Tag Archives: artwork

IEEE VIS 2017 Arts Program – Call for Entries, Paper and Exhibition Tracks – Submissions due June 23rd

The IEEE VIS 2017 Arts Program, or VISAP’17, 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 2017 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.

Selected artworks and design submissions will be installed in an exhibition setting that is open to the general public as well as to VIS attendees. All accepted submissions will be featured in the VISAP’17 Exhibition Catalog, and selected entries will be featured in a special section within an issue of Leonardo, the Journal of the International Society of the Arts, Sciences and Technology. All accepted papers will be published in the IEEE Xplore digital library. Additionally, selected authors will be invited to prepare a revised, longer version of their papers for submission to IEEE Computer Graphics & Applications.

VISAP’17 will take place in Phoenix, Arizona during the first week of October. Submissions are due on June 23rd, 2017. Details about the submission process and author guidelines can be found at the VISAP’17 website: http://visap.uic.edu/.

 

CFP: New Perpectives: Innovations by Women Intersecting Science, Media and Sonic Arts

Call for Participation

Alliance of Women in Media Arts and Technology Conference 2018 | February 8-10, 2018 | University of California, Santa Barbara, USA

New Perpectives: Innovations by women intersecting science, media and sonic arts

Now Accepting submissions for papers, installations, demonstrations, sound art/concert works and workshops.

Key Dates:

  • Paper Deadline: October 31, 2017
  • Workshop Proposals: November 7, 2017
  • Installation/Demonstrations: November 12, 2017
  • Performance/Concert Works: November 15, 2017
  • Notifications of Acceptance: November 2017

For more on conference and submission information please go to: https://sites.google.com/site/awmat18/index

Join us February 8-10, 2018 for the AWMAT 2018 Conference. This conference brings together women innovators, researchers, engineers, media and sonic artists to delve into leading-edge topics intersecting science, media, sonic arts and technology.

AWMAT will be held at the sunny University of California, Santa Barbara campus and will feature three days of general sessions filled with opportunities to build, ask, share, and perform. We hope you can join us!

The Alliance of Women in Media Arts and Technology(AWMAT) empowers women to succeed in technology related fields, be it academic or professional, with an emphasis in the media arts. Through AWMAT, women are given an opportunity to share ideas, network and collaborate.

ThoughtWorks Arts Residency Open Call: The Implications of AI

Open Call: The Implications of AI
Dates: Sept 18 - Dec 22, 2017

ThoughtWorks, a global software consultancy with an arts residency based in New York City seeks an artist/technologist who works in their art practice with issues surrounding the design, use and implementation of artificial intelligence (AI). AI simulates human intelligence using computer systems that learn, reason and self-correct based on programming and algorithms. The artist does not need to be an expert in programming AI systems, but a basic understanding is helpful. AI can enhance the human experience, but can also contribute towards amplifying pre-existing social prejudices and biases, thereby restricting the free flow of individuals, communities and entire populations in untold ways.

The social and economic impacts of AI are already being felt in daily life, and increasingly will have the potential to lead to social unrest and job loss. As AI becomes more robust, it has the potential to create a Kafkaesque environment where no human being is held accountable for the results of automated decisions impacting people’s lives, and there are limited, time-consuming, dangerous or non-existent avenues of redress. The singularity, while of interest, is not our primary concern, as over-focusing on connectivity ignores the increasing effect AI has on society today. We are particularly interested in highlighting issues around migration and filtration, but are open to other ideas mentioned above as well.

Logistics
ThoughtWorks will provide a work space, facilitation in midtown Manhattan, and access to guides and consultants, as well as appropriate resources as the project progresses. It does not provide housing or work visas, and is for the artist only. It does not include family members.

This fourteen week residency comes with a modest stipend of $10,000, and assistance, if necessary in supplying a letter of intent to any external funding agencies that might facilitate with the residency. Individuals who need to apply for visas should be particularly sensitive to recent issues surrounding work visas and consult with their own countries authorities for assistance in crafting their applications to visit New York.
Applicants must submit a proposal by email to leah@thoughtworksarts.io by the application deadline of June 8th 2017. Your proposal should tell us who you are, what your project idea is, and how you plan to implement it. It should also include the skills you have, and the skills you require for the project. Where there are skills required which you do not have or cannot supply, please let us know.

Send applications to leah@thoughtworksarts.io by June 8th, 2017.


The ThoughtWorks Arts Residency supports artists exploring new lines of inquiry intersecting technology and society.

The aim of this program is to facilitate dialog, partnership and collaboration at the intersection of technology and exploratory arts. By focusing on this synthesis, the program aims to empower resident artists to make work which inspires shifts in perspective and debate.

Artists are invited spend 16 weeks in residence in New York, at ThoughtWorks, a global technology consultancy. During their stay, artists receive a regular stipend and project production support from a global network of analysts, designers, developers and other experts in the company.

ThoughtWorks runs the residency out of an desire to openly experiment, collaborate and share ideas with those asking hard questions about emerging technologies. Therefore, artists own all physical and intellectual property generated during their stay.

The Cube Art Project Call for Artists

The Cube Art Project is an initiative of the city of Lincoln, Nebraska, the Lincoln Partners for Public Art Development, and ColorKey Media LLC. We are seeking video art, animations, motion graphics, video-mapping, and/or sound visualization projects for screening on our three dimensional monitor (the Cube) located in the Rail Yard on Canopy Street.

This is a curated competition of clips that are suitable for a public art audience. Wide latitude in genre and style are considered however priority is given to artworks that have a formal/ visual appeal.

Projects should use a single channel video file: (.mov) (h264 codec) (936px tall by 288 px wide) (compressed to 500 MB or less).

To see more specs go to: https://mburton4.wixsite.com/cube

In addition to the general call for video art,the jurors will select "special" projects that are interactive in some way. Artists submitting a "special" project are offered a small stipend not exceeding $1,600 to cover costs. Please include specifics on tech needs and a draft budget if your work falls into this category.

1st prize = $500, 2nd prize = $250, 3rd prize = $100.

Applications Open for Scientific Delirium Madness 2018!

Leonardo/ISAST and Djerassi Resident Artists Program (DRAP) are giving six artists and six scientists the gift of time and space with the acclaimed residency Scientific Delirium Madness (SDM). Applications are now open for SDM 2018. Apply by 15 March 2017. Find out more here.

One of the world’s most prestigious artist residencies will connect some of the most forward-thinking choreographers, composers, writers and visual artists with some of the most distinguished physicists, biologists and industrial engineers to explore and transform the boundaries of art and science - and create anything - at Djerassi Resident Artist Center in Woodside, California.

The program is made possible with our partners at DRAP and the generous gift from Sonia Sheridan in memory of Steve Wilson.


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.

CALL FOR PARTICIPATION – FLOW FORT KNOX – JUNE 24TH 2017

FLOW is an event series produced by the Coaction lab in association with the Intermedia MFA and New Media undergraduate programs at the University of Maine. This years event is in collaboration with the SCANZ 2017 Energy + Ocean, international biennial and Intercreate, an organization exploring art, science, culture & technology. Last year’s event took place at the Thomas Hill Standpipe in Bangor ME and this years FLOW Fort Knox event will take place on June 24th 2017 at the historic Fort Knox and Penobscot Narrows Bridge and Observatory in Prospect ME, across the Penobscot Bay from Bucksport ME.

Fort Knox, a civil war era fort that never saw battle, serves as a ripe metaphor for exploring the unique history of this location near the mouth of the Penobscot bay. The Penobscot river is the longest and most extensive river in the state of Maine and is home to the Penobscot Nation. We will creatively explore the deep roots of this historic site as well as the unique architectural features of Fort Knox and nearby Penobscot Narrows Bridge and Observatory. An array of artists, scientists, historians and local cultural groups are invited to participate and collaborate to create a multi-sensory / multi-perspective experience. Sculpture, Installation, Dance, Performance, Music / Sound, New Media, Projection Mapping and many other hybrid art forms will be included in FLOW 2017.

Inter / Transdisciplinary collaborations / teams or individuals interested in opportunities to collaborate are highly encouraged to apply with an individual or group proposal.

The deadline to submit your application is Monday, April 3rd 2017 at 11pm est.
All artist or team proposal submissions must include the following:

An updated resume / CV (3 pages or less)
A link to an online portfolio of work
An artist’s statement (1000 words or less)
An initial project description / idea (1000 words or less)
Images or sketches / visualizations outlining your idea.
Please email your application documents to submissions@coactionlab.org


The Coaction Lab is dedicated to the compulsive exploration of un/stable relationships between organisms, environments and technology; examining site specific histories, stories and inspiration. We analyze the symbiotic worlds of bio & ecological art, biomimicry, interactive systems, 2D & 3D prototyping, biosensors and multi-sensory data translation.  This is an array of constantly evolving investigations into the myriad collisions of life and technology. Within the borders of the University, this lab which is dedicated to collaboration between the Arts, Humanities and Sciences, has begun new partnerships with the schools of Marine Sciences, Molecular & Bio Sciences, Engineering, Art & Theatre.  Outside the University, we have begun collaborations with the City of Bangor Water District, Bigelow Labs, The Maine Science Festival, the University of Sussex in Great Britain and with the National Center for Scientific Research (CNRS) in France. The lab develops ways for students to get hands on experience outside of the classroom both locally, nationally and internationally, by establishing connections between their research agendas and the needs / missions of individuals, ecosystems and organizations in need.

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.

Call for Entries: The Light Factory 9th Annuale

The Light Factory is pleased to announce its 9th Juried Annuale, a photography competition that will showcase challenging and inventive new work from photographers and artists throughout the international photographic community. From traditional to digital, still and moving, all photographic techniques and approaches are welcome. This can include works that stretch the boundaries of the assumed definitions of photographic-based media. The exhibition will consist of 4-6 photographers, each of whom will be represented by 5-7 images [size permitting].

EXHIBITION DATES Thursday, April 20 – Friday, June 2, 2017
OPENING RECEPTION Thursday, April 20, 2017 / 6:30 – 8:30 PM

ENTRY DEADLINE Friday, February 24, 2017
WINNING ENTRIES DUE TO THE LIGHT FACTORY April 3 – 7, 2017

JUROR
Rick Wester
Rick Wester Fine Art, New York City, NY

ELIGIBILITY
The Light Factory 9th Juried Annuale is open to everyone. Entrants must enter only 5–7 images from a specific series or body of work, however, artists may submit up to two different applications. If you submit an installation, it should include only 5–7 images. Please include a short statement (no more than 150 words) about the work along with a current resume or curriculum vitae.

MEDIA
From traditional to digital, still and moving, all photographic techniques and approaches are welcome. This can include works that stretch the boundaries of the assumed definitions of photography-based media.

ENTRY FEE
$35 non-refundable entry fee per series of 5-7 images. Artists may submit up to two applications.

The Light Factory is a community-based center for photography and film located in Charlotte, NC. The Light Factory is dedicated to enriching lives and transforming communities through thought provoking exhibitions, world-class education and vibrant community engagement. Throughout its 43 years of continuous operation, The Light Factory has featured artists such as Sally Mann, Ansel Adams, Tina Barney, Debbie Luster, Pinky/MM Bass, Keith Carter, Annie Leibovitz, Ralph Gibson, Susan Kae Grant, Edward Weston, Jerry Uelsmann, Richard Renaldi, Bill Viola, Andres Serrano, Mary Ellen Mark, and many more.

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 Curators: CURRENTS New Media Festival 2017

OPEN CALL FOR CURATORIAL PROJECTS DEADLINE: December 31, 2016 Submission Fee $30USD

Use the online form on our website to submit your proposal:
https://currentsnewmedia.org/guest-curator-application/

Parallel Studios is seeking proposals from independent curators for a satellite exhibition that will be featured as a part of CURRENTS NEW MEDIA 2017, Santa Fe’s 8th annual international new media festival.
For more information about the festival and about Currents New Media:
CURRENTS homepage - https://currentsnewmedia.org

GUIDELINES
Proposals must be conceptually rigorous and focus on artists and themes that follow the mission of the Festival. Please see our website: https://currentsnewmedia.org
While New Media Arts embody the basic motivations and intentions of all the fine arts, their distinctive use of technologies that are pervasive in 21st Century culture, make New Media Art a bridge between contemporary art and the general public. The Festival introduces the public to new technology molded by artists into vehicles for expression and the communication of ideas, broadening the definition of 21st century art making and fostering a more expansive use of technology.

• Curators may not include their own work in the exhibition.
• The curator and proposed artists can be of any nationality.
• Curators are expected to be involved in all aspects of exhibition planning.
• Previous experience curating exhibitions is a plus but not mandatory. Equal consideration
will be given to those in the beginning stages of their curatorial careers.

For more information and to fill out an application please go to:
https://currentsnewmedia.org/guest-curator-application/


CURRENTS is a non-profit art festival based in Santa Fe New Mexico. CURRENTS is an annual festival that takes place for 3 weeks in June. During our exhibition we feature work from New Media artists around the world. Our festival showcases cutting edge work in a constantly evolving technological world. Our call for artists for our 2017 festival is now open and categories include:
New Media Installations, Outdoor Video and New Media Installations, Single Channel Video and Animation, Multimedia Performance, Fulldome, Experimental or Interactive Documentary, Augmented Reality / Mobile Device Apps / Art-Gaming / Web-Art, Virtual Reality Environments, Robotics, Digitally Generated Objects (ie. 3D Printing) and Interactive Installations for Children.

This may give you more of a sense of the dynamic and interactive nature of our festival.
7,200 visitors from 17 New Mexico cities/towns, 27 states and 9 countries attended our main venue, El Museo Cultural.
Opening night had over 2,000 visitors.
143 national and international artists, presenters and performers were represented in the main exhibition at El Museo and at venues around Santa Fe.

The Artery Enters into Special Artistic Collaboration with Award Winning Video Artist Ronen Sharabani

snap-to-grid-sharabani

New York, NY, December 6, 2016 – Renowned Art + Technology company The Artery, which is actively expanding its award winning talent base by seeking the most talented digital artists in the world, has established a special artistic collaboration with acclaimed Video Artist Ronen Sharabani, a 2006 Cannes Gold Lion Prize winner. Vico Sharabani, The Artery’s Founder and Creative Director, as well as a brother of Ronen Sharabani, made the announcement.

This new collaboration between The Artery and Sharabani has been designed for two purposes:

  • To develop and present innovative and original Video Content to museums, art galleries, and other special artistic venues around the world; and
  • To integrate Virtual Reality and other new technologies into Ronen Sharabani’s upcoming art exhibits, installations, and live special events around the world.

Regarding this new collaboration with his brother, Vico Sharabani said, “We are extremely excited about our new relationship with Ronen, a digital artist with the highest caliber of talent! Working in tandem with him, this new collaboration will allow us the first time to really ‘show off’ our skills and expertise in the world of Art, as well as our unique and innovative capabilities in the world of Technology. Ronen will be conceiving, producing and presenting never-before-seen artistic installations and experiences all over the world.”

He adds, “We want our clients to know about this new collaboration because it exemplifies how The Artery can bring deep artistic conversation and experience to their advertising projects. This cross pollination of art plus technology is the DNA behind our company. Historically, we’ve delivered feature film level imagery to commercials and music videos, and the latest, interactive technologies to enhance advertising campaigns and experiential experiences. Our art plus technology expertise is what makes our company truly unique, as we bring this approach to all of our projects, large and small.”

Ronen Sharabani said, “My constant urge to create has allowed me to produce a number of well-received exhibits so far, but as a solo artist, there have always been limits to how far I could go by myself. The exciting new collaboration with The Artery allows me to make a major jump to the next level. The Artery is a very high-end post house that compliments my work process as we both combine art and technology in innovative ways. By joining forces, we break the borders and barriers of what has been possible so far within the worlds of digital art and VR. The Artery is truly a unique company, and Vico has always been a person who can stretch the limits of computers and their capabilities. He is a highly improvisational artist, has mastered the blending of Art and Technology, and can create imagery from the 5% of hidden software that you can’t easily get from plug-ins. I am really looking forward to see what the future will bring!”

The Artery’s new relationship with Ronen Sharabani adds to the company’s existing collaborations with other noted video artists whose works have been exhibited widely in galleries and museums in the United States, as well as China. These exhibitions include those seen at the Whitney Museum of Art, Mass Moca, The Contemporary Austin, Zhejiang Art Museum, Hangzhou China, and many more.

ABOUT UPCOMING & RECENT RONEN SHARABANI PROJECTS:

At present, Sharabani is preparing for his next solo art exhibition, which will take place at the Nahum Gutman Museum of Art in Tel Aviv starting on December 20th. Entitled “Snap to Grid,” Sharabani’s new work, which he calls a “Smart Exhibition,” will be comprised of imagery projections against a very large wall at the museum. “Snap to Grid” will include computer renderings and 3D environments which will also be translated to VR. Sharabani and The Artery hope to export this VR experience during early 2017, to a live installation located in New York’s Union Square. As such, people in New York will be able to experience the same imagery simultaneously with people physically located at the Gutman Museum in Tel Aviv.

In late September 2016, The Paul E. Singer Foundation sponsored a collaboration between Start-Up Nation Central and Artis to create an interactive showcase of the innovations in the Israeli art world and art-related technology solutions. The event, which featured a talk and presentation by Ronen Sharabani, was held at Sotheby’s New York, in front of an audience of more than 150 New-York collectors, art curators, and business related executives from the art industry, and was the first in a series of events.

Additionally, Sharabani, in conjunction with technology supplied to him by The Artery, also presented a large projected exhibit at the Contemporary Austin during May 2016. His exhibit was presented in celebration of the Driscoll Villa at Laguna Gloria’s hundred year anniversary. For the event, Sharabani created a site-specific outdoor and indoor video projection, entitled “Matchbox,” featuring Israeli dancer Iyar Elezra of the Batsheva Dance Company, with music by Avi Belleli. Matchbox’s running time was 15 minutes on a loop – the projection ran for two hours. For more info about this exhibition, please see: http://www.thecontemporaryaustin.org/event/ronen-sharabani/

Regarding Sharabani’s “Matchbox” exhibit in Austin, Andrea Mellard, the Director of Public Programs & Community Engagement with the Contemporary Austin Museum, said, “Ronen Sharabani transformed the museum’s well-known architecture using cutting-edge technology. The incredible projections of his project ‘Matchbox’ made familiar details hidden, while his powerful imagery seemed to emerge into three-dimensions. People who know and love the building could not believe their eyes.”

ABOUT RONEN SHARABANI:

Ronen Sharabani, a 2006 winner of the Cannes Gold Lion Prize for “Best Creative Commercial,” lives and works in Tel Aviv, Israel. Ritual, struggle, faith, and politics take center stage in his works, not for didactic purposes, but as the gateway for transformational experiences.

Profoundly influenced by his experiences in his home country of Israel, where his Israeli “survivalist” thinking has colored his artistic perceptions and POV, Sharabani’s films and videos blend movement, performance, architecture, and light into intensely visual and sensory projects. Musical scores, replete with chanting and techno-like sounds, often overlay Sharabani’s moving images, allowing his films to be at once secular and spiritual.

Sharabani’s recent Art Exhibitions include “Matchbox” at Austin’s Driscoll Villa in celebration of the Laguna Gloria’s hundred year anniversary (May 2016); his public installation entitled “Blocks,” a centerpiece at the Musrara Mix Festival in Jerusalem in 2015  and “Chairs,” another of his public installations, which was featured during “White Night” in Tel Aviv in 2014.

During the course of his career, Ronen Sharabani has worked for a number of film, advertising and production companies, including The Artery, McCann-Erickson, Dreamworks, and Gravity VFX/Tel Aviv. Sharabani was Lead Compositor on the 2012 film “A Late Quartet,” and was Flame Compositor on the 2008 film “Ghost Town. He also served as the On-Set Digital FX Supervisor, while working with Rhino FX, on John Sayles’s 2004 feature film, “Silver City.”

In 2015, Sharabani appeared as himself in the short documentary film interview “Art in Clubs.” He earned a Certificate as a graduate of the New York Studio School, which he attended from 1999-2003.

ABOUT THE ARTERY:

Based in New York City, The Artery is a highly regarded Art +Technology company that designs, creates and produces unique and compelling visual content across all screens. The company has established partnerships with iconic brands, ad agencies, and entertainment studios to create high profile and compelling visual content for feature films, TV programs, commercials, music videos and art installations.

Utilizing breakthrough technologies, The Artery’s uniquely talented, curated teams -- which include its Virtual Reality/Augmented Reality unit, led by Creative & Technical Director Ronen Taschum, and its Experiential arm, led by Creative Director Yaron Tsinman -- also create stunning virtual reality content, experiential brand events, and 360-degree experiences for clients around the globe. The Artery offers custom-tailored A-teams and production pipelines, focused solely on efficiently achieving outstanding results.

With its global perspective, top-tier talent, newest technologies and unlimited creative capabilities, The Artery has the proven expertise to efficiently deliver extraordinary content, branding, and multimedia experiences, worldwide.

For Further Information visit The Artery’s Social Media Sites:

The Body Electric – an Invitational Exhibition at UW Whitewater

Installation View, The Body Electric

Installation View, The Body Electric

Over the past several years I have been managing the University of Wisconsin - Whitewater Motion Capture Studio. Our space is relatively small and we use a markerless system manufactured by Organic Motion. I was drawn to the use of MOCAP in animation because it offered a different way to make things move on the screen in relation to human movement. As I learned more about what MOCAP data looks like, I started to see potential for its use beyond conventional approaches that create figurative remediated versions of captured movements. This lead me to begin using samples from our studio to animate things like cloth simulations or typographic characters.

I began formalizing some of these interests through research and then started to write about my experiences. I noticed more instances of artists and musicians working with movement data in creative and expressive directions. Along with two of my colleagues at UWW, Jeff Herriott  and Nick Hwang, I put together an invitational exhibition and music performance event at the Crossman Gallery on our campus. The show, "The Body Electric", opened on October 13 and will run until November 12 with the performances occurring in the evening of October 20.

Anna Weisling, 3D prints from MOCAP

Anna Weisling, 3D prints from MOCAP

Giselle Zatonyl "Experimental Life Institute of Kepler 45 ( station 7, test 3)"

Giselle Zatonyl "Experimental Life Institute of Kepler 45 ( station 7, test 3)"

The poem “I Sing The Body Electric”, written by Walt Whitman and published in 1885, addresses a body and soul entwined. The body is electrified through various interactions that may be both explicit and implicit. These and other themes from Whitman’s poem can be extended to our contemporary culture where the ubiquity of digital technologies is evolving to extend our bodies. Artists from wide ranging fields of experience and creative practice regularly explore the relationships between the body and its multi-faceted involvement with digitized emergence. This invitational exhibition explores some of the threads where art, technology, interactivity, music, performance, and movement cross over in 'singing the body electric'. It also investigates some of the latest technological works emerging from the studios of artists using new media and time based technologies.

Paul Hertz, prints generated through custom designed boids flocking software

Paul Hertz, prints generated through custom designed boids flocking software

Featured Artists Include: #Additivism (Morehshin Allahyari and Daniel Rourke), Jeremy Behreandt, Christopher Burns, Dylan Bernard, Maria Gillespie, Nathaniel Stern, Jeff Herriott, Paul Hertz, Nick Hwang, Dale Kaminski, Justin Lincoln, A. Bill Miller, Alex Myers, Nicholas O’Brien, Anna Weisling, Connor Yass and Giselle Zatonyl.

A. Bill Miller, "untitled (fursuit04)" animation

A. Bill Miller, "untitled (fursuit04)"

Dylan Bernard, Maria Gillespie, and Nathaniel Stern "movement, meaning, gesture"

Dylan Bernard, Maria Gillespie, and Nathaniel Stern "movement, meaning, gesture"

Justin Lincoln "Quick Cut-up" from reel of 8 videos

Justin Lincoln "Quick Cut-up" from reel of 8 videos (Paul Hertz print grouping behind)

Nicholas O'Brien,

Nicholas O'Brien, prints generated from death sequence motion captures

Alex Myers "The Body That Produced Them"

Alex Myers "The Body That Produced Them"

#Additivism "The 3D Additivist Manfesto" (Morehshin Allahyari and Daniel Rourke)

#Additivism "The 3D Additivist Manfesto" (Morehshin Allahyari and Daniel Rourke)

Special thanks to Mike Flanagan of the Crossman Gallery and his staff for accommodating the show and allowing us the space to explore this work in the context of the gallery. Additional thanks to the New Media Caucus for the support and networking opportunities that help to make exhibitions like this possible.

 

Call : The Video Show – Video, Digital Media + Installation at Raritan Valley Community College

Exhibition - No Fee - Open to original work in Video, Video Installation, Motion Graphics, Interactive Installation, or any “New Media” work. Work originally created in both digital and analog formats are acceptable. Duration may not exceed 10 minutes per piece. There is no minimum duration.

Work in all Video Art styles will be considered, including shorts, experimental, poetic, narrative, abstract, documentary, music, and installation.

Download prospectus at www.raritanval.edu/videoshow

For more info + questions please contact videoshow@raritanval.edu

Call For Entries – The Fuse Factory Annual Juried Exhibition 2016

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Deadline for Applications: October 15th, 2016

The Fuse Factory Art and Technology Lab is pleased to announce the Call for Entries for the Annual Juried Exhibition 2016: ANTHROPOCENE

The Fuse Factory’s annual juried exhibition features work created with technology-based new media, electronic, and digital tools. Our upcoming exhibition will run from Monday, November 7th to Wednesday, December 7th at the Pearl Conard Art Gallery, located on the Ohio State University-Mansfield campus. Accompanying the exhibition is a series of hands-on workshops that will be held at the Ohio State University main campus, the Columbus College Art & Design, and the ROY G BIV Gallery. Documentation of our 2015 juried exhibition can be found here: http://fuse2015.thefusefactory.org/.

EXHIBITION THEME

Since the start of the current epoch - the Holocene - humans have been physically transforming the natural world and, in the process, technologizing nature’s inhabitants and environments to benefit human needs and desires. The human activity engendered by this anthropocentric mindset, while benefiting human health and well-being in a myriad of ways, has also negatively affected a wide range of ecosystems, resulting in ecological destruction, extinction, genetic malformations and abnormalities, and other problematic environmental phenomena. As a result, some scientists have proposed that we are entering a new geological epoch: the Anthropocene, an epoch characterized by the global changes wrought by human actions made possible by technology’s evolution.

The Fuse Factory annual juried exhibition 2016 will explore the theme of ANTHROPOCENE. We seek to include artworks that examine the following:

  • How artists can enable us to view technology, as it is manifested by an anthropocentric mindset, in a more critical manner
  • How artists shape our perception of how technology can and should be used to harness and shape the natural world for the betterment of all
  • How artists can create technological interfaces and forms that mediate rather than dominate, i.e., encourage cohabitation and coexistence between humans and nonhuman living beings, and organisms, and between organic and inorganic systems (systems that are computational, mechanical, programmable, etc.)

ELIGIBILITY

The Fuse Factory Art and Technology Lab encourages all artists, inventors, and scientists working with a wide range of high and low technologies to submit works that fall within the following genres: electronic art; interactive installation and interfaces; robotic art; live performance; 3D modeling and animation; art games; virtual and augmented reality; experimental video and moving images; video mapping; digital imaging; sound art; Internet art; creative coding; biological art; eco-art; and other emerging forms not mentioned here. We will also consider traditional forms of art and film, provided that they also explore the exhibition theme.

Both U.S.-based and international applicants are encouraged to submit entries. If you are an international applicant and your work is composed of physical components and/or physical installations that require an international delivery cost, the jurors will need to take this into consideration when evaluating your artwork for inclusion in the exhibition. While we will do what we can, we cannot guarantee that we can cover your shipping costs if your work is accepted. Please feel free to contact our Executive Director, Alison Colman, at alison@thefusefactory.org if you have any questions or concerns.

  • Artworks that were produced before 2014 will not be considered.
  • Selected artwork must be exhibited during the full month-long exhibition period. However, performative artwork will be scheduled to occur at a specific time and place during the exhibition.

HOW TO SUBMIT

Applicants are required to submit the following:

  • Email your application materials to alison@thefusefactory.org and include “FFE 2016 APPLICATION_your name” in the subject line.
  • 3-5 images (website links only)
  • Video links (3-minutes-or-less video highlights on YouTube or Vimeo. If your application videos exist on private channels, please include passwords so jurors can access your links)
  • Short art statement (300-500 words, .pdf file) describing what you propose to exhibit and how your artwork fits within to the exhibition theme
  • CV
  • One-page (.pdf file) document specifying your installation requirements and dimensions, and other technical requests
  • Contact details (email, phone, website)

TIMELINE

  • Application deadline: Saturday, October 15th
  • Notify artists: Friday, October 21st
  • Announcement for lineup: Monday, October 24th
  • Installation: Thursday, November 3rd – Sunday, November 6th
  • Exhibition duration: Monday, November 7th – Wednesday, December 7th (closed Wednesday November 23 – Friday, November 25 for Thanksgiving)
  • Reception: Saturday, November 12th, 6 pm – 9 pm
  • De-installation and Art pick-up: Thursday, December 8th – Friday, December 9th
  • NOTE: The Fuse Factory may be able to partially reimburse a limited number of artists (on a case-by-case basis) for the shipping and traveling costs they incur by participating in the exhibition. Please contact us to discuss about the supports

ENTRY FEES/DONATIONS

  • There is no entry fee, but we will gratefully accept donations.
  • The Fuse Factory is a not-for-profit art 501c3 organization, and all of our programing is made possible by grants, sponsorships, and donations. All donations made toward the exhibition will be used for guest juror honorariums, exhibition workshop materials, and exhibition promotion.
  • PayPal donations can be made to alison@thefusefactory.org

JURYING MEMBERS

  • Victoria Vesna - Ph.D., New media artist/Professor, Department of Design Media Arts, The University of California, Los Angeles (UCLA) and Director of the Art|Sci center at the School of the Arts and California Nanosystems Institute (CNSI)
  • Matthew Kenyon - New media artist/Associate Professor, The Department of Digital + Media, Rhode Island School of Design (RISD)
  • Paul Catanese - New media artist/Associate Professor, Art & Art History, Columbia College Chicago
  • Doo-Sung Yoo - New media artist/Adjunct Faculty, Art & Technology, The Ohio State University

OUR SUPPORTERS

Granters

  • Ohio Arts Council
  • Greater Columbus Arts Council

Support

  • Pearl Conard Art Gallery of The Ohio State University at Mansfield
  • Department of Art, The Ohio State University at Columbus
  • Columbus College Art & Design

ROY G BIV Gallery

CURRENTS New Media Festival 2017 Call for Submissions

This is a call for our 2017 show June 9th-25th 2017 in Santa fe, New Mexico. CURRENTS is a non-profit organization and there is no charge for admission to the festival. Last year over we counted over 7,000 visitors to our festival events.

Some artists who are accepted into the festival are eligible for full coverage of lodging, travel, and shipping costs.

This years categories include:
• New Media Installations,
• Outdoor Video and New Media Installations,
• Single Channel Video and Animation,
• Multimedia Performance,
• Fulldome,
• Experimental or Interactive Documentary,
• Web-Art / Art-Gaming / Mobile Device Apps,
• Virtual Reality Environments,
• Robotics,
• Digitally Generated Objects (ie. 3D Printing)
• Interactive Installations for Children

For more information about our festival and our submission guidelines:
https://currentsnewmedia.org/festivals/currents-new-media-2017/


CURRENTS is an international NEW MEDIA art festival produced by the non-profit organization Parallel Studios. We showcase a variety of art that is pushing the boundaries of art and technology, experimental films, installations, and performances. CURRENTS brings together New Media artists in an atmosphere that fosters open exchange and professional networking.

CURRENTS serves as a platform for artistic experimentation and generates exploration into all forms of new media art, while providing the public with an opportunity to experience an outstanding selection of innovative work. Committed to making this extraordinary work available to everyone, the CURRENTS Festivals are free to the public.

Travel Shorts a Moving Image Festival for SECAC 2016

TRAVEL SHORTS A Moving Image Festival
SECAC Conference 2016
Call For Work

Calling for video, animation, motion graphic works that in some way deals with the theme of travel. Works are to be no longer than 10 minutes and may include sound. The selected works for the festival will be exhibited during the SECAC Conference at the Armory Mezzanine Gallery, Virginia Tech and on the bus ride between Roanoke and Blacksburg, VA to attend the keynote address by Lynn Hershman Leeson, at the Moss Arts Center’s theater in Blacksburg on Oct 21, 2016.

HOW TO ENTER
Email a vimeo or youtube link to simpat@vt.edu using TRAVEL SHORTS as subject.
Submit entries prior to 11:59 PM EDT August 31, 2016
Entry is free
Up to three entries per person is permitted.
Late entries will not be reviewed.
On acceptance uncompressed files will be called for via WeTransfer (a free transfer service up to 2 GB)

ELIGIBILITY
Travel Shorts, A Moving Image Festival is open to all. However, membership to SECAC is required within 10 days of acceptance to the festival. For membership information, visit the Membership page on the SECAC website: secacart.org.

JUROR
Dr. Simone Paterson, Associate Professor of New Media and Chair of Undergraduate Studies in Creative Technologies at The School of Visual Arts, Virginia Tech.

SCHEDULE
Submission deadline August 31, 2016
Notification of acceptance Sep 18, 2016
Deadline for selected work via WeTransfer Sep 30, 2016

Travel Shorts, A Moving Image Festival
Armory Mezzanine Gallery, Virginia Tech, SECAC Conference October 19-22, 2016.
Bus ride between Roanoke and Blacksburg, VA Friday Oct 21, 2016.

 


SECAC 2016 - Roanoke, VA
The city of Roanoke, Virginia, Virginia Tech, and Hollins University are proud to host the 73rd annual SECAC meeting October 19-22, 2016. Kevin Concannon, Director of the School of Visual Arts and Professor, Art History, at Virginia Tech, serves a conference director.

Join us in the beautiful mountains of Southwest Virginia for SECAC 2016. Sessions will take place at the official conference hotel, the Hotel Roanoke & Conference Center. The Hotel Roanoke, which was added to the National Register of Historic Places in 1996, is located in the heart of vibrant downtown Roanoke within easy walking distance of the Taubman Museum of Art, The Harrison Museum of African American Culture, and the O Winston Link Museum, and many restaurants and bars.

Evening excursions to Virginia Tech and Hollins on Thursday and Friday evenings include the SECAC 2015 Artist's Fellowship exhibition opening, Juried Exhibition, and keynote speaker Lynn Hershman Leeson, who will be speaking in the Moss Arts Center’s spectacular Snohetta-designed theater on the Virginia Tech campus. The annual SECAC Awards luncheon will be held on Thursday.

Call – iDEAS Exhibition 2016

iDEAS 16 is an international exhibition which explores current ideas and processes in hybrid form, digital art, design, and new media. The iDEAS exhibition coincides with the fourteenth annual International Digital Media and Arts Association (iDMAa) conference, to be held on the campus of Winona State University in Winona, Minnesota, from October 5th-8th. All entries will be selected based on a juried body of professional artists including the highly respected, Christiane Paul and Dene Grigar.

DEADLINE FOR ENTRIES EXTENDED – August 15th, 2016 (12:00am CST)

When
Wednesday, October 5, 2016 at
9:00AM CDT
-to-
Saturday, October 8, 2016 at
1:00PM CDT

Click on the link below to find out more
http://idmaa.org/conferences/ideas2016/

Submit work!
http://idmaa.org/conferences/ideas2016/

Apply Now!

If you have any questions, please feel free to contact us. We're looking forward to seeing you there!
Dr. Sherman Finch
iDEAS Chair
sfinch@tamu.edu


iDMAa was founded in early 2004 by a group of 15 universities. iDMAa is dedicated to serving educators, practitioners, scholars, and organizations with interests in digital media.

Around the world, universities and colleges are creating new programs and departments to teach and conduct research in Digital Media and Digital Arts. These programs are emerging from partnerships of Art, Computer Science, Communications-Radio/TV-Journalism, English, Music, Theater, Film and other disciplines. These programs often don’t fit within the neat and tidy confines of traditional university structures. Thus, their creators and champions often forge interdisciplinary partnerships to create opportunities, attract money, and stimulate explosions of creativity.

CALL FOR ENTRIES | Materials: Hard + Soft International Contemporary Craft Competition & Exhibition

The Greater Denton Arts Council announces the opening of its 2017 Call for Entries for the 30th Annual Materials: Hard + Soft Contemporary Craft Exhibition. This exhibition celebrates the evolving field of contemporary craft and the innovation of artists who push the boundaries of their chosen media. Recognized as one of the premier craft exhibitions in the United States, this year we are thrilled to be partnering with the National Endowment for the Arts to expand this national exhibition to now include international artists. Approximately 70 works will be selected for exhibition by juror JoAnn Edwards, Executive Director of the Museum of Craft and Design in San Francisco, California. Of the works selected, Juror Awards in amounts of $1000, $750, $500, and $250 will be awarded.

Online submissions and prospectus available at dentonarts.com/materialshardandsoft

SUBMISSION DEADLINE | September 30, 2016

2017 EXHIBITION | February 4 – May 6, 2017 at the Patterson-Appleton Arts Center in Denton, Texas. Inquires may be directed to the Arts Council at (940) 382-2787 or exhibit@dentonarts.com


The mission of the Greater Denton Arts Council is to support, promote, and encourage the arts in the Greater Denton Area.

The Greater Denton Arts Council has served the Denton Community for 45 years. The Arts Council provides foundational support for Denton’s artists and community arts organizations and collaborates frequently with area universities, the Denton Independent School District, and the City of Denton. The Arts Council presents a full schedule of programs and exhibitions in its two flagship facilities in historic downtown Denton, the Patterson-Appleton Center Arts Center and the Campus Theatre.

ART NEWS FROM SIGGRAPH 2016

HIGHLY INTERACTIVE ART GALLERY PRESENTATION - 'DATA MATERIALITIES'

TO BE SPECIAL FEATURE AT SIGGRAPH 2016 IN ANAHEIM

CHICAGO, June 16, 2016—Highly interactive art exhibits from around the world will be a special feature during SIGGRAPH 2016, the world's leading annual interdisciplinary educational experience showcasing the latest in computer graphics and interactive techniques. With the tagline "Render the Possibilities," SIGGRAPH 2016 will be held at the Anaheim Convention Center, 24–28 July 2016.

This year's Art Gallery, assembled under the banner "Data Materialities," represents a unique collection of 10 highly interactive installations created from 2003–2016.

SIGGRAPH 2016 Art Gallery Chair Jonah Brucker-Cohen said, "We have made a special effort to bring back large-scale, highly immersive displays for the Art Gallery. Our title, 'Data Materialities,' illustrates the fact that in 2016, we are all constantly surrounded by networks, information, and data. Whether these stimuli consist of electromagnetic frequencies or physical wired connections, networks are everywhere, consuming and permeating our offices, homes, schools, and public indoor and outdoor spaces. 'Data Materialities' exposes this plethora of data and transforms it to incarnations of tangibility that not only showcase their complexity, but also allow us to relate to them on a human scale. By injecting humor and kinetic energy to this year's exposition, the Art Gallery will make light of these data platforms and present them on a grand scale to reveal their ubiquity."

Artwork and artists for the SIGGRAPH 2016 Art Gallery Chair are selected by the program chair and not by a jury. This year's Art Gallery will be open to attendees during the following dates and times:

Sun, 24 July | Noon – 5:30 pm
Mon, 25 July | 10 am – 5:30 pm
Tue, 26 July | 10 am – 5:30 pm
Wed, 27 July | 10 am – 5:30 pm
Thu, 28 July | 10 am – 1 pm

"Data Materialities" Art Gallery highlights include:

Submergence | Chris Bennewith, Liam Birtles, Oliver Brown, Gaz Bushell, and Anthony Rowe, Squidsoup
"Submergence" is a large, immersive, walkthrough experience that uses up to 8,064 individual points of suspended light to create feelings of presence and movement within physical space. This video from YouTube user Nick Hunter shows the installation at the Geneva Mapping Festival.

Pixelbots | Paul Beardsley, Disney Research Zürich
Disney Research Zürich created a new kind of display in which pixels, called "Pixelbots," are represented as small colorful mobile robots which create cartoon-like images or animations. Pixelbots can be seen on the Disney Research YouTube channel, where they present a "Story of the Universe" animation, including a fish, a dinosaur, and a human.

The Kinetic Story Teller | Tine Bech, Independent Artist
"The Kinetic Story Teller" installation investigates how art, technology, and playfulness can create new systems of communication by materializing data through kinetic interaction - and offer people new ways of connecting with each other in public spaces. Two beautiful swings light up and display people's social media messages on screens, encouraging participants to connect while they play.

Plinko Poetry | Peiqui Su and Deqing Sun, New York University
A playful, interactive installation, "Plinko Poetry" has its roots in both the famous TV game show "The Price Is Right" and experimental blackout poetry. Every player can be both a winner and a poet. Drawing source text from current @nytimes and @FoxNews tweets, players can absurdly re-contextualize news headlines that are often overloaded with meaning.

For more information on the SIGGRAPH 2016 Art Gallery, please see: s2016.siggraph.org/content/art-gallery.

To register for SIGGRAPH 2016, visit s2016.siggraph.org/registration.

To follow conference news on social media, check us out on Facebook, Twitter, Google+, YouTube, Instagram, or the ACM SIGGRAPH blog.

----

About SIGGRAPH 2016
The annual SIGGRAPH conference is a five-day interdisciplinary educational experience in the latest computer graphics and interactive techniques, including a three-day commercial exhibition that attracts hundreds of companies from around the world. The conference also hosts the international SIGGRAPH Computer Animation Festival, showcasing works from the world's most innovative and accomplished digital film and video creators. Juried and curated content includes outstanding achievements in time-based art, scientific visualization, visual effects, games, real-time graphics, virtual reality, and narrative shorts. SIGGRAPH 2016 will take place from 24-28 July 2016 in Anaheim, California. Visit the SIGGRAPH 2016 website or follow SIGGRAPH on Facebook, Twitter, YouTube, or Instagram for more detailed information.

About ACM
ACM, the Association for Computing Machinery, is the world's largest educational and scientific computing society, uniting educators, researchers, and professionals to inspire dialogue, share resources, and address the field's challenges. ACM strengthens the computing profession's collective voice through strong leadership, promotion of the highest standards, and recognition of technical excellence. ACM supports the professional growth of its members by providing opportunities for lifelong learning, career development, and professional networking.

Media Contact:
Dan Harary
Public Relations Director
+1.310.859.1831
danharary@siggraph.org

CineSpace 2016 – Short Film Competition from NASA & HCAS

CineSpace 2016[2]

For the second year in a row, NASA and Houston Cinema Arts Society are inviting filmmakers around the world to participate in CineSpace, a short film competition that is inspired by, and utilizes actual NASA video footage. 

Eligible submissions include short video, film, and digital-media works of 10 minutes or less. CineSpace is seeking films from all genres and styles including but not limited to: experimental, narrative, documentary, comedy, drama, animation, ambient, music videos, re-mix, sports, horror, and underground. 

Prize Details: The total prize purse for this competition is USD 26,000. In addition to monetary prizes, winners shall receive tremendous exposure for their work. 

Application Instructions: Last date for submission is July 31, 2016. No entry fee is required.

Guidelines/ Registration Link: You may visit the CineSpace 2016 challenge page to register and to check out last year’s winners and finalists.

 

Call: Cinema Reset: New Media Exhibition at the New Orleans Film Festival

NOFF is looking to bring new media installations and experimental media artworks to the 2016 New Orleans Film Festival with an emphasis on virtual reality, video art, 360 video, game art, light / projection mapping, interactivity, and outdoor media installations. For consideration, please provide: a written proposal describing your project (no more than 500 words); a list of equipment you are able to provide and any/all specific equipment or technical needs; ideal space requirements, including prospective lighting needs; and please also submit any video, photos, stills, or sketches of your proposed project. This work must not have been exhibited in New Orleans previously.

Cinema Reset is the experimental media / new media partner of the New Orleans Film Festival. Since 2012, Cinema Reset has worked to bring emerging media artworks to New Orleans, facilitate open community media art workshops, and champion creative voices working on the front lines of emerging art and storytelling forms.

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.

The #Additivism #Deluge: A Final Call to Arms

To celebrate one year of #Additivism we have reopened our call to arms for ONE FINAL WEEK. A final chance for theorists, designers, artists, activists and Additivists to submit radical, provocative, and weird projects to The 3D Additivist Cookbook.

For the #Deluge we are interested in simple projects and ideas. Provocations that take advantage of the democratic simplicity of plastic and desktop 3D printers for the purpose of activism, speculation, and disarray,

Therefore, this call to arms has a short deadline too…

The #Additivism #Deluge deadline is Tuesday 1st of June

NOW GO... AND STOP PROGRESS!!!

 

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

A Normal Future – Interview with NORMALS

Normals is a collective whose work crosses a number of boundaries. Perhaps their work is a proposal that the boundaries we once found useful in defining creative practice don’t work as well in our connected/networked/hybrid cultures. What do the spaces between design, digital studio practice, networked art, and Internet Art look like? What do the spaces between fiction, abstraction, and social media performance look like? What do the spaces between the real, the virtual, and the augmented look like? It isn’t easy to define through traditional categories what artists create in our contemporary visual culture more broadly and definitely challenging with the work of Normals in particular.
I met Normals in 2012 at the 2nd International Computer Art Congress in Paris, where their physical bodies live and work. Since that time they have continued to produce multifaceted speculative works of multiple disciplinary categories. In the past several months, they have been promoting a new work - APPAREL. Our interview focuses on that work but is ongoing.
# Hi Normals - for our readers not familiar with your work, tell us about APPAREL. The work has a number of parts - how do they fit together?
APPAREL is a piece of clothing designed to co-exist in the digital and physical spaces. It comes as a polygonal black cape, and an iOS application allowing the wearer to see the piece’s digital counterpart, in augmented reality. The cape itself is as minimalistic as its digital overlay is complex and refined. The digital model is generated through a text analysis of the wearer's Twitter feed, evolving in real time, and creates a unique piece of clothing, as an info-graphic, an incarnation of the wearer's online personality.
Being a speculative studio working on anticipation, we like to imagine what a world where our “products” are widespread would look like, and for that specific reason we tend to pair our projects with loads of fiction, describing hypothetical users, and their relationship to theses objects in a future where they have become… well… normal. So, for APPAREL, not only did we make a functional product (with the coding help of Julien “V3ga” Gachadoat), but we also imagined a future fashion show, a fashion contest, in which everybody wears an Apparel and competes over their digital personalities.
This has been the subject to a short story, a video depicting one of the contestants (3PLUS3MAKE5), a soundtrack generated from the contestants’ profiles, and a faux-documentary depicting fashion’s transfer over to the digital realm.
The work is speculative, but it is also about things that are currently happening and developing in Arts/Tech environments.  What do you think are some of the more interesting directions in creative culture today?
Everything speculative is about something currently happening! Honestly, there are many interesting aspects to the evolution of arts, tech, and fashion, but we decided to focus on one question that has driven the entire project: “what would our clothes look like if they became digital?” Considering AR as a potential technology to display a data-based esthetic layer over physical things, it seemed obvious that all things esthetic would transit to this reactive and polymorphous layer of contextual information. On the other hand, the physical piece of clothing had to be reduced to a simple protective piece of fabric, a pedestal for its glorious digital overlay.
But to answer your question, we feel anything can be interesting as long as it doesn’t fall into the trap of “fascination.” The role of artists, designers, or “futurists” is to look at what tomorrow might bring without being so fascinated by their subject that they transform critical thinking into wishful thinking without even knowing it. “What will [insert something] look like in the future?” is always a valid question, as long as the answer isn’t “flying cars” or “eternal life.” No one should look at innovation as something purely good or purely bad: whatever’s interesting lies in the middle.
APPAREL had/has a number of contestants - Users creating and sharing their fashion/design - what are some of your favorites?
We love them all! When imagining a product or an object, it’s always extremely fun to imagine the people interacting with it, whether it is as “hackers” of the system, or people full of admiration for the “progress” it stands for, it is one of the main focuses of our practice: imaginary users for speculative objects.
All the characters described in the story are representative of  an “attitude” towards digital fashion: the main character, Abdlcroco, is a competitor who only runs after achievements, while Mangel is seeking for the perfect performance, and 3PLUS3MAKE5 cultivates eye-candies to satisfy her audience’s craving for fun and cute things. Duall is probably the most intriguing character though, being someone who doesn’t care about this fashion contest, but comes to watch it every day, and is, despite his efforts to make people believe he doesn’t care, part of this system too.
A question for one of the contestants - is AbdlCroco available? 
He is.
Screen Shot 2016-04-18 at 10.11.32 AM
AbdlCroco - you used to be one of the top ranked contestants - tell our readers about one of your most highly rated designs - what was it like? What did the crowd think?
What I do is very personal. Whatever I feel like on the moment, I just turn it into a situational dance that spits epileptic graphics right into the viewer’s ‘i’. But if I have to chose one… I’d say back when I was Number Six or something. There was this one time… See, I made these bunky prisms that would go boom-boom-boom in your face as the bass in the soundtrack — the most epic collection of the deepest, darkest, fattest bass samples you could find on the Stream — also went boom-boom-boom. Even the floor looked like it was shaking, with all the lines blinking up and down looted from SK000N’s template — you know the one I’m talking about, right? So I had all this set up, and as I stepped on stage, there was some kind of power shutdown or something, and all the lights went out, and it was so in sync with my show that every frenz thought it was all planned. But truly it wasn’t. Just got lucky. And frenz digged my stuff so hard they remained silent throughout the whole thing, and I even got a standing ovation — well, the “standing” part doesn’t count though, everyone was standing already. But still got an ovation. That one was the best. Got straight to number 4 after that. But that was another time…
AbdlCroco - what do you think of Mangel’s fashion? His work seems to be on top lately - what does the crowd like about Mangel?
Allow me to speak frankly: Mangel’s a joke! Every single day Trudent welcomes a fashion show, with rules, RULES — you are judged on your LOOKS. The performance has now become a part of the show, and I’m okay with that: you should be able to display your outfit in the best manner possible. But what I HATE is frenz who use the performance to go hypno on the audience, to a point where they’re not even looking at the ONLY thing they should be looking at. Mangel’s just a comedian, he acts, makes people laugh, but no one sees that he just copies everyone else, and never comes up with ANYTHING NEW. Yet people like him, so they vote for him, and he remains there, everyday, trolling his way to the top.
 Normals - Thanks so much for sharing your thoughts with us, we look forward to seeing what happens next!

Call For Artists: Black Box Arts & Technology Festival, Seattle

*Open Call for Artists: Black Box 3.0*

Eligibility: International
Location: Seattle, Online
Application Deadline: May 31, 2016 at 5PM PST

Festival Dates: September 21 - October 2, 2016
Hashtag: #BlackBoxing
Shareable URL: bit.ly/blackboxing

Artists from around the world working in any medium are invited to submit work to Black Box 3.0. A multi-platform program of significant scope, Black Box is an annual international arts and technology festival produced by Aktionsart in Seattle. The festival explores how technology is transforming the arts, culture, and public life.

Black Box is a platform for the most talented and innovative artists, filmmakers, designers, curators, technologists, hackers, and makers in the Pacific Northwest and beyond. The festival features new work by international contemporary artists who are collected by major museums and routinely featured on the international art circuit. It is also an essential voice for emerging talent. Black Box is open to all arts disciplines and mediums, including visual art, performance, design, fashion, music, folk and traditional arts, literature, media, film, research, theater, and more.

Core programming is nomadic and experiential, presenting projects in unexpected spaces throughout the city. The tightly curated festival includes exhibitions, screenings, discussions, workshops, installations, performances, and hybrid formats. An online channel - which received over 25,000 visits in 2015 - premieres and distributes festival content to audiences in Seattle and beyond.

Black Box collaborates closely with a selective partner network of Seattle’s most adventurous institutions. Past partners include Seattle Art Museum, Seattle International Film Festival, University of Washington, Seattle Center, and Cornish College of the Arts. In 2015, Black Box exhibited over eighty artists including new work from Pierre Huyghe, Ed Atkins, Sue de Beer, Phil Collins, Josh Kline, Gillian Wearing, Roman Signer, Zach Blas, Petra Cortright, Lisa Tan, Stan Douglas, Knut Asdam, Kalup Linzy, Robin Rhode, Ellie Ga, and Julien Prévieux.

There is no overarching festival theme beyond the umbrella of “arts and technology”, which is intentionally open. Attention will be closely paid to intellectually rigorous and socially urgent ideas, emerging technologies, and experimental projects that present new modes of creating and thinking. We are interested in works that respond to the following themes, tools or mediums: augmented and virtual reality, gaming, expanded and immersive cinema, social media, architectural mapping, generative software, systems, mobility and mobile apps, wearables, digital labor, interactivity, data visualization, experimental and interactive documentary, surveillance, biotech, holography, space exploration, 3D printing, robotics, production and distribution tools/platforms, artificial intelligence, machine learning, hypercompliance, deep web, blockchain, digital culture, sustainability, innovation, disnovation, transmedia, utopia.

Technology disrupts the arts, but how do the arts disrupt technology? What is the role of artist and creator in an increasingly mechanized world? How can artists leverage new tools to produce, distribute, create access, and build audiences for their work? How does technological innovation and disnovation shape public life?

APPLY: www.aktionsart.org/submissions


Aktionsart is a 501(c)(3) nonprofit laboratory based in Seattle that cultivates entrepreneurial actions in the arts and technology. Our mission is to engage technology, design and contemporary culture to produce ambitious art projects in public and private space. We support artists who use technology for positive cultural impact and social innovation.

www.aktionsart.org
www.twitter.com/aktionsart

 

Games++

games++ is a free 12-hour game development event where participants build games from scratch over 10 hours, then put down their mice and pencils so the public can play their creations. Individuals and teams of all ages and experience are welcome - last year we had over 120 participants and hope you will join us!

Designed as a collaborative, communal making experience, games++ incrementally adds to the pool of amazing, experimental, unique, one-off games in the world.

http://gamesplusplus.org/

 

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.

Symposium: Pioneers on the Prairie: Celebrating Women in New Media Arts

The School of the Art Institute of Chicago will hold a day-long, free public symposium in Chicago that will examine how women artists use new media to merge art forms, address feminist issues, and critique technology. We would be very grateful if you could forward this information to your members or anyone you feel may be interested.

Pioneers on the Prairie: Celebrating Women in New Media Arts looks at the achievements and strategies of women working in new media in the Midwest from the 1980s onward and will bring together more than a dozen artists from the field to share their stories and ideas. This event is centered around the upcoming release of the book Women in New Media Arts: Perspectives on Innovative Collaboration (University of Illinois Press; edited by Donna Cox, Janine Fron, and Ellen Sandor.) The day will consist of a number of hour-long panels, so attendees can choose to come for a selection of sessions or for the whole time.

Symposium participants include Brenda Laurel, Ellen Sandor, Claudia Hart, Tiffany Holmes, Joan Truckenbrod, Carolina Cruz-Neira, Colleen Bushell, Jane Veeder, Copper Giloth, Barbara Sykes, Maxine Brown, Dana Plepys, Mary Rasmussen, Nan Goggin, Annette Barbier, Abina Manning, Margaret Dolinsky, Stephanie Rothenberg, Terri Kapsalis, Sabrina Raaf, Lee Blalock, Faith Wilding, Jessica Westbrook, and Marlena Novak.

More information can be found about the event here, as well as in a feature article from E+D Magazine.

General information:
Friday, March 18, 2016
9:30 a.m. to 4:30 p.m.
SAIC Ballroom
112 S. Michigan Ave.
Chicago, IL 60603

Free and open to the public. Light refreshments will be served in the morning.

BAU AT CAMARGO ARTS RESIDENCY AWARD

In 2014 BAU Institute launched a new arts residency hosted by the Camargo Foundation in Cassis, France. The Residency provides BAU Institute funded Fellowships for the realization of projects in the arts. There is no cost to attend. Creative practioners demonstrating a serious commitment to their practice and a desire to work independently within an international community are welcome to apply. The BAU at Camargo Fellowship provides artists with live-work apartments at the Camargo Foundation in Cassis, France. at no cost.
A public exhibition and reading/performance will be held at FiveMyles gallery in Brooklyn, NY in January 2017 to showcase the new work created at the residency.

2016 RESIDENCY DATES
August 1 – August 22.

DEADLINE:
On-line applications are accepted between December 7, 2015 and March 15, 2016 at 11:59PM EST online via submittable:
https://bauinstitute.submittable.com/submit

COSTS
There is a $40.00 application fee. Notification of the admission committee decision will be in mid April. Upon acceptance a refundable security deposit of $250.00 is due.
BAU at Camargo provides live/work housing at no cost. There is no fee to attend.

ELIGIBILITY
BAU Institute welcomes international applicants. The residency supports the development of work in the Visual Arts (including photography, video and new media), Creative Writing, Dramatic Writing, Performance and Musical Composition. The residency may accommodate up to 15 people at a time. Fellowship selections are determined by a rotating panel of discipline specific professionals.

For more information please visit the BAU Institute website:
http://www.bauinstitute.org
http://www.bauinstitute.org/index.php?page=cassis-france


BAU Institute is a non-profit 501(3)C based in New York City. The mission of the BAU Institute is to support visual artists, creative and dramatic writers, composers, performance artists and other arts professionals in the creation and exhibition of new work. BAU Institute offers residencies in France and Italy to provide uninterrupted time and space for the development of new work in settings of cultural interest and extraordinary natural beauty.

 

Call – Digital Muddy Expanded Media Festival 2016

A call for submissions: 2016 Digital Muddy Expanded Media Festival

Digital Muddy Expanded Media Festival is designed to be an online platform that promotes interaction and cultural discussion with a focus on the terms related to expanded cinema; social media, and net based contemporary art practice.

Digital Muddy’s selected works will represent a survey of various styles and practices that engage the expanding use of image and in specific screen based digital narrative. This year we will focus on net specific published works and browser based works that are defined in the categories of new media, net art, interactive, digital imaging, user generated imagery, participatory, experimental, social engagement, sound, 3d and digital animation.

Cultural producer, Michele Thursz, will jury Digital Muddy 2.0. The showcase will be featured online on Digital Muddy’s Festival site, 2016.

Submissions will be accepted online through FilmFreeway.com (https://filmfreeway.com/festival/DigitalMuddyExpandedMediaFestival) starting Monday January 04, 2016. Please read and follow the directions for submission. There is NO SUBMISSION FEE for students or SIU faculty. One submission per individual, artist, group will be allowed. This year we have introduced a nominal fee for public submissions to the Digital Muddy, this fee of $15.00 will partially support the Digital Muddy and coinciding programming. Digital Muddy reserves the right to further moderate such a discussion when it threatens to disrupt or silence the participation of voices within the community. Submission does not automatically indicate inclusion of work. Work is selected at the discretion of the curator and festival programmers.

Finalist should be notified mid February of their acceptance. Finalist will be featured at Digitalmuddy.com beginning in March, 2016.


 

Digital Muddy Expanded Media Festival is designed to be an online platform that promotes interaction and cultural discussion with a focus on the terms related to expanded cinema; social media, and net based contemporary art practice. The Digital Muddy Expanded Media Festival is a ongoing project from the Big Muddy Crew (formally known as Film Alternatives) with Support from SIU Department of Cinema and Photography, The College of Mass Communications and Media Arts and the Fine Arts Activity Fee.

Science of the Unseen: Digital Art Perspectives – ACM SIGGRAPH Digital Art Community

 

What goes unseen, unfelt, or unheard? In this online exhibition, the artworks converge with scientific experiment, using digital tools to creatively reinterpret the imperceptible and science of the unseen.

Artworks in Science of the Unseen: Digital Art Perspectives think creatively about questions of scale and how unseen processes animate larger effects. By using digital tools and computational programs, we see with new eyes as we view visual material from the microscopic cell to the cosmic universe. Technology increasingly alters the senses and our experience of the biological, astrological, and geological landscape. From our new ways of seeing, questions emerge such as: how does nano-technology mirror and magnify the art of nature? How does visualizing insect burrows in trees allow us to interpret a larger ecosystem? Or we can ask what still remains unseen: how do organisms form new imperceptible habits in response to technology?

See more at: http://www.siggraph.org/connect/digital-arts/call-submissions-science-unseen


 

Mission of the Digital Arts Community Committee: Foster the evolution of a strong year round Digital Arts Community within the international organization and promote a dialogue between visual artists and the larger ACM

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”.

The Wrong

still from "The Noise of the City" by Alexander Antipin

still from "The Noise of the City" by Alexander Antipin

The Wrong is big. Really ridiculously, absurdly large. The sheer number and variety of works encompassed in this digital biennial is overwhelming, across its pavilions, curated pieces, and events. When this second iteration of The Wrong was about to launch, even organizer Guillo had not yet seen every work. The scale is mostly a positive thing -- as someone fairly immersed in new media and net art, I found many pavilions filled with unfamiliar artists -- it was great to break out of the digital art I'm exposed to through social media into currents of work that are farther afield. On the downside, the site offers little in the ways of an entry point, which can create a barrier for those not already knowledgeable about net art. It is easy to follow links from the Wrong into Facebook groups that no longer have content posted, or to 404s, or pages which ask you install questionable software locally.  My guess is that most people will end up entering The Wrong from pavilions or artworks by people they know, which somewhat defeats the purpose -- my favorite works were mostly those that I found accidentally.

The strongest pavilions tend to have the more specific themes. A stand-out for me is  www.not-found-exhibition.com (curated by Cesar Escudero Andaluz and Mario Santamaría), a selection of netartworks no longer found online, at least not in their original locations. Rather than netart that is intentionally ephemeral, these are works that have died a natural online death; either consciously taken down, or simply moved when sites are updated or retooled. It reminds me of Curt Cloninger's Pantry War, recently killed by Rhizome's redesign (which invalidated its own comment markup language). In this work, Curt paired opposing images, posted inline from other sites, as a contest to see which would outlast the other -- for instance a magic marker vs an eraser.

Some of the works in Not Found Exhibition can still be found rather easily in web searches -- but the strength of the pavilion lies in how intriguing the written descriptions of the works are. The minimal design does not interfere with the descriptions: big blue classic HTML style links, lots of monospaced type giving it a library feel, wiki-media-style markup for the title, and plenty of whitespace to keep it uncluttered.

DiMoDa, exterior view

The DiMoDa (the Digital Museum of Digital Art) pavilion took an almost opposite approach, building a virtual 3D environment filled with immersive works. At DiMoDa (designed by Alfredo Salazar-Caro and William James Richard Robertson), it is always sunset. It feels like a place found by accident; the loneliness of the space, with the insect sounds which follow you into the museum. It capitalizes on the airless VRML-quality of Unity, reflecting on the feel of the institution. The museum itself is beautifully designed, juxtaposing classical and contemporary architectural styles familiar from current trends but taken further, just barely within the realm of what's realistically possible architecturally. Inside are four digital art installations, by Claudia Hart, Tim Berresheim,​ Jacolby Satterwhite​, and my favorite election prediction by Salvador Loza and Gibrann Morgado (it involves Sarah Palin, Donald Trump, and a tumorous horse-like thing). Each installation feels distinct from the others and from the museum itself, and sometimes change the physical laws. At one point, I got rickrolled, so there is at least one Easter Egg, possibly more (you'll have to find where on your own 🙂 ).

Apart from the pavilions, there are also featured artworks, such as Jan Robert Leegte's Random Selections Object. Here, the rectangles of spectral Photoshop ants are the content, against a black backdrop. In very dense groupings of selections, the clusters of digital ants appear to walk in two directions at once. It continues Leegte's experiments with the materiality of digital artist's immaterial tools.

The Wrong (again) can be found at http://thewrong.org/. It officially runs from Nov 1 to Jan 31, 2016. More content, including events, will continue to appear throughout the exhibition.

[Full Disclosure: I participated in the Wrong within the UnnamedGroup pavilion]

Call for Artwork – IRST ELECTROACOUSTIC MUSIC FESTIVAL “ECOS URBANOS” – Mexico City

CALL FOR WORKS

Tecnológico de Monterrey Campus Metropolitan Area of Mexico City, in collaboration with Centro de Cultura Digital, Fonoteca Nacional, Escuela Superior de Música and Yamaha de México S.A. de C.V, announces the CALL FOR WORKS FOR

THE FIRST ELECTROACOUSTIC MUSIC FESTIVAL “ECOS URBANOS”

To support the creation and the spread of electroacoustic pieces, Tecnológico de Monterrey Campus Metropolitan Area of Mexico City organizes the process of selection of pieces that will be part of the First Electroacoustic Music Festival “Ecos Urbanos”. The Festival will have the participation of invited composers and lecturers from different countries, and it will take place from September 21th to 25th, 2015 at different locations in Mexico City.

RULES: The works will have to be electroacoustic pieces composed and recorded in studio. They will be played in concert without any intervention of live sound sources. They may include a maximum of 8 channels and they must be between 5 to 10 minutes. The process of selection is open to composers and sound artist from any nationality and age, each of whom may submit only one work, which may be world premiere or commercially published or premiered in any other national or internacional festival.

All applications must be sent via www.wetransfer.com (or equivalent web file transfer service) in 1 single ZIP file to the email: ericperezsegura@itesm.mx

The ZIP file should cotain 2 files inside a single folder:

A text file (.doc, .txt, .rtf of .pdf) with a short biography, contact information, as well as information about the piece (methods used, concept, if it has been premiered, etc.).

An audio file .AIFF or .WAV, 16 or 24 bits at 44.1 khz sampling rate containing the stereo version of the piece. Additionaly, in the case of multi-channel pieces, the audio files corresponding to each of the channels in AIFF or WAV inside a folder.

IMPORTANT: The name of the ZIP folder should be identical to submitted piece. The deadline for submissions is 09:00 AM September 18th, 2015. Applications sent after the deadline will not be considered valid. The list of selected works will be announced no later than September 18th, 2015. Composers and sound artists whose works were selected will be notified about the date when they will be played on the festival. Any questions regarding these regulations and their interpretation shall be clarified by the authorities of Tecnológico de Monterrey.

On Media Players and Dulltech

As artists that work with digital media, we must constantly navigate the space between hardware, software, and our concept or artistic intent. And as we make our work we must also develop strategies for how that work gets displayed in whatever venue we have available. For example, perhaps we make a video artwork. Immediate decisions for distribution and viewing of that work have to be made - do we upload and let people stream from vimeo or youtube? if we do that, do we let there be commercials or rental payment to generate revenue from views? If we keep the work offline, where do we show it and how? Film festivals and video screenings are popular, but then how do transfer or file and how much compression or how large of a file should we send? The questions start snowballing... and there aren't really any easy answers because it sometimes there are just too many variables.

Installing video work in a gallery is another one of those challenges with a lot of variables. In some cases its a good idea to supply as much of your own equipment as you can. With each successive generation of video monitors and/or media players or devices there are additional limitations on what can be played back and how its controlled. But artists are good at finding workarounds, stretching a budget, and at figuring out how to make it work. Gallery directors and assistants on the other hand, might not find it all that easy to following our process or directions. It all starts to seem like an almost overwhelming cascade of potential problems.

Over the last several weeks (or months) I've been following an artist project that seeks to address some of these questions. DullTech™ is a campaign initiated by Dutch conceptual artist Constant Dullart. To me the project is fascinating - its part artwork, part startup, part prodcut, and part commentary on contemporary techno culture. If you have some time, you should check it out - but I'll paraphrase: its a media player that doesn't have any menus and can connect wirelessly and sync to other media players and loop whatever file is on your thumb drive. That's it. Nothing more, nothing less (unless I missed something). That's a breathe of fresh air if you ask me. An artist working on a solution for a problem we all encounter by making a product that is also a bit of an artwork itself. I asked Dullart a few questions and here's what he had to say!

RE: artist problems with video installations:

"Blood sweat and tears, days of rendering, getting special computers, and programming. It was mainly the stress and the time consumption that we did not understand, and thought was too complex. But we always got it done. These installs just needed to get more dull. So there would be more time making the content exciting! So we just designed a device without playlists, menu’s and difficult settings. One that would just play and sync video, and do that well. Just switch it on and you’re done. Weirdly enough it wasn’t that hard. Most machines just have too many options... "

RE: building tech products in China and becoming a 'startup'

"The atmosphere in Shenzhen was that western people randomly wanting to go to factories would take up time, or would be journalists writing about the conditions in the factories. The "Mr Daisey and the Apple factory” episode on This American Life, and the attention that got for example, even after the necessary retraction made it hard to “just be a visitor”. Learning how this business actually works from the inside was much more interesting. Like the artist Li Liao did when he worked in the Foxconn factory until he could afford the product he was working on. After 45 days he could afford the iPad mini. After meeting him we were inspired to play out our part in the neo colonial creative industry process."

RE: is it artwork, commercial product, critique?

"DullTech™ is a hardware startup and performative artwork concurrently. Created as a form of radical corporate publishing in an age of high efficiency capitalism, it creates technologically simplified or 'dull' products in order to distribute artworks in tribute to the late Ray Johnson. Initiated during a 2012 OCAT residency in Shenzhen China, with the company's motto 'neoliberal startup lulz', most products relate to production processes in the artist's studio. The company has exhibited in the Stedelijk Museum Bureau Amsterdam, HMKV Dortmund, Transmediale Berlin and the White Building in London."

RE: favorite file formats

"Of course we would pick the most dull one, that works the best, h264 in an mp4.Which coincidentally also works really well on our player, up to 60Mbps!"

You can check out DullTech™ on their kickstarter, there is still plenty of time to get in on the ground floor. There are a lot of artists projects out there in crowdfunding platforms but I can't help but share this one because its such a great fit with my experience as an artist. Good luck DullTech™ !

CALL FOR SUBMISSIONS: TRANSFORMERS: Code and Data-Driven Animation

TRANSFORMERS: Code and Data-Driven Animation

Computer programming is an often invisible force that effects many aspects of our contemporary lives. From how we gather our news, maintain our libraries, or navigate our built environment, code shapes the interfaces and information they connect to. Artists who work with these languages as material can critically excavate code and its effects.

We seek submissions of animation and video that are produced through the use and manipulation of code and/or data. This can include, but is not limited to Processing, data sets, motion capture, procedural animation, and other forms of digital processing. Submitted work may include screen recordings or documentation of interactive, browser based, or live visual performances. The selected works will be screened during CAA and will have an online presence through the New Media Caucus Vimeo Channel and website. This program is part of the New Media Caucus’ participation in the 2016 College Art Association (CAA) Conference.

Preference is given to videos that are five minutes and under.(If longer videos are selected we will request that the artist provides a shorter excerpt).

The program will be selected by a panel of video artists including:

Mat Rappaport - Artist, Columbia College Chicago and v1b3.com
Darren Douglas Floyd - Artist/Filmmaker
A. Bill Miller - Artist, The University of Wisconsin - Whitewater

CALENDAR

SUBMISSION DEADLINE
September 4, 2015

NOTIFICATION
November 15, 2015

SUBMISSION FORM LINK

http://bit.ly/transformersCAA

SUBMISSION REQUIREMENTS

First Name
Last Name
Email
Web site
Vimeo link to submitted video
Mailing Address
Title of Piece
Year Created
Brief Description (250 words max)
Bio  (250 words max)

Call For Artwork – CURRENTS New Media Festival

CURRENTS’ curators look for the unique ways artists use technology as a tool for expression and communication, and ways that scientists, programmers and developers are integrating the arts and aesthetics into their explorations and projects.

The citywide Festival will be held in venues throughout Santa Fe: El Museo Cultural de Santa Fe, the Center for Contemporary Arts, the digital dome facility at the Institute for American Indian Arts, Santa Fe Art Institute, Peters Projects, Axle Contemporary, Warehouse 21 and the Santa Fe Railyard Plaza.

In addition to exhibitions CURRENTS 2016 offers panel discussions, workshops and multimedia performances. All exhibitions and most events are free to the public.

This Year’s Categories include:
New Media Installations, Outdoor New Media Installations and Architectural Mapping, Single Channel Video and Animation, Multimedia Performance, Fulldome, Experimental or Interactive Documentary, Web-Art/Art-Gaming/Mobile Device Apps, Oculus Rift, Robotics, 3D Printing and Interactive Installations for Children.

Two Special Categories:
*Axle Contemporary Mobile Gallery – see bottom of linked submission guidelines page for info
*New Media New Mexico 2016 – applications will open September 15 – see bottom of linked submission guidelines page for info

Submission Guidelines:
http://currentsnewmedia.org/submission-guidelines-2016/


CURRENTS provides the community with opportunities to experience New Media Arts in traditional venues, public and outdoor spaces. 5000 visitors attended festival events in 2013. The Festival is enjoyed by a broad demographic – children spinning through the galleries reveling in interactive New Media – seniors contemplating image and meaning – working class families – and savvy collectors.

Exhibition Announcement – Revisions—Zen for Film

Revisions—Zen for Film
On view September 18, 2015–January 10, 2016

How do works of art endure over time in the face of aging materials and changing interpretations of their meaning? How do decay, technological obsolescence, and the blending of old and new media affect what an artwork is and can become? And how can changeable artworks encourage us to rethink our assumptions of a work of art as fixed and static? Revisions—Zen for Film, an exhibition on view in Bard Graduate Center’s Focus Gallery from September 18, 2015 through January 10, 2016 explores these questions through Zen for Film (1962-64), one of the most evocative films created by the Korean-American artist Nam June Paik (1932–2006).

The exhibition was curated by Hanna Hölling, Andrew W. Mellon Visiting Professor, Cultures of Conservation, at Bard Graduate Center.

Bard Graduate Center Gallery
18 West 86 Street,
New York, NY 10024


Bard Graduate Center is a graduate research institute in New York City. Our gallery exhibitions and publications, MA and PhD programs, and research initiatives explore new ways of thinking about decorative arts, design history, and material culture. Founded in 1993, we are an academic unit of Bard College.

CALL FOR SUBMISSIONS – (Tangible) Manifestations of Code

Art2Code is a catalog that will exhibit the work of artists who use computer programming and code to create work that manifests as screen imagery, sculptural objects, installation environments, or time-based performance.
The collected artworks will highlight the various ways algorithms and computer coded instructions are used to create artwork that expands the interactive relationships between art, artists and audience.

The College Art Association and the artists collective, v1b3, will distribute the printable PDF catalog.  Each project will link to thev1b3 website where additional media will be available and the catalog can be downloaded.

http://v1b3.com/project/art2code/

Previous v1b3 and CAA collaborations include catalog projects Scan2Go, Art2View, Art2Make and Art2Drone. The projects can be viewed at http://www.v1b3.com.

SUBMISSION FORM 
http://bit.ly/art2codesubmission

CALENDAR

August 15th – Call for Participation sent through CAA, NMC, iDMAa, UFVA, ISEA, Rhizome, and other artist networks

October 16 – Deadline

October 30 – Notification to Participants

February 3-6th – Project Launch At CAA Conference in Washington D.C.

SUBMISSION PROCESS

Please submit all elements and/or questions to “submit [at] v1b3.com.“

Required Materials

  • Project Statement [300 words]
  • Artist Bio [200 words]
  • Web link to project
  • Web link to creative or professional site
  • jpeg key image of the work
  • Text based code sample from the project and/or complete code that can be posted to the artist’s page in the project catalog and website.
  • Project element/s (could include  – video documentation [provide links], additional photographs, diagrams, sketches, documentation of project ephemera)

SUBMISSION FORM 
http://bit.ly/art2codesubmission

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.