Christine Ross is Distinguished James 污污草莓视频 Professor in Contemporary Art History in the Department of Art History and Communication Studies at 污污草莓视频 University. Her areas of research include contemporary media arts; vision and visuality; transformations of spectatorship in contemporary art; participatory media and art; artistic redefinitions of the public sphere; the reconfigurations of time and temporality in contemporary media art practices; and contemporary art鈥檚 response to migration.
Her books include:聽(MIT Press, 2022);(Continuum, 2012); (University of Minnesota Press, 2006); and (Artextes, 1996). She has coedited (University of Minnesota Press, 2016) with Darin Barney, Gabriella Coleman, Jonathan Sterne and Tamar Tembeck; Conflict[ed] Reporting: War and Photojournalism in the Digital Age [special issue of Photography & Culture, 8 (2), November 2015] with Tamar Tembeck and Theodora Tsentas; and (污污草莓视频-Queen鈥檚 University Press, 2008) with Olivier Asselin and Johanne Lamoureux. She is currently working on a book project, entitled Coexistence: Contemporary Art in the Age of the Migrant Crisis.
Between 2005 and 2018, she was the principal investigator of the FQRSC-funded MediaTopia team research projects, including: Aesthetics, New Media and the (Re)Configuration of the Public Sphere (2013-2017), Art and New Media: Towards a Hybrid Redefinition of Site (2009-2013) and Augmented Reality in Contemporary Art: Interdisciplinary Practices (2005-2009). From 2012 to 2017, she was the Director of Media@污污草莓视频鈥攁 hub of interdisciplinary research, scholarship, and public outreach on issues in media, technology and culture. Elected Member of the Royal Society of Canada (2010-), first laureate of the Artexte Canadian Award for Research in Contemporary Art (2012), recipient of the David Thomson Award for Graduate Supervision and Teaching (2011), recipient of the Prix Recherche de l鈥橭bservatoire du cin茅ma au Qu茅bec (2016), Distinguished Visiting Fellow at the Jackman Humanities Institute, University of Toronto (2017), she is the cofounder (with Professor Will Straw) of the Department of Art History and Communication Studies at 污污草莓视频 University.
Other publications include: 鈥淧ostmodern Art/Aesthetics,鈥� in Vattimo, ed. Simonetta Moro (Edinburgh: Edinburgh University Press, forthcoming 2023); 鈥淚suma, the Planetary, Listening and the Reinvention of the Counterpublic Sphere,鈥� in FABRICATING PUBLICS: The Dissemination of Culture in the Post-Truth Era, ed. Bill Balaskas and Carolina Rito (Open University Press, 2021); 鈥�The Transparent Society: Is the Liberation of Differences still what the 21st Century Needs?,鈥� Journal of Italian Philosophy 4 (2021); 鈥淟e postmodernisme, autour de trois 茅crits,鈥� in L鈥檌llusion postmoderne?, ed. Chantal Boulanger, Nicolas Mavrikakis and Laurent Vernet (Montreal: Nota Bene Varia 2021); 鈥淭he Aesthetics of Coexistence as Ongoing,鈥� in Aesthetic Temporalities Today: Present, Presentness, Re-Presentation, ed. Gabriele Genge, Ludger Schwarte, and Angela Stercken (Berlin: Verlag, 2020); 鈥淭emporalizing the Aesthetics of Coexistence: The Present as Ongoing,鈥� 脛sthetische Eigenzeiten 10 [special journal issue, Aesthetic Temporalities Today: Present, Presentness, Presentation] (forthcoming 2020); 鈥淭he Aesthetics of Stillness, after Film,鈥� in The Aesthetics of Standstill, ed. Reinhold G枚rling, Barbara Gronau and Ludger Schwarte (Berlin: Sternberg Press, 2019); 鈥淪arah Sze鈥檚 The Last Garden and the Temporality of Wonder:鈥� in Time in the History of Art: Temporality, Chronology, and Anachrony, ed. Dan Karlholm and Keith Fleming Moxey (New York: Routledge, 2018); 鈥溾�楴ot Directed Toward Anyone鈥�: The Indifference of a Situation or, Perception under Influence鈥� in Perception and Agency in Shared Spaces of Contemporary Art, ed. Cristina Albu and Dawna Schuld (New York: Routledge, 2017); 鈥淭he Performance-Management Model of Performative Subjectivity,鈥� in Boredom, ed. Tom McDonough (London and Cambridge, MA: Whitechapel Gallery and MIT Press, Documents of Contemporary Art series, 2017); 鈥淟a suspension de la historia en el media art contemporaneo,鈥� and 鈥淭he Suspension of History in Contemporary Media Arts,鈥� Contranarrativas(0), 2017; 鈥淎n Aesthetics of Inhabitability,鈥� in Mark Lewis Filmworks, eds. Hamid Taieb and Fran莽ois Bovier (Geneva: MetisPresses, 2016); 鈥淭he Spreadability of Video,鈥� in Abstraction in Video, ed. Gabrielle Jennings (University of California Press, 2015); 鈥淭oucher l鈥檃utre: une histoire de surfaces corpo-茅lectroniques,鈥� in , ed. Christine Van Assche (Paris: Centre Pompidou, 2015); 鈥淭he Cloud in Video: Notes on Isabelle Hayeur鈥檚 Aftermaths,鈥� , 2015; 鈥淒epression,鈥� in (Oxford University Press), 2014; 鈥淭he Movement of the Image. Vitality in Olivia Boudreau鈥檚 Media Production鈥� in . Olivia Boudreau, ed. Mich猫le聽 
Th茅riault (Montreal: Leonard & Bina Ellen Art Gallery, 2014); 鈥淢ovement That Matters Historically: Janet Cardiff and George Bures Miller鈥檚 2012 Alter Bahnhof Video Walk,鈥� Discourse: Journal for Theoretical Studies in Media and Culture[special journal issue: Moving (with) Images: Gender, Affect, and the Senses, eds. Martha Zarzycka and Bettina Papenburg] Spring 2013/Spring 2014; 鈥淗istorical Time Ecologized,鈥� Esse, 2014; 鈥淎pr猫s la vid茅o,鈥� Revue 24 Images, 2014; 鈥淭he Affective Historicization of Public Spaces,鈥� Ciel Variable, 2013; 鈥淟a r茅alit茅 augment茅e en art: une question de (non)destination,鈥� in Le R茅el 脿 l鈥櫭﹑reuve des technologies: les arts de la sc猫ne et les arts m茅diatiques, eds. Josette F茅ral and Edwige Perrot (Presses Universitaires de Rennes, 2013); 鈥淗istorical Narrative in the Work of Stan Douglas,鈥� in L鈥橝rt de la syntaxe, ed. J. Game, (Paris: 脡ditions de Vincennes, 2011); 鈥淣ew Screens Beyond the Screen: The Spatial Distribution of the Image in Augmented Reality Art,鈥� in Screen/Space: The Projected Image in Contemporary Art, ed. T. Trodd (Manchester: Manchester University Press, 2011); 鈥淪patial Poetics: The (Non)Destinations of Augmented Reality Art, Part I鈥� and 鈥淪patial Poetics: The (Non)Destinations of Augmented Reality Art, Part II鈥� (Afterimage, 2010); 鈥淰ideo Art in Canada,鈥� in Canadian Art: The Twentieth Century , eds. B. Foss, S. Pakowsky, and A. Whitelaw (Oxford University Press, 2010); 鈥淭he Suspension of History in Contemporary Media Arts,鈥� (, 2009); 鈥淣ew Media鈥檚 Presentness and the Questioning of History: Craigie Horsfield鈥檚 Broadway Installation,鈥� (, 2007); 鈥淭he temporalities of video: extendedness revisited鈥� (Art Journal, 2006); 鈥淣ew media art hybridity and augmented reality: a process for the interaction of art, (neuro)science and AR technology鈥� (, 2005); 鈥淭he Paradoxical Bodies of Contemporary Art,鈥� in , ed. A.聽 
Jones (Blackwell, 2006); 鈥淭he Disappearing Screen: An Incomplete Matter鈥� (Parachute, 2004); 鈥淩edefinitions of abjection in contemporary performances of the female body,鈥� in , ed. F. Connelly (Cambridge University Press, 2003); 鈥淭o Touch the Other: A Story of Corpo-Electronic Surfaces,鈥� in , ed. A. Jones (Routledge, 2003); 鈥淧ipilotti Rist: Images as Quasi Objects鈥� (n. paradoxa 7, 2001); 鈥淭he Insufficiency of the Performative: Video art at the turn of the millennium鈥� (Art Journal, 2001); and 鈥淰ision and insufficiency鈥�: Rosemarie Trockel鈥檚 Distracted Eye鈥� (October, 2001).