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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:
Television and Radio
Social Media
Informed Opinions
Publicity and Promotion
Environment and species
Theory and Methods
Ethics and Morality
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.

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.

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:

Please direct any questions to: reader@vgagallery.org

Amanda Coleman
The VGA Editorial Team



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 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:

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

Call for Reviews/Reports/Papers/ for Media-N, Journal of the New Media Caucus – Spring 2016 edition

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 section is devoted to publishing short, high-quality essays and interviews that provide readers with an up-to-date picture of global trends in new media art. The subjects sought relate to new media books, exhibitions, and international festivals, conferences and symposia.

The deadline for submission is March 15th. The Editor-in-Chief (Pat Badani), the section Editor 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 essays of 2,000 words. Please note that Media-N must be the first journal publisher of the submitted text.

-Please send your submission as a Microsoft Word doc to:

Francesca Franco <medianjournal.franco@gmail.com>

-In your email subject area write: Submissions: Reviews & 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-Essay title

b-Author’s name

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

d- Keywords (sequentially list 10 words that are central to your essay; separate each word with a comma, like this: erasure, photography, imagination, perception, experience, phenomenology, epistemology.)

e-The body of the essay


g-Author’s Bio – 50 word count (email and/or www. can be included at the end of the Bio.)

h-Copyright Statements (text and image release forms): http://median.newmediacaucus.org/copyright-statement/

i- Media - submit as attachments, file(s) that illustrate your essay: images, video, and/or sound files (do not embed images onto your Word doc)

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.

Please follow this link for detailed information about our submission guidelines:




With Media-N’s mission in mind, the Reviews and Reports section publishes high-quality essays 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.


CAA Conference Edition – New York 2015 – NMC/Media-N – SRING 2015: V.11 N.02

CAA-Conference-2015-cover-smallCAA Conference Edition – New York 2015

NMC/Media-N - SRING 2015: V.11 N.02

Media-N, Journal of the New Media Caucus is pleased to announce the launch of our summer 2015 online and print edition.


Online & print edition


CAA Conference Edition – New York 2015

I am delighted to publish the current CAA Conference Edition 2015, New York, and would like to thank Associate Editor Tiffany Funk for her role as Managing Editor of V.11 N.02. Tiffany assembled and edited the publication material with the assistance of Rachel Clarke and Sid Branca.

Each year, the New Media Caucus – an affiliate of the College Art Association – organizes panel presentations, events and exhibitions during the CAA annual convention, and Media-N Journal dedicates its summer edition to showcasing NMC conference proceedings and concurrent offsite events. The New Media Caucus’ Events and Exhibitions Committee – chaired by Joyce Rudinsky –organized the 2015 proceedings.

This year we saw one panel presentation and two events, the first a series of presentations in the Media Lounge onsite at the conference venue in the New York Hilton and the second our customary offsite Showcase event hosted this time around by Hunter College.

With the intention of creating a conversation outside of the habitual rhetoric of techno euphoria, skepticism, or dread, Aleksandra Kaminska chaired the panel “Technologies of Wonder: Affective Responses in a Posthuman World.” Panel members Janine Marchessault, Florence Gouvrit Montaño and Jordi Vallverdú, Robert Gero, and Aleksandra Kaminska herself, discussed ideas on how to restore and nurture the affective dimensions of techno-encounters.

The Media Lounge at the Hilton became the locus for various events around the theme of “Alternative Economies” presenting two dominant themes: how bodies and narratives can act as disruptive forces within certain economies and the modes in which alternative economies are established. These topics are covered in this edition via Mat Rappaport’s introduction, Stephanie Tripp’s roundtable discussion with event organizers, a curatorial statement on the first session by Liss LaFleur and Ash Eliza Smith, and finally, a report on the second session by Tiffany Funk.

Tiffany Funk also contributes a comprehensive, illustrated report on the exciting CAA 2015 Showcase event in which we saw the participation of eighteen artists.

Pat Badani


V.11 N.02 publication acknowledgements:

-Publication coordinator and Editor-in-Chief: Pat Badani
-Managing Editor for the current edition: Tiffany Funk
-Publication design and layout: Michael Powell (print); Stacey Stormes (web)
-Copy editors and proofreaders for the current edition: Stephanie Tripp, Tiffany Funk, Thomas F. Cohen and Pat Badani.
-Cover image: Voice of Echo, 2011, Erin Gee, © Erin Gee. (Used with permission.)

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.


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.


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.


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.


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 Work – In the In-Between: Journal of Digital Imaging Artists

We accept submissions of photographic and video work that critically examines the world through the properties, theories and applications of digital and web-based technologies.

We also welcome inquiries from volunteer writers, curators and historians interested in participating.

More Information on our website: www.inthein-between.com

In the In-Between: Journal of Digital Imaging Artists is a web-based research platform that publishes artists working at the intersections of photography and digital media.

Since June 2012, In the In-Between has published portfolios, interviews and essays on the work of nearly 60 artists investigating the use of 21st century image-making technology.


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.



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 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

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



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 Papers and Artworks – Metaplastic Arts,Design Virtual Worlds 2015

Uppsala University, Campus Gotland, Visby, Sweden



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


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.

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.

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


– 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

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


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:

project proposals:

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