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Two photographs of Irene Prothroe, one of her in graduation garb.

File consists of notes taken during the talks and events of August 18.

File consists of two copies of the agenda for the summit, held September 20-22, 2001. The program description reads (in part): "Emotional Architectures continued to research collaborations and discussions that emerged from three BNMI summits: Emotional Computing and Living Architectures in 2000, and Out of the Box in 1999. In this instance, "emotion" infers both the architecture of the brain and the psyche, the ways that cognitive processes and psychological states are evoked and constructed by the emotional architectures that we design.

This summit provided an opportunity for computer scientists, architects, designers, psychologists, and artists to explore the relationships between physical and virtual design. This event brought cognitive science into the mix of research in advanced visualization, collaborative virtual environments, and technology design. How do we design experiences that bridge virtual and physical spaces, and take into account the body, emotions, the limits of physical and virtual materials? When does the body itself become a material, or act as a map? How can we imagine beyond three dimensions, into mathematical topologies? What new tools are there that we can use to imagine virtual designs? What is the architecture of a wireless world? This event considered smart dwellings for living, work and play."

File contains a report by Mathew Kabatoff, outlining the summit, and summarizing the panel discussions.

File consists of three copies of an agenda for the summit held May 11-13, 2000 (one of which contains handwritten notes). The program description for the summit reads:

"Performing arts and performance provide an invaluable resource with which to examine next generation new media. They combine physical discipline with improvisation, narrative and provoke emotional experience for the artist, the participant and the recipient. The body in performance reminds us of our humanity and vulnerability. Emotional Computing explored meaningful as well as abstract strategies that bring together our understandings of presence and absence. Networked technologies such as microwave technology, internet architectures, satellite communications and neural nets are just a few examples of the available resource base for the arts of the future. Performers can work the magic between the live event and the virtual experience. They might play with responsive (smart) costumes and props or manipulate soundscapes and sets. The audience can be an instrument in interactive work.

This event explored and identified research issues in cross-disciplinary performing arts and new media. It continued Banff's discussions of intelligent software design and responsive architecture. Participants investigated educational applications and the development of ongoing research in this field. Lead presenters were international artists from theatre, choreography, music, design, computer science, engineering and performance theory. We worked at creating a vocabulary that is informed by the canons of performing, visual and media arts and the acquisitions of new media.

This event marked the Banff New Media Institute’s first public exploration of our Human Centered Interface Project. The research initiative was made possible through the support of The Alberta Science and Research Authority, in association with Telefilm Canada, Social Sciences and Humanities Research Council, The Canada Council for the Arts, The Alberta Foundation for the Arts, Silicon Valley North, sgi Canada, Montage IT Services Inc, University of California DARNET, Free Radicals Framework Five and other partners. "

Interview of Eugene Perron conducted by Arlene Borgstede. File consists of register, consent form, donation form, letter of thanks to Mr. Perron, and transcript. Also included is the audio cassette recording of the interview.

Interview of Evelyn Perron (née Hogan) conducted by Arlene Borgstede. File consists of register, consent form, donation form, and transcript. Also included is the audio cassette recording of the interview.

File consists of event flyers and programs for events (mainly concerts) produced or co-produced by Women in Music.

File consists of the text of a presentation given by John Amatt and Michael Breckon, outlining the exhibition and the campaign. This copy includes handwritten corrections/annotations.

File consists of three copies of the agenda for the conference. The conference description is as follows:

"As we round the bend towards the millennium, there is a widespread sense that it’s too late- for just about anything. On this threshold of despair, a strange ecstasy has appeared, emerging in all forms of popular culture. We gasp for breathable air, giddy with irrational glee in the grip of high-tech culture, while the fringes of science take root in mainstream culture.

Flesh Eating Technologies was a two-day seminar that explored this ecstasy. It featured debates about the future and limits of science, the outer edges of rationalism, viral capitalism, the technological spin-offs of science (including artificial life/death); robotics; leaky experiments; and the crazy organization of knowledge about the human body (in morgues, slaughterhouses, embalming procedures, grafting procedures).

Crazy science leads to barbarism and hyper-technology, pitting bran-stem impulsiveness against excessive cerebral activity. In this battle, humour and anxiety can’t help but surface, becoming manifest in alien invasions, cannibalism, vampirism, survivalism, self-extermination, nature and nanotechnologies, viral economies, war games, technologies of violence, delirium, and compulsion. Flesh devours technology and technology takes over flesh."