Acknowledgements

Many thanks to Andra McCartney, Matt Soar, Kim Sawchuk, Line Grenier, and the Joint PhD Program in Communication Studies offered through Concordia University, l' Université de Montréal and UQAM for support throughout the process of designing and finishing this research-creation thesis. Thanks to Andra in particular for inspirational supervision and mentorship.

Thanks to Bev Diamond (Memorial University) and Jason Camelot (Concordia University) for their generous and incisive comments as external examiners.

Thanks also to the FQRSC (Fonds de recherche sur la société et la culture) and CIAM (Centre interuniversitaire des arts médiatiques) for financial and equipment support during crucial periods of the project.

Thanks to the many graduate and undergraduate students in the department of Communication Studies at Concordia who have shared their friendship, encouragement, and knowledge with me since I started my degree in 2000. Thanks in particular to Jeremy Parkin for help transcribing the interviews.

Thanks to George Stamos for the opportunity to collaborate in dance over the past 5 years.

A thousand thanks to the various members of the Selected Sounds project, whom you will soon meet....

Thanks to my mother Janet Bousquet for showing me how to take risks in the pursuit of what we love, and to Yvan Cazabon for showing me how to love learning through teaching. Thanks to my sister Alice Chapman for all the good times spent listening to records around our childhood turntable.

To all the musicians I've ever sampled...what can I say but "Thanks!".

Lastly, to my wife Sara Teitelbaum and our children Thea and Benny....

I go through all this, before you wake up. So I can feel happier--to be safe again with you. (Bjork, "Hyperballad", 1996)