I'm Cindy

In Toronto/Tkaronto Canada

About 1

Cindy Poremba

Contact them through their faculty email found here.

Cindy Poremba has maintained an experimental gamemaking and curatorial practice for almost two decades with a particular interest in captured media practices, and emerging technologies. They are an Associate Professor in Digital Futures at OCAD University (Tkaranto), Co-Director of OCAD’s game:play Lab, and a 2023/24 Massey Visiting Fellow. Their award-winning game, curation, and “New Arcade'' work (independently and as a member of the kokoromi collective), has been featured in both game and digital art exhibitions internationally. Download CV

Creative Projects 2
Writing 3
A quicklist of recent and key writing (books, articles, magazines etc.) For a comprehensive list, please refer to my C.V. (under About).


(Forthcoming, Bloomsbury) Capture Matters: Postmedia and the Real Image
The holographic recording, the mocap performance, the in-game photograph, the deepfake-- all involve elements that appear “captured” from the actual world. But they are complicated images-- combining capture, creation and computational processes that are often understood as distinct. Create and capture modes are rapidly converging, mutating into hybrid forms where it is impossible to untangle recorded and constructed elements. But despite this destabilization, capture, as a recognizable mode of technology-infused representation, persists. From immersive documentary to sports videogames, creators maintain a vested interest in the affordances of capture, and emerging practices take advantage of capture’s new transformability. Capture matters, because of the ways it is entangled with articulations of realities -- for instance, in claims that a representation is real -- and the ways it is used to understand media practices. But capture is increasingly assembled in diffuse contexts, drawing upon different agencies, histories, technologies, epistemologies, and practices. We might view an animation vivified by motion data, a face generated from an array of captured faces, or a photographer taking pictures within videogames: and in each case, see capture assembled and understood in distinct ways. This book looks at the interplay between create and capture paradigms, using new materialist rhetoric to make visible the ways in which different entities evoked by capture are re-connected and recombined in increasingly local contexts. Through these new ways capture comes to matter, how can we better articulate its critical potential within complex entanglements, local epistemologies, and with non-human agents like cameras, sensors, and software platforms?

Book Chapters

Poremba, Cindy, and Amy Seigel. “Going Deep: Hybrid Capture in Documentary.” In The Interactive Documentary in Canada, edited by Michael Brendan Baker and Jessica Mulvogue. McGill-Queen’s University Press, 2024: 284–302.

Poremba, Cindy. “Ansel and the (T/M)aking of Amateur Game Photography,” in Screen Images: In-Game Photography, Screenshot, Screencast. eds. Winfried Gerling, Sebastian Möring and Marco De Mutiis. Kadmos Berlin, 2024: 223-244.

Bogost, Ian and Cindy Poremba. "Can Games get Real? A Closer Look at 'Documentary' Digital Games." Computer Games as a Sociocultural Phenomenon: Games Without Frontiers - War Without Tears. Eds. Andreas Jahn-Sudmann and Ralf Stockman. Basingstoke: Palgrave Macmillan, 2008. 12-21.


Therrien, Carl, Cindy Poremba, and Jean-Charles Ray. “From Dead-end to Cutting Edge: Using FMV Design Patterns to Jumpstart a Video Revival,” Game Studies, Vol 20 (4) December 2020.

Poremba, Cindy. "Discourse Engines for Art Mods.” Eludamos. Journal for Computer Game Culture. 2010, Volume 4, Issue 1. 41-56.

Poremba, Cindy. “On the Brink of the Magic Circle.” Proceedings of Situated Play: Digital Games Research Conference 2007, Tokyo, JP, 24-28 Sept 2007. 772-778.

Poremba, Cindy. “Point and Shoot: Remediating Photography in Gamespace.” Games and Culture. Volume 2, Number 1, Sage Publications, Jan 2007. 49-58.