Design This undergraduate class focused on sensory approaches, unlearning techniques, food, performance and community engagement practices. Particular focus was on developing tools for activating, sustaining and expanding creative processes through exercises that helped students embody sharing space, eating and interaction. We led students through various sensorial experiments and discussions in the classroom, offsite and in the studio. The final material was presented to the class. Invited Facilitator, Movement and Sound Workshop, Voxy Choir, Improvisation series CBC Regional Broadcast Centre Vancouver This workshop introduced participants to a series of experimental vocal and movement exercises that stretched beyond their prescribed confines. Through artistic explorations, lecture demonstrations, theoretical discourse, and active participation, students learned how to explore how to use voice and body beyond words. Particular focus was on improvisational techniques, experimentation, interdisciplinary methods, and group and solo projects. The goal of this workshop was to encourage, liberate and transform participant’s ideas on consciousness, interactions, and help them learn new tools and exercises to connect mind, and body. 2013 Invited Facilitator, Movement and Sound Empowerment Workshop, Girls Rock Camp Vancouver Urban Native Youth Association This program spanned over one day. Participants ranged in age from 8-16 years old. Through a series movement exercises, students learned about personal space, experimentation, and how to be comfortable in their own body. During these sessions, students worked independently, in groups and pairs to develop pieces that pushed beyond confines, challenged them to perform in front of an audience and to use their voice and body through various experimental exercises, improvisational techniques, and interdisciplinary methods. 2012 Invited Co-Facilitator, Movement and Sound Workshop Series w/ Dandi Wind Opaine, S.P.A.C.E. Camp Chapel Arts Centre This workshop series was organised for participants of S.P.A.C.E. Camp (Skills for Performing Artists through Community Engagement), organised in conjunction with the Safe Amplification Site Society, a Vancouver organization that promotes the legitimacy of music and arts for participants of all ages. This workshop spanned over 1 day and participants ranged in age from 20-40 years old. Students learned how to use their voice and body through various experimental exercises, improvisational techniques, interdisciplinary methods, and group/solo projects and activities. The goal was for participants to feel more comfortable performing in front of an audience and to learn new tools and exercises to connect mind, body, and consciousness. Invited Facilitator, DTES Women’s Rock Camp Empowerment Workshop Chapel Arts Centre, This workshop spanned over 3 days and was organised by the Downtown Eastside Women’s Organization. Participants were introduced to a series of experimental vocal and movement exercises that stretched beyond their prescribed confines. Through artistic explorations, demonstrations, and active participation, students learned how to explore how to use voice and body beyond words. Facilitator, Movement and Sound Empowerment Workshop, Girls Rock Camp Vancouver Urban Native Youth Association This program spanned over one day. Participants ranged in age from 8-16 years old. Through a series movement exercises, students learned about personal space, experimentation, and how to be comfortable in their own body. During these sessions, students worked independently, in groups and pairs to develop pieces that pushed beyond confines, challenged them to perform in front of an audience and to use their voice and body through various experimental exercises, improvisational techniques, and interdisciplinary methods. 2011 Facilitator, Vocal Instructor, Girls Rock Camp Vancouver Urban Native Youth Association This program spanned over 1 week. Participants ranged in age from 8-16 years old and were divided into groups to form a band. I led students through a series of vocal sessions and exercises, which taught students to find their creative voice. Particular focus was to inspire girls to create their own music compositions, and record and perform the final material in front of peers, audiences and teachers. During these sessions, I worked with students independently, in groups and pairs to develop their vocal range, confidence and delivery to pieces to show to an audience. Facilitator, Empowerment and Self Defence Workshop, Girls Rock Camp Vancouver Urban Native Youth Association This program spanned over one day. Participants ranged in age from 8-16 years old. Through a series movement and self-defence exercises, students learned about personal space, how to identify unsafe conduct or interactions and to defend themselves. Students worked in pairs, groups and one on one. During these sessions, students worked independently, in groups and pairs to develop pieces to show to an audience. Invited Facilitator, Movement, Vocal &amp; Pedal Workshop, Rock Camp Galiano Island This program was composed of local youth ranging in age from 6-16 years old. The classes spanned over 1 week. Participants were divided into various bands and creative pairs to learn how to be part of a creative team, and ongoing experimental processes, full of attempts and failures. Particular focus was on inspiring participants to create their own music compositions, and record and perform the final material. Participants explored various techniques such as vocal improvisation, unlearning practices: performance, dance and movement, public intervention, meditation, intuition training, and zine making. During these sessions, students worked independently, in groups and pairs to develop pieces to show to an audience. 2010 Co-Facilitator, Vocal Instructor w/ Leif Hall, Girls Rock Camp Vancouver Urban Native Youth Association This program spanned over 1 week. Participants ranged in age from 8-16 years old and were divided into groups to form a band. We led students through a series of vocal sessions and exercises, which taught students to find their creative voice. Particular focus was to inspire girls to create their own music compositions, and record and perform the final material in front of peers, audiences and teachers. During these sessions, we worked with students independently, in groups and pairs to develop their pieces to show to an audience. Invited Facilitator, Movement and Vocal Workshop, Rock Camp Galiano Island This program was composed of local youth ranging in age from 6-16 years old. The classes spanned over 1 week. Participants were divided into various bands and creative pairs to learn how to be part of a creative team, and ongoing experimental processes, full of attempts and failures. Particular focus was on inspiring participants to create their own music compositions, and record and perform the final material. Participants explored techniques such as vocal improvisation, unlearning practices, performance, dance and movement, public intervention, meditation, and zine making. During these sessions, students worked independently, in groups and pairs to develop pieces to show to an audience. Facilitator, Vocal Instructor, Girls Rock Camp Vancouver Urban Native Youth Association This program spanned over 1 week. Participants ranged in age from 8-16 years old and were divided into groups to form a band. We led students through a series of vocal sessions and exercises, which taught students to find their creative voice. Particular focus was to inspire girls to create their own music compositions, and record and perform the final material in front of peers, audiences and teachers. During these sessions, we worked with students independently, in groups and pairs to develop pieces to show to an audience. 2009 Co-Facilitator, Vocal Instructor w/Jenny Jones, Girls Rock Camp Vancouver Urban Native Youth Association This program spanned over 1 week. Participants ranged in age from 8-16 years old and were divided into groups to form a band. We led students through a series of vocal sessions and exercises, which taught students to find their creative voice. Particular focus was to inspire girls to create their own music compositions, and record and perform the final material in front of peers, audiences and teachers. During these sessions, we worked with students independently, in groups and pairs to develop pieces to show to an audience. Co-Facilitator, Vocal Workshop w/Jenny Jones &amp; Mel Mundell, Girls Rock ‘n’ Roll Camp Portland This program spanned over 2 weeks. Participants ranged in age and were divided into groups to form a band. Students learned what it was like to be part of a creative team, and ongoing experimental processes, full of attempts and failures. Particular focus was to inspire girls and gender non-conforming folks to create their own music compositions, and record and perform the final material. Participants explored various techniques such as vocal improvisation, unlearning practices: performance, dance and movement, public intervention, meditation, intuition training, and expressive arts practices. During these sessions, students worked independently, in groups and pairs to develop pieces to show to an audience. https://prophecysun.com/writing Sun, 05 Feb 2023 05:15:47 +0000 prOphecy sun https://prophecysun.com/writing prOphecy sun︎ writing My writing is primarily focused on emergent trends and discussions of research-creation and feminist art-based practices. The following book chapters, journal articles, papers, exhibition catalogues and other publications contribute to a growing body of feminist media production in the arts and humanities. Collectively, the works demonstrate collaboratively shaped production methods, intersectional and experimental approaches to performance, improvisation, sound, media art, film, and the human body in relation to the landscape and domestic spheres. editorial position 2020–present Arts Editor,&nbsp;Ecocene: Cappadocia Journal of Environmental Humanities editorial board Donna Haraway, Iris van der Tuin, Cecilia Åsberg, Jørgen Bruhn advisory board Stacy Alaimo, Jane Bennett, Jussi Parikka, Ursula K. Heise In this position, I am responsible for communications, content development, curation, submission edits and other editorial duties. Ecocene is a digital, open-access, peer-reviewed, international, and transdisciplinary journal of the Environmental Humanities that aims to develop new insights and theories about the current material and conceptual challenges in the field. The journal invites submissions that transcend disciplinary categories, allowing us to rethink and reimagine the human-nonhuman relationalities on our damaged planet to ensure a livable future. publications 2023. art/mamas. art/mamas: Intermedial Conversationson Art, Motherhood and Caregiving. With the generous support of Access Gallery, the Canada Council for the Arts, VIVO Media Arts Centre, and the Confederation of University Faculty Associations of British Columbia (CUFA BC). Vancouver, B.C. ISBN 978-1-77749921-2. peer reviewed book chapters 2023.&nbsp;Sun, Prophecy. Zinovieff, Freya. “Field Recordings.” Handbook of Sound Design. Chapter 8. Routledge Press, 2023. (Forthcoming). &nbsp; 2023.&nbsp;Sun, Prophecy. Motut-Firth, Monique. “Collaborative and Integrated Approaches to Sound Design.” Handbook of Sound Design. Chapter 19. Routledge Press, 2023. (Forthcoming). &nbsp; 2022.&nbsp;Sun, Prophecy. “Maternal Poetics of Care in Plastic Spaces.” Mothering: Processes, Practices and Performance. Chapter 11. Routledge Press, 2022. 2022.&nbsp;Sun, Prophecy. Carlson, Kristin. Zinovieff, Freya. (2021). “Sonic Poetics of the Tidal Flats.” Designing Interactions for Music and Sound. Chapter 4. Routledge Press. 2022.&nbsp;Sun, Prophecy. Muntean, Reese. (2021). “A Feminist Approach to Digital, Temporal and Auditory Poiesis.” Resonant Practices in Communities of Sound. (Forthcoming). &nbsp; 2021. Sun, Prophecy. Carlson, Kristin. Hennessy, Kate. (2021). “Research-Creation as a Generative Approach to Sound Design.” Doing Research in Sound Design. Chapter 10. Routledge Press, 2021. 2020. Carlson, Kristin. Sun, Prophecy. Corness, Greg. “Interfaces for Sound Installation.” Foundations in Sound Design: A Multidisciplinary Approach. Chapter 6. Routledge Press, Pp. 120-140. 2019. Sun, Prophecy. “The Atemporal Everyday.” Survey publication: Surrey Urban Screen, Surrey Art Gallery Press, Pp. 53-58. 2019. Corness, Greg. Sun, Prophecy. Carlson, Kristin. “Toys and Playful Devices: A Case Study.” Foundations in Sound Design: A Multidisciplinary Approach. Chapter 14. Routledge Press. Pp. 335-363. peer reviewed journal articles 2022.&nbsp;Sun, Prophecy. (2022). “Thresholds of Perception.” Ecocene: Cappadocia Journal of Environmental Humanities. Volume 3, Issue 5, Summer 2022. (In Press). 2021. Sun, Prophecy. (2021). “Migratory Horizons and Human Futures.” Ecocene: Cappadocia Journal of Environmental Humanities. Volume 2, Issue 4, Winter 2021. 2021. Sun, Prophecy. (2021). “Intertidal: A Polymorphous Unfurling of Pasts, Presents and Futures.” Network in Canadian History &amp; Environment | Nouvelle initiative Canadienne en histoire de l'environnement, October 19, 2021. Online. 2021.Sun, Prophecy. (2021). “Elemental Entanglements.” Ecocene: Cappadocia Journal of Environmental Humanities. Volume 2, Issue 3, Summer 2021. 2021. Sun, Prophecy. (2021). “Fluvial Memories.” ReIssue Magazine. Creatives. Online. 2021. Sun, Prophecy. Muntean, Reese. (2021). “The Rise of Flâneuse Landscapes.” Papers on Literature and Language. Special Issue: Decentring the Avant-garde. 2021.Sun, Prophecy. Zinovieff, Freya. Aceves-Sepulveda, Gabriela. DiPaola, Steve. (2021). “Mitochondrial Crossings.” Feral Feminisms: Issue 10. 2020. Sun, Prophecy. “Environmental Traces.” Ecocene: Cappadocia Journal of Environmental Humanities. Volume 2, Issue 2, Winter 2020. 2018. Sun, Prophecy. "Traces of Motherhood, LandEscape: Contemporary Art Review, Performance and New Media. Anniversary Publication. 8th Edition. Pp. 4-29. 2017. Carlson, Kristin. Sun, Prophecy. Cuykendall, Shannon. Schiphorst, Thecla. Lantin, Maria. Corness, Greg. “Beyond the Here and Now: Exploring Threaded Presence in Mediated, Improvised Performance,” MIT Press: PRESENCE: Teleoperators and Virtual Environments 26.2 (2017): 97-110. 2016. Sun, Prophecy. “Motherhood: An Artistic Exploration of Experience, Subjectivity, and Relationships.” The Soundtrack-Intellect Journals. 8 pages. 2015. Sun, Prophecy. “Orchard.” The Journal of Comparative Media Arts: Failure. Issue 1. Pp. 44-48. magazine articles 2016. Sun, Prophecy. “Send and Receive,” Woo Magazine, Winter Issue. Emily Carr University Press. Pp. 36- 37. 2015. Sun, Prophecy. “Weather Balloons and Practice.” Art Reveal Magazine. Issue 01. Pp. 46-52. 2014. Sun, Prophecy. (2015). “Condensation and other moments.” Woo Magazine, Spring 2015, Emily Carr University Press. Pp. 16-18. 2014. Sun, Prophecy. (2014). “Time is Precious,” Invisible City Magazine: Habitat, Issue #8, Australia. Pp.18-20. refereed conference proceedings 2022. Sun, Prophecy. Zinovieff, Freya. Aceves-Sepúlveda, Gabriela. DiPaola, Steve. “Sonic Ecologies of Bodies and Place: Multimodal Narratives.” Anthropology, AI and the Future of Human Society virtual conference (RAI2022). Panel R02 “Critical Research-Creation Engagements with Artificial Intelligence: New Works from the Making Culture Lab and CriticalMediaArtsStudio (cMAS). June 6-10, 2022. 2019. Sun, Prophecy. Zinovieff, Freya. Aceves-Sepúlveda, Gabriela. “Mothering Bacteria: The Body as an Interface.” Creativity and Cognition (C&amp;C2019). San Diego, California. June 23-26, 2019. Pp. 455-460. 2019. Carlson, Kristin, Corness, Greg. Sun, Prophecy. “Active Listening: Encouraging Sound Awareness Through Tangible Sonic Toys.” Interaction Design and Children (IDC2019). Boise, Idaho. June 12-15,2019. Pp. 334-338. 2017. Sun, Prophecy. Carlson, Kristin. Bizzochi, Jim. Schiphorst, Thecla. “Urban Mesh: Exploring Data, Biological Processes and Immersion in the Salmon People," 23rd International Symposium on Electronic Arts. Pp. 47-56. 2017. Cuykendall, Shannon. Sun, Prophecy. Muntean, Reese. DiPaola, Steve. Schiphorst, Thecla. “A Framework for Hybrid Multimodal Performances.” Electronic Visualization and the Arts Proceedings, EVA2017. London England. July 10-13, 2017, (8 pages). 2016. Sun, Prophecy. Cuykendall, Shannon. Carlson, Kristin. Schiphorst, Thecla. Lantin, Maria. “spaceDisplaced: Investigating Presence Through Mediated Participatory Environments.” Proceedings of the 3rd International Workshop on Movement and Computing (MOCO2016). Thessaloniki, Greece, July 2016 (8 pages). 2015. Cochrane, Karen. Sun, Prophecy. Carlson, Kristin. Lantin, Maria, Schiphorst, Thecla. “Mother, Body, and Weather: An Artistic Exploration of Transcending the Physical Experience of Motherhood.” Proceedings of the 21st International Symposium on Electronic Art (ISEA2015), Vancouver, BC, August 2015. Pp. 442-449. exhibition catalogues 2023. Gabriela Aceves-Sepúlveda, Matilda Aslizadeh, Robyn Laba, Natasha McHardy, Maria Anna Parolin, Heather Passmore, Sarah Shamash, prOphecy sun and Damla Tamer. “art/mamas in conversation.” Access Gallery. 2022. Sun, Prophecy. “Queering the Dams.” Hall Press. Pp. 1-41. 2021. Sun, Prophecy. “Intertidal.” Simon Fraser University and Hall Printers. Pp. 1-47. 2020. Sun, Prophecy. “Feminist Bodies in Posthuman Mountain Imaginary.” Oxygen Art Centre and Hall Press. Pp. 1-44. 2019. Sun, Prophecy. Fleet, Darren. “Nostalgic Geography.” Oxygen Art Centre and Hall Press. Pp. 1-40. 2019. Sun, Prophecy. Zinovieff, Freya. Aceves-Sepúlveda, Gabriela. Ecologies of Transformation. Exhibition Catalogue. Creativity and Cognition, 2019. Pp. 5. 2016. Sun, Prophecy and Mirae Rosner. In Vancouver: Dance in Vancouver Festival. The Dance Centre Publication. Vancouver, BC, pp. 8-9. 2015. Sun, Prophecy. Arcuri, Amanda, Motuh-Firth, Monique. Fluevog, Britta. Extensions. M.F.A. Graduate Exhibition Catalogue Publication. Pp. 2-3. 2015. Sun, Prophecy. Rosner, Mirae. “Send and Receive.” ISEA 2015. Oscillations Program. LocoMotoArts/Vancouver New Music. Charlson Park, Vancouver, BC. Pp. 7-8. 2013. Sun, Prophecy. “New Moon.” Hammock Thoughts: 2006–2013. Book Insert. Project Space Press, Vancouver BC, 2013. 2010. Sun, Prophecy and Jones, Jennifer. “Feminoise: Her Jazz:” Vancouver Women in Noise. Ltd Pub CD. Vancouver BC. Pp. 6-8. 2010. Sun, Prophecy and Bond, A. R. “Quilt of Mirrors.” Anniversary Publication: Signal and Noise Media Festival. Publication Studio: Vancouver, BC. Pp. 10-11. refereed presentations 2022. Sun, Prophecy. Zinovieff, Freya. Aceves-Sepúlveda, Gabriela. DiPaola, Steve. “Sonic Ecologies of Bodies and Place: Multimodal Narratives.” Anthropology, AI and the Future of Human Society virtual conference (RAI2022). Panel R02 “Critical Research-Creation Engagements with Artificial Intelligence: New Works from the Making Culture Lab and CriticalMediaArtsStudio (cMAS). June 6-10, 2022. 2021. “Intertidal: Compositions for the Fraser Lowlands.” (ASLE2021), Emergency. July 26-Aug 6, 2021. Online. 2021. “Carrying Others.” w/ Reese Muntean. UAAC/AAUC Conference, October 19, 2021. Online. 2021. “Crows in Conversation.” w/ Darren Fleet. Conference on Communication and Environment. International Environmental Communication Association (IECA). June 21-24, 2021. Online. 2021. “Feminist Materialist Approaches to Research-Creation.” Canadian Communication Association 2021 Conference, Congress and the University of Alberta, Edmonton Alberta, June 1-4, 2021. 2021. "Queering the Dams.” The Sounding Body: Site of Trouble and Transcendence. Eavesdropping London Symposium 3, UK, April 24, 2021. 2020. “Feminist Bodies in a Posthuman Mountain Imaginary,” Association of Literature, Environment, and Culture in Canada conference (ALECC), June 17-20, 2020, Saskatoon, Saskatchewan. 2019. “Research-Creation as an Emergent, Feminist Methodology,” UAAC/AAUC Conference, October 27, 2019. Quebec. 2019. Prophecy Sun and Freya Zinovieff, “Mothering Bacteria: Shifting Boarderlands in Algorithmic Spaces," Association for the Study of Literature and Environment (ASLE2019), Paradise on Fire, University of California, Davis, June 29, US. 2019. “Digital, Temporal and Auditory Poiesis: The Smartphone as an Artistic Tool.” Simon Fraser University. May 31, 2019. Vancouver BC. 2017. “Uncanny Duets: An Exploration of Maternal Subjectivity and Weather Balloons.“ Panel: “Strange Weather: Atmospheric Conditions in Art and Design,” UAAC/AAUC Conference, October 13, 2017. Banff, AB. 2017. “A Framework for Hybrid Multimodal Performances.” Electronic Visualization and the Arts (EVA2017). July 12, 2017. London UK. 2016. “Motherhood: An artistic Exploration of Experience, Subjectivity, and Relationship,” CINESONICA 5-Celebrating the Soundtrack, Oct 1, 2016. Muncie Indiana, US. 2016. “spaceDisplaced,” International Workshop on Movement &amp; Computing (MOCO2016), Greece. 2015. “Mother, Body, and Weather: An Artistic Exploration of Transcending the Physical Experience of Motherhood,” 21st International Symposium on Electronic Art (ISEA2015), August 17, 2015. Vancouver BC. 2015. “The Body Chance and Improvisation.” UBC Graduate Symposium, Time, Changes: Improvisation, History and the Body, June 21, 2015. Vancouver BC. https://prophecysun.com/press Wed, 08 Feb 2023 02:08:32 +0000 prOphecy sun https://prophecysun.com/press prOphecy sun︎ press external reviews and publicity 2021 ARTiculate Magazine. Feature Queering the Dams. Erin Maconachie. Fall/Winter, 2021-22. Discorder Magazine. Lucus Lund. Under Review. SkyCat. Three Walks: Deep Listening in the Intertidal Zone, Shalon Webbre-Herfferman. 2020 The Georgia Straight. Otoniya Juliane Okot Bitek, Eden Robinson, Fabian Romero, and prOphecy sun chosen as 2020-21 Shadbolt Fellows. 2019 Canadian Art. Nostalgic Geography: Mama and Papa Have Trains, Orchards and Mountains in Their Backyard.&nbsp; Galleries West. PrOphecy Sun and Darren Fleet: ‘Nostalgic Geography: Mama and Papa Have Trains, Orchards and Mountains in Their Backyard. The Georgia Straight. Cello Innovator Okkyung Lee Looks to Surprise with Help of Local Improvisers. The Georgia Straight. Vancouver New Music’s PARALLELS Series Welcomes Okkyung Lee. Mushet, Mark. Art Mamas: Meet the Vancouver Collective That Creates Community for Mothers in the Arts. CBC Arts Exhibitions. 2017 Langford, Elliot. An Evening Of Non-Ordinary Music. BeatRoute Magazine. 2016 Keagan Perlette, Evan Buggleill, Olga Abeleva. 2016 Issue. PrOphecy Sun. CiTR.&nbsp; King, Suzy. Musican Portraits: prOphecy sun. {THEME:MUSIC} 7th Publication – Seities Publication. 2016. Goyman, Jamie. PrOphecy Sun Blurs the Lines of Consciousness. BeatRoute Magazine. Goble, Gord. Cover Feature. Surrey Now, February 11, 2016. Issuu. VIA. Vancouver is Awesome. Listen to the BC was awesome list. 2015 Varty, Alexander. Cover Feature. International Symposium on Electronic Art Takes High Tech to the Park. Georgia Straight Vancouver’s News &amp; Entertainment Weekly.&nbsp; Scott-Travis, Shane. Vivascene the Music Magazine. 2014 Keane, Nayt. Big Joy Festival Report and Mix. 2013 Adams, Gregory. Exclaim Magazine. prOphecy sun: Announces Sleep Fever. Weidenbaum, Marc. Disquiet: Ambient/Electronics. Fetal Dissonance.&nbsp; Discorder Magazine. Suns &amp; UFOS.&nbsp; Modisti. Quiet body. Erika Pencz, Vivian. The Georgia Straight. Pagans get weird at Rickshaw Theatre.&nbsp; 2012 Berman, Sarah. Discorder Magazine. Elsethings Festival.&nbsp; Adams, Gregory. Prophecy Sun Gears up for Bird Curious.&nbsp; Gritzan, Elena. Grayowl Point Magazine, Lull. Adams, Gregory. Exclaim Magazine. White Poppy ropes in Prophecy Sun and Waters for Experimental Christmas Comp. Shawn Conner, Shawn. The Vancouver Sun. Lost Gems of 2012.&nbsp; Adams, Gregory. Tyee Magazine. Your Early Taste of Music Waste. Soundasaurus Snippets: Arts Commons Blog&nbsp; Puka, Natasha. Frequency Magazine. Soundasaurus: Experiencing Art Through Sound. Adleman, Dan. Discorder Magazine. Destroy Vancouver 111. Robertson, Yvonne. Megaphone Magazine. New Concert Series showcases local talent.&nbsp; Vitiello, Madison. Beatroute AB.&nbsp;Spell.&nbsp; Shane Scott-Travis, Shane. Discorder Magazine. Under Review: Spell: Lull. Domian, Kat. !earshot Reviews. Tyranahorse. Reid, Michelle. Sad Magazine. Remarkable Concussions. &nbsp; Draculea, Pyra. Discorder Magazine. Tyranahorse. Beatroute Magazine. prOphecy sun. Trista Orchard Usinger, Mike. The Georgia Straight. Arts Feature: prOphecy sun’s Bird curious is DYI with enchanting results.&nbsp; Sarah Berman, Sarah. Artist prOphecy sun keeps a recording studio in her pocket.&nbsp; 2011 Mundell, Mel. Bitch Magazine. Arts Feature. B-Sides: prOphecy sun. Disquiet. Spell: A Marriage of Voice and Processing. Marc Weidenbaum The Scope. Spell Music Interview: Just a matter of time. Damian Lethbridge Adams, Gregory. The Georgia Straight.&nbsp;Spell casts a shamanistic hex.&nbsp; Orchard, Trista. Discorder Magazine, prOphecy sun: Cover Feature. Salmon, Evan. Discorder Magazine.&nbsp;Tyranahorse. Karp, Lizzy. Sad Magazine. Remarkable Concussions &amp; Other Memories.&nbsp; Adams, Gregory. The Tyee. Your early taste of Music Waste. Beatroute Magazine. prOphecy sun, RockPile. Sarah Westwood 2009 Adams, Gregory. The Georgia Straight. Arts Cover Feature. prOphecy sun: Vancouver Serves up Sounds of a Booming City. Stander, Shaun. Discorder Magazine. Instrumental Love.&nbsp; Reid, Michelle. Sad Magazine. Sneak Peak! prOphecy sun.&nbsp; Rossi, Cheryl. Vancouver Courier. Lamarre, Rebecca. Front Magazine. Creative City Conversations: Interview. Mundell, Mel. Discorder Magazine. Her Jazz Noise Collective. https://prophecysun.com/projects Tue, 02 Apr 2019 23:18:51 +0000 prOphecy sun https://prophecysun.com/projects prOphecysun︎ projects I exhibit regularly at local, national, and international festivals, conferences, galleries and other DIY spaces. The following projects are part of a larger feminist research practice that takes up consumer-grade technologies, chance, improvisation, field recording and autoethnographic methods to explore personal and life experiences. The works demonstrate collaborative approaches and feminist perspectives on what artistic research is and how it can offer opportunities for creative development and dissemination. Body as Border Queering the Dams Intertidal Assemblages Hidden Sectors Pocket Theatre Feminist Bodies in a Posthuman Mountain Imaginary Nostalgic Geography Carrying Others Floating in the in-between Mothering Bacteria Hunting Self Happenstance: Public LivingROOM Domestic Cupboards Magical Beast Fractured Perspectives Play with Parents Traces of Motherhood Presence in a Box Objects Wrapped in Dreams Wrapped in Objects A Small Piece of Sky Send and Receive Dinner for four So So So Hopscotch Cupboards https://prophecysun.com/body-as-border Mon, 06 Feb 2023 04:34:23 +0000 prOphecy sun https://prophecysun.com/body-as-border 2022 Body as Border Traces and Flows of Connection A 32-minute immersive, large-scale generative video projection created specifically for the Urban Screen at Surrey Art Gallery in response to the global crisis of Covid-19, and how it draws attention to the idea of the Body as Border.Much as borders represent the ways that state powers assert control and sovereignty over territories by defining the relations between ‘us and them,’ so too the human body, in the context of the pandemic, has become an object of state and bio-capitalist interest, and fear and division has resulted as a consequence. Within this context, the connections between the macrocosm of global politics and the smallest of all microbes, the virus, are played out in the borderland of the human body. In this way, the body becomes both a statistic and a borderland space for the meeting of macro and micro.The artwork was created over 3 months with the intent of generating expressions that seek to unite, rather than divide. We ground this exploration through our reference to some of the histories of Surrey, situated on the Fraser River and adjacent to New Westminster, one of the first sites that British settlers colonized in the mid 1800’s. Using the water of the Fraser River as both a physical and metaphorical substance of connection between these local histories and our current global crisis, we tease out connections between the movements of those early settlers and our histories of migration to the region which are entangled and complicit with colonial and settler histories. We also reflect on the ways in which the covid-19 virus has colonized countless human bodies across the globe. Much like the pandemic reminds us that we are all connected, the water that we draw attention to acts as an agential carrier; part of the perpetual recycling of a system that sustains us all, carrying memories of the human and non-human bodies that it has travelled through. Body as Border&nbsp;employs AI-built poetic stanzas, sonic decay, and narrative iteration to explore the female body as a multispecies animal in relation to machine-learning processes and how acts of care can facilitate kinship. We also employ Steve DiPaola’s costum-built generative tools to create images with different levels of abstraction and styles. These images are generated by systems that learn from existing digital images and/or to texts. Bodies as Border: Traces and Flows of Connection [31:56 min video] adapted for Urban Screen, Surrey, BC, generative video with soundBody as Border: Traces and Flows of Connection [3 min video excerpt] installed at Urban Screen, Surrey, BC AI painting and poetry Steve DiPaolavideo editing Gabriela Aceves Sepúlvedasoundscore Freya Zinovieff and prOphecy Suncamera, photography Gabriela Aceves Sepúlveda, Freya Zinovieff, prOphecy Sun and Getty Imagesperformance Gabriela Aceves Sepúlveda, Freya Zinovieff and prOphecy Sun https://prophecysun.com/queering-the-dams Mon, 06 Feb 2023 03:52:59 +0000 prOphecy sun https://prophecysun.com/queering-the-dams 2022 Queering the DamsA collection of experimental video arrangements featuring prOphecy sun moving through and interacting with the dams of the Kootenay River. At first sight, one cannot help but be struck by the alignment of the dams and transmission lines—standing in rows, hugging tree lines, rocks, and the river with massive concrete arms spread open. They appear to be holding up the world and vast amounts of moving energy. We understand dams as protectors and symbols of progress: continually in flux, bursting, storing, blocking, channeling, creating, powering, and preserving our existing realities against flooding and drought. At times, the dams feel like kin, family, old lovers; we take their water, wash, drink, mix, and make our lives with parts of them. We overuse their gifts, forget their presence, and ignore their majestic countenance and steady departures. Throughout the work, we see prOphecy inserting herself into the landscape, manipulating a large, fluid plastic shape as she navigates the shoreline and causeway of the dams. Reminiscent of the water alternately captured and flowing nearby, the movements change from a struggle to a flow and back again; revealing the inherent tension in the idea of dams. The sense of scale shifts with changing viewpoints of the massive infrastructure. These are fundamentally enormous structures, yet the simple act of intentionally being there performing an artistic intervention challenges the conceptual framework that underpins industrial development. While the dams are historically well documented, there remains an absence of creative and speculative works that account for ecofeminist perspectives about these projects.&nbsp;Video installation asks the viewer for a different kind of attention; it requires you to spend some time immersed in the work, outside of regular reality. Each video arrangement highlights ecological acts of care, moving imagery, performance, sonic compositions, and a textual manifesto; melding landscape, body, and technology in new speculative and hybrid ways. Queering the Dams&nbsp;exhibition catalogue [pdf] artist&nbsp;prOphecy sunvideography prOphecy sun and Reese Munteansound composition, video editing prOphecy sun acknowledgements This research would not have been possible without the generous and kind support of the Columbia Kootenay Cultural Alliance (CKCA) 2020–2021 Major Projects Award, on behalf of the Columbia Basin Trust, Gallery 2, Tim van Wijk, Darren Fleet, Reese Muntean, and the traditional territories of the Sinixt peoples of British Columbia. https://prophecysun.com/intertidal Fri, 20 Aug 2021 18:55:32 +0000 prOphecy sun https://prophecysun.com/intertidal 2021 Intertidal: Compositions for the Fraser Lowlands Intertidal by prOphecy sun These compositions foreground the rhythmic shifts of bodies and masses moving from one location to another, in cyclical and unconscious patterns, and reveal the minutia, and the more-than-human shared spaces of temporality. I acknowledge with gratitude that this research has taken place on the unceded territories of the Tsawwassen, Union Bar, Xaxli'p&nbsp;and Yale Nations in Fraser Delta salt marshes and tidal flats from Sturgeon Bank, Roberts Bank, Boundary Bay and beyond. <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/6a7a99d5b0eb52edc93168e807eddb0fc0201a04117ce9f13c3c7371fac4c6b0/roberts-1.jpg" data-mid="116970009" border="0" data-scale="38" src="https://freight.cargo.site/w/1000/i/6a7a99d5b0eb52edc93168e807eddb0fc0201a04117ce9f13c3c7371fac4c6b0/roberts-1.jpg" /> Roberts Bank <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/bb4fa5dec25af9c97dd087ae1af930f16f40a414b6700598483bae4cbe01b612/mcneely-home.jpg" data-mid="117664924" border="0" data-scale="39" src="https://freight.cargo.site/w/1000/i/bb4fa5dec25af9c97dd087ae1af930f16f40a414b6700598483bae4cbe01b612/mcneely-home.jpg" /> McNeely’s Trail <img width="1000" height="800" width_o="1000" height_o="800" data-src="https://freight.cargo.site/t/original/i/4ac0b163e2275eb257351c541baab6eaabe3c2ebbdf4826342466b5fb1bb5054/bird-1.jpg" data-mid="116969388" border="0" data-scale="25" src="https://freight.cargo.site/w/1000/i/4ac0b163e2275eb257351c541baab6eaabe3c2ebbdf4826342466b5fb1bb5054/bird-1.jpg" /> George C. Reifel Migratory Bird Sanctuary about the artworkabout the fellowshipartist statementartist biographycuratorial essay exhibition catalogue support about the artwork Intertidal: Compositions for the Fraser Lowlands is a multidisciplinary project that explores acoustic impressions, field recordings, walking methodologies and other visual process ephemera which can shift how we view sound in relation to the land. Realized over 9 months in 2021, during the COVID-19 pandemic, other dissemination of this project includes a book chapter publication, conference presentation, journal article, artist talk, sound workshop, sound album and various video snippets collected over an artist residency in-situ. about the fellowship The Jack and Doris Shadbolt Endowment for the Humanities funds the Shadbolt Fellowship Program as a means of increasing the visibility of the contributions of the humanities and arts to the university community; and engaging the wider community in the work of the humanities and arts. The Fellowship exists to promote the practices of, and approaches to, the humanities and arts as important sites of creative and critical engagement with the major concerns of our times. artist statement by prOphecy sun Following a long lineage of artistic production, cartographical and exploratory practices that embrace experimental, decolonial methodologies of walking, performance and sound making, this research takes up reflective approaches, and an ethics of care that pays attention to privilege and the unpredictability of the present. As Eve Tuck and Marcia McKenzie articulate, place as a concept is rooted in colonial viewpoints which take land and its many inhabitants for granted (Tuck and McKenzie, 2015). This interdisciplinary project draws attention to the immeasurable, and the more-than-human relevancy of walking and land art practices. In particular, this work foregrounds the futility of time, and the vitality of elements that live inside and outside prescribed time frames such as sonic frequencies and motion. As Stephanie Springgay and Sarah E. Truman articulate, bodies challenge time and space, melding a multiplicity of rhythmic patterns through walking, thinking, and writing practices (Springgay and Truman, 2017). For example, the different temporalities of soil, rocks, minerals, or human or nonhuman sonic realms and frequencies. This research considers these approaches and how sound is translated, waterlike or airful; fluid, open, complex and interconnected, living and undeniably mobile and improvisational. Taking this as my starting point, from January 16 to August 13, 2021, I collected 30+ binaural audio samples, photos and moving images from walks along lightly forested, rocky, and meadowed terrains, adjacent to water passages, trains, ports, shipyards, and bird estuaries in the Fraser River Delta salt marshes on the west coast of British Columbia.Three specific locations were chosen: Roberts Bank, McNeely’s Trail, and the George C. Reifel Migratory Bird Sanctuary, because they spoke to the climate crisis and the contested zones of migration, which includes a mix of wetland, marsh, and commercially industrial vetted points of crossing and migration. Each area has a different soundscape and set of material challenges that inspire different responses.The text, images, video stills, and process shots highlight some of these interactions and draw attention to the space and breath between bodies, organisms, plants, and other matter which exist in the air, water passages and land. They point to my reflections of the trains, trucks, birds, water, wind, people, grass, voices, and other species moving in their habitats. Produced as a mixture of immersive video and sound compositions, the pieces foreground the rhythmic shifts of bodies and masses moving from one location to another, in cyclical and unconscious patterns, and reveal the minutia, and the more-than-human shared spaces of temporality. Works Cited Springgay, Stephanie, and Sarah E. Truman. Walking methodologies in a more-than-human world: WalkingLab. Routledge, 2017. Tuck, E., &amp; McKenzie, M. (2015). Relational validity and the “where” of inquiry: Place and land in qualitative research. Qualitative Inquiry, 21(7), 633-638. artist biography Dr. prOphecy sun is an interdisciplinary performance artist; queer, movement, video and sound maker; mother; and current Jack and Doris Shadbolt Fellow at Simon Fraser University. sun’s practice celebrates both conscious and unconscious moments and the vulnerable spaces of the in-between in which art, performance and life overlap. Her recent research has focused on ecofeminist perspectives, co-composing with voice, objects, surveillance technologies and site-specific engagements along the Columbia Basin region and beyond. sun hosts Tapes and Beyond on Kootenay Co-op Radio and is the Arts Editor for Ecocene: Cappadocia Journal of Environmental Humanities. She performs and exhibits regularly in local, national and international settings, music festivals, conferences and galleries and has authored several peer-reviewed articles, book chapters and journal publications. curatorial essay Three Walks: Deep Listening in the Intertidal Zone&nbsp;by Shalon T. Webber-Heffernan On my bike ride to work each day I take a path by the train tracks, temporarily evading the bustling city streets of Toronto/Tkaronto—a brief reprieve. I’ve come to know this path well and have learned that it is home to an ecosystem of indigenous North American plants well adapted to harsh urban conditions. Many plants on this path are ruderals—species that are the first to grow after a disturbance and which thrive without being cared for (benign neglect). I cycle past the Sumac, Queen Anne’s Lace, Goldenrod and Chicory, the Common Milkweed, Aster, and clusters of Pearly Everlasting and hear them speaking. Over time, this trail has taught me about deep listening—how to tune in to the language of plants and about a distinction between the involuntary nature of hearing and the intentional, felt, and resonant qualities of listening. On deeply humid summer afternoons, the sweet songs of the plants on this trail particularly lure me, and speak the most vividly. Intently, I listen for their revelations. Their voices are indirect, not clear or literal, but rather, arrive quietly and barely at all. A language beyond words emerges.It is in much the same way that I approach prOphecy sun’s new body of work, Intertidal: Compositions for the Fraser Lowlands. This processual project involving text, photographic and moving images, video stills, and sound should be taken in slowly with space to breathe and time to interpret. By way of walking, observing, decentering, the project unfolds over three distinct locations on the west coast of British Columbia: Roberts Bank, McNeely’s Trail, and the George C. Reifel Migratory Bird Sanctuary. Through forested, rocky, and meadowed terrains alongside water passages, trains, ports, shipyards, and bird estuaries in the Fraser River Delta salt marshes, sun displays a complex palimpsestic dance of deep time, industry, and environment. There is an invitation to sit with the affective and afferent frequency of this work and what Emelie Chhangur has described elsewhere as the “polymorphous unfurling of pasts, presents, and futures” of the land and all its relations—to be with the in-between spaces of plants, animals, and bodies, and the porous spaces of minerals, energy, land, air, and waters. sun situates this work within a feminist framework of embodied carriance, a “form of attunement, a meditation that requires focus on the careful acts of walking, listening, embracing the minutiae of embodied sensations and noticing the ways that the body, asserted into the landscape, is capable of dominance or an intent to yield.” (4)These resonant encounters also signal complex processes of environmental change and crisis that inflict violence on vulnerable human (and non-human) populations. sun’s sensory attunement is a soft resistance to the kinds of slow violence that Rob Nixon describes as that which occurs gradually and (for many) out of sight, violence of delayed destruction that is dispersed across time and space, and attritional violence that is typically not viewed as violence at all. Can we probe the acoustic dimensions of historical erasures that overwrite continuous Indigenous presence at site? What sounds emerge from the comings and goings of capital flow? How might we connect with the acoustic environment and all that inhabits it? There is a counter intuitive approach to accessing this work. One might start by asking, what am I unable to perceive? How might I understand my surroundings differently? What does it mean to both carry and to care for, to hold and to give? What emerges from exploratory walking processes that make up Intertidal is not necessarily an end product, but rather a beginning of an iterative exploration that continues to uncover new sensorial potentials, and an insertion of energetic liveness to the materialities of care and intimacy that exist within the quiet labour of holding together to stay alive.sun considers the relational ways that space and matter can and do interact as active participants with a lively, performative force, rather than being inert and determined. In this vein, new materialist questions of space query the position of human-centred ontology, and question power structures that mark material bodies as subjects of power. Throughout the work, sun highlights how many Indigenous scholars (and Indigenous communities and worldviews broadly) have long understood the agency of space and relationality with land and have considered the non-hierarchal relationality with non-human entities long before the creation of “new materialism” as a field. Mohawk and Anishinaabe scholar Vanessa Watts, for example, considers the intimate relationship between people and an environment in what she calls “place-thought”—a premise that “the land is alive and thinking and that humans and nonhumans derive agency through the extensions of these thoughts” (21). Intertidal figures environmental life in quite this way, revealing the agential status of these three locations themselves as already always there living—as actants with the potential to affect human and nonhuman worlds. The land is the star of the show, and it is easy to get lost in her dreams. Migratory dance of the mallard Freight trains carrying Amazon packages by tidal watersEstuary entanglements leaving traceThin sky asking the monotone marshlandLush timidity, swift and wayward flowDriftwood resting in grass, determined spirit of the Woodpecker Wind flitting past fire structureHeart opening vastness, tearsFootsteps, a memory, a voiceIs it the whales or the planes I hear? Methodologically speaking, this sonic walking project is a practice of being with, or perhaps being near by the land. sun acts as un-authoritative narrator, not intending to speak about the land she walks upon but rather nearby—taking up a performative iteration of Trinh T. Minh-ha’s positioning against the colonizing gaze; sun walks lightly, refusing a colonizing extractivist footstep. Working against a consumptive impulse, Intertidal enacts aesthetic deceleration, and sun’s audio compositions urge listeners to slow down and tune in as a decolonial intervention—a moment of stillness as radical act. sun’s embeddedness in this work is best understood as a performative strategy used to work against dominant paradigms of insertion, her ability to blend in is a quiet refusal.&nbsp; Like a sensory physician sun deliberately guides us in an experience of tuning-in to these three landscapes. In the process, she reveals something akin to what Laura Levin calls the environmental unconsciousness. Place-based performance engages the idea that the environment becomes a part of the performance in locally material ways that cannot be overlooked. As Levin notes “recognizing the independence of the non-human is not simply a philosophical project but also a political one… this framing of site-specificity provides access to the ‘environmental unconscious,’ rendering perceptible those aspects of environment that we habitually engage but routinely overlook” (105). Through a delicate choreography, sun foregrounds a deep sensitivity to environmental surroundings, making “visible” the frequencies, and resonant materialities of intimate (and genuine) practices of care. Works Cited Levin, Laura. Performing Ground: Space, Camouflage, and the Art of Blending in. Palgrave Macmillan, 2014. Nixon, Rob. Slow Violence and the Environmentalism of the Poor. Cambridge, Mass.: Harvard University Press, 2011. Reassemblage. Directed by Trinh T. Minh-ha. 1982. Film. sun, prOphecy, et al. Sonic Poetics of the Tidal Flats. Simon Fraser University, 2021. Watts, Vanessa. “Indigenous Place-Thought and Agency Amongst Humans and Non Humans (First Woman and Sky Woman Go On a European World Tour!),” Decolonization, Indigeneity, Education &amp; Society. 2, no. 1, 2013.Chhangur, Emelie. Curatorial essay for Jess Dobkin's Wetrospecitve, AGYU 2021. exhibition catalogue The Intertidal exhibition catalogue is designed by Keiko Lee-Hem and produced by Hall Printing. support I would like to thank the Jack and Doris Shadbolt Fellowship selection committe, Simon Fraser University, the Department of Gender, Sexuality, and Women’s Studies, Stephen Collis, June Scudeler, the Tsawwassen First Nation, George C. Reifel Migratory Bird Sanctuary, Routledge Press, Aman Chandi, Nadine Attwal, Taylor &amp; Francis/Routledge Press, Michael Filimowicz, Reese Muntean, Freya Zionovieff, Darren Fleet, Kristin Carlson, ASLE2021, KeikoCreative, Deanna Peters, Hall Printers and the sandhill cranes, bald eagles, mallards, spotted towhee, snow geese, yellowlegs, long-billed dowitchers, and western sandpipers for your inspiration, generosity and kind support. 2021 Jack and Doris Shadbolt Fellow in the Humanities, Simon Fraser University prOphecy sun curatorial essay Shalon T. Webber-Heffernan artist statement, artist biography prOphecy sun web design Deanna Peters/Mutable Subject sound compositions,&nbsp;editing, mixing prOphecy sun photographs, drone, video stills Reese Muntean and prOphecy sun