Lynn Hughes (artist)

Lynn Hughes
Born
Snelgrove

1951 (age 74–75)
Vancouver
EducationUniversity of Toronto (M.A. History and Philosophy of Science and Technology, and B.A. Literature); Vancouver School of Art (B.F.A.)
Notable workAnnunciation for William James, 1982 (painting) — Marlène Frigon et son équation favourite + peinture dérivée de celle-ci, 1985 (mixed media) — Perversely Interactive System, 2004(digital interactive) — Propinquity, 2009-2010 (digital interactive)

Lynn Hughes Lynn Hughes (born 1951) is a Canadian artist, professor, organizer, researcher and curator. In the nineteen-eighties, she was a prominent figure in the “new figuration” movement in Canadian painting.[1][2] She taught and held administrative positions starting in 1989 in the Fine Arts Department at Concordia University, where she received the 2012 Concordia University Academic Leadership Award.[3] Since 2000, she has been involved as a researcher, creator and advocate of new media and experimental games, holding the Research Chair in Interaction Design and Games Innovation at C.U. (2014-2018). Hughes played an instrumental role in the funding and structuring of the Hexagram Institute for Research-Creation in Media Arts and Technologies (Hexagram), and the Technoculture, Art and Games (TAG) research centre.[4] She has co-curated numerous exhibitions, notably “Joue le jeu/Play Along” (2012), a major exhibition of innovative interactive games at La Gaîté lyrique in Paris.[5][6]

Early Years

Lynn Hughes (Snelgrove) was born in 1951 in Vancouver, Canada. During an itinerant childhood she was raised principally in Zambia (c.1953-61), often living on the road on extended “holidays” through Central Africa and Europe. At 10 years old she moved to Madrid, Spain (1961-63) and then spent her teen years in Formby, Lancashire, England (1963-69).[7]

Studies

Hughes’ initial university studies were in English literature and philosophy, beginning a degree at the University of Liverpool (1969-71) and completing her B.A. at the University of Toronto (1971-72), where she was awarded the Governor General’s Silver Medal for English. Subsequently she moved to Paris, France, to pursue independent studies in painting and at the École des Beaux-Arts, and in ceramics at the École des Arts Appliqués (1972-73). Returning to Canada she completed a B.F.A. at Vancouver School of Art (now named Emily Carr University of Art and Design) (1973-76), graduating with honors in ceramics. She returned to the University of Toronto in 1986, where she received a Masters degree in the History and Philosophy of Science and Technology, with a concentration in the History and Philosophy of Mathematics (1989).[8]

Artist Career

Early Work

Lynn Hughes first established her reputation in Canada as a ceramicist. For her solo graduate show “Rank Beginning” at the Vancouver Art Gallery (1976), she presented a raku pottery installation.[9][10] By 1979, she had moved away from ceramics, exhibiting the text based installation Life After Art Theory at the “20 x 20 Italia/Canada” exhibition in Milan, Italy, alongside Canadian artists such as Bill Vazan, Sorel Cohen and Suzy Lake.[11]

Painting

In the early 1980s, Hughes developed a neo-expressionist painting practice in Montréal.[12] She became a representative of Canada’s “new expressionism” group of painters,[13] also known as the “new figuration” movement, which included fellow Montréal artists David Elliot, Michael Joliffe, Luc Béland and Suzelle Levasseur.[14][15] Her early solo shows in Canadian artist-run centres include: “Lynn Hughes: Pictures of Things” at Mercer Union in Toronto (1980)[16] and “Lynn Hughes: It's Only Fascination" at Optica in Montréal (1980).[17] She was included in the Musée d'art contemporain de Montréal’s 1985 group exhibition “Peinture au Québec: une nouvelle génération”, with artists such as Michel Daigneault and Pierre Dorion. In the nineteen eighties Hughes was represented by Grünwald Gallery in Toronto, where she exhibited in 1982 and 1985, and later in 1990 (exhibition “Pure + Applied’).[18]

By 1982, Hughes produced The Suspects, a widely exhibited and commented upon series of portraits of important figures from literature and philosophy such as William James (coll. National Gallery of Canada)[19], Henry Miller, Pier Paolo Pasolini and Jean Genet.[20][21][22][23][24] Diana Nemiroff, critic and future curator at the National Gallery of Canada, wrote that these works push “against the limit of what we are willing to accept as art… [and] define the character of the new figuration as a painting of desires made manifest.”[25] Hughes continued painting large expressionist canvases into the mid to late eighties. In her 1986 exhibition “Suzuki Soup”, scientific instruments and mathematical formulas enter into her dense collage of eclectic imagery.[26][27] That same year, motivated by her desire to see her art embedded in a larger social context, Hughes shifted her focus away from the studio and began a Master’s degree at University of Toronto in the history and philosophy of science and technology.[28]

Upon completion of her studies in the history of science, Hughes returned to painting combining these two interests in a series of works entitled The Project on Women + Mathematics (1993), also known as Tentative Equations.[29] The works were portraits of women mathematicians, each an assemblage with three parts: a full body, near life-size, black-and-white photograph of a Montreal mathematician; her favourite mathematical formula painted directly on the gallery wall; and Hughes’ interpretation of the formula in an abstract painting. The series first showed in Canadian artist-run centres (New Gallery, Calgary, 1993; Oboro, Montreal, 1995) and later at the Art Gallery of Ontario, Toronto (1996). Critics were to note the interplay between literal photographic studies and abstraction, and between the intellectualisation of painting and the aestheticisation of mathematical workings,[30] as well as Hughes’ disruption of traditional binaries, such as reason/intuition, male/female as well as science/art.[31]

This series was an attempt to connect with a wider audience beyond what Hughes considered the closed world of contemporary painting. At the end of the nineties, she left painting, gravitating towards more contemporary digital technologies.[32]

Interactive Works

In the late 1990s and early 2000s, Lynn Hughes brought interactivity into her visual art practice. This move was motivated by changes in society that she considered affected “what art means.” These changes had to do with the ubiquity of new technologies of connectivity, the importance that video games had acquired at that time and a consideration of the significance of play in contemporary culture.[33][34][35] From this starting point, she created a series of installations and immersive environments that employed physical interfaces, working collaboratively with interdisciplinary teams that included artists, programmers, engineers and game designers.[36] By 2023, Hughes is considered a pioneer in digital art,[37] and was actively encouraging alternatives to the limited range of mainstream games that often depend on violence. She instead promoted creative approaches that do not sideline ethical considerations.[38][39][40]

Hughes’ most widely exhibited and frequently cited work is Perversely Interactive System (2004). The interactive, digital-video/sound installation was produced with Simon Laroche. It uses a wireless biofeedback handset, which is held by the user and measures their stress levels, as well as a video projection of a female figure initially with her back to the user. Small changes in the user’s sweat gland activity are detected and affect the behaviour of the virtual figure. As the user is able to relax, the avatar turns around and moves towards them.[41][42][43]

Perversely Interactive System was widely exhibited. It had its debut in 2004 in the group show “Interstices 4 x 5 à 7” at Dare Dare artist-run centre in Montréal[44] and was shown the same year at FILE 2004 the Festival Internacional De Linguagem Eletrônica in São Paulo, Brazil.[45] It was featured with the works of AE, Alexandre Castonguay, beewoo, Brad Todd and Jean Dubois in the seminal group show “À l’intérieur/Inside”, curated by Sylvie Parent and produced by Groupe Molior, which was presented at: the Third Beijing International New Media Arts Exhibition and Symposium, Millenium Museum, Beijing, 2006;[46] and Paço das Artes art centre in São Paulo, Brazil, in 2008.[47] Other notable exhibitions include: ELEKTRA 2005 festival of digital arts in Montreal (curator: Alain Thibault) and the 2006 group show, “Can We Fall in Love With a Machine?” at Wood Street Galleries in Pittsburgh PA.[48][49]

Hughes’ subsequent collaborations focused on ludic games that did not use screens, including the works Cubid (2005-2006),[50][51] Fabulous/Fabuleux (2007-2008)[52] and Alt Ego (2018).[53]

Other works in this series include Propinquity (2009-2010), an interactive work developed in collaboration with expert in game studies Bart Simon[54], with additional tech support from Jane Tingley, Anouk Wipprecht and Marius Kintel, who are a trio of designers, hackers and sculptors working together as The Modern Nomads (aka MoNo).[55] Propinquity was a full-body digital game, with elements of both combat and dance. Two players face off in a circumscribed ring of light and attempt to close in on each other’s sensor-fitted bodies. Proximity, without physical contact, results in scoring. Sound and biofeedback enhance gameplay, and the experience is described as social as well as physical.[56][57]

Propinquity was selected for IndieCade (International Festival for Independent Games) in Los Angeles, Come Out & Play San Francisco and BostonFIGS (Festival for Indie Games) in 2013, and the Montréal International Games Summit (2012).[58] It was also included in the Quebec Focus program at Elektra X BEAF (Bozar Electronic Festival) in 2013.[59]

Hughes' 2017 piece, Place des Alts was a commissioned work for the KM3 public art event commemorating the 375th anniversary of Montreal presented in the downtown's Quartier des spectacles. Lynn Hughes led the production team, which included TAG associates, including multimedia artist and filmmaker Gina Hara and a group of PhD students. Place des Alts took the form of an audio- and photo-based cellphone application, and a peripatetic puzzle heralded in the public space by two interactive sculptural elements: a one-meter high red cube and a fluffy tentacle-like protuberance. Visitors to the commemorative installation were challenged to complete narrative-driven visual puzzles by distinguishing between fake news and historic events. In this work local histories, real and imagined, became material.[60]

Collections

Lynn Hughes paintings and drawings are held in permanent collections at the Canada Council Art Bank (six works 1979-1985), the National Gallery of Canada (8 works 1983-1991), the Musée d’art contemporain de Montréal (5 works 1984-1991), along with other public collections and various private collections.[61][62][63]

Academic career

Teaching and Academic Positions

Lynn Hughes taught painting and drawing in several universities including The University of Regina (1985-86) and Concordia University (1989-1994), and was a professor in the Intermedia program in Studio Arts at Concordia (1999-2017).

Hughes held several administrative positions while at Concordia including Associate Dean positions in the Faculty of Fine Arts (1989-94; 2006-2007; 2008-2011) and later took on the position of interim Associate Vice President of Research (2016-2017). She held the position of Concordia Research Chair in Interaction Design and Games Innovation (2014-2018). She retired in 2017 and is Professor Emerita.[64][65]

Research Groups, Collectives and Infrastructure

In 2000, Lynn Hughes and Jean Dubois (professor at the École des arts visuels et médiatiques of the Université du Québec à Montréal (UQÀM))[66], co-founded Interstices, an inter-university research group in media arts. Interstices received funding from the Fonds de recherche du Québec (FQRSC), and was one of the first university research groups funded to promote both research and artistic creation; until then, artist-researchers were predominantly excluded from important university research funding programs.[67]

Interstices members explored aesthetic and poetic human-machine interfaces that engaged viewers through means other than the keyboard and mouse interfaces, notably through touch, movement and metabolism. Interstices provided them with funding and mentorship. The group enabled students and faculty from Concordia to collaborate and co-create with peers from the francophone Université du Québec à Montréal (UQAM) and vice versa. Hughes and Dubois co-directed Interstices until 2010. During their tenure, Interstices worked with students and faculty to produce many ambitious interactive works that appeared in more than 35 exhibitions in Canada and internationally. Their inaugural exhibition “4 x 5 à 7 : présentations de prototypes” was held at Dare Dare artist-run centre in Montréal in 2004. A full-colour, hardcover catalogue, with essays by Hughes and Dubois, was produced for the group’s 2008 event “Coefficients d’intimité / Amplified Intimacies” at OBORO in Montreal.[68][69][70][71]

In 2001, Hughes was instrumental in the conception, structuring and financing of Hexagram, a Montreal Institute for research and creation in media arts and technologies.[72][73] Significant funding for Hexagram came from Valorisation-Recherche-Québec (VRQ) and the Canada Foundation for Innovation (CFI), resulting from a grant co-written by Hughes and Barbara Layne. The project received over 21 million dollars, from which 8 million was used to build a research space in Concordia’s arts/engineering complex and 1.5 million to UQAM to build an interactive explorations center.[74] Through this investment a platform and research-technology infrastructure for new media arts was created at Concordia University in partnership with UQAM and Université de Montréal. In 2008, with the end of VRQ funding, the Hexagram Institute merged with Le Centre interuniversitaire des arts médiatiques (CIAM) and continued its activities.[75]

In 2008, Lynn Hughes and Bart Simon, Professor, Sociology and Anthropology at Concordia University founded the Technoculture Art and Games (TAG) research centre.[76][77] TAG is one of Canada’s largest and most-established games research centers, and is recognized as Canada's first university-based centre in the field. It brings together collaborators from different disciplines in the university (e.g. English, Communications, Education, Sociology, Computer Science), as well as in the community, to do research in digital gaming and to design games.[78]

In 2016, Hughes and Simon, along with Professor of Design and Computation Arts Christopher Salter,[79] founded the Milieux Institute for Arts, Culture and Technology at Concordia University. Milieux came about due to the increased number of students and departments expressing a common set of interests across the fine arts, digital culture and information technologies. Built on the Hexigram infrastructure, Milieux provides a platform for research, creative experimentation, interdisciplinary training and social engagement.[80][81] TAG became one of seven interdisciplinary Clusters at Milieux.[82]

Distinctions

In 2013, Lynn Hughes received the Concordia University Academic Leadership Award. “Dominic Peltier-Rivest, director of the Centre for Academic Leadership, praised her for ‘guiding the [Fine Arts ] faculty toward increased research capacity and a fuller articulation of fine arts to the research mission of Concordia.’”[83][84]

In 2018 Lynn Hughes was among the recipients of the 5th World Omosiroi Awards in Japan, which showcases people from around the world “whose pioneering activities and ideas epitomize OMOSIROI (fun and interesting)”.[85]

Curating

Lynn Hughes has demonstrated an ongoing interest in bringing artworks by other artists to the public, throughout all the phases of her career.

Her first curatorial project, in 1983, demonstrated a connection between the Montréal and Toronto art scenes. “Trois artistes de Toronto/Three Toronto Artists: Alan Glicksman, Brian Scott, Robert Youds” was exhibited at the Articule artist-run-centre in Montréal. The show also included works by three other Toronto artists selected by Toronto co-curator Bruce Russell.[86] In 1994, she co-curated with New Yorker Carol Williams, another visual art exhibition entitled “Langues, torsions et nœuds : Ana Chang, Catherine Heard, Vita Plume & Angela Somerset”, which brought together four feminist artists from across Canada at La Centrale artist-run centre in Montréal.[87][88]

In 2008, Hughes’ curatorial interests turned to electronic works. Hughes believed that gaming was central to her cultural context and wanted to support artists and other independent creators interested in producing games, as a counter point to often formulaic commercial games.[89]

That year, she co-curated with Jean Dubois “Interstices : Coefficients d’intimité” at Oboro artist-run-centre in Montréal. The month-long exhibition presented a selection of works by twelve members of the Interstices electronic arts research group (Matthew Biederman, Jean Dubois and Chloé Lefebvre, Karmen Franinovic, Ying Gao, Adad Hannah and Niklas Roy, Lynn Hughes and Heather Kelley with Geoffrey Jones, James Partaik, François Quévillon).[90]

In 2011, she presented a selection of international innovative games created by small studios and individuals at La Gaïté Lyrique, a venue dedicated to presenting and creating digital arts in Paris, France. The selection of work entitled “Carte blanche à Kokoromi et TAG” was part of the NÉMO (Le festival arts numériqued d’arcadi). Hughes represented TAG research centre and was accompanied by co-curators Heather Kelley from the Kokoromi Collective and Cindy Poremba from TAG and Kokoromi.[91] The following year, the trio returned to La Gaïté Lyrique to curate “Joue le jeux”, a monumental, two-month long event that presented twelve experimental games, including five “giant” games, games played with a traditional controller, games that are physical and social, experimental games and games that are close to theatre. The museum-scale exhibition occupied five floors of La Gaïté Lyrique.[92][93][94]

In 2015, Hughes was part of a curatorial team (with Carolyn Jong, Ida Marie Toft and Skot Deeming) that presented a selection of interactive works entitled “MUESTRA: Resistencia en jugeo/Resistance at play” as part of the event Cambios Compartidos: Transitio_MX06 at the Centro Nationale de las Artes in Mexico City. The works were created by TAG research group members, and were selected for their thematic connections to the politics of protest, power and control, surveillance and witnessing.[95]

In 2022-2023, an exhibition curated by Hughes and Nathalie Bachand entitled “Intangible In-Between/Intengible entre-deux” was shown at: Sporobole in Sherbrooke, Quebec; ELEKTRA and Perte de signal in Montréal; and Centre Bang in Chicoutimi, Québec. It brought together works by six artists from Canada, South Korea, Brazil and Columbia who combined experimental games and art.[96]

In 2025, Lynn Hughes and Richy Srirachanikorn produced the ambitious “Ludodrome: a gathering of 40 experimental game makers”, a one-day event at Montréal’s Société des arts technologiques (SAT), which presented an arcade of forty experimental games created using artistic, innovative and critical approaches.[97]

In 2023, she co-curated with Nathalie Bachand “Art and/or play: symbiosis or dissonance?”, a program of experimental video games and related artistic practices by French and Canadian creators (Disnovation.org, Ahreum Lee, Enric Llagostera, Raphaëll Maïwen, Santiago Tamayo Soler, Tatiana Vilela Dos Santos). The program was presented at the Canadian Cultural Centre in Paris, as part of the 28th edition of the annual International Symposium on Electronic Art (ISEA)(2023).[98][99]

Publications

Among other publications, Lynn Hughes co-authored with Jean Dubois CI/AI: Coefficients d'intimité / Amplified Intimacies, which gives a theoretical framework for, and catalogues a major exhibition of interactive works by the research group Interstices (2015).[100] She has co-edited two collections of essays: Creative Con/Fusions: Interdisciplinary Practices in Contemporary Art/Penser l’indiscipline: Recherches Interdisciplinaires en art contemporain with Josée Lafortune, which looks at interdisciplinary theory and practice in contemporary art (2001);[101] and ART X GAME = / JEU X ART = with Nathalie Bachand, which considers the conjunctures between art and gaming (2022).[102]

In 2024, Lynn Hughes self published an illustrated collection of her poetry entitled Knot All of This is Nice (42 pages).

References

  1. ^ Ted Lindberg, Daina Augaitis (1982). Lynn Hughes, Michael Jolliffe : Meat and Mystery : Life After Vancouver. Vancouver, BC: Emily Carr College of Art and Design, 1982, p. 2.
  2. ^ Diana Nemiroff, Rhetoric and Figure in Montréal Painting Now, Parachute 27, été 1982, p. 27.
  3. ^ “Notable Concordian–Lynn Hughes: The art of enabling research-creation”, News, University of Concordia website, consulted November 10, 2025. https://www.concordia.ca/content/shared/en/profiles/offices/advancement/notable-concordians/lynn-hughes.html
  4. ^ “Professor Lynn Hughes”, Faculty Profile, Concordia University website, consulted December 3, 2025. https://www.concordia.ca/faculty/lynn-hughes.html
  5. ^ “About Joue le Jeu/Play Along”, Joue le jeu / Play Along: Game Exhibition, 2012 website. La Gaîté Lyrique (Paris, France), consulted on November 14, 2025. https://justplayalong.info/home/
  6. ^ Lynn Hughes (1976). “Lynn Hughes: Rank Beginnings–A simple account by the artist” (sidebar), Vanguard, September 1976, p. 10: cover ill. 3 ill. b/w.
  7. ^ Lynn Hughes (1976). Rank Beginnings (interview by Ann Rosenberg and Jim Roberts), The Capliano Review, no. 10, p. 132: 6 ill. b/w.
  8. ^ Professor Lynn Hughes (Snelgrove), Canadian Common CV, Fonds de recherche , Société et culture Québec, 8 pages – linked on Concordia University website, “Professor Lynn Hughes” faculty profile page, consulted December 3, 2025. https://www.concordia.ca/faculty/lynn-hughes.html
  9. ^ op cit., Hughes, Capliano Review.
  10. ^ op cit., Hughes, Vanguard.
  11. ^ n.a. (1979). 20 x 20 Italia/Canada, Galleria Blu, Studio Luca Palazzoli, Dove la Tigre, Milano, 16 pages.
  12. ^ Pascale Beaudet, La peinture au Québec : Une nouvelle génération, Vie des arts, Volume 30, numéro 120, septembre–automne 1985, p. 21. URI : https://id.erudit.org/iderudit/54102ac
  13. ^ Burnett, D. and Schiff, M (1983) .: Contemporary Canadian Art, pub. Hurtig Publishers Ltd. in cooperation with the Art Gallery of Ontario, p. 258-259: 1 ill b&w. https://archive.org/details/contemporarycana00burn
  14. ^ Bentley Mays, J (1983).: "The Snakes in the Garden", Visions, ed. Douglas and McIntyre, Vancouver/Toronto 1983. Color Illustration.
  15. ^ Michèle Thériault (1996). “Tentative Equations” in Present Tense Contemporary Project Series: Lynn Hughes, Art Gallery of Ontario, 14 p. Pamphlet.
  16. ^ “Lynn Hughes: Pictures of Things”, 14 October-1 November, 1980, Mercer Union website, https://www.mercerunion.org/exhibitions/hughes-pictures-of-things (consulted January 12, 2026)
  17. ^ “Lynn Hughes, From September 8th 1980 to September 27th 1980, It's Only Fascination”, Optica Website Archives, https://www.optica.ca/decades/expo_affiche_annee_en.php?anne_expo=1980 (consulted January 12, 2026)
  18. ^ Gilles Godmer, Peinture au Québec : une nouvelle génération, Musée d’art contemporain, 1985, p. 26. https://macrepertoire.macm.org/media/publications/catalogues/D/CA1985.2_DNf.pdf
  19. ^ “Lynn Hughes: Annunciation for William James, 1982”, Collection, National Gallery of Canada Website, consulted January 28, 2026. https://www.gallery.ca/collection/artwork/annunciation-for-william-james
  20. ^ Michèle Thériault (1996). “Tentative Equations” in Present Tense Contemporary Project Series: Lynn Hughes, Art Gallery of Ontario, 14 p. Pamphlet.
  21. ^ Bruce Grenville (1985). The Allegorical Image in Recent Canadian Painting, Agnes Etherington Art Centre, Kingston, Ontario, 36 pages.
  22. ^ Merike Talve (1983). “The Meat and the Mystery: Lunn Hughes and Michael Jolliffe”, Vanguard, February 1983, p. 10-12.
  23. ^ Felda Grünwald and Diana Nemiroff (curators) (1982). New Directions: Toronto/Montreal (exhibition catalogue), Art Toronto ‘82: 3rd Toronto International Art Fair, published under the auspices of Art Magazine Inc., p. 28-29.
  24. ^ Ted Lindberg and Daina Augaitis. Lynn Hughes, Michael Jolliffe : Meat and Mystery : Life After Vancouver (exhibition catalogue). Emily Carr College of Art and Design, Vancouver, BC, 1982, 20 pages.
  25. ^ Nemiroff qualifies Lynn Hughes’ paintings as “critical figurative painting…it is a painting of longing, composed of references to memory, dreams, stories, icons and kitsch. Its modes are most commonly the ugly, the comic, the theatrical, and the innocent, or some combination thereof.” (p. 26) Her works are said to “Push against the limit of what we are willing to accept as art…[and] define the character of the new figuration as a painting of desires made manifest.” (p. 27) Diana Nemiroff, Rhetoric and Figure in Montréal Painting Now, Parachute, 27, été 1982, p. 22-27.
  26. ^ Pam Bjornson (1986). “Lyn Hughes: Neutral Ground, Norman Mackenzie Art Gallery, Regina”, Vanguard, October/November 1986, p. 33-44.
  27. ^ Paul Smith (1988). “L’art au travail (Exposition no 7): Sept peintres exposent dans les fabriques de Liberté”, Liberté, Candiac, Québec, 12 pages.
  28. ^ Lynn Hughes and Marie-Josée Lafortune, “Creative Con/fusions…“ in Lynne Bell, Joan Borsa, et al (2001) Penser l'indiscipline : Recherches interdisciplinaires en art contemporain = Creative Con/Fusions : Interdisciplinary Practices in Contemporary Art, Optica, Montréal, Qc, p. 16. https://e-artexte.ca/id/eprint/14727/
  29. ^ “I wanted the academic side of me to make some sort of queasy peace with the painter I still valued and needed my traditional, contemplative practice, but I also needed to connect it to the world again – and, if possible, to a specific, even local, world.” Lynn Hughes quoted in Michèle Thériault (1996). Present Tense Contemporary Project Series: Lynn Hughes (exhibition catalogue), Art Gallery of Ontario, pamphlet, p.3.
  30. ^ Annie Martin (1997). “Lynn Hughes, Art Gallery of Ontario, Toronto, April 10-July 14”, Parachute, no. 85, p. 59-60.
  31. ^ Carol Laing (1995). “Trapeze Acts or Flies in Amber: Lynn Hughes Tentative Equations, Galerie Oboro, Montréal, February 18th - March 19th, 1995”, Oboro, 4 page pamphlet.
  32. ^ “C’était aussi pour moi une tentative de trouver un public plus large que la niche de la peinture contemporaine vers la culture en général. Je reconnaissais que les ordinateurs et le numérique allaient dominer la culture dans les années à venir. Je suis donc allée consciemment vers une pratique qui impliquait de comprendre et d’utiliser la technologie actuelle.” Lynn Hughes interviewed in Philippe Bédard (2023). “Les pionnières du numérique – Recherche et création dans le secteur des arts numériques avec Lynn Hughes, Université Concordia” (interview with Lynn Hughes), XN Québec website, consulted December 2, 2025. ]https://www.xnquebec.co/lesnouvelles/les-pionnieres-du-numerique-03-recherche-et-creation-dans-le-secteur-des-arts-numeriques-avec-lynn-hughes-universite-concordia/
  33. ^ Jean Dubois, Lynn Hughes (2015). CI/AI: Coefficients d'intimité / Amplified Intimacies, Interstices and Oboro, Montréal, Québec, 191 pages. https://e-artexte.ca/id/eprint/23099/
  34. ^ "Lynn Hughes en entrevue avec Le Devoir", Concordia University YouTube account, Nov. 20, 2014, 2:40, https://www.youtube.com/watch?v=6u8maJ9rBlI
  35. ^ “The Emerging Culture of Play | Lynn Hughes | Walrus Talks”. (6 May, 2015) Walrus YouTube account (consulted July 18, 2024). https://www.youtube.com/watch?v=2lhRmnJo1xk
  36. ^ “Lynn Hughes and Simon Laroche” (biographies), in Claudia Hart (ed.) (2006). Can We Fall in Love with a Machine?, Wood Street Galleries, The Pittsburgh Cultural Trust, Pittsburgh, PA, p. 44.
  37. ^ Philippe Bédard (2023). “Les pionnières du numérique – Recherche et création dans le secteur des arts numériques avec Lynn Hughes, Université Concordia”, XN Québec website, consulted December 2, 2025. https://www.xnquebec.co/lesnouvelles/les-pionnieres-du-numerique-03-recherche-et-creation-dans-le-secteur-des-arts-numeriques-avec-lynn-hughes-universite-concordia/
  38. ^ Rettino-Parazelli, Karl (26 November 2013). "Entretien Concordia — Économie et développement durable - Le jeu vidéo, un art mésestimé". Le Devoir. Retrieved July 18, 2024.
  39. ^ Lynn Hughes (2011). “Passing the Ball”, in Interstices: Coefficients d’intimité/Amplified Intimacies, Oboro, Montréal, Québec, p. 36-63.
  40. ^ Lachance, Adrien (3 July 2013). "Le jeu vidéo de demain sera-t-il éthique?". Radio Canada. Retrieved July 18, 2024.
  41. ^ “Perverstly Interactive System (2003-2005)”, Lynn Hughes – experimental games Youtube Channel. https://www.youtube.com/watch?v=_6LipV2BM_k
  42. ^ Marsh, T., Costello, B. (2013). "Lingering Serious Experience as Trigger to Raise Awareness, Encourage Reflection and Change Behavior". In: Berkovsky, S., Freyne, J. (eds) Persuasive Technology. PERSUASIVE 2013. Lecture Notes in Computer Science, vol 7822. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-37157-8_15
  43. ^ Manon DePauw (2004). “L'image éprouvée : les enjeux de l'interactivité au sein du groupe interstices”, ETC Montréal, no. 65, mars, avril, mai 2004, p. 7-11.
  44. ^ ibid.
  45. ^ “Perversely Interactive System, Lynn Hughes and Simon Laroche: Dispositivo de biofeedback Biofeedback device”, in “FILE 2004 – Festival Internacional De Linguagem Eletrônica (Electronic Language International Festival)” (event program), São Paulo, Brazil.
  46. ^ “À l’intérieur/Inside (Beijing) 2006” web page, Molior website, consulted January 24, 2026. https://molior.ca/en/a-linterieur-inside-beijing-2/
  47. ^ “À l’intérieur/Inside (São Paulo) 2008” web page, Molior website, consulted January 24, 2026. https://molior.ca/en/a-linterieur-inside-sao-paulo-2/
  48. ^ “Can We Fall in Love with a Machine?” web page, Pittsburgh Cultural Trust website, consulted October 7, 2025. https://trustarts.org/exhibit/23238/can-we-fall-in-love-with-a-machine
  49. ^ Claudia Hart (ed.) (2006). Can We Fall in Love with a Machine?, Wood Street Galleries, The Pittsburgh Cultural Trust, Pittsburgh, PA, 116 pages.
  50. ^ “Festival Archives 2007 – ELEKTRA 2007, May 09 to 13” webpage, Elektra website, consulted January 8, 2026. https://www.elektramontreal.ca/elektra-2007
  51. ^ “CUBID (2005-06),” Lynn Hughes YouTube page, consulted, January 8, 2026. https://www.youtube.com/watch?v=ij8yuSujxts
  52. ^ “FABULOUS FABULEUX (2007-08)”, Lynn Hughes YouTube page, consulted, January 8, 2026. https://www.youtube.com/watch?v=fR4e-wHODIM
  53. ^ “Alt Ego (2018)”, Lynn Hughes YouTube page, consulted, January 8, 2026. https://www.youtube.com/watch?v=gBJlEFpRwaM
  54. ^ "Bart Simon, Faculty Milieux, Technoculture, Art & Games" (profile), Milieux Institute for Arts, Culture and Technology website, consulted Feb. 2, 2026. https://milieux.concordia.ca/member/bart-simon/
  55. ^ “Propinquity (QC-CA): Lynn Hughes, Bart Simon, Jane Tingley” in Elektra X BEAF (Bozar Electronic Festival): Focus Québec (event program), Elecktra and the Fédération Wallonie-Bruxelles, p.10.
  56. ^ Apostrophe (2012). “Exposition : La Gaîté Lyrique « Joue le Jeu » !, Game Side Story (GSS) website, consulted Dec. 18, 2025 https://gamesidestory.com/exposition-la-gaite-lyrique-joue-le-jeu/
  57. ^ “PROPINQUITY (2009-11)”, Lynn Hughes YouTube page, consulted, January 8, 2026. https://www.youtube.com/watch?v=igUE2USkreA
  58. ^ “Propinquity: Project Description” webpage, Jane Tingley website, consulted January 12, 2026. https://janetingley.com/propinquity/
  59. ^ op cit., Elektra X BEAF, p. 10.
  60. ^ J. Latimer (2017). “Place des Alts: ‘A very alternative interactive audio guide experience’”, Concordia University website News, August 28, 2017. Consulted January 16, 2026. https://www.concordia.ca/cunews/main/stories/2017/08/28/place-des-alts-alternative-interactive-audio-guide-km3-375th.html
  61. ^ “Lynn Hughes”, Canada Council Banque d’art Bank website. (accessed Nov. 3, 2025) https://artbank.ca/?qartist=Lynn%20Hughes
  62. ^ “Lynn Hughes”, National Gallery of Canada website. (accessed Nov. 3, 2025) https://www.gallery.ca/search/node/lynn%20hughes
  63. ^ “Artiste Lynn Hughes Oeuvres”, Musée d’art contemporain de Montréal website. (accessed Nov. 3, 2025) https://macrepertoire.macm.org/artiste/hughes-lynn/
  64. ^ Professor Lynn Hughes (profile), Concordia University website, consulted January 16, 2026. https://www.concordia.ca/faculty/lynn-hughes.html
  65. ^ Professor Lynn Hughes (Snelgrove), Canadian Common CV, Fonds de recherche Société et culture Québec, consulted January 16, 2026. https://www.concordia.ca/etc/designs/concordia/resources/file.pdf?did=4727
  66. ^ "Jean Dubois, Professeur" (profile), Répertoire des professeurs et professeurs, UQÀM website, consulted Jan. 15, 2026. https://professeurs.uqam.ca/professeur/dubois.jean/
  67. ^ Lynn Hughes (2007). “The President's Welcome and Introduction. Annex B – Roundtable Workshop Program, Science-Metrix & Manon Bourgeois Roundtable Workshop on SSHRC’s Research/Creation Grants” in the Fine Arts Pilot Program in Formative Evaluation of SSHRC’s Research/Creation in Fine Arts Program: Methodology Appendix, SSHRC/CRSH, p. 6. https://sshrc-crsh.canada.ca/about-au_sujet/publications/fine_arts_eval_part2_e.PDF
  68. ^ op cit., Professor Lynn Hughes profile, Concordia.
  69. ^ op cit., Mannon De Pauw.
  70. ^ Jean Dubois, Lynn Hughes (2015). CI/AI: Coefficients d'intimité / Amplified Intimacies, Interstices and Oboro, Montréal, Québec, 191 pages. https://e-artexte.ca/id/eprint/23099/
  71. ^ “Interstices Coefficients d’intimité” (exhibition web page), Oboro website, consulted January 22, 2026. https://www.oboro.net/exhibition/coefficients-dintimite/
  72. ^ “Lynn Hughes: Emeritus Professor, Fine Arts, Concordia University, Montreal” (profile), World Omosiori Award website, consulted January 16, 2026. https://kc-i.jp/en/activity/award/omosiroi/winner/vol5_winner04.php#undefined7
  73. ^ “Hexigram is an interdisciplinary network dedicated to research-creation addressing the relationships between arts, cultures and technologies. It comprises around forty co-researchers, forty collaborators, and a little over 200 students from various artistic disciplines related, in particular, to living arts, visual arts, design, and media arts, while also touching disciplines in the social sciences and humanities or natural sciences and engineering.” “Mission and Governance”, Hexagram website, consulted January 16, 2026. https://hexagram.ca/en/14703-2/
  74. ^ Barbara Black, “Hexagram Institute receives $21.9-million CFI grant”, Concordia’s Thursday Report, CTR website, Feb. 7, 2002, consulted Jan. 18, 2026. https://ctr.concordia.ca/2001-02/Feb_7/01-Hexagram/index.shtml
  75. ^ “History”, Hexagram website, consulted January 16, 2026. https://hexagram.ca/en/history/
  76. ^ op cit., "Lynn Hughes" profile Concordia, https://www.concordia.ca/faculty/lynn-hughes.html.
  77. ^ op cit., “Bart Simon” (profile), Milieu. https://milieux.concordia.ca/member/bart-simon/
  78. ^ (2016) “Lynn Hughes – Technoculture, Art and Games (TAG)” (interview) Co-creating Conversations series, Ageing + Communications + Technologies Project (ACT) website, consulted January 16, 2026. https://actproject.ca/lynn-hughes/
  79. ^ "Christopher Lloyd Salter, PhD" (profile), Concordia University website, consulted February 2, 2026. https://www.concordia.ca/faculty/christopher-salter.html
  80. ^ “About: History”, Milieux website, consulted January 22, 2026. https://milieux.concordia.ca/about/
  81. ^ Karen Seidman (2016), “Milieux Institute: Concordia University's cutting-edge hub where research intersects and inspires”, Montreal Gazette, April 1, 2016. https://www.obxlabs.net/wp-content/uploads/2023/08/Concordia_University_gets_cools_with_its_new_Milieux_hub-Montreal_Gazette.pdf
  82. ^ “Who We Are”, TAG website, consulted January 22, 2026. https://tag-milieux.ca/about
  83. ^ “Notable Concordian–Lynn Hughes: The art of enabling research-creation”, News, University of Concordia website, consulted November 10, 2025. https://www.concordia.ca/content/shared/en/profiles/offices/advancement/notable-concordians/lynn-hughes.html
  84. ^ Tom Peacock (2013). “Academic leaders honoured for exceptional administration: Lynn Hughes, George Kanaan and Lata Narayanan recognized for accomplishments and dedication to Concordia's mission”, News page, Concordia University website. Consulted January 26, 2026. https://www.concordia.ca/cunews/main/stories/2013/05/31/academic-leaders-honoured-for-exceptional-administration.html
  85. ^ “World OMOSIROI, Award 5th Winner, Lynn Hughes: Emeritus Professor, Fine Arts, Concordia University, Montreal” (profile), World Omosiori Award website, consulted January 16, 2026. https://kc-i.jp/en/activity/award/omosiroi/winner/vol5_winner04.php#undefined7
  86. ^ Lynn Hughes (1983). Trois artistes de Toronto/Three Toronto Artists: Alan Glicksman, Brian Scott, Robert Youds”, Discussion, Articule centre d’expression créatrice, Montréal, april ‘83, vol. 3, no. 2/3, 17 pages.
  87. ^ Williams, Chang & Somerset (1994). “Langues, torsions et nœuds : Ana Chang, Catherine Heard, Vita Plume & Angela Somerset” (curators: Lynn Hughes and Carol Williams), La Centrale-Galerie Powerhouse, Montréal, (pamphlet).
  88. ^ “Du 08 janvier 1993 au 06 février 1993 – Langues, Torsions et Noeuds” (exhibition listing), La Centrale website, consulted January 22, 2026. https://www.lacentrale.org/programmation/langues-torsions-et-noeuds/
  89. ^ Erwan Higuinen (2012). “Le jeu est central dans la culture actuelle” (interview with Hughes), Les Inrockuptibles, 4.07, Paris, France, p. 76.
  90. ^ “Interstices : Coefficients d’intimité”, Oboro website, consulted January 22, 2026. https://www.oboro.net/exhibition/coefficients-dintimite/
  91. ^ (2011). NÉMO (Le festival arts numériques d’arcadi): Spécial Québec numérique (festival brochure), Arcadi, Paris, France, p. 19.
  92. ^ op cit., Apostrophe, https://gamesidestory.com/exposition-la-gaite-lyrique-joue-le-jeu/
  93. ^ “Lead Curators for Joue le jeu / Play Along”, Joue le jeu / Play Along website, consulted Dec. 18, 2025. https://justplayalong.info/curators/
  94. ^ “About Joue le Jeu / Play Along”, Joue le jeu / Play Along: Game Exhibition 2012 website, consulted on November 14, 2025. https://justplayalong.info/home/
  95. ^ Hughes, Jong, Toft and Deeming (2015). “MUESTRA: Resistencia en jugeo/Resistance at play” (curatorial statements), in “Cambios Compartidos: Festival de Artes Electrónicas y Video Transito_MX 06” (event catalog), Centro Nacional de las Artes, Ciudad de México, p.23. https://pubhtml5.com/svid/chri/CAMBIOS_COMPARTIDOS_TRANSITIO_MX_06/1
  96. ^ Nathalie Bachand, Lynn Hughes (c. 2023). “Intangible In-Between: Baron Lanteigne, Ahreum Lee, Enric Llagostera, Raphaël Maïwan, Kara Stone, Santiago Soler”, Sporobole, Sherbrooke, Québec, 10 pages. https://sporobole.org/en/broadcast/jeu_art_game-intangible-in-between-zoom-out-sortir-de-zoom/
  97. ^ (2025). “Ludodrome: a gathering of 40 experimental game makers”, Hexagram website, consulted January 22, 2026. https://hexagram.ca/en/ludodrome2025/
  98. ^ (2023). “Art et/ou jeu : symbiose ou dissonance ? / Art and/or play: symbiosis or dissonance?” (exhibition press release), Canadian Cultural Centre, Paris. Consulted on November 17, 2025) https://canada-culture.org/wp-content/uploads/2023/03/Communique-ISEA.pdf
  99. ^ (2023). “Art et/ou jeu : Symbiose ou dissonance ? : Nicolas Maigret, Disnovation.org (artistes lauréat·e·s / laureates artists) Et / And: Lynn Hughes, Nathalie Bachand, Tatiana Vilela Dos Santos, Table ronde / Round table”, in ISEA 2023 Symbiosis (catalogue), p.98 https://www.isea-archives.org/docs/2023/Catalogue_ISEA2023.pdf
  100. ^ Jean Dubois, Lynn Hughes (2015). CI/AI: Coefficients d'intimité / Amplified Intimacies, Interstices and Oboro, Montréal, Québec, 191 pages. https://e-artexte.ca/id/eprint/23099/
  101. ^ Lynn Hughes (ed.), Marie-Josée Lafortune (ed.) with essays by Lyne Bell, Joan Borsa, Tim Clark, Curtis J. Collins, Jean Dubois, Vera Frenkel, Amy Gogarty, Nicole Jolicoeur, Johanne Lamoureux, Denis Lessard, Patrice Loubier, Mireille Perron, Christine Ross and Guy Sioui Durand (2001). Penser l'indiscipline : Recherches interdisciplinaires en art contemporain / Creative Con/Fusions : Interdisciplinary Practices in Contemporary Art. Optica, Montréal, Québec, 200 pages. https://e-artexte.ca/id/eprint/14727/
  102. ^ Lynn Hughes (ed.), Nathalie Bachand (ed.) with essays by Nathalie Bachand, Pippin Barr, Liane Décary-Chen, Raphaëll Maïwen & Jess Rowan Marcotte (2022). ART X GAME = / JEU X ART =, Édition OQP/Sporobole, Sherbrooke, Québec, 102 pages. https://sporobole.org/en/broadcast/art-x-game_jeu-x-art-publication/

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