Call For Papers

Call for Panel Proposals – CAA Los Angeles 2018

Call for Panel Proposals – CAA Los Angeles 2018

The New Media Caucus invites proposals for a 1.5-hour affiliated panel session to be held during the 2018 College Art Association annual conference in Los Angeles.

Proposals must address issues related to new media. Panel chairs will submit the proposal and organize the session, including the call for submissions. The NMC Exhibitions & Events Committee will assist with providing liaison to CAA, administration, publicity, etc.

PROPOSALS MUST INCLUDE:

  • 3-page CV, submitted as PDF
  • 300 – 600 word abstract addressing:
  • concept for the panel
  • areas of investigation
  • questions the panel will raise
  • specific topic areas presenters might address

PUBLISHING REQUIREMENT: Media-N Journal of the New Media Caucus will publish a conference edition after the CAA conference, showcasing conference proceedings sponsored by the NMC. To this end, Individuals are required to submit materials for the journal edition. Media-N offers flexibility regarding how to achieve the publishing requirement. Once invitations are accepted, the Editor-in-Chief of Media-N will contact the chair(s) to further discuss and plan for the publishing requirement. All materials for publication must be completed by mid-April after the conference.

NOTES:

  • Two people may apply as co-chairs.
  • Proposals should only list the chair. A call for contributors goes out June 3.
  • Multiple proposals are not accepted.
  • Panel chairs (and panelists) must be NMC members. There are no membership fees. JOIN NMC
  • Panel chairs (and panelists) must be CAA members.
  • NMC does not fund conference fees, transportation, or hotels for chairs or panelists.
  • Panel participants must either register for the CAA conference or buy a one-day pass.
  • Chairing or presenting during a 1.5 hour session does not disqualify you from chairing a panel or serving as a panelist in a general CAA session.

TIMELINE:
Peer review will occur shortly after the deadline.

DEADLINE:
April 3, 2017. Email submissions to Joyce Rudinsky, rudinsky@unc.edu.

Open Call: Tongue Tide at Flux Factory

Inspired by the location in Queens, NY, Tongue Tide invites creative practitioners, artists, performers, researchers, and educators to submit proposals for new artworks, workshops, and performances with the subject matter of language.

Tongue Tide is one of Flux’s major 2017 exhibitions and is curated by Emireth Herrera and Christina Freeman.

Deadline is March 30th 
Submission instructions below

Exhibition dates : July 3rd to August 2nd, 2017

According to the 2015 census, half of all New Yorkers speak a language other than English at home and over 200 languages are spoken across New York City. Including speakers of endangered languages, the number is closer to 700. As the most diversely language dense area on the planet, the borough of Queens is positioned as a unique microcosm of the greater world – and within it Flux Factory an ever-changing reflection of this multilingualism. This exhibition will explore the plethora of living languages in the borough of Queens, NY and their potential as a springboard for connections across the globe.

We are interested in the dual nature of language as simultaneously expressive and limiting. The title Tongue Tide references the phrase, “Mother Tongue,” meaning one’s native language, as well as the colloquialism “Tongue Tied”, or speechless, expressing the limits of that language. Replacing “Tied” with the word “Tide”, references the ocean tide, and the organic, fluid aspect of language.

Artists are invited to propose new works around the theme of language and translation including, hybrid, vernacular, and invented languages, American Sign Language, gesture, body language, subtitling, language censorship, coding, word play, and slang lexicons such as “urbandictionary.com”.

Works can take the form of musical performance, stand-up comedy, sound installation, food art, dinner party, dance party, karaoke, human megaphone, sidewalk chalking, mail art, chain letter/pyramid scheme, mixtapes, site specific signage, bike messenger art, flyering, coupons, text-messages, Apps, virtual reality technology (oculus rift, Google cardboard), web art, language classes, workshops, walking tours, scavenger hunts, interspecies communication, t-shirts/merchandise, poetry readings, dictionaries, zines, film screenings, theatrical performances, opera, endangered language archiving, artists’ books, as well as 2D/3D/4D works. Artists will be informed of acceptance status by April 30.

Submission Guidelines

Please submit the listed materials below as one PDF according to your interest. All submissions should be sent to tonguetide@fluxfactory.org

Artworks for exhibition / Performances

  • Description of your work (max 500 words – include images, sketches, or any supporting media links.)
  • Artist statement or bio (max 200 words),
  • Work samples (up to 5 examples with images, video or sound links with brief descriptions.)
  • CV

Workshops

  • Description of workshop idea (max 500 words – Please include logistics to explain how it can be manageable)
  • Statement or bio (max 200 words)
  • Work examples if you have similar workshop experience (up to 3 samples with images or any media links to support with brief descriptions)
  •  CV

CFP: UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control

UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control
7th Besides the Screen International Conference
Federal University of Espirito Santo, Brazil, 31 May to 2 June 2017

Deadline for proposals: 20th March 2017

Once again, virtual reality is a technology to come. The recent popularisation of immersive displays has revamped the interest on the possibilities of this subject. Alongside came the growth of other forms of volumetric image capture and exhibition, such as 3-D scanning and 360o video. These systems, many of them created to enable computer sensing, are now informing other observers. The way they have been deployed in fields from social media to heritage preservation and prosthetic medicine indicate their broad impact on emerging spatial ontologies.

The next Besides the Screen conference means to frame these growing trends in volumetric imaging in the long history intertwining geography and optics. Departing from cinema, the event seeks to explore how space and image have shaped one another across different media and cultural systems, tracing the power relations that cause topological subjectivities to emerge.

We invite proposals of papers, workshops, performances, screenings, artist presentations, and experimental projects that address, explore, and subvert topics such as:

  • the past, present, and future of VR technologies
  • 360o and immersive filmmaking in different genres
  • bodily affects and proprioception within virtual environments
  • multi-camera stitching aesthetics
  • visual effects / in-frame spatial compositing, both digital and analog
  • 3-D animation and synthetic spaces
  • moving images resulting from 3-D scanning, photogrammetry, and structured light capture
  • developments in computer vision and depth perception
  • real-time cartography as control interfaces
  • responses from the media and data industries to new image technologies
  • early stereoscopic, anamorphic, and panoramic devices
  • event cinema, site-specific projections, and pop-up screenings
  • cleavages and continuities between architecture and the moving image
  • moving image installation and performances
  • etc

To submit a project, please send an abstract (~250 words) and a short biographical note (~150 words) to the address besidesthescreen@gmail.com, with the subject SUBMISSION: BESIDES THE SCREEN 2017. Please include links for demos / previews of any video, performance, or installation submission. The deadline is 20th March 2017.

* * *

Besides the Screen is an international research network on the subject of experimental audiovisual media. It aims to reconfigure the field of screen studies by refocusing it on the seemingly secondary objects, processes, and practices that exist within cinema. Besides the Screen also means to promote an open and horizontal academic environment, favouring practice-based approaches to research and artist collaborations. More info can be found at besidesthescreen.com.

CFP – Autonomous Art Systems: Opportunities, Pitfalls and Implications – Media-N -2017 Fall Issue

Guest Editors

Nick Bontrager, Texas Christian University

Adam Fung, Texas Christian University

Editor-In-Chief

Kevin Hamilton

Media-N, the Journal of the New Media Caucus, invites submissions for an issue about the use of Autonomous Art Systems, tethered and untethered systems of making, self-guided vehicles, and related programming in creative fields of study. Submissions could include: accounts of new artworks that address concepts of drones or autonomous surveillance as subject or form; reflections on the influence of emerging “intelligent” technologies on studio art practices; or critical/historical analysis of the aesthetics of autonomous technologies in light of their social and technical implications.

Artists have long engaged concepts and techniques of artificial intelligence, emergent order, and generative systems. Others have reflected through practice on technologies of surveillance and war as extensions of the human body and senses. How might these histories and examples help us understand contemporary forms of autonomous production, with all their accompanying ethical and social questions?

Paired with video or audio in their mobile form, Autonomous Art Systems offer new visual perspectives, production values, and aesthetics previously unattainable or associated only with state power. Autonomous assembly systems offer possibilities for emergent spatial order, with inevitable influence on design for the built environment. This issue poses the question: how will the new abilities, access, perspectives, and potential restrictions on technology associated with autonomous machines and systems be reflected in art practice of the future?

Submissions for this special issue on Autonomous Art Systems might address the following questions:

  • How has the field of new media art as a whole been affected by Autonomous Art Systems (AAS), and what is the significance of the modalities in which this dialogue takes shape?
  • What are the new media forms and aesthetics, from locative media to visualization, generative art, or even physical computing, that are common to AAS?
  • What is the legal status of AAS, particularly related to drones, today? How do regulations, rules, laws, and reception inform this form of new media art?
  • How do today’s explorations of AAS build on past examples of generative or programmatic aesthetics?
  • How do artistic explorations of such technologies contend with their associations and origins within military, policing, or other defense-related industries?
  • How do AAS further, hinder, or complicate the dialogue surrounding authorship in contemporary art?

Media-N is an English language journal, and all submissions must be received in English adhering to the standards set by the 16th edition of the Chicago Manual of Style.

(http://www.chicagomanualofstyle.org/)

Media-N, Journal of the New Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and double blind peer-reviewed journal. It is open to submissions in the form of theoretical papers, reports, and reviews on new media artworks. The journal provides a forum for national and international New Media Caucus members and non-members featuring their scholarly research, artworks and projects.

TIMELINE:

April 1, 2016: Deadline for submission of abstracts/proposals.

May 1, 2016: Notification of accepted proposals – invitation to submit.

July 1, 2016: Deadline for submission of final papers.

ABSTRACT GUIDELINES:

Please send your submission proposal by email adhering to the following:

Proposal Title, and a 300-500 word Proposal Description. Include your Email(s), your Title(s)/Affiliation(s) (the institution/organization you work with ­ if applicable, or independent scholar/practitioner).

On a separate document, send a Resume (no longer than 3 pages).

NOTE: Materials should be submitted in English, as Microsoft Word documents (.doc or .docx).

SEND THE SUBMISSION TO:

Email to: n.bontrager@tcu.edu and adam.fung@tcu.edu

CFP and Artwork: Taboo – Transgression – Transcendence in Art & Science 2017 at Ionian University

Corfu, Greece | May 26-28, 2017
Deadline for proposals: February 28, 2017

The Department of Audio and Visual Arts of the Ionian University organizes for the second year in a row the interdisciplinary conference "Taboo - Transgression - Transcendence in Art & Science", including theoretical and artwork presentations. The conference continues to focus: a) on questions about the nature of the forbidden and about the aesthetics of liminality - as expressed in art that uses or is inspired by technology and science, b) in the opening of spaces for creative transformation in the merging of science and art.

More info: http://avarts.ionio.gr/ttt/2017/en/description/

Art is, in so many ways, a reflection of reality, its glorification as well as its challenger, in an instinctive understanding that nothing is stable despite the effort to keep a balance between the comfort of belief and the delusion of control. Art and science interrelations are not always clear and one could have the impression that the artist seems more permeable to the influence of science than the scientist to the influence of art. This year's conference is dedicated to all those who keep pushing the limits further than the next gadget and understand the essential role of fantasy when synchronized with reality. One step further, one more time, knowing that the truly opening dimension might be towards the voyaging of consciousness.

Submissions are welcome from all art and research fields with emphasis on filmmaking, illustration, video art, sound art / electroacoustic music, photography, animation, videogames, computer art, installation art, performance art, bio art, net.art, electronic art, robotic art and cutting-edge technology in art research.

Suggested, but not exclusive topics, are those associated, with: Chemistry of the mind, natural healers and mind enhancement | Post gender, transgressive identities and social models | Cyborg, augmentation and bοdy modification | Psycho-pharmacology, somatechnology and post-humanism | Human-like machines, uncanny valley and sex technology | Biopunk, hybridity and aesthetics of mutation | Biotechnology, biophysics and music technology.


Including a wide range of artistic and scientific activities, the Audiovisual Arts Festival provides a chance to highlight the overall results of the educational and research activities developed by the Faculty of Audiovisual Arts, particularly in the field of contemporary sonic and visual arts. The festival’s main program include, among other events, presentations of digital interactive audiovisual works/installations and electronic music concerts by artists from Greece and abroad. Ultimately, there will be a summer school in hybrid arts and an international conference, in 2017 under the title “Taboo-Transgression-Transcendence in Science and Art”.

CFP Moving Forward: Where is the Journalist in Social Media?

Centre for Ecological, Social, and Informatics Cognitive Research (ESI.CORE)
Inaugural International Conference

Moving Forward: Where is the Journalist in Social Media?

SpringHill Suites Downtown Denver
Metropolitan State University of Denver
Denver, Colorado USA
June 23-24, 2017

Call for Papers:

In the current political climate, the constructions of celebrity leaders and popular forms of mediated truths, especially with the recent "fake" internet news, have raised questions about journalism. Tabloid and other forms of popular journalism use narrative devices of gossip, rumor and scandals while many news media have abandoned facts and intelligent analysis in favor of spectacular outrage and incivility, both situations acting as testaments to the lack of informed opinions. Although scholars and journalists work together during news reporting, investigations/documentaries, and on other issues that are covered by news media, scholars are often confined to academic research and disconnected from the realities faced by journalists. Can citizen journalists and journalism scholars help move forward with progressive research and practice? What are the qualifications and definitions of a ‘journalist?’ Is this someone who is employed professionally - or someone who has received an academic certification (degree) to be qualified? Or can anyone today be a journalist?

Citizen participation has been seen as essential in the democratic processes of production, distribution, and reception of news. Online participatory media such as blogs, comments and videos offer a democratic platform for the expression of alternative ideas that may otherwise be filtered by traditional journalism. Yet, citizen journalists need critical media literacy that is often lost in the lure of visibility. How can journalism scholars creatively and critically engage citizen journalists in the dissemination of their research, informed opinions and cultural productions?

The Centre for Ecological, Social, and Informatics Cognitive Research (ESI.CORE), in association with sponsors Centre for Media and Celebrity Studies (CMCS) and WaterHill Publishing, invites academics, journalists, publicists, producers and guests to attend, speak and collaborate at the inaugural international conference Moving Forward: Where is the Journalist in Social Media? Join us in Denver, Colorado where the conference will uniquely combine vibrant roundtable and media workshop panels in a collaborative network.

The format of the conference aims at being open and inclusive ranging from interdisciplinary academic scholars to practitioners involved in all areas of print, broadcast and online journalism. Working papers and media productions will be considered for the conference.

Extended versions of selected best papers will be published in an edited book.

Registration includes: Your printed package for the complete conference, professional development workshops, coffee / tea breaks, access to evening receptions, complimentary evening drinks, consideration for publication.

Submission guidelines:
◦ 250-word abstract or workshop / roundtable proposal
◦ Include a title, your name, e-mail address, and affiliation if applicable
◦ Submit to conference Chair Dr William Huddy at email address: submit@esi.core.org
◦ Deadline for abstract submission: February 15, 2017
◦ Notification of acceptance: March 15, 2017
◦ Early bird registration deadline: April 30, 2017
◦ Full registration deadline: May 30, 2017
◦ Conference reception and presentations: June 23-24, 2017

Topics include but are not limited to:
Communication
Media
Journalism
Photojournalism
Television and Radio
Social Media
Informed Opinions
Infomercials
Advertisement
Publicity and Promotion
News
Interviews
Audience
Race
Gender
Environment and species
Class
Fiction
Genre
Biography
Theory and Methods
Ethics and Morality
Cognition
Media Literacy
Education and Advocacy
International Relations
Business and Community Partnerships

Conference Web Page: www.esicore.org/events/denver2017.html
Conference Twitter @esicore #MF2017
Committee Members: Josh Nathan and Ngoma Evelyn Moghalu
Conference Chair: Dr William Huddy
Dr. William Huddy earned his Ph.D. in Communication Studies from the University of Denver (2012). Prior to academia, Huddy worked as a journalist and anchored television newscasts in Colorado Springs, Colorado, El Paso, Texas, Milwaukee, Wisconsin, and Fort Myers, Florida. He’s a Past-President (2007) of the Rocky Mountain Communication Association, and an active member of the National Communication Association since 2001. He teaches Political and Campaign Communication, Communication Research and Theory Building, Interpersonal Communication and Public Speaking at Metropolitan State University of Denver (since 2013), with a research focus on student engagement and communication activism. His most recent publication came from the Sept. 2-3, 2015 Center for Media and Celebrity Studies Conference presentation of his paper, “Corporate Colonization and the Myth of Authentic Journalism.”

ESI.CORE is a not-for-profit research and education organization. Its focus is the multidisciplinary study of cognition, perceptions and emotions, particularly investigating social, artistic, psychological, ecological and technological aspects.

Extended CFP “Video Game Art Reader” Inaugural Issue, Deadline: January 23, 2017

Video Game Art Reader Call for Papers Extension, Issue #1:

To accommodate the demands of the holiday season, the Video Game Art Reader (VGAR) has extended its deadline for paper submissions for its inaugural issue in the summer of 2017 to allow interested authors time to proof and polish their submissions. All paper submissions are now due by 11:50pm on January 23rd, 2017.
Late submissions will be accepted purely at the discretion of the Editor in Chief, Dr. Tiffany Funk.

Context:
The VGAR seeks a variety of art historical analyses and works of art criticism pertaining to all levels of video game production; from art game experiments, to significant developments in indie and small studio games, to high-profile mass-audience titles. Objects of analysis can reside on any video game platform including consoles, personal computers, mobile devices, alternative and custom hardware, virtual reality platforms, and other emerging technologies. Each submission should be framed within its historical and cultural context in order to help generate and add to a growing overlap between art history and video games as an inviting and rich field of inquiry.

Mission Statement:
The VGA Reader is a peer-reviewed journal for video game audiences and video game practitioners interested in the history, theory, and criticism of video games, explored through the lens of art history and visual culture. Its primary aim is to facilitate exploration and conversation of video game art, documenting and disseminating discourse about the far- reaching influence of video games on history, society, and culture.

Submitting:
All submissions and questions should be sent to: Editor in Chief, Dr. Tiffany Funk tfunk@vgagallery.org
Date: January 23rd, 2017

Possible topics include but are not limited to:
● Analysis of video game genres and platforms, both emerging and historical
● Analysis and documentation of significant experiments in avant-garde video games
● Analysis of issues pertaining to representations, gender performance, sexuality, class, and race in video games
● Analysis and critique of gaming culture(s), of gaming and consumer habits as a whole, or of a specific franchise or trend
● The public exhibition of video games in museums, galleries, festivals, conventions, and arcade bars
● Investigations and descriptions of video game development, design, and authorship
● Analysis of existing video game criticism, reviews, advertising, and marketing
● Gamification and how it functions in both the humanities and sciences
● Analysis of the function of video games in culture and society
● The formation of new communities, institutions, and contexts for video games
● Analysis of the development of virtual and physical communities in video games, gaming culture, and the politics of video game spaces

For more information and formatting guidelines, visit:
http://www.videogameartgallery.com/education-1/
http://www.videogameartgallery.com/s/VGAReaderSUBMISSIONGUIDELINES-6z5x.pdf

Please direct any questions to: reader@vgagallery.org

Amanda Coleman
The VGA Editorial Team

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Founded in 2013 in the lively game community of Chicago, Video Game Art (VGA) Gallery seeks to increase cultural appreciation and education about one of the most important mediums of the 21st century -- video games --through exhibition, study, and sale. VGA Gallery is an Illinois 501(c)(3) not-for-profit corporation.

Call For Essays – Cinematic Fixations

The Cinematic Fixations website is seeking short 500 word essays about the images in the database. The essays will be featured on the website, and eventually collected in a book. Topics for discussion can be the use of a signature color palette by a filmmaker (for example, Wes Anderson's fondness for earthy browns and his use of blue tinting to indicate climax), or color as indicator of location (think The Wizard of Oz's Emerald City and yellow brick road), or the shift from light to dark (as in the horror classics, Halloween and The Texas Chainsaw Massacre). The essays can also break this mold and be a discussion of the author's favorite cinematic moment, or a criticism of the project itself.

To get involved or submit essays, email Jeffrey Moser at jsmoser@mail.wvu.edu. This project is made possible through a grant from the Myer's foundation, and the support of the School of Art and Design, College of Creative Arts, and the Reed College of Media at West Virginia University.

The Cinematic Fixations website is a visual database of film. It currently contains over 1000 film fixations, from George Melies to George Miller. The project invites academics, filmmakers, artists, computer programmers and movie buffs to collaborate in creating a complete visual database of film. Each fixation is created by arranging every frame of a film into a grid with a ratio of 3:1. No matter the length of a film the fixations are standardized so that films across genres and of varying duration can be compared and contrasted. The result is a color-banded timeline that reveals the underlying palette and the pattern of light variation of a film. The website is designed as a tool for researchers, critics, and students of film to investigate the use of color by filmmakers to augment narratives, indicate changes in psychological or physical space, and signify climax.

Call for papers: Digital Fabrication @ FATE 2017

FATE (Foundations in Art: Theory and Education) 16th Biennial Conference
Hosted by the KCAI (Kansas City Art Institute) Foundations Department
April 6-8, 2017

FATE is a national association dedicated to the promotion of excellence in the development and teaching of college-level foundation courses. A full list of sessions for the 2017 conference can be found at http://www.foundations-art.org.

With the conference theme "To the Core and Beyond" in mind, session chairs Tom Burtonwood (The School of the Art Institute of Chicago) and Taylor Hokanson (Columbia College Chicago) seek abstracts from educators who promote digital fabrication in foundations level courses and beyond. This session invites papers addressing best practices for introducing, integrating and establishing digital fabrication into the art and design foundations curriculum, especially research that addresses experimental materials and collapses boundaries between disciplines. We aim to facilitate debate around a set of tools that is growing more common in our field. How have a few years of access to the technology changed how and what you teach on the subject?

Possible topics to explore:

Do you regard 3D printing technology/processes as equivalent to or fundamentally different from more familiar shop resources?
How do you address a potentially steep learning curve while avoiding easy introductory projects (keychains, etc.)?
What software/hardware do you use and why?
Where do you fall along the professional equipment/DIY tool spectrum?
Have you had the technology long enough for students to get four years of access? What effect did this have on their work?

To apply, please fill out this form, then email the following to tburto1@artic.edu and taylor@taylorhokanson.com by Friday, July 15:

CV
paper title
paper abstract (200 words max)
name, contact information & cv of any co-presenter (if applicable)

CALL FOR SUBMISSIONS – Public Journal of Imaging America

CALL FOR SUBMISSIONS

Special Issue: Digital Engagements – When the Virtual Gets Real

Now accepting one-page proposals at iapublic@syr.edu.
Full submissions accepted August 1, 2016 – February 1, 2017 via the OJS submission portal.

For this special issue of PUBLIC, we invite artists, activists, designers, and scholars to explore the potential of digital technologies and practices to inspire creative, interactive, collaborative work for public engagement and the pursuit of social justice. The issue asks how engagement–the affective and embodied knowledges people gain in their everyday lives–can animate our virtual lives.

Technologically enhanced projects–digital archives and scholarship, social practice art, site specific installations, performance-based technologies, mobile applications, social media, and emerging experimental forms–are often touted as the new public commons. But how are artists, designers, and scholars committed to civic engagement creating virtual spaces that are interactive, a necessary condition for publicly engaged arts and scholarship?

We know the bad news. Virtual spaces have been hit by cyber-bullies–“Gamergate” is just one example. Digital access can be blocked by commercial gate-keeping. Gender, class, age, and other differences impact access to technology. What are the alternatives? Social media connects artists, academics, activists, and a broad public across the globe. Visualizations cut across language communities. This special issue of PUBLIC seeks to document, question, reflect upon, and advance projects in the digital arts and humanities that are designed not simply to be “in public” but also to engage diverse audiences and inspire collective action.

Possible Topics

We invite contributors to discuss the impact of projects that embody “digital engagements,” moving beyond description to the value, limitations, and potential impact of projects and practices. To suggest a few of the innumerable questions the issue might address– How can technologies activate diverse audiences, muster and support communities, and promote democratic practices? What new forms of collaboration are emerging in digital work? When does technology inhibit, change, or inspire cross sector partnerships–including campus/community partnerships–and how are artists, designers, and scholars tackling those obstacles? How are people from rural areas, inner cities, and developing regions participating in digital arts and humanities projects? How are artists, activists, scholars, designers, and developers overcoming social, economic, and technical obstacles? We also welcome projects focused on innovative research methods, syllabi, assignments, et cetera, at any level and proposals for reviews of studies, sites, art works or installations, conferences, blogs, etc. More generally, how do the resources and limits of virtuality change the assumptions and practices of artists, designers, and humanists?

Format

Submissions can take diverse forms as long as they are linked to the theme of the issue. For example, discussions of principles and practices might be critical pieces in multiple media, single or collaboratively authored, narrative or interview format. Reflective case studies might link to online projects that ask what “engagement” means practically and philosophically in existing projects. Feel free to propose experimental or collaborative formats that capture your work most vividly. We can accept a wide variety of formats for consideration; if you have any questions, please contact the guest and design editors.

Submission Process

We are currently accepting one-page description of the topic and format you are considering. Please email proposals to iapublic@syr.edu  Full submissions are due February 1, 2017 for peer review through our online submission portal at ojs.syr.edu. The guest editor and design editors will work with authors of accepted submissions through a process of revision and digital design in preparation for publication.

Contact guest editor Teresa Mangum (teresa-mangum@uiowa.edu) if you have questions or submit proposals directly to iapublic@syr.edu.

CALL FOR PAPERS/PRESENTATIONS – NMC at CAA

College Art Association in NYC
Feb 15-18, 2017
Deadline: June 10, 2016

New Media Caucus at CAA
Other Media: Decolonizing practices and cyborg ontologies

CALL FOR PAPERS/PRESENTATIONS

“Rather than going for the new object of study, the new product to consume, one should work on new ways of seeing, of being, or of living in the world.” – Trihn T. Minh-Ha from D-Passage: The Digital Way

“Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other.” – Donna Haraway from A Cyborg Manifesto

Following Donna Haraway’s epochal work A Cyborg Manifesto in which she imagines the cyborg condition as a site of liberation and decolonized subjectivity, this panel considers diverse approaches of artists, historians, theoretician-practitioners, and media activists that encode strategies of decolonization in their work and practice. Through a critical engagement of code as a (rhetorical) tool to re-inscribe historically marginalized bodies, this panel looks at a broad array of efforts, tactics, and projects that consider the ethos of a cyborg condition imagined by Haraway’s writing. As part of this conversation, we may begin to ask: through what means and technologies are these situations deployed? What are the strategies that allow for decolonized processes that are situated within feminist, queer, and anti-colonial subjectivities? And how do these methods enable, embody, and construct new realities of being?

Recognizing new media’s ability to rupture obsolete systems in the efforts to reconstruct other idealized ontologies, this panel extends the cyborg condition through theoretical approaches and practice in an effort to re-imagine human relation. In particular, this panel seeks to address how new media practice and theory can reconfigure our understandings of marginality as well as offer strategies that enable the repositioning of subjects so as to decolonize their subjectivity.

Artists, historians, theoretician-practitioners, and media activists are all invited to submit their work for consideration for this New Media Caucus panel at the College Art Association in New York February 2017. Interested applicants should submit an abstract, 3-4 samples of their work as a link (if necessary), a CV, and their contact information. Accepted panel participants will need to either register for the CAA conference or buy a one-day pass. Submissions are due June 3, 2017 to Alejandro T. Acierto at acierto [at] uic [dot] edu. Notifications will be sent out around July 1.

IEEE VIS 2016 Arts Program – Call for Entries, Paper and Exhibition Tracks

The IEEE VIS 2016 Arts Program, or VISAP’16, showcases innovative artwork and research that explores the exciting and increasingly prominent intersections between art, design, and visualization. Through a dedicated papers track and an exhibition that runs concurrently with the IEEE VIS 2016 conference, the Arts Program aims to foster new thinking, discussion, and collaboration between artists, designers, technologists, visualization scientists, and others working at the intersection of these fields. The theme for the Call for Papers and Artworks this year is “Metamorphoses.” We are especially interested in projects and papers that explore the relationships between visualization research and arts and/or design practice, and that introduce creative visual techniques that emphasize transformative aspects of scientific or cultural exploration.

VISAP’16 runs for one week from October 23rd through October 28th during the IEEE VIS 2016 conference in Baltimore, Maryland. Both the artworks and the papers are selected through a rigorous peer review process. Submissions are evaluated on quality and relevance to the IEEE VIS community by a program committee made up of experts in visualization, media arts, and design. In 2015, the acceptance rate for artworks was 14.75% and the acceptance rate for papers was 25%; we expect it to be similarly competitive for the 2016 program.

Submissions to VISAP’16 are due on June 24th at 5pm PDT.

For more information, please visit the VISAP’16 website: http://visap.uic.edu/2016

Leonardo ABstract Services Opportunity

What is LABS? - http://collections.pomona.edu/labs/

LABS is a comprehensive database of abstracts of Phd, Masters and MFA theses in the emerging intersection between art, science and technology. Persons who have received advanced degrees in arts (visual, sound, performing, text), computer sciences, the sciences and/or technology which in some way investigate philosophical, historical, critical or applications of science or technology to the arts are invited to submit an abstract of their thesis for publication consideration in this database.

Deadline : June 30

What is Leonardo/ISAST? - leonardo.info
Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST) is a nonprofit organization that serves the global network of distinguished scholars, artists, scientists, researchers and thinkers through our programs focused on interdisciplinary work, creative output and innovation. From its beginnings, Leonardo/ISAST has served as THE virtual community for purposes of networking, resource-sharing, best practices, research and events in Art/Science/Technology.

Sign Up to Receive Opportunities for Leonardo

Call for applications, symposium: Art History in Digital Dimensions

Deadline: May 30, 2016

Supported by the Getty Foundation and the Kress Foundation, the Department of Art History and Archaeology and the Maryland Institute for Technology in the Humanities of the University of Maryland will host a symposium, "Art History in Digital Dimensions," on October 19-21, 2016. We aim to unite diverse audiences and practitioners in a critical intervention for digital art history, providing a road map for the future. We seek applications for 15 participants, including 5 graduate students, to join 25 invited contributors. Participants will have experience from the academy and/or museum in art-historical research practices that intersect with the digital realm. Full CFP and guidelines at www.dah-dimensions.org.

The symposium, Art History in Digital Dimensions, is a joint enterprise of the Department of Art History and Archaeology and the Maryland Institute for Technology in the Humanities at the University of Maryland, College Park.

Call For Papers SECAC: Vision Machines and Pre-Cinematic Optical Devices: Panoramas, Stereoscopes and Places of Otherness

Vision Machines and Pre-Cinematic Optical Devices: Panoramas, Stereoscopes and Places of Otherness Since the 18th century, optical devices and immersive technologies have been used in the form of panoramas and later the stereoscope, in order to transport the viewer into foreign lands or historical times, often seen as places of otherness. Viewers experienced a form of virtual travel, through the act of seeing panorama in a public place or a stereoscope in their living room. Some argue that these devices contributed to a new kind of observer in the 1840s (Crary), or that they are responsible for the rupture of established ideas of separated subject and object relations, as pre-cinematic devices. Today cardboard stereoscopes from google enable us to map things in virtual space, or walk the streets of Mumbai using our phones as VR viewers. What role did these devices play in society, art and culture in the past and how may they impinge today on perceptions of place making, mapping, the body, or underrepresented urban environments in their contemporary manifestations (as art practice or scholarship), for example? We are interested in proposals from artists, theorists and art historians, whose work engages these devices in their various forms. These can encompass the panorama, phenakistiscope, zoetrope, stereoscope or virtual reality.

Session Chairs: Simonetta Moro, Institute for Doctoral Studies in the Visual Arts, and Rebecca Hackemann, University of the Arts London. Kansas State University.

Contact: smoro@idsva.org

More Info: https://secac.memberclicks.net/assets/documents/secac/conference/secac-2016-call-for-papers.pdf

The 2016 SECAC Conference will be held in Roanoke, VA, hosted by Virginia Tech and Hollins University (http://www.secacart.org/conference). Sessions will include panels by artists and art historians on a variety of topics.

Call for Papers SECAC: Ecology Communication in Art and Education

Today, we live in a time of increasing pressures on the environment from climate change and
other sources. As the current state of political discourse sometimes demonstrates, this makes it
critical to use various media to inform and engage the public on the challenges we face. In this
panel, the participants will discuss projects that explore how art communicates vital
information about ecology and science. From landscape painters to land artists, there is a long
tradition of art dealing with the environment and man's impact on it. This panel will explore
how new artistic practices and interdisciplinary efforts are meeting the greater challenges we
face today.

This session will focus on the critical role that art can play in communicating scientific and
ecological challenges. The panel will present examples demonstrating a broad spectrum of
ways to approach this challenge. These include the communication of science through visually
representative means, scientifically rigorous investigations whose outcomes are both artist and
scientific, and collaborations between artists and scientists. The panel addresses both artistic
works and educational efforts.

Deadline: April 20th

Session Chairs: Sara Gevurtz, Virginia Commonwealth University, and Thomas Asmuth, University of West Florida

Contact: skgevurtz@vcu.edu

The 2016 SECAC Conference will be held in Roanoke, VA, hosted by Virginia Tech and Hollins University (http://www.secacart.org/conference). Sessions will include panels by artists and art historians on a variety of topics.

CFP, Conference Session: New Aesthetics and the Postdigital, Their Effect on Contemporary Art

CFP: New Aesthetics and the Postdigital, Their Effect on Contemporary Art. Since its introduction at SXSW in 2012, "New Aesthetics" has been increasingly recognized as an important perspective in the discussions of digital and postdigital art as well as a driving force in art practice. At a time when contemporary art production is commonly facilitated by digital technology, New Aesthetics is a frame of reference and an attitude revealing the pervasiveness of digital objects’ presence in our everyday lives as well as the deeply rooted and persistent, autonomous agency of computational algorithms in many forms of contemporary art. Regardless of the inadequacy of its coinage, proposals addressing the variety of issues suggested by New Aesthetics, New Aesthetic artistic practice and objects, and New Aesthetic’s relationship to the notion of postdigital are welcome.

Session Chair: Scott Contreras-Koterbay, East Tennessee State University (koterbay@etsu.edu or scottkoterbay@gmail.com)

The 2016 SECAC Conference will be held in Roanoke, VA, hosted by Virginia Tech and Hollins University (http://www.secacart.org/conference). Sessions are include presentations by studio artists, art historians and a mix of these and other professionals.

Call for Panel Proposals – CAA New York 2017

The New Media Caucus invites panel proposals for a 1.5-hour affiliated panel session to be held during the 2017 College Art Association annual conference in New York.

Proposals must address issues related to new media. Panel chairs will submit the proposal and organize the session, including its call for submissions. The NMC Exhibitions & Events Committee will assist with providing liaison to CAA, administration, publicity, etc.

PROPOSALS MUST INCLUDE:

  • completed Proposal Application Form – DOWNLOAD HERE
  • 3-page CV, submitted as PDF
  • 300 – 600 word abstract addressing:

concept for the panel
areas of investigation
questions the panel will raise
specific topic areas presenters might address

PUBLISHING REQUIREMENT: Media-N Journal of the New Media Caucus will publish a conference edition after the CAA conference, showcasing conference proceedings sponsored by the NMC. To this end, Individuals are required to submit materials for the journal edition. Media-N offers flexibility regarding how to achieve the publishing requirement. Once invitations are accepted, the Editor-in-Chief of Media-N will contact the chair(s) to further discuss and plan for the publishing requirement. All materials for publication must be completed by mid-April after the conference.

NOTES:

  • two people may apply as co-chairs.
  • multiple proposals are not accepted.
  • panel chairs (and panelists) must be NMC members. 
There are no membership fees. JOIN NMC
  • panel chairs (and panelists) do not need to be CAA members.
  • NMC does not fund conference fees, transportation, or hotels for chairs or panelists.
  • Panel participants must either register for the CAA conference or buy a one-day pass.
  • Chairing or presenting during a 1.5 hour session does not disqualify you from chairing a panel or serving as a panelist in a general CAA session.

TIMELINE:
Peer review will occur shortly after the deadline. 
Notification of acceptance will be by April 18.

DEADLINE:
 April 7, 2016. Email submissions to Tohm Judson at tohm@tohmjudson.com

CFP – Digital Humanities – MMLA – Due April 5th

The Digital Humanities section of the Midwest Modern Language Association is accepting proposals for scholarly and literary presentations that examine, complicate, or challenge concepts of borders and bordering as imagined across multiple modes of digital production. The MMLA conference will take place in St. Louis, Missouri, November 10-13, 2016.

We invite proposals that broadly interpret the conference theme, “Border States,” through multiple disciplinary lenses, such as computational text analysis, critical/creative media, game studies, data mining/archiving, and digital pedagogy. We are especially interested in presentations that explore the impact of digital media on literary production.

Please send a 200-300-word abstract and a brief bio to the section co-chairs, Melinda Weinstein (mweinstei@ltu.edu.) and Francesco Levato (falevat@ilstu.edu), by April 5th, 2016. Include in your abstract your name, institutional affiliation, e-mail address and paper title.

http://www.luc.edu/mmla/convention/2016permanentsectioncallforpapers/

The Midwest Modern Language Association is a non-profit organization of teachers and scholars of literature, language, and culture. A regional affiliate of the Modern Language Association, the MMLA provides a forum for disseminating scholarship and improving teaching in the fields of literary and cultural criticism.

Media-N Fall 2016 Issue CFP

Uncovering News: Reporting and Forms of New Media Art

Media-N -2016 fall issue: V. 12 N. 3

Guest Editors

Abigail Susik, Willamette University

Grant Taylor, Lebanon Valley College

Editor-In-Chief

Kevin Hamilton

Media-N, the Journal of the New Media Caucus, invites submissions for an issue about new media art and its relation to news, reportage, and journalism. Relevant subjects could include: media artworks that address news as subject or form; the influence of new media art on journalism; or critical/historical analysis of the reporting of new media art in popular or disciplinary press venues.

Media artists have mined news and journalism as raw material, as distribution form, and as a rhetorical act of reportage. Artists such as Paper Tiger Television or Negativland drew from television news broadcasts in their critical cut-ups. Feminist and aboriginal video art collectives such as Amelia Productions emerged in Vancouver out of counter-news video documentary efforts. Among contemporary tactical media artists such as the Yes Men or Critical Art Ensemble, mainstream news serves as distribution method or site of intervention. Still others have sought to critique the reliable reporter position of modern journalism, or to create new alternative networks for counter-hegemonic news production.

Media art has also benefitted from many a new platform for reporting and distribution of news about new works and ideas. Email listservs, mailed newsletters, faxes, episodic video, magazines, radio, or social media, have not only served as channels for sharing new works, but as forms of expression and community. Net artists learned about other net.art through the Thing, Rhizome, or even the Well before deploying their own web artworks back into those spaces. Sound artists tuned in to programs on ResonanceFM or San Francisco’s KQED before sending in their own works for broadcast, or gaining a show of their own.

Submissions for this special issue on new media art and news, reportage, and journalism might address the following questions:

  • How do new media artworks engage with journalism, information leaks, and information dissemination?
  • How and why has mainstream news covered media art as a story?
  • How are new media forms and aesthetics, from locative media to visualization or even physical computing, altering the work of journalists?
  • What is the status of new media arts reporting and criticism today? How do modes of communication, transmission and reception inform new media art?
  • How is the field of new media art as a whole affected by reporting, reviews and criticism of developing trends, and what is the significance of the modalities in which this dialogue takes shape?
  • How will we write about art and technology in the future, given new and emerging publishing platforms?
  • How has new media art as a field been particularly influenced by news and reportage as a primary disciplinary component in the work of dissemination, critique, and knowledge construction?

 

Media-N is an English language journal, and all submissions must be received in English adhering to the standards set by the 16th edition of the Chicago Manual of Style.

(http://www.chicagomanualofstyle.org/)

Media-N, Journal of the New Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and double blind peer-reviewed journal. It is open to submissions in the form of theoretical papers, reports, and reviews on new media artworks. The journal provides a forum for national and international New Media Caucus members and non-members featuring their scholarly research, artworks and projects.

TIMELINE:

June 15, 2016: Deadline for submission of abstracts/proposals.

July 15, 2016: Notification of acceptance.

September 15, 2016: Deadline for submission of final papers.

ABSTRACT GUIDELINES:

Please send your submission proposal by email adhering to the following:

Proposal Title, and a 300-500 word Proposal Description. Include your Email(s), your Title(s)/Affiliation(s) (the institution/organization you work with ­ if applicable, or independent scholar/practitioner).

On a separate document, send a Resume (no longer than 3 pages).

NOTE: Materials should be submitted in English, as Microsoft Word documents (.doc or .docx).

SEND THE SUBMISSION TO:

Email to: asusik@willamette.edu - AND – taylor@lvc.edu

Barcelona 2016 Centre for Media and Celebrity Studies (CMCS)

The following keynote might be of strong interest to scholars and media professionals examining new media, Internet celebrities, and online personas in social networks. We encourage social media scholars to join the conversation.

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We are honoured to announce that the 2016 CMCS conference Bridging Gaps: What are the media, publicists, and celebrities selling? will feature keynote speech by Professor P. David Marshall. Details are given below.

Deadline for Abstract Submissions: December 31, 2015
URL: http://cmc-centre.com/conferences/barcelona/

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2016 CMCS Keynote Speaker Professor P David Marshall

“Commodifying the Celebrity-Self: The Peculiar Emergence, Formation and Value of “Industrial” Agency in the Contemporary Attention Economy” by P David Marshall http://cmc-centre.com/keynote/

Professor Marshall, a research professor and holding a personal chair in new media, communication and cultural studies at Deakin University, has published widely in two areas: the public personality/celebrity and new media culture. His books include Companion to Celebrity (December 2015), Celebrity and Power (1997; second edition, 2014), Fame Games (2000), Web Theory (2003), New Media Cultures (2004), and The Celebrity Culture Reader (2006). He has been a keynote speaker at many international conferences as well as interviewed for articles and many broadcast media programs from CNN, FoxNews, BBC, and the ABC/Radio National to the Sydney Morning Herald, New York Times and the Toronto Star. His previous academic positions have been at Northeastern University in Boston, the University of Queensland in Brisbane, and Carleton University in Ottawa along with visiting positions at New York University, York University and Karlstad University. He is also Visiting Distinguished Foreign Expert in the School of Journalism and Communication at Central China Normal University (CCNU) in Wuhan China.

His current writing and research has focused on some key areas in contemporary popular culture: he has been developing the idea of ‘persona studies’, where the presentation of the public self has expanded well beyond celebrity culture via particularly online forms: it now structures and patterns reputation and value across many professions and through many recreational and leisure pursuits. He has developed three related concepts to help explore this change in contemporary culture: presentational media, the intercommunication industry, and the personalization complex. Forthcoming books include: Promotional Vistas (Palgrave, 2016), Contemporary Publics (2016), and Persona Studies: Celebrity, Identity and the transformation of the public self (Palgrave), and Persona in formation (Minnesota, Forerunner Series, 2016). He is also the founder of the Persona Studies Journal and M/C.

His personal blog can be found at: www.pdavidmarshall.com

The Centre for Media and Celebrity Studies (CMCS) is an international organization and research network that helps coordinating academic research and media commentaries on celebrity culture. CMCS carries a pedagogical philosophy that inspires integration of research and media skills training in academic and public discourses of fame. The centre believes in intellectual, aesthetic, and ethical values of bridging gaps in higher education and media. With this view, CMCS helps coordinating research, publications, creative productions, and media commentaries to restore artistic and ethical acts for social change.

CFP and Artwork: Taboo – Transgression – Transcendence in Art and Science

Ionian University, Department of Audio and Visual Arts CFP and Artwork: Taboo - Transgression - Transcendence in Art and Science

The Department of Audio and Visual Arts of the Ionian University in Corfu Greece organizes a two-day interdisciplinary conference with theoretical and artwork presentations under the theme of “Taboo - Transgression - Transcendence”, 20-21 May 2016, focusing on questions about the nature of the forbidden and the liminal as expressed in science and art.

Deadline for submitting abstracts: until February 29, 2016

Since the beginning of time, taboo has traced the edges of experience. As with Icarus, whose excitement made him forget the restrictions of his man-made wings leading to his fall towards death, humans have always been regulated by a set of rules defining the borders of knowledge and experimentation. What constitutes the limits of the accepted, however, has to be read within the ethical horizons of a specific time frame. It is not uncommon that what seems outrageously transgressive in one moment, can eventually transcend to a commonplace practice.

Limits are continuously put to test as contemporary scientific experimentation pushes forward our idea of the world, in quest for answers but also for solutions allowing us to overcome the problems present in our lives. Progress in fields such as the human genome editing, the creation of cyborgs and any human-like artificial intelligence, are only few examples presently generating double-edged questions on the nature of humanity. One could easily recall Dr. Frankenstein, whose ambition to solve the mystery of life and death ends up revealing the threshold of control between creator and creation. As we experience a gradual, but substantial, de-centering from the humanistic values, scientific experimentation bears potential turmoil; its advances are essentially stretching the borders of our experience of the world and ourselves, mostly revealing the fragility of social values.

However, isn’t this also the essential role of Art? More than ever before, isn’t this the point where science intrinsically meet with the arts? Arts apply critical questions to our certainties, and it is not a coincidence that in the last decades so many artists have focused on the human body as their primary medium for investigation. In the merging of science and art opens a space for creative transformation. Art’s playfully transgressive nature offers creative bypasses to the scientific grammar and expands the dialogue with its openness to a multiplicity towards the new. Nevertheless, art – albeit its originary affinity with the taboo – is never completely liberated from moral considerations. Deeply involved into this lively discourse on the nature of the taboo, art becomes the very domain of contemporary experimentation with transgression, in order to provoke and sparkle discourse, catalyzing possible forms of transcendence. Can this relation bear a force of liberating? Is there such a thing as incentive prohibitions and who/what defines the borders of accepted identities and ideologies? Immersing into the impure realm of limits and liminalities, one might trace the mental structures filtering our experience of the world, ultimately opening space for creative transformations through the mixing of art and science.

Submissions are welcome both from scientific fields acquainted to audio & visual technology and/or new media theory as well as from the diverse fields of artistic expression related with scientific issues. Suggested, but not exclusive topics, are those associated, from an artistic, scientific or ethical perspective, with: • Art as subversion and art as transcendence • Dirt, disgust and the polluted • The body machine and the animal body • Animal rights in Art and Science • Taboos in technological applications and transcendence in art creation • Tradition, experimental use of technology and contemporary aesthetics • Internet, new dimensions of “touching” and control • Post gender, transgressive identities and social models • Transgression, subculture and ritual • Trance culture, psychotropic substances and socialization • Attraction, eroticism and techno-reproduction • Dogmas’ transformations and dissolutions in present times • Educational environments and new practices of space transcendence • Plastic surgery and bοdy modification-body alteration • Gene editing, mutation and eugenics • Psycho-pharmacology, somatechnology and post-humanism • Human-like machines, uncanny valley and sex technology • Nanotechnology, skin and other dimensions of the body • Neurophysiology and cybernetic art • Art and neuroscience

For more info http://avarts.ionio.gr/festival/2016/en/conference/


 

Including a wide range of artistic and scientific activities, the Audiovisual Arts Festival provides a chance to highlight the overall results of the educational and research activities developed by the Faculty of Audiovisual Arts, particularly in the field of contemporary sonic and visual arts. The festival’s main program include, among other events, presentations of digital interactive audiovisual works/installations and electronic music concerts by artists from Greece and abroad. Ultimately, there will be workshops, focusing on familiarizing the audience with new audiovisual technologies as well as with the contemporary artistic expression using new media, and an international conference, in 2016 under the title “Taboo-Transgression-Transcendence in Science and Art”.

CFP: The Arts and New Technologies (Greenwich, CT; June 19, 2016)

The Bruce Museum welcomes submissions for its second annual graduate student symposium, this year organized in conjunction with the exhibition Electric Paris.

Electric Paris explores the ways in which artists depicted older oil and gas lamps and the newer electric lighting that emerged by the turn of the twentieth century. Whether nostalgic renderings of gas lit boulevards, subtly evocative scenes of half shadow, or starkly illuminated dance halls, these works of art record the ways in which Parisians experienced the city as it transitioned from old to new technologies.

Building on this central theme of the exhibition, the museum invites graduate students in the humanities to submit papers on the relationship between the arts and the advent of new technologies from a broad range of time periods, geographic regions, and theoretical approaches. From the invention of the printing press through to the popularization of social media, emerging technologies have had a profound effect on the arts. This symposium seeks to address how artists, writers, musicians, and the like have responded to advancements in travel, communication, medicine, etc., which radically reshape the lived experience.

Potential approaches to this topic include, but are not limited to:
• Technology as subject matter
• Using new technology in the process of art making
• New technology as artistic medium
• New technology as dissemination tool
• Overt rejection of technology
• History and reception of new technology
• Gendered, racial, or social issues in relation to technological change
• Exhibition of new technology
• New technology and the built environment

Graduate students chosen to participate in the symposium will present 20 minute papers, which will be followed by a discussion moderated by Dr. Gülru Çakmak, Assistant Professor of Nineteenth-Century European Art at University of Massachusetts, Amherst. All graduate speakers will receive an award of $250 for participating.

Please submit an abstract (maximum 300 words) for a twenty-minute paper and a one-page CV as a single PDF by February 15, 2016. Selected speakers will be notified in early March.

Completed papers must be submitted by April 20th.
Please email materials to Mia Laufer at mlaufer@brucemuseum.org

The Bruce Museum is a regionally based, world-class institution highlighting art, science and natural history.

Call for Panel Participation – CAA Washington, DC 2016

The New Media Caucus invites artists, scholars, and theoreticians to submit proposals for a panel discussion titled Procedural Art: Game Platforms for Creative Expression. We welcome presentations focused on the design, aesthetics, and affordances of game platforms for new media art, as well as in critical approaches to this emerging genre. We are especially interested in sharing projects that demonstrate the creative use of game platforms in fine art contexts, and in highlighting the full range of possibilities this new medium offers.

Each participant will present a 10-15 presentation, and then participate in a discussion on the genre in relation to the larger art world.

Submission must include:

  • 3-page CV, submitted as PDF 

  • 300 – 600 word abstract that describes the artistic or scholarly work.
  • Documentation of art, if appropriate.

Publishing Requirement:Media-N Journal of the New Media Caucus will publish a conference edition after the CAA conference, showcasing conference proceedings sponsored by the NMC. To this end, Individuals are required to submit materials for the journal edition. Media-N offers flexibility regarding how to achieve the publishing requirement. Once invitations are accepted, the Editor-in-Chief of Media-N will contact the chair(s) to further discuss and plan for the publishing requirement. All materials for publication must be completed by mid-April after the conference.

NOTES:

  • This panel is for a 2-hour New Media Caucus sponsored panel session in the College Art Association Media Lounge.
  • Panelists must be New Media Caucus members. 
There are no membership fees. JOIN NMC
  • Panelists do not need to be CAA members. 

  • NMC does not fund conference fees, transportation, or hotels for panelists. 

  • Presenting during a 1.5 hour session does not disqualify you from chairing a panel or serving as a panelist in 2.5 hour session at CAA.

TIMELINE: 
Peer review will occur shortly after the deadline. 
Notification of acceptance will be late September. 


DEADLINE: 
Email submissions by August 31, 2015 to Victoria Szabo

OPEN CALL: Ecologies of Creative Activism

Venue: College Art Association Conference, Media Lounge
Exhibit Date: February 6, 2016 @ CAA Conference in Washington, D.C.
Deadline to Enter: 8/31/15
Entry Fee: FREE
Eligibility: Open to international artists ages 18+.

The New Media Caucus is programming a session for the ARTspace Media Lounge entitled Ecologies of Creative Activism, under the theme of VISIBLE/INVISIBLE at CAA 2016 in Washington, DC.

Theme:

This year’s theme, VISIBLE/INVISIBLE explores the legacy of identity and representation politics, considered in the context of our present culture where individuals, organizations and ideas can be easily captured, tracked, exposed, appropriated from the circulation of digital material which simultaneously feeds capitalist media assembly lines and alternative economies. Through Media Lounge programming we aim to foster a dialog centered on emerging artistic sensibilities that mix art and a politics of representation amid a transforming sociopolitical landscape.

Session Theme:

In response to the larger theme of the the New Media Lounge program, VISIBLE/INVISIBLE, the New Media Caucus will present, Ecologies of Creative Activism. We seek artworks that engage the connections between the language we use to define identity and representation politics as they mirror the language of ecology, particularly the tendency to describe “landscapes” within socio-political spheres, the concept of microcosm/macrocosm in reference to activism and politics, as well as works exploring ecological issues from a scientific standpoint.

Ecologies of Creative Activism asks how do the theories of ecology apply towards activism? Is the internet an ecosphere for activists? Can Twitter and Facebook be seen as ecosystems for activism? The term “ecology” references both the study of how organisms relate within an environment and those relationships themselves, but it has also come to be synonymous with political activism on behalf of those systems. However, not all ecology is activism. The committee wishes to encourage exploration of works that leverage aesthetics of biospheres, ecospheres, and ecosystems from a scientific standpoint as well. We wish to find works that creatively engage with the systems ecology studies and works that practice creative methods of activism. These works may forge ties between art, activism, and ecologies as well as comparing and contrasting these models.

This session encourages alternative means of presentation. In seeking to present alternative modes of communication we discourage the straightforward presentations of papers in favor of small workshops, roundtables, performances, happenings, and other creative responses.

Works may respond to the topic in various ways including and not limited to the following:

  • internet as ecosphere
  • how activists function creatively within systems such as Twitter/Facebook/how those structures encourage a particular style of engagement
  • how activists relate differently within particular environments such as the internet, city, remote locations, etc
  • political activism as artistic practice
  • Ecological activism
  • works that use macrocosm/microcosm analogy/explorations
  • works that examine biospheres, ecospheres, and ecosystems in scientific ways
  • works that creatively engage with ecological systems
  • works that practice creative methods of activism
  • study of activism within specific online/offline environments and how those environments shape activism
  • ways in which activists hack or transform systems to suit their needs
  • relationships between activists across networks/environments/multiple platforms and how these environments shape activism
  • which platforms/systems/environments (ecosystems) foster particular type of activist/activism: how/why?
  • micro/macro systems in ecology/art/activism as they intersect and/or individually

Notes:

  • This panel is for a 2-hour New Media Caucus sponsored panel session in the CAA Media Lounge.
  • Panelists must be New Media Caucus members. 
There are no membership fees. JOIN NMC
  • Panelists do not need to be College Art Association members. 

  • New Media Caucus does not fund conference fees, transportation, or hotels for panelists. 

  • Presenting during a 1.5 hour session does not disqualify you from chairing a panel or serving as a panelist in 2.5 hour session at CAA.

Submission must include: 


  • 3-page CV, submitted as PDF 

  • 300 – 600 word abstract describing the artistic or scholarly work
  • Documentation of art

Publishing Requirement:


Media-N Journal of the New Media Caucus will publish a conference edition after the CAA conference, showcasing conference proceedings sponsored by the NMC. To this end, Individuals are required to submit materials for the journal edition. Media-N offers flexibility regarding how to achieve the publishing requirement. Once invitations are accepted, the Editor-in-Chief of Media-N will contact the chair(s) to further discuss and plan for the publishing requirement. All materials for publication must be completed by mid-April after the conference.

TIMELINE: 
Peer review will occur shortly after the deadline. 
Notification of acceptance will be late September. 


DEADLINE: 
Email submissions by August 31, 2015 to demaray@camden.rutgers.edu. Submissions must include “Ecologies of Creative Activism Submission,” in the email subject line.

Selection Process and Criteria:

A jury of New Media Caucus members will consider the submissions in a broad context of our overall theme that looks for connections between the works. Works and presenters will be selected based on their ability to contribute to creating a dynamic, diverse, and interactive new media experience. Notifications will be made by the end of September.

Definitions:

ARTspace is a conference within the conference that is tailored to the interests and needs of artists but is open to all attendees. ARTspace is organized by CAA’s Services to Artists Committee.

The Media Lounge is a space for innovative new media programming in conjunction with ARTspace at the College Art Association’s Annual Conference.

The New Media Caucus is a College Art Association Affiliate Society and an international non-profit association formed to promote the development and understanding of new media art.

CALL FOR ART – Intersections: Cinema, Performance, Networked Media, and Politics

Venue: College Art Association Conference, Media Lounge
Exhibit Date: February 6, 2016 @ CAA Conference in Washington, D.C.
Deadline to Enter: 8/31/15
Entry Fee: FREE
Eligibility: Open to all artists ages 18+.

The New Media Caucus is programming a session for the ARTspace Media Lounge entitled Intersections: Cinema, Performance, Networked Media, and Politics, under the theme of VISIBLE/INVISIBLE at CAA 2016 in Washington, DC.

Theme

This year’s theme, VISIBLE/INVISIBLE explores the legacy of identity and representation politics, considered in the context of our present culture where individuals, organizations and ideas can be easily captured, tracked, exposed, appropriated from the circulation of digital material which simultaneously feeds capitalist media assembly lines and alternative economies. Through Media Lounge programming we aim to foster a dialog centered on emerging artistic sensibilities that mix art and a politics of representation amid a transforming sociopolitical landscape.

Session

This two hour session will include 6-8 artists presenting work to help build a multi-threaded conversation that encourages interaction between the presenters and attendees. No written papers will be read. We expect the participants to briefly show/present the work and ideas related to the theme and to participate in the ensuing discussions.

Description

This panel will consider the impact that networked media, interactivity, and digital culture have had on cinema and performance. In particular, recent historical examples demonstrate that new uses of technology facilitate political communication, organization, resistance, protest, overthrow, etc. We seek new media artists, performers, filmmakers and documentarians to present work that engages, explores or responds to this context. Works may address but are not limited to any of the following:

  • Groupthink and Mob Mentality as Public Performance
  • Political Performance of Protests, Demonstrations, Riots, and Race as Amplified National Conversation
  • Tactical Media Networking — Social Media to Create Toolkits to Distribute Methods and Means of Resistance, Crowdsourced and Collaborative Resistance
  • Arab Spring, Use of Social Networks as Public Protest, Ethics of Twitter, Tactical Social Media
  • Washington D.C. as “Site,” the 2016 Presidential Race, Instagram Accounts of Politicians
  • Standards of Decency, Body Policing, Youtube as Theater, Persona and Celebrity
  • Performance of Racial and Gender Identities in the Age of Avatars and Virtual Bodies, Politics of Virtual Environments
  • Duration, Endurance and Persistence in Performance and Cinema
  • Expanded or Exploded Cinemas that Incorporate Crowdsourced and Networked Footage
  • The Bleeding of Cinema Into Theater, Performance Art, Sculpture, Installation
  • Using Technology to Expose the Mechanics and Processes of Cinema, Cinema as Performance Collaborator
  • Fictive Documentary as a Means for Constructing Truth

All media will be considered, but we are particularly interested in new media works that engage performative and cinematic conventions in new ways. Works must be able to be presented digitally or performed at CAA 2016 in Washington DC. Preference given to the following forms: new media, digital art, queer art, feminist art, activist based art, performance art and digital nonfiction.

Additionally, we are interested in receiving proposals for a durational performance piece to occur during this session and possibly to extend over the whole day. The anticipated schedule is to have workshops from 9-11am, 12-2pm, 3-5pm with hour breaks from 11-12pm and 2-3pm.

This call is for a 2-hour New Media Caucus sponsored session in the CAA Media Lounge.
Participants must be NMC members.
There are no membership fees. JOIN NMC
Participants do not need to be CAA members.
NMC does not fund conference fees, transportation, or hotels for participants.

Presenting in a Media Lounge session does not disqualify you from chairing a panel or serving as a panelist in another session at CAA.

Please submit work sample(s) through our Google Form here: https://goo.gl/85QhmE by August 31, 2015. Questions may be sent to NMCopencall@gmail.com

Selection Process and Criteria

A jury of four New Media Caucus members will consider the submissions in a broad context of our overall theme that looks for connections between the works. Works and presenters will be selected based on their ability to contribute to creating a dynamic, diverse, and interactive new media experience. Notifications will be made by the end of September.

Publishing Requirement:

Media-N Journal of the New Media Caucus will publish a conference edition after the CAA conference, showcasing conference proceedings sponsored by the NMC. To this end, Individuals are required to submit materials for the journal edition. Media-N offers flexibility regarding how to achieve the publishing requirement. Once invitations are accepted, the Editor-in-Chief of Media-N will contact the chair(s) to further discuss and plan for the publishing requirement. All materials for publication must be completed by mid-April after the conference.

Definitions

ARTspace is a conference within the conference that is tailored to the interests and needs of artists but is open to all attendees. ARTspace is organized by CAA’s Services to Artists Committee.

The Media Lounge is a space for innovative new media programming in conjunction with ARTspace at the College Art Association’s Annual Conference.

The New Media Caucus is a College Art Association Affiliate Society and an international non-profit association formed to promote the development and understanding of new media art.

Call For Submissions : THE 3D ADDITIVIST COOKBOOK

We invite submissions to an open-source ‘Cookbook’ of radical ideas that cut across the arts, engineering, and sciences. Inspired, in part, by William Powell’s The Anarchist Cookbook (1969) The 3D Additivist Cookbook will contain speculative texts, templates, recipes and (im)practical designs for living in this most contradictory of times.

We believe technology can open up new perspectives, providing us with the means to challenge the structures, ideas, and institutions that maintain the status quo. But technological change is - almost by definition - tied to the functions of capitalism: a system that profits the few, often at the expense of civil liberties or the natural environment. The 3D Additivist Manifesto calls creators and thinkers to action around a technology filled with hope and promise: the 3D printer. By considering this technology as a potential force for good, bad, and otherwise, we aim to disrupt binary thinking entirely, drawing together makers and thinkers invested in the idea of real, radical, change.

Founded on those principles, The 3D Additivist Cookbook will be published freely online in 2016 under a Creative Commons License. Your submissions will also lay the groundwork for a series of symposia, exhibitions, and events to be held in 2016, exploring the potential of Additivist technologies to provoke affirmative action and systemic reorganisation in light of grand narratives such as Accelerationism, Posthumanism, and The Anthropocene.

What is Additivism?

The 3D printer is a profound metaphor for our times. A technology for channelling creative endeavour, through digital processes, into the layering of raw matter excavated from ancient geological eras. Considered as a tool for art, design and engineering, and gesturing towards a forthcoming era of synthetic chemistry and biological augmentation, 3D fabrication technologies are already a site of common exchange between disciplines and forms of materiality.

3D fabrication can be thought of as the critical framework of #Additivism: a movement that aims to disrupt material, social, computational, and metaphysical realities through provocation, collaboration, and ‘weird’ / science fictional thinking. Additivism embraces the 3D Printer in the same way that Donna Haraway embraced the figure of the Cyborg in her influential text A Cyborg Manifesto (1983). By considering the 3D printer as a technology for remodelling thought into profound, and often nightmarish, new shapes - Additivism aims to expose inbetweens, empower the powerless, and question the presupposed.

How do I take part?

A successful 3D Additivist Cookbook submission will disrupt common boundaries, exhibiting a conceptual malleability reminiscent of plastic. Our aim is for The 3D Additivist Cookbook to be filled with .obj and .stl templates, critical and artistic texts, algorithms and code, as well as propositions that are antagonistic to the timescales, infrastructures, and social givens layered into every 3D print.

Your submission could probe:

[*]The separation between digital forms and physical representations
[*]The blending of engineering, the sciences, and the arts
[*]The environmental impact of 3D fabrication, 3D printers, prints, and materials as a metaphor
[*]Future archaeologies and speculative designs
[*]A progressive aesthetics of destruction, decay, waste, extinction, or deviation
[*]The intimate relationship between crude oil, plastic, war, and globalisation
[*]The contradiction of accelerating techno-capitalism towards something more sustainable
[*]Gender, race, and body biases inherent in ‘post’ and ‘trans’ human thinking
[*]The possibility of grassroots activism with a global reach
[*]An ontology of meshes, layers and ‘deep-time’
[*]The aesthetics of 3D scanning, rendering, and fabrication
[*]The glitch/hack/virus/kluge as political methodology
[*]The potential of ‘open source’ to disrupt hierarchies and infrastructures of power
[*]The Anthropocene, The Speculative, The Posthuman, The Weird

Please explore our website for more Additivist ideas, browse interviews and press on the project, and watch/read and share our Manifesto, and this submission text with any interested parties.

Submission Guidelines:

[*]Your submission can take any form you believe answers the Additivist call.

[*]We ask that you submit no more than THREE things to The Cookbook.

The deadline for submissions is Friday July 31st 2015

Please submit to submit@additivism.org including this information:

1. Your name, the name of your collaboration, or a declaration to remain anonymous.
2. Your website or other URL that we can use for linkbacks.
3. Your twitter and/or facebook information, so we can keep in touch.
4. Your submission should be attached to your email. If your submission is over 10MB then please send us a link to your submission safely stored on a cloud server.
5. If you are sending 3D print templates please use .OBJ or .STL format.
For text please use .PDF or .DOC format.
For sketches or images please use .JPEG format.
For executable files, algorithms, working code, or other formats please send inside a .ZIP file or link to a Github page.
6. Please include an image or screengrab of your submission (if applicable).
7. Please include a short text of no more than 400 words outlining your submission. This text should explain:

a. What your submission is:
This may include a title for your speculative machine, essay, or disruptive 3D print technology. We would like you to paint us a picture of your submission, give it some context and background. If you are proposing a speculative intervention, please use this 400 words to describe clearly how your final submission will be realised.

b. How your submission functions:
How does your submission work? What does it do? What materials will be necessary for its construction? If your submission is entirely speculative then you will have to extrapolate accordingly.

c. Why you believe your submission contributes to #Additivism:
This is perhaps the most crucial question. Please channel your enthusiasm for Additivism, and help us expand our knowledge. What are your influences? Why does Additivism appeal to you? Why now?

Send your submissions to: submit@additivism.org

We will carefully consider every submission we receive, but submission to The 3D Additivist Cookbook does not guarantee inclusion. We will endeavour to get back to everyone who submits to The Cookbook, and ask for your patience. We value your creative labour and input, and will do everything in our power to respect and support your work.

The 3D Additivist Cookbook will be published online, and possibly in print, under a Creative Commons BY-NC-SA 4.0 licence. This means that it can be freely distributed, altered, and copied, as long as due credit is given, and its contents are not used for commercial purposes. Please be aware that we consider this openness as a crucial feature of The Cookbook. We intend to adapt and mutate The 3D Additivist Cookbook into as many forms as possible, including print, exhibition, performance, conference, and otherwise. We would LOVE to invite you to any exhibitions, lectures, presentations and/or seminars we hold, and intend to keep in touch with the community via twitter, facebook, email, and our tumblr. We also encourage you to follow/use the #Additivism hashtag on all social media platforms.

The 3D Additivist Manifesto was created by Morehshin Allahyari and Daniel Rourke, with sound design from Andrea Young.

LINK:
http://additivism.org/cookbook


 

The 3D Additivist Manifesto + forthcoming Cookbook blur the boundaries between art, engineering, science fiction, and digital aesthetics. We call for you - artists, activists, designers, scientists, and critical engineers - to accelerate the 3D printer and other Additivist technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird.

Call for Papers and Artworks IEEE VISAP’15 “Data Improvisations”

IEEE VISAP'15 "Data Improvisations": Call for Papers and Artworks
Oct 16-30, 2015
Chicago, Illinois

Paper and artwork submissions due June 26, 2015
http://visap.uic.edu/2015
http://visap.uic.edu/2015/callforentries.html

The IEEE VIS 2015 Arts Program, or VISAP'15, showcases innovative artwork and research that explores the exciting and increasingly prominent intersections between art and visualization. Through a dedicated papers track and an art show that runs concurrently with the IEEE 2015 VIS conference, the Arts Program aims to foster new thinking, discussion, and collaboration between artists, designers, technologists, visualization scientists, and others working at the intersection of these fields. Submissions to VISAP'15 are due on June 26th; the theme for the Call for Papers and Artworks this year is Data Improvisations.

VISAP'15 runs for two weeks from October 16th through October 30th at two locations in Chicago, Illinois. During the main IEEE VIS 2015 conference (October 25th-30th), events will take place at the historic Palmer House Hotel and at the LeRoy Neiman Center at the School of the Art Institute of Chicago, both located in downtown Chicago. Additionally, the LeRoy Neiman Center will be open to the general public for viewing the VISAP'15 art installations both the week before and during the IEEE VIS conference.

Both the artworks and the papers will be selected through a rigorous peer review process in which submissions are evaluated on both quality and relevance to the IEEE VIS community by a program committee made up of experts in visualization and media arts. All accepted papers appear in the VISAP'15 proceedings; accepted artworks will be featured in a exhibition catalog designed by Jack Henrie Fisher. Additionally, in collaboration with Leonardo/ISAST, we will be selecting outstanding submissions to appear in a special section of an issue of Leonardo, the Journal of the International Society of the Arts, Sciences and Technology.

VISAP'15 Chairs: Angus Forbes, Fanny Chevalier, and Daria Tsoupikova

For more information, please contact Angus Forbes: aforbes@uic.edu.


 

IEEE VIS 2015 is the premier forum for advances in scientific and information visualization. This weeklong event convenes an international community of researchers and practitioners from academia, government, and industry to explore their shared interests in tools, techniques, and technology.

A full complement of research presentations, tutorials, workshops, panels, demonstrations, posters, and exhibitions make this conference one of the largest and most important gatherings of researchers and professionals who specialize in the visual analysis of data.

2017 CAA Conference Proposals, Los Angeles

The New Media Caucus invites submissions for a 2½-hour session at the CAA conference in 2017 in Los Angeles.

In its role as a CAA Affiliated Society, the Caucus is permitted to propose one 2½-hour program session, which will be considered by the Annual Conference Committee on the basis of merit in its deliberations. The program session must address a specific issue of concern to the affiliated society and cannot be an open session.

Please note that this is only an endorsement. The proposal must go through the regular CAA selection process.

PROPOSALS MUST INCLUDE:

Abstract

Short Bios

PUBLISHING REQUIREMENT:

Media-N Journal of the New Media Caucus will publish a conference edition after the CAA conference, showcasing conference proceedings sponsored by the NMC. To this end, Chairs will be responsible for writing a report about the panel in addition to collecting, editing and arranging the materials from their panelists for the journal edition. Media-N offers flexibility regarding how to achieve the publishing requirement. Typically, some chairs and panelists choose to publish traditional papers, others prefer to create a transcript of the presentation and discussion, or to publish an interview format. Once a panel is accepted, the Editor-in-Chief of Media-N will contact the chair(s) to further discuss and plan for the publishing requirement. All materials for publication must be completed by mid-April after the conference.

NOTE:

Panel chairs (and panelists) must be NMC members.
There are no membership fees. JOIN NMC

TIMELINE:

Peer review will occur shortly after the deadline.
Notification of endorsement will be late July.
The CAA system opens for abstracts submission on August 7.

DEADLINE:

Email submissions by July 12th, 2015 to Wenhua Shi, mailto:wenhua.shi@gmail.com

Call for Participation Istanbul New Media Arts Fest 2015

Screen Shot 2015-05-19 at 6.44.01 AMLaboro Ergo Sum

I work, therefore I am.
November 6-15, 2015 Istanbul

amberPlatform’s amber’15 Art and Technology Festival is to take place in Istanbul from November 6 to 15, 2015. This year’s theme is “Laboro Ergo Sum”.

We invite you to join amber’15 which is undergoing a new organisational structure. To apply, click the link ‘application form’. http://15.amberplatform.org
Artistic output, installations, performances, curatorial practices, workshops, contemporary dance, concerts, seminars, presentations, panels, academic articles are welcomed.

June 2, 2015, 19:00
As artists, academics, makers, individuals and institutions, you are all invited to the launch meeting at StudioX: a great occasion to talk face to face and answer your questions!

July 17, 2015 22:00
DEADLINE

July 25, 2015 14:00
jury roundtable (location to be verified). In this round the jury is made up of all the applicants. the festival programme is to be created collectively.

August 20, 2015
announcement of the programme

Theme

LABORO ERGO SUM

When we talk about how the digital revolution has increasingly turned our lives around in the last three decades, we fix our gaze on the center stage and focus on the results. Our ways of doing things, from health to security, from education to entertainment have changed. This has made our life easier as much as it has caused complications. Nevertheless, a world where everyone is reachable anytime is a world much different from before. Mostly we admired it, got mad at it or feared it.

We have ignored the labor behind all this change and how the labor that creates the digital revolution is organized. We have disregarded the ways in which the digital revolution has transformed labor from mines to assembly lines, from homes to offices. Now that our initial fascination has ceded, the digital and the digitally transformed have made it to our daily routines. To better understand this revolution we’d like to look into its relation with labor and contextualize it beyond what is immediately visible in terms of change.

The theme of amber’15 is work and labor. Has digitalization devalued or cheapened labor? How has the relation between labor and capital changed? How widespread is insecurity with regards to work, how has unpaid labor increased? In what way has the relation between work and labor evolved? From white collar to youth who use digital tools, how has people’s attitude toward their own labor changed? Can we talk about robotic or cyborg labor? What’s the role of digital technologies in the growing unemployment, poverty and deepening class-wage gap? Have digital technologies honed the existing antagonisms? Is the reappearance of Marx’ theory of value in contemporary thought-scape an indication of a lack of change in terms of labor and exploitation?

amber’15, in its collective restructuring, invites you all to a discussion around the theme “Laboro Ergo Sum”.

Festival Organization:
Merve Çaşkurlu, Ekmel Ertan, Fatih Aydoğdu


amberFest is the only international new media arts festival of Turkey hosted in Istanbul in second week of November since 2007.

This year, amberPlatform offers a new collective festival model instead of a curated one. amber’15 invites academics, curators, makers and creative individuals (and institutions?) to be part of a sustainable, inclusive, open and common grounds collaboration.
The applicants can vote for the works during the jury roundtable on July 25 and be part of the selection committee of the festival.

As we embark on this new structure, we envision a new and integral ecology of which technology is an essential part, that aims at democratization of the relations of production and consumption; and promotes movements we have been supporting since the very beginning such as open data, free software, DIY or do it together, ecological activism, sustainable living, urban farming, community (guerrilla) gardening and slow city. We propose a festival in these lines.

ICDHS 2016 Taipei | The 10th International Conference on Design History and Design Studies (ICDHS)

Making Trans/national Contemporary Design History

ICDHS 2016 Taipei | The 10th International Conference on Design History and Design Studies (ICDHS)

26-28 October, 2016
National Taiwan University of Science and Technology, Taipei, Taiwan

Abstract due: 20 July, 2015

We are pleased to announce the Call for Papers for ICDHS 2016 Taipei, The 10th International Conference on Design History and Design Studies.

Taipei – the ‘World Design Capital of 2016’ welcomes proposals for the ICDHS 2016 Taipei to share this historical moment and think critically about design in the global context. This fast moving, culturally complex city is an ideal place for debat-ing and making a trans/national contemporary design history – an aim that has been part of the ICDHS’s goal of inclusive and far-reaching design history and design studies. In producing innovative design while leading the postcolonial debate on transnational identities and practicing democratic activism, Taiwan and its geo-cultural location offers a compelling con-ference platform.

We are seeking proposals for the following eight strands that will cover a wide range of themes including local level issues specific to East Asia and inter-Asian connections. Furthermore, topics that have been developed through previous ICDHS conferences (http://www.ub.edu/gracmon/icdhs/), and the undiscovered, newly emerging ideas in the field of design history and design studies will also be considered for inclusion. The overarching aim of this conference is to explore different pos-sibilities of engagement that advance ‘global’, ‘world’ and ‘transnational’ design histories and studies. The eight strands are:
1. Inter-Asia and design historical issues in Asia
2. Trans/national design theory and identity
3. Science, technology and sustainability
4. Craft, material culture and cultural industry
5. Design policies, pedagogies and creative economy
6. Contemporary design practice
7. Activism, democracy and design interventions
8. Open strand

Proposals for individual 20-minute papers, or for panels organized around a common theme, and or poster presen-tations should use the form provided from the conference website: http://www.dt.ntust.edu.tw/icdhs2016/wp-content/uploads/2015/04/icdhs2016_taipei_proposal_form.pdf. Upon completion, please upload and submit the form to https://easychair.org/conferences/?cof=icdhs2016taipei.

Proposal submissions must be in English, and should include the following:
• An abstract not exceeding 300 words
• Indication of strand and participation type
• 5 keywords

The official language of the conference is English and Chinese. Submissions of full papers or posters in either English or Traditional Chinese are open to the choice of authors. Full paper and panel presentations in the conference could be con-ducted in either English or Mandarin Chinese.

All submissions will go through an anonymous, double-blind review process. The deadline for proposal submissions is 20 July, 2015. Applicants will be advised whether their proposals have been successful by early October 2015, and for suc-cessful proposals an invitation for submission of the full paper or poster presentation will follow. Full papers in English should not exceed 3,000 words, while full papers in Traditional Chinese should not exceed 6,000 characters. Poster presentations in English should not exceed 1,500 words, and those in Traditional Chinese should not exceed 3,000 char-acters.
For all conference participants, proceedings will be available in digital format, and online for long-term dissemination. Print format will be available as an option with a small charge to cover basic printing cost. With authors’ agreement, selected papers will be published in a thematically formed volume by the one of the official conference journals: International Jour-nal of Design, or Sheji Xuebao 設計學報 (Journal of Design), the two Taipei-based academic journals.

For further information, please refer to the conference website:http://www.dt.ntust.edu.tw/icdhs2016/
Any queries should be addressed to this email: icdhs2016taipei@easychair.org

We look forward to seeing you in Taipei in October, 2016.

Chairs of Program Committees for ICDHS 2016 Taipei
Tingyi S. Lin, National Taiwan University of Science and Technology, Taiwan
Yuko Kikuchi, University of the Arts London, UK
Wendy Siuyi Wong, York University, Toronto, Canada


 

As a primary supplier of innovative design practitioners, the Department of Industrial & Commercial Design at National Taiwan University of Science and Technology (hereinafter referred to as “the Department”) not only continues its efforts to integrate design practice and theory into student's training courses, but also constantly expands its programs into new areas of design studies and works on better strategies towards international visibility and student's awareness of business practices, with a view to placing the Department among the top-ranking design programs in Asia and globally.

Call for Panel Participation – CAA Washington, DC 2016

Augmented Reality- invention/reinvention

The New Media Caucus invites individuals to submit artwork or papers for a panel titled Augmented Reality - invention/reinvention.

_______________________________

This panel sponsored by the New Media Caucus calls for artists, scholars, and theoreticians to reflect on the possibilities of understanding cultural issues related to the continuum of Augmented Reality. Augmented Reality as project, paper, performance, public art, and mobile location are welcomed.

While Baudrillard theorized about simulation, William Gibson imaginatively constructed virtual possibilities through fiction. As early as 1985, Virtual Reality platforms were physically realized by Jaron Lanier and Thomas Zimmerman’s manufacture of VR gloves and goggles.

Today artists critically manipulate the continuum between reality and virtuality testing our abilities to discern fact and fiction. We are able to explore the possibilities of augmented reality experiences through 3D models, video, web links, sounds or other digital media via the ubiquity of smart phones or tablets. This ubiquity welcomes both narrative and performativity into the continuum of the real and imagined.

Artistic creation in virtual realms reflect cultural realisms of identity, race, geographic location, gender, sexuality and others not as absolute or inherited but as malleable possibilities, subject to continuous invention and re-invention by creating layers of imagination and technological forms.

Submission must include:

  • 3-page CV, submitted as PDF 

  • 300 – 600 word abstract that describes the artistic or scholarly work.
  • Documentation of art.

Publishing Requirement:Media-N Journal of the New Media Caucus will publish a conference edition after the CAA conference, showcasing conference proceedings sponsored by the NMC. To this end, Individuals are required to submit materials for the journal edition. Media-N offers flexibility regarding how to achieve the publishing requirement. Once invitations are accepted, the Editor-in-Chief of Media-N will contact the chair(s) to further discuss and plan for the publishing requirement. All materials for publication must be completed by mid-April after the conference.

NOTES:

  • This panel is for the 1.5-hour New Media Caucus sponsored panel session.
  • Panelists must be NMC members. 
There are no membership fees. JOIN NMC
  • Panelists do not need to be CAA members. 

  • NMC does not fund conference fees, transportation, or hotels for panelists. 

  • 1.5 hour sessions at CAA are free and open to the public. 

  • Presenting during a 1.5 hour session does not disqualify you from chairing a panel or serving as a panelist in 2.5 hour session at CAA.

TIMELINE: 
Peer review will occur shortly after the deadline. 
Notification of acceptance will be late May. 
The chosen panel will be submitted to CAA in mid June.

DEADLINE: 
Email submissions by May 31, 2014 to Elizabeth Demaray, mailto:demaray@camden.rutgers.edu.

Call for Artworks: EXPRESSIVE 2015, “IDEA CHAIN” – Extended Deadline

Extended Deadline (submissions are due on May 15th)

The theme for the Expressive 2015 Call for Artworks is Idea Chain. In 1969, the artist Sol LeWitt published his Sentences on Conceptual Art, a series of statements that define the conceptual in contrast to the rational, and which explore differences between concepts and ideas. LeWitt, through this list of 35 sentences, describes the presentation of artworks as creating a kind of invisible conversation between artists, noting that “The words of one artist to another may induce an idea chain, if they share the same concept”, and further, that this induction is perhaps inevitable: “The process is mechanical and should not be tampered with. It should run its course.”

We invite artists to create works that reflect upon, or perhaps that challenge, the relation between the computational and the conceptual, to “run the course” of this dialogic process between the creative artists and computer scientists who will be present at Expressive 2015. This yearExpressive 2015 will host an installation gallery for artworks and demonstration projects where artist installations and computational demonstrations will be featured side-by-side. Accepted artists will be invited to present their work through a panel discussion or short oral presentations within the mainExpressive 2015 conference, to be held at Koç University Incubation Center in downtown Istanbul, Turkey on June 20th through June 22nd.

To submit an artwork, provide links to examples of the work, a short write-up describing the work and its relation to the theme of the call of entries (~2 pages), and details about the size and equipment needed for the installation. Interactive works as well as screen based works are encouraged, but we are open to any medium that explores topics related to the Expressive 2015 conference (Computational Aesthetics, Sketch-Based Interfaces and Modeling, and Non-Photorealistic Animation and Rendering). Please email the Arts Chairs at aforbes@uic.edu and anilcamci@gmail.com, and use the subject line “Expressive’15: Idea Chain” when submitting your materials. Submission are due by May 15th, 2015.

Angus Forbes and Anıl Çamcı, Expressive 2015 Arts Chairs
http://expressive.graphics/2015


Expressive is the fusion of originally three symposia that revolve around expressive aspects of computer graphics:

Computational Aesthetics (CAe) bridges the analytic and synthetic by integrating aspects of computer science, philosophy, psychology, and the fine, applied & performing arts. It brings together individuals with technical experience of developing computer-based tools to solve aesthetic problems and people with artistic/design backgrounds who use these new tools.

Non-Photorealistic Animation and Rendering (NPAR) refers to computational techniques for visual communication. Such techniques usually generate imagery and motion which is expressive, rather than photorealistic, although they may incorporate realistic elements.

Sketch-Based Interfaces and Modeling (SBIM) provides a unique venue for researchers, students and practitioners interested in sketch-based techniques to interact with one another, share lessons learned, show new results and discuss open issues.


 

Call for Papers and Artworks – Metaplastic Arts,Design Virtual Worlds 2015

CYBERWORLDS 2015 INTERNATIONAL CONFERENCE
7-9 OCTOBER 2015, GOTLAND, SWEDEN
Uppsala University, Campus Gotland, Visby, Sweden

http://cyberworlds-conference.org/

SUBMISSION DEADLINE: 3 MAY,2015

Send your paper to: gianluca.mura@polimi.it

More information from http://artsvirtualworlds.artsmachine.org/

Submission include full paper (up to 8 pages), short paper (up to 4 pages)
poster and artworks (1 page, abstract).
The papers must be written in English, carefully proofread, and formatted to Conference Publishing Services Manuscript Formatting Guidelines
fro m http://www.computer.org/portal/web/cscps/formatting

Please use the following template for preparing your papers from:
http://www.artsmachine.org/web/docs/IEEECS_CPS.zip or

http://www.artsmachine.org/web/docs/IEEECS_CPS_LaTeX.zip

By submitting a paper the authors confirm that their papers represent original previously unpublished work, and if accepted, the author will register for the conference and present the papers.

INTRODUCTION
Virtual Worlds are information spaces and communities that immensely augment the way we interact, participate and receive information throughout the world. Virtual Worlds seriously impact our lives and the evolution of the world economy by taking such forms as social networking services, 3D shared virtual communities, and massively multiplayer online role-playing games.

OBJECTIVE
The goal of the MetaPlastic Arts,Design and Virtual Worlds is to analyze and trace the advancements of new Art and Design theories and practices in Virtual Worlds.
MetaPlastic Arts,Design and Virtual Worlds is a special session at the 2015 International Conference on Cyberworlds

http://artsvirtualworlds.artsmachine.org/

PUBLICATIONS
– MetaPlastic Arts,Design & Virtual worlds papers will be published within the CYBERWORLDS 2015 Conference proceedings by IEEE Computer Society (through CPS) and submitted to the IEEE Xplore and Computer Society digital library, and for indexing through INSPEC, EI (Compendex), Thomson ISI,and other indexing services.

– MetaPlastic Arts,Design & Virtual Worlds Selected Papers will be asked to write an article for a Special Iss ue of the IJACDT International Journal of Art,Culture and Design Technologies

The METAPLASTIC ARTS,DESIGN & VIRTUAL WORLDS CYBERWORLDS 2015 Special Session
will address a wide range of research and development topics,but not limited to the following topics:
– Aesthetics and semantics
– Art and heritage in cyberspace, cyber-museums
– Artworks, performances, and installations
– Brain-computer interfaces
– Cognitive informatics
– Computer vision, augmented, mixed and virtual reality
– Creative and innovative media arts concepts and projects
– Cultural heritage within the Web
– Cyberethics and cyberlaws
– Cybernetics, artificial intelligence, and cognitive-based concepts and practices
– Cybersecurity
– Cyberworlds and their impact on the real worlds
– Data mining and warehousing in cyberworlds
– Digital art, digital culture, net art, and digital design
– E-learning in virtual collaborati ve spaces
– Edutainment
– Networked and shared virtual worlds
– Virtual collaborative spaces
– Shape modeling for cyberworlds
– Virtual humans and avatars
– Multimodal interaction and rendering
– Affective computing
– Social computing
– Online communities
– E-learning in cyberworlds
– Multi-user web games
– Art and heritage in cyberspace, cyber-museums
– Cyberethics and cyberlaws
– Cybersecurity
– Welfare in cyberworlds
– Data mining and warehousing in cyberworlds
– Visual analytics in cyberworlds
– EEG-based emotion recognition
– Haptic interaction and rendering
– Human-computer interaction studies and applications
– Human-computer interfaces
– Human issues/impacts
– Information visualization in art and design issues
– Imaginary and creative concepts and applications
– Innovative Web, Web3D, and multimedia studies and applications
– Intelligent talking a gents
– Multi-user web games
– Networked collaboration
– Psychology and cognition studies
– Shape modeling for cyberworlds
– Shared virtual worlds
– Social and ethical issues
– Social networking
– Technologies for teaching art and design
– Virtual architecture and heritage
– Virtual, augmented, and mixed realities in art and design
– Virtual collaborative spaces
– Virtual humans and avatars
– Visual languages
– Virtual metaplasticity, metaplastic virtual worlds

Prof.Dr.Gianluca Mura
MetaPlastic Arts&Design Virtual Worlds Chair
http://artsvirtualworlds.artsmachine.org

CYBERWORLDS 2015
http://cyberworlds-conference.org/

ARRAY [ ] new media foundations for art and design edu Call for Collaboration, peer-reviewed repository

ARRAY [ ] new media foundations for art and design edu
Call for Collaboration, peer-reviewed repository

essay proposals:
http://www.arrayproject.com/eform/submit/essay-submission

project proposals:
http://www.arrayproject.com/eform/submit/project-submission

You may propose multiple essays and/or projects. Select contributors will add their content directly. ARRAY [ ] projects can be edited and modified as contributors test and refine their projects in studios, workshops, and classrooms.

This ongoing project is made possible through the cultural support of a generous community of media and technology practitioners, researchers, activists, artists, designers, teachers and critics who care about learning, and share their code and ideas online. ARRAY [ ] was selected by Rhizome.org’s membership for a 2012 Rhizome Commission. Thank you!

Trowbridge and Westbrook are both Assistant Professors at the School of the Art Institute of Chicago where they teach courses in the Department of Contemporary Practices (first year/foundations curriculum) and upper division courses in The Department of Art and Technology Studies. Trowbridge and Westbrook collaborate as Channel TWo [CH2], a new media art and design studio focused on mixed up reality, media production, design, development, and distribution… authorized formats + unauthorized ideas, systems of control + radical togetherness. more: www.onchanneltwo.com


 

ARRAY [ ] new media foundations for art and design is a repository of entryways into new media craft, processes, materials, cultures, and contexts specifically geared towards beginners (both teachers and students). ARRAY [ ] content includes both project scenarios and essays as mechanisms for learning. Unlike a conventional printed textbook, ARRAY [ ] uses the flexibility of the web platform to grow, change, adapt, and respond to shifts in art, design, technologies, and education. ARRAY [ ] is a peer-reviewed repository and publication, edited by Adam Trowbridge and Jessica Westbrook.

ARRAY [ ] Statements:

ARRAY[ ] is independent, and non-corporate. Our editors, developers, advisors, contributors, and organizers are all teachers and professors deeply invested in education.
ARRAY[ ] is a repository of knowledge based on the idea that the “foundations” of new media are constantly shifting, negotiated, contested, and divergent.
ARRAY[ ] is focused on art and design students, because these are populations that can operate outside of the bounds of acceptable behavior.
ARRAY[ ] is resistant to uncritical approaches to teaching contemporary media practices.
ARRAY[ ] is suspicious of concepts like "access," innovation," and "evidence-based strategies."
ARRAY[ ] is counter to cultures of training and certification.
ARRAY[ ] is interested in sociopolitical factors of interface, media, and distribution systems.
ARRAY[ ] is conscious of the complexity of learning over time.
ARRAY[ ] is intended to assist teachers and learners in reducing fear, and increasing agency.

more: http://www.arrayproject.com/content/about-array

2nd Call For Papers : International Workshop on Movement and Computing (MOCO15)

We would like to announce the second Call for Papers for the International Workshop on Movement and Computing (MOCO15) located co-located with ISEA2015 at Simon Fraser University, Vancouver Canada August 14-15 2015.

People who are attending ISEA2015 will have a reduced registration fee for MOCO. 

We will have 3 keynotes spanning Dance theory, Neuroscience, and Computer Science

We will also organize a highly acclaimed dance and technology performance by the french Company Adrien M | Claire B, called "Hanakai"

http://www.am-cb.net/projets/hakanai/

Submission deadline: 31st of March 2015 (5:00pm PST)

=======================================

=International Workshop on Movement and Computing (MOCO15)
> Intersecting Art, Meaning, Cognition, Technology

August 14-15 2015, Vancouver Canada
Simon Fraser University

http://moco.iat.sfu.ca/

=======================================

Building on the success of the first International Workshop on Movement and Computing (MOCO’14) at IRCAM, we are happy to announce the second edition, MOCO’15 at Simon Fraser University. MOCO’15 will be co-located with ISEA2015 (http://isea2015.org/)

MOCO aims to gather academics and practitioners interested in the computational study, modeling, representation, segmentation, recognition, classification, or generation of movement information. We invite participants interested in exploring how movement experience can contribute to computational knowledge through movement modeling and representation. We welcome researchers that are positioned within emerging interdisciplinary domains between art & science.

While human movement itself focuses on bodily experience, developing computational models for movement requires abstraction and representation of lived embodied cognition. Selecting appropriate models between movement and its rich personal and cultural meanings remains a challenge in movement interaction research. This two day workshop seeks to explore an equal and richly nuanced epistemological partnership between movement experience and movement cognition and computational representation.

This second edition of MOCO will bring together people working in interdisciplinary intersections of Human Computer Interaction, Computer Graphics, Machine Learning, Artificial Intelligence, Robotics, Affective Computing, Cognitive Science, Neuroscience, Psychology, and Artists from Media Art, Choreography, Composition, Dance and Design. The workshop aims at promoting scientific and artistic collaborations within this inter-disciplinary boundary. It will offer opportunities to disseminate emerging research works through presentations, demonstrations, and group discussions.

= Keynote Speakers
=======================================

* Scott de la Hunta, Coventry University, School of Art and Design.

* Miriam Spering, University of British Columbia, Medicine and Neuroscience.

* Sidney Fels, University of British Columbia, Department of Electrical and Computer Engineering.

= Suggested Topics
=======================================

 * Expressive movement-based interaction
 * Machine learning for movement 
 * Modeling movement qualities
 * Gestural control
 * Movement generation 
 * Movement and sound interaction
 * Sensori-motor learning with audio/visual feedback
 * Embodied cognition and movement 
 * Visualizing movement 
 * Modeling kinaesthetic empathy 
 * Somatic practice and design 
 * Whole-body interaction
 * Expressive movement analysis and synthesis
 * Design for movement in digital art 
 * Semantic models for movement representation
 * Laban Movement Studies and computation
 * Dance and neuroscience
 * Biosensing, biocontrol and movement
 * Movement expression in avatar, artificial agents, virtual humans or robots.
 * Music and movement
 * Movement computation in ergonomics, sports, and health

= Participation to the workshop
=======================================

The workshop is an opportunity to present a research or a collaborative work. Participants will have the possibility to make a presentation of the results of their research on one of the themes of the workshop, and to interact with their scientific, artistic peers, in a friendly and constructive environment.
If you are interested in an oral presentation of your work, please submit a paper and/or a demo and/or a poster.  

= Submission
=======================================
The submission categories are:
• Long paper with oral presentation (8 pages maximum) 
• Research note with oral presentation (4 pages maximum)
• Short paper with poster presentation (2 pages maximum)
• Demonstration (one of the above paper 2 pages minimum + Demo proposal form).

All submissions should be PDF and use the MOCO’15 template – adapted from ACM SIGCHI template 
http://moco.iat.sfu.ca/authors/

Authors can submit a demonstration proposal in addition to any paper submission by adding the Demo proposal form as supplementary material to their submission. They have to provide the demo proposal form with a link to a video about the work. The demo proposal form is mandatory for all demo submissions and must include technical set-up and space requirements.

Online submission: All submissions must be done through EasyChair
https://easychair.org/conferences/?conf=moco15

All submission must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library.  

= Important Dates:
=======================================
Submission deadline: 31st of March 2015 (5:00pm PST)

Notification: 1st of May 2015
Early bird registration: 1st june 2015
Early program: 31st June 2015

= Venue
=======================================

Simon Fraser University, Woodward's, 
Goldcorp Centre for the Arts, 149 West Hastings Street, Vancouver Canada. 
http://www.sfu.ca/sfuwoodwards.html

MOCO15 will be  co-located with ISEA2015 (http://isea2015.org/)

= Workshop Chairs
=======================================
 * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada
 * Philippe Pasquier, SIAT, SFU, Vancouver, Canada
 * Sarah Fdili Alaoui, SIAT, SFU, Vancouver, Canada
 * Frederic Bevilacqua, Ircam, Paris, France
 * Jules Françoise, Ircam, Paris, France

Contact email: moco15@easychair.org

= Local Organization Committee
=======================================
> School of Interactive Arts and Technology

 * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada
 * Philippe Pasquier, SIAT, SFU, Vancouver, Canada
 * Sarah Fdili Alaoui, SIAT, SFU, Vancouver, Canada

 
Dr Sarah Fdili Alaoui
Postdoctoral Fellow at the School of Interactive Arts + Technology

Simon Fraser University

 
@saralaoui

Stimulus/Response/Affect: New Media Art in the Greater Lakes Region

Call for Participation: STIMULUS – RESPONSE – AFFECT
New Media Art in the Greater Lakes Region

Art Exhibition / Symposium / Publication in October 2015

Co-directed and co-curated: Profs. Colleen K. Ludwig and Vagner M. Whitehead, Department of Art and Art History, Oakland University

Stimulus – Response – Affect is an exhibition, symposium and publication on contemporary new media art explorations hosted by Oakland University in Metro Detroit. We seek artworks and papers addressing the theme, which could take many forms including, but not limited to, generative, sensory and interactive work, social-political activism, participatory and performance works, feedback loops or games. Specifically, we want to invite practitioners operating throughout a broadly-defined, bi-national multi-state, Greater Lakes Region.

The exhibition will take place at the Oakland University Art Gallery in October 2015. It will open during the symposium, which will take place on campus. All artworks and articles selected will be featured in the printed catalog. Artists selected will also be invited to present their work during the symposium.
Selected participants must confirm availability. All selected participants will receive complimentary symposium registration for themselves and two students.

Submission Requirements:
Artwork for this exhibition must have been created in the past three years . Artwork submissions should include:
- Project description (300-600 words)
- resume, including institutional affiliation
- Images/media links on PDF or URL of current or past related projects
- Technical specifications, dimensions, and shipping needs

Writing submissions should include:
- Abstract (300-600 words)
- resume, including institutional affiliation
- writing samples of new media - related articles and/or video documentation of previous oral presentation

Deadline for submissions: March 16, 2015, 11:59pm ET

Email submissions to: sraffect@gmail.com

----------------------------------------

Located in the metro Detroit area, Oakland University is a world-class academic institution located on 1,443 acres of wooded hills and meadows in Rochester, Mich. A vibrant academic community, Oakland University currently enrolls more than 20,000 students, boasts nearly 100,000 alumni, and delivers more than 260 degree and certificate programs.

The Department of Art and Art History at Oakland University, housed in the College of Arts and Sciences, offers B.A. degrees in art history, graphic design, and studio art, as well as minors in those fields. Concentrations within studio art include drawing, new media, painting and photography.

The department's curriculum encompasses both art-making as an aesthetic expression of intellectual vision and contextual study and research into the exceptional range of aesthetic expression throughout history. Majors and non-majors develop their knowledge and understanding of the history of the visual arts, gain a solid grounding in aesthetic and critical theory, develop technical skills in a variety of artistic media, and expand their abilities to conceptualize and communicate their own vision through aesthetic means. Our students are highly encouraged to pursue cross-disciplinary explorations within the department and across campus, through elective courses, minors, concentrations, and double-majors.

Extended Papers Deadline and Work in Progress Category Added: ISEA2015

=========================

Extended Papers Deadline and Work in Progress Category Added: ISEA2015

=========================

((( ISEA2015 ))) 21st International Symposium on Electronic Art

Due to continuous and abundant requests, the submission deadline for papers, posters, panels, institutional presentations, and tutorials is extended to January 31, 2015.

A new category has also been added to accommodate works that were not fitting any of the other categories: Abstracts for artist Short Talks, Demonstration and Works in Progress with a deadline of March 20, 2015.

The artwork submission is closed.

The workshop submission is closed.

August 14-18 2015, Vancouver, Canada.

http://ISEA2015.org

Submission types:

=========================

The 21st International Symposium on Electronic Art (ISEA) will be held August 14-18, 2015, in Vancouver, Canada. The ISEA2015 symposium will be hosted by Simon Fraser University’s Faculty of Communication Arts and Technology (FCAT), and a vast variety of local academic and artistic partners. ISEA is the largest nomadic international gathering on 'electronic and emergent media'. Since its start in the Netherlands in 1988 it has taken place on 4 continents and in over 20 different cities. The event annually brings together artists, designers, academics, technologies, scientists, and general audiences. The symposium consists of a peer reviewed conference, a series of exhibitions and partner events - from large-scale interactive artwork in public spaces to cutting edge electronic music performance.

For this extended deadline, ISEA2015 welcomes submissions for two broad categories:

1 - A set of workshops and tutorials will occur on Friday the 14th, and Saturday the 15th of August 2015. See the call for workshops, tutorials, and institutional presentations for more details on how to propose yours: http://isea2015.org/call-for-proposals/workshops-tutorials/

2 - The academic symposium will occur from Sunday the 16th to Tuesday the 18th of August 2015. It includes the following activities for which we solicit submissions:

  * Long Art or Research Papers (8 pages) with Oral Presentation

  * Short Art or Research Papers (4 pages) with Oral Presentation

  * Extended Abstracts (2 pages) with Demonstration or Poster Presentation

  * Round Tables and Square Panels

  * Institutional Presentations

  * Abstracts for Artist Short Talks, Demonstration and Works in Progress

ISEA2015 submissions in the Long paper, Short paper, and Extended abstract categories need to be thefull length version of the paper (not only the abstract). The Proceedings are an important outcome for ISEA, which is the main trace of the symposium and contribution to the larger academic and artistic community at large. Each submission will be thoroughly reviewed by members from our International Program Committee. Accepted submission will be published in the ISEA2015 Proceedings (with an ISBN/ISSN). These proceedings will be available online, at no cost, prior to the symposium.

For more details on how to contribute in any of the above categories, see our call for papers and panels here: http://isea2015.org/call-for-proposals/papers-posters-and-panels/   

Submissions are to be made through our ISEA2015 EasyChair portal: https://www.easychair.org/conferences/?conf=isea2015

While, every submission relevant to the ISEA community will be reviewed and considered, the ones relevant to the ISEA2015 theme of DISRUPTION will be given priority: http://isea2015.org/about/theme/

Visit us on Facebook for updates: https://www.facebook.com/ISEA2015

Important dates:

=========================

- 31 January 2015: Submission deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, institutional presentations, workshops and tutorials

- 10 March, 2015: Notifications of acceptance of long art or research papers, short art or research papers, panels, institutional presentations, workshops and tutorials

- 20 March, 2015: Submission deadline for abstracts for artist short talks, demonstration and works in progress

- 20 April, 2015: Notifications of acceptance for art or research extended abstracts with demonstration or poster presentation, art or research demonstrations and abstracts for artist short talks, demonstration and works in progress

- 14-18 August, 2015: ISEA2015 Symposium

=========================

Symposium Organizers

======================

Dr. Philippe Pasquier (Symposium Director)

School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Vancouver, Canada.

Dr. Thecla Schiphorst  (Symposium Director)
School of Interactive Arts and Technology (SIAT)
Faculty of Communication, Arts & Technology (FCAT),
Simon Fraser University, Vancouver, Canada.

Kate Armstrong (Artistic Director)
Independent Curator, Director of the Social + Interactive Media (SIM) Centre,
Emily Carr University of Art+Design,
Vancouver, Canada.

Malcolm Levy (Artistic Director)
Independent Curator, Director of Hybridity,
Vancouver, Canada.

=======================

ISEA INTERNATIONAL

The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).

=========================

Call for Guest Editors and thematic proposals / for Media-N, Journal of the New Media Caucus – Spring and Fall 2016 editions

media-n

Call for Guest Editors and thematic proposals / for Media-N, Journal of the New Media Caucus – Spring and Fall 2016 editions.

Media-N, Journal of the New Media Caucus (http://median.newmediacaucus.org/) is pleased to announce an open call for guest editors for its Spring 2016 and Fall 2016 issues. New media artists and scholars are invited to propose themed special issues of Media-N, which they would edit under the auspices of the Editor-in-Chief, Pat Badani, and a designated associate editor. 

The deadline for submissions is April 15, 2015. Media-N’s editorial board will review the submissions and notify selected guest editors in June.

We offer opportunities for qualified scholars and/or artists to plan and edit themed issues that address topics of current interest to Media-N’s readership. We encourage those interested in submitting proposals to visit our archives (http://median.newmediacaucus.org/archives/) to become familiar with previous themed special issues such as Art & Infrastructures: Hardware (Vol.10/N.3) or Tracing New/Media/Feminisms (Vol.9/N.01). Each special edition editor, working under the guidance of the Editor-in-Chief and an assigned associate editor from Media-N’s board, would be responsible for drafting a CFP for the special issue, assisting in the peer-review process, inviting contributions from noteworthy artists and scholars, coordinating with selected and invited contributors, and copyediting and proofreading the edition. 

Those interested in submitting a proposal to serve as guest editor of a special themed issue should:

-Send your proposal to Editor-in-Chief Pat Badani: mailto:medianjournal.badani@gmail.com.

-In the subject field of your email write “Submissions: Themed/Guest-edited/Media-N.”

-Attach your proposal as a Microsoft Word document (.doc or .docx), and include the following information, in order:

a- Proposed title for themed issue

b- Name(s) of editor(s)

c- Professional title(s) and affiliation(s) of editor(s): (e.g.: Educator / Independent artist, or researcher / Assistant Professor / Professor, etc.)

d- Body of the proposal – 1,000-word limit

-Attach a three-page CV as a separate Word document. Please highlight editorial experience. 

Note: Media-N adheres to the publication guidelines set out by the Chicago Manual of Style, 16th Edition. Articles will not be published if guidelines are not met. 

……………………………………………………………………….

Media-N, Journal of the new Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and blind peer-reviewed journal, open to submissions in the form of theoretical papers, reports, and reviews on new media artworks. The journal provides a forum for national and international New Media Caucus members and non-members featuring their scholarly research, artworks and projects. 

The mission of the electronic and print journals is to promote academic inquiry; to reflect the wide variety of themes and areas in new media research; to further the evolving discourses related to theory and practice; to showcase the work of new media artists and their presentation environments; and to investigate the issues surrounding education and new media. The journal has published articles by influential new media theorists and practitioners such as:  Mark AmerikaSarah CookAmy FranceschiniLynn Hershman LeesonJennifer and Kevin McCoyKen Rinaldo, Laurence A. RickelsCornelia Sollfrank, and Faith Wilding.

Three editions are published per year: spring, summer and fall. Media-N’s online and print versions differ in format but are similar in content. The publication is freely available online, and the print version may be purchased through a print-on-demand service. Each has a unique ISSN.

ISEA2015: Artist Category Added: Call for Papers & Participation

=========================

Artist Category Added: ISEA2015

=========================

((( ISEA2015 ))) 21st International Symposium on Electronic Art

Due to numerous requests, the submission deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, institutional presentations, workshops and tutorials is extended to January 12, 2015.

A new category of Abstracts for Artist Short Talks, Demonstration and Works in Progress has been added to accommodate art works with a deadline of February 20, 2015.

August 14-18 2015, Vancouver, Canada.

http://ISEA2015.org

Submission types:

=========================

The 21st International Symposium on Electronic Art (ISEA) will be held August 14-18, 2015, in Vancouver, Canada. The ISEA2015 symposium will be hosted by Simon Fraser University’s Faculty of Communication Arts and Technology (FCAT), and a vast variety of local academic and artistic partners. ISEA is the largest nomadic international gathering on 'electronic and emergent media'. Since its start in the Netherlands in 1988 it has taken place on 4 continents and in over 20 different cities. The event annually brings together artists, designers, academics, technologies, scientists, and general audiences. The symposium consists of a peer reviewed conference, a series of exhibitions and partner events - from large-scale interactive artwork in public spaces to cutting edge electronic music performance.

For this extended deadline, ISEA2015 welcomes submissions for two broad categories:

1 - A set of workshops and tutorials will occur on Friday the 14th, and Saturday the 15th of August 2015. See the call for workshops, tutorials, and institutional presentations for more details on how to propose yours: http://isea2015.org/call-for-proposals/workshops-tutorials/

2 - The academic symposium will occur from Sunday the 16th to Tuesday the 18th of August 2015. It includes the following activities for which we solicit submissions:

  * Long Art or Research Papers (8 pages) with Oral Presentation

  * Short Art or Research Papers (4 pages) with Oral Presentation

  * Extended Abstracts (2 pages) with Demonstration or Poster Presentation

  * Round Tables and Square Panels

  * Institutional Presentations

  * Abstracts for Artist Short Talks, Demonstration and Works in Progress

ISEA2015 submissions in the Long paper, Short paper, and Extended abstract categories need to be the full length version of the paper (not only the abstract). The Proceedings are an important outcome for ISEA, which is the main trace of the symposium and contribution to the larger academic and artistic community at large. Each submission will be thoroughly reviewed by members from our International Program Committee. Accepted submission will be published in the ISEA2015 Proceedings (with an ISBN/ISSN). These proceedings will be available online, at no cost, prior to the symposium.

For more details on how to contribute in any of the above categories, see our call for papers and panels here: http://isea2015.org/call-for-proposals/papers-posters-and-panels/

Submissions are to be made through our ISEA2015 EasyChair portal: https://www.easychair.org/conferences/?conf=isea2015

While, every submission relevant to the ISEA community will be reviewed and considered, the ones relevant to the ISEA2015 theme of DISRUPTION will be given priority: http://isea2015.org/about/theme/

Visit us on Facebook for updates: https://www.facebook.com/ISEA2015

Important dates:

=========================

- 12 January 2015: Submission deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, institutional presentations, workshops and tutorials

- 15 February, 2015: Notifications of acceptance of long art or research papers, short art or research papers, panels, institutional presentations, workshops and tutorials

- 20 February, 2015: Submission deadline for abstracts for artist short talks, demonstration and works in progress

- 21 March, 2015: Notifications of acceptance for art or research extended abstracts with demonstration or poster presentation, art or research demonstrations and abstracts for artist short talks, demonstration and works in progress

- 14-18 August, 2015: ISEA2015 Symposium

=========================

Symposium Organizers

======================

Dr. Philippe Pasquier (Symposium Director)

School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Vancouver, Canada.

Dr. Thecla Schiphorst  (Symposium Director)
School of Interactive Arts and Technology (SIAT)
Faculty of Communication, Arts & Technology (FCAT),
Simon Fraser University, Vancouver, Canada.

Kate Armstrong (Artistic Director)
Independent Curator, Director of the Social + Interactive Media (SIM) Centre,
Emily Carr University of Art+Design,
Vancouver, Canada.

Malcolm Levy (Artistic Director)
Independent Curator, Director of Hybridity,
Vancouver, Canada.

=======================

ISEA INTERNATIONAL

The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).

=========================

DEADLINE EXTENDED: ISEA2015

=========================

DEADLINE EXTENDED: ISEA2015

=========================

((( ISEA2015 ))) 21st International Symposium on Electronic Art

Due to numerous requests, the submission deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, institutional presentations, workshops and tutorials is extended toJanuary 12, 2015. (The deadline for artworks continues to be December 20, 2014).

August 14-18 2015, Vancouver, Canada.

http://ISEA2015.org

Submission types:

=========================

The 21st International Symposium on Electronic Art (ISEA) will be held August 14-18, 2015, in Vancouver, Canada. The ISEA2015 symposium will be hosted by Simon Fraser University’s Faculty of Communication Arts and Technology (FCAT), and a vast variety of local academic and artistic partners. ISEA is the largest nomadic international gathering on 'electronic and emergent media'. Since its start in the Netherlands in 1988 it has taken place on 4 continents and in over 20 different cities. The event annually brings together artists, designers, academics, technologies, scientists, and general audiences. The symposium consists of a peer reviewed conference, a series of exhibitions and partner events - from large-scale interactive artwork in public spaces to cutting edge electronic music performance.

For this extended deadline, ISEA2015 welcomes submissions for two broad categories:

1 - A set of workshops and tutorials will occur on Friday the 14th, and Saturday the 15th of August 2015. See the call for workshops, tutorials, and institutional presentations for more details on how to propose your own: http://isea2015.org/call-for-proposals/workshops-tutorials/

2 - The academic symposium will occur from Sunday the 16th to Tuesday the 18th of August 2015. It includes the following activities for which we solicit submissions:

  * Long Art or Research Papers (8 pages) with Oral Presentation

  * Short Art or Research Papers (4 pages) with Oral Presentation

  * Extended Abstracts (2 pages) with Demonstration or Poster Presentation

  * Round Tables and Square Panels

  * Institutional Presentations

ISEA2015 submissions in the Long paper, Short paper, and Extended abstract categories need to be the full length version of the paper (not only the abstract). The Proceedings are an important outcome for ISEA, which is the main trace of the symposium and contribution to the larger academic and artistic community at large. Each submission will be thoroughly reviewed by members from our International Program Committee. Accepted submission will be published in the ISEA2015 Proceedings (with an ISBN/ISSN). These proceedings will be available online, at no cost, prior to the symposium.

For more details on how to contribute in any of the above categories, see our call for papers and panels here: http://isea2015.org/call-for-proposals/papers-posters-and-panels/

Submissions are to be made through our ISEA2015 EasyChair portal: https://www.easychair.org/conferences/?conf=isea2015

While, every submission relevant to the ISEA community will be reviewed and considered, the ones relevant to the ISEA2015 theme of DISRUPTION will be given priority: http://isea2015.org/about/theme/

Important dates:

=========================

- 20 December 2014: Submission deadline for artworks

- 12 January 2015: Submission deadline for long art or research papers, short art or research papers, art or research extended abstracts with demonstration or poster presentation, panels, institutional presentations, workshops and tutorials

- 15 February, 2015: Notifications of acceptance of long art or research papers, short art or research papers, panels, institutional presentations, workshops and tutorials

- 21 March, 2015: Notifications of acceptance for art or research extended abstracts with demonstration or poster presentation, art or research demonstrations

- 14-18 August, 2015: ISEA2015 Symposium

=========================

Symposium Organizers

======================

Dr. Philippe Pasquier (Symposium Director)

School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Vancouver, Canada.

Dr. Thecla Schiphorst  (Symposium Director)
School of Interactive Arts and Technology (SIAT)
Faculty of Communication, Arts & Technology (FCAT),
Simon Fraser University, Vancouver, Canada.

Kate Armstrong (Artistic Director)
Independent Curator, Director of the Social + Interactive Media (SIM) Centre,
Emily Carr University of Art+Design,
Vancouver, Canada.

Malcolm Levy (Artistic Director)
Independent Curator, Director of Hybridity,
Vancouver, Canada.

=======================

ISEA INTERNATIONAL

The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).

=========================

Call for Reviews and Reports for Media-N, Journal of the New Media Caucus – Spring 2015 edition

media-n

 

 

Pat Badani
Editor-in-Chief
Media
-N, Journal of the New Media Caucus

Media-N, Journal of the New Media Caucus is making an open call for submissions to the Reviews and Reports section of our upcoming spring issue. 

The deadline for submission is February 15th. Grant Taylor, associate editor of the spring 2015 “Reviews & Reports” section and the Editorial Board will review submissions. Selected authors will be notified in March.

This section of the journal offers opportunities for new media authors to address topics of current interest in brief, exploratory texts of 1,500 words. Submissions may include, but are not limited to, reviews of recent book publication, reviews of important exhibitions and events, reports and interviews on emergent practices, or reports and interviews associated to conferences. Please note that Media-N must be the first journal publisher of the submitted text.

http://median.newmediacaucus.org/copyright-statement/ 

……………………………………………………………………………………………

Mission:

With Media-N’s mission in mind, this section publishes high-quality reviews and reports that provide readers with an up-to-date picture of global trends in new media art. 

For our readers, newly published books and current art exhibitions are important sites in which cutting-edge scholarship and emergent practices are first revealed. Beyond providing a glimpse of new discourse, we envisage reviewers evaluating how the author’s publication offers new theoretical insights and frameworks. We also encourage exhibition reviews. By bringing the interpretive tools of art criticism to bare on new media art, we hope to expand its understanding along with historicizing exhibitions considered seminal. With regards to reports, we continue to build on the success of the questionnaire and conference commentary format. These reports promote thoughtful and creative exchanges between theoreticians and practitioners on issues pertinent to conferences and symposia proceedings. Contributors entering into a dialogue with peers allow for the reader to gain a fuller picture of the new media landscape. These reports will also remain a vehicle to explore speculative research practices, allowing the reader to identify new categories, evolutions and ruptures in new media, and changing technical vocabularies.

……………………………………………………………………………………….

-Please send your submission as a Word doc to: taylor@lvc.edu

-In your email subject area write: Submissions: Reviews and Reports section.

-Attach Supporting material (Media): 2 images, or 1 video (25MB max) - or 1 sound file (25MB max). Do NOT embed media within your essay’s Word doc.

Submissions should contain the following information, in this particular order:

a- Submission title

b- Author’s name

c- Author’s academic position/affiliation/ etc: (e.g.: Educator / Independent artist, or researcher / Assistant Professor / Professor…)

d- The body of the text - 1500 Word count limit

e- References (wherever applicable)

f- Author’s Bio - 50 Word-Count limit (email and/or www. can be included at the end of the Bio.)

g- 4 Keywords (words defining Author’s areas of expertise and interest)

h- Media Caption(s)

Media-N’s GUIDELINES:

http://median.newmediacaucus.org/guest-editor-guidelines/

Note: Media-N adheres to the publication guidelines set out by the Chicago Manual of Style, 16th Edition. Articles will not be published if guidelines are not met.