Tag Archives: Call

Message from Events and Exhibition Committee

The Events and Exhibition Committee is seeking participation for the 2017-18 academic year. This includes membership on the committee or spearheading an event. We seek to diversify our programming through the input of the New Media Caucus membership.

The mission of the Events and Exhibition Committee is to develop and plan new media related events and exhibitions during the College Art Association (CAA) annual conference and throughout the year that promote new media artistic work of caucus members; investigate contemporary new media art practice and theory; and investigate issues surrounding education and new media.

The New Media Caucus holds event both on and off site at the CAA conference.

Please email the committee chair, Joyce Rudinsky (rudinsky@unc.edu), if you want to submit an idea or if you would like to serve on the committee.

Call For Designer – NMC Websites

Designer needed for organizational website redesign

The New Media Caucus, a nonprofit affiliate organization of the College Art Association, seeks a designer to execute a redesign of our WordPress website (newmediacaucus.org), and to create a template for the online presence and print-on-demand versions of our journal, Media-N (median.newmediacaucus.org). The job entails a projected 30 – 40 hours of labor, and offers a flat fee of $1,500 and our eternal gratitude. Applicants should send a letter of interest, CV (or LinkedIn link), and links to a portfolio or relevant work to: Jessye McDowell, jpm0028@auburn.edu by Monday, May 1.

Tasks include:

New Media Caucus website:

  1. Design an update for the NMC WordPress website that includes responsive readability for browser-based and mobile access, improved navigation, and structure for a clarified set of audiences and functions. These functions include news, organizational information, opportunities, and reviews as well as fund-raising campaigns.
  2. Suggest communication strategy for connecting site to other platforms communication.
  3. Design processes and goals for assessing audience engagement within and without membership.
  4. Design a style guide and manual that helps accomplish all the above in a way consistent with current New Media Caucus logotype and branding.

Media-N Platform:

  1. Design banner, skin, and style guide for carrying New Media Caucus logotype and branding into a new implementation of the journal on the Open Journal Systems platform.
  2. Design a Microsoft Word template for submissions to journal that will translate to readable pdfs in digital or printed formats.
  3. Design a template for a wrapper for occasional compilations of journal articles into larger pdf “binders.”

Call for Chapters: Social Annotation in Modern Learning Contexts

Recommended topics include, but are not limited to:

Social Reading and Academic Performance
Writing in Public Spaces
Fact-checking with Social Annotation
Digital Polarization
Social Annotation Technologies
Collaborative Learning
Performative Publishing

Please visit http://www.igi-global.com/publish/call-for-papers/call-details/2718 to view the official Call for Chapters and to submit your proposal. There are no publication fees or costs to you. If you have any questions or concerns, please do not hesitate to contact me.

Chapter proposal deadline, May 30th.

Coastal Carolina University

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.

Call for Cultural Capital Producers for New Residency in WA

In collaboration with Washington State University, artist and educator Peter Christenson has initiated a cultural capital scholar residency in Richland, WA and is currently seeking proposals from creatives with diverse backgrounds and research agendas to participate in the community-based residency. Innovative and socially conscious scholars and practitioners working in a variety of fields and industries including the visual arts, architecture, engineering, urban planning, social work, design and media arts, creative writing & literature, culinary arts, etc. are encouraged to apply.

Selected residents will stay at the “Guest House,” a living-learning community of Washington State University in Richland, WA for a short-term period of 1 week – 1 month based on proposal, room availability, and project objectives. Proposals should seek to connect to and build the cultural capital of the Tri-Cities area, a metropolitan community in eastern Washington. Residents will be invited to lead an educational/creative event/activity/lecture open to WSU students and the community at large and donate a piece of research/art to the GH Cultural Capital permanent collection. There is no fee to apply and housing for the scholar will be covered for the duration of the residency.

To apply, please email a CV, link to portfolio / research, and a 2-page (maximum) proposal to GHCC Residency Director Peter Christenson with subject heading “GHCC Residency.” Applications are on a rolling basis; proposals should be sent to: peter.christenson@wsu.edu

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.

Call for Panel Proposals – CAA Los Angeles 2018

Call for Panel Proposals – CAA Los Angeles 2018

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

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

PROPOSALS MUST INCLUDE:

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

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

NOTES:

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

TIMELINE:
Peer review will occur shortly after the deadline.

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

Call for Entries for Residencies at PACT Zollverein

PACT is as a developmental working and presentation space for contemporary performance art at the interface between science, technology and society. Alongside delivering a wide-ranging programme of performances and public events, PACT’s work is firmly rooted in it’s well-known residency programme and ongoing engagement with diverse forms of knowledge transfer. Within the scope of advanced research and development activities, PACT establishes ongoing project series and opens up spaces where society, the world and art interlink.

In Spring 2017 PACT is launching 1/2/8 a new, central and long-term research and development format with a special focus on the connection between knowledge and actions. The format offers substantial time and space for practices of cooperation between people, objects, space, technology and experimentation. The first chapter of 1/2/8 centres around the possibilities of intervention: How can we implement changes in or outside of static systems of thought and organization? How can we foresee, develop and connect alternative forms of action? What kind of resources, possibilities, opportunities and spaces of action do we need?

To take an in-depth look at these questions, we are inviting artists, scientists, journalists and experts from other varied fields of knowledge, to work in our studios in May 2017 and enter into dialogue and experiments with one another during symposia, idea labs, talks, lectures, workshops and public gatherings and presentations. Supported by temporary research fellowships, those taking part will actively contribute to the shape and substance of PACT’s key areas of activity as a research platform, artists’ centre and performance venue. Ideas and issues raised during research stays will be debated within the framework of public events and performances.

A RESIDENCY CAN INCORPORATE THE FOLLOWING

  • Studio space (from 69 to 173 sq. m.)
  • Local accommodation (max. 6 people)
  • Weekly grant allowance of 500"€ for all of the residency project participants (max. 6 people)
  • Travel costs covering one journey only per participant to and from PACT Zollverein (subject to prior agreement)
  • Technical equipment (by arrangement and subject to availability)
  • Possible lectures, workshops, exhibitions or performances (at short notice and subject to agreement) ONLINE APPLICATIONS REQUIRE THE FOLLOWING INFORMATION
  • A proposed research project (max. 1000 characters including spaces)
  • short chronological CV for everyone involved in the project (max. 2000 characters)

We welcome applications with links to prior artistic or scientific work. We only accept residency applications submitted via our online residency application process. To access the online application form please go to our online application system. All complete applications received by this date will be considered and you will be informed of the decision by e-mail.

If you have any questions or would like to be included on our newsletter emailing list please send an email to: residenz@pact-zollverein.de.

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.

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

Guest Editors

Nick Bontrager, Texas Christian University

Adam Fung, Texas Christian University

Editor-In-Chief

Kevin Hamilton

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

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

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

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

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

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

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

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

TIMELINE:

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

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

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

ABSTRACT GUIDELINES:

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

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

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

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

SEND THE SUBMISSION TO:

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

NEH Summer Institute: Space, Place and the Humanities

Space, Place, and the Humanities” is a three-week summer institute hosted by the Humanities Center at Northeastern University in Boston (July 24-August 11, 2017) on the newly emerging, interdisciplinary field of Geohumanities. At the intersection of geography, history, literature, creative arts, and social justice, Geohumanities focuses on the role of space and place in a range of humanities disciplines.
The aim of this Institute is to help scholars in humanities disciplines integrate spatial thinking into their research and teaching in new ways. Prominent scholars from cultural geography, literary studies and the digital humanities will lead the Institute, foregrounding the study of space and place as an interdisciplinary endeavor.

Institute Faculty

Tim Cresswell, Trinity College - @CresswellTim
Nicholas Brown, Northeastern University - @nicholassenn
Elizabeth Maddock Dillon, Northeastern University - @emdillon
Wendy Harding, University of Toulouse
Catherine D’Ignazio, Emerson College - @kanarinka
Bruce Janz, University of Central Florida
Sarah Kanouse, Northeastern University
Cindi Katz, CUNY Graduate Center
Anne Knowles, University of Maine
Khury Petersen-Smith, Tufts University - @kpYES
For more information on the institute, eligibility criteria, and our online application please visit: http://www.northeastern.edu/spaceandplaceneh/.

Applications due March 1.

For all Institute updates, follow @nuhumanities on Twitter and look for our Institute hashtag: #spaceandplace17

Founded in 2008, the Northeastern Humanities Center supports faculty and student research in the humanities and social sciences; facilitates collaboration across disciplines; and presents humanistic and social scientific research to the wider university community and general public. Through our fellowship program, working groups, discussion forums, symposia, seminars, informal dialogues, conferences, and joint projects, the Humanities Center fosters a wide-ranging interdisciplinary exchange of ideas in an atmosphere of respect for diverse perspectives and expertise. An integral part of Northeastern University’s signature experiential liberal arts program, the Humanities Center offers various opportunities for engagement with art, literature, philosophy, history, and social and political formations, thereby strengthening the foundation from which to respond meaningfully to one another and the needs of our world.

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

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

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

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

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

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

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


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

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

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

Moving Forward: Where is the Journalist in Social Media?

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

Call for Papers:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Please direct any questions to: reader@vgagallery.org

Amanda Coleman
The VGA Editorial Team

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

Call for 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.

OPEN CALL – Immersive Expressions: Virtual Reality on the Web – ACM SIGGRAPH Digital Arts Community

Submission Call for Online Exhibition
Immersive Expressions: Virtual Reality on the Web
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Virtual Reality presents a range of new possibilities for immersive expression and interactivity for artists and developers. The ACM SIGGRAPH Digital Arts Community is seeking projects for an online exhibition that explores the web browser as a medium for work at the intersection of creative expression and virtual reality. VR has had an exceptionally fast growing user base over the past three years with head mounted display options becoming increasingly portable and affordable. Along with the growing list of hardware variations like the Oculus Rift, HTC Vive, or PlayStation VR a number of new distribution models have also been released such as HTC Viveport, Oculus Store, Samsung VR or WEARVR. While much of the content delivered on these platforms are made to be experienced inside of game engines, VR has also made its way to the browser through a variety of projects using WebGL and three.js.

We are looking to showcase and discover new content that pushes conceptual or technological boundaries. It is important that these works be web-based. Online VR works are unique because they exist in the browser, unlike apps relegated to approval by a major distributor. We hope to engage indie developers, artists, computer scientists, and companies working at the forefront of web-based VR through the development of the exhibition.

The WebVR W3C Specification Draft has laid the foundation for content designers to build frameworks and applications for a multitude of browsers and hardware devices. This includes VR initiatives such as Mozilla's MozVR Team (mozvr.com) and accompanying A-Frame javascript framework. Oculus has also announced the ReactVR framework for enabling web-based VR experiences on the Rift in addition to inexpensive head-mounted displays such as Google Cardboard, Daydream View, or Samsung Gear. Artists and developers new to the WebVR arena are encouraged to apply and can take advantage of these resources.

We also encourage VR experiences and interactions that might not fit inside a typical commercial package. This includes works that are more abstract and conceptual, or those created by independent developers with a unique approach to virtual reality. Criteria for inclusion will involve technological innovation, creativity, design, and concept. Submissions could potentially include interactive experiments, games, animation, 360-degree video experiences or a hybrid approach. This call for work welcomes artistic interpretation and collaborations working from any discipline or intersection of art, science, design, and technology.

Works in progress will also be considered as long as they are in a presentable format by the end of April. For a list of resources helpful in getting started with WebVR see: http://lsuatlab.github.io/webvrnotes. Visit the ACM SIGGRAPH Digital Arts Community website at: http://siggrapharts.ning.com. Last year's exhibition site can be viewed here: http://science-unseen.siggraph.org. For more information contact dostrenko@lsu.edu.

Submit your work and learn more about the show at: http://bit.ly/graphvr.
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Timeline:
Submissions Open: November 25, 2016
Submissions Close: March 7, 2017
Notification of Acceptance: March 28, 2017
Exhibition Launch: May 2017
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The ACM SIGGRAPH Digital Arts Community fosters 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 SIGGRAPH community.

CALL FOR PRESENTATIONS 2017 NMC Showcase during CAA 2017 in New York, NY

We are proud to announce that Hunter College of the City University of New York will host the eighth annual NMC Showcase during CAA 2017 on Thursday February 16th, 2017. The NMC showcase is a series of rapid-fire presentations by 16 NMC members (6 minute presentations). It has proven to be a great forum to get to know the work of a number of fellow members in a lively atmosphere and a great way to present your work to like-minded individuals.  Several spots are reserved for graduate students currently enrolled in an MFA or PHD program. How you use the 6 minutes is up to you – show one project or a dozen – finished or in-process work. Presenters are chosen by lottery. You must apply via email to be considered by December 12, 2016. Only members that have not participated in the showcase in the past three years are eligible. If you are selected, your attendance and presentation is required at the NMC showcase. We publish simultaneous web and print on demand CAA Conference Editions yearly that includes the NMC Showcase. The participants are asked to submit a statement, work samples and presentation by January 30, 2017.

2017 NMC SHOWCASE (16 NMC members)

  • Date/Time: 7-9pm (presentation), 9-10pm (conversation) on February 16, 2017
  • Address: Hunter College, Main Campus (25 min walk from the Hilton)
  • Lang Auditorium
  • 695 Park Ave at 68th street
  • New York, NY 10065

CHAIRS

HOW TO ENTER

  • Contents: Name, Statue (FT professor, PT professor, Graduate Student, Independent Artist or Scholar), Contact (email, website), Attendance for 2017 NMC Showcase
  • Please send Hye Young Kim kimhy@wssu.edu an email indicating that you would like to be entered into the lottery for the NMC Showcase.

PROCESS

  • Application Deadline: Monday December 12, 2016
  • Notification: Monday, December 19, 2016
  • Confirmation Email: Monday, January 9, 2017 (Please confirm your acceptance and attendance)
  • Presentation/Statement/Work Sample Submission Deadline: Monday, January 30, 2017
  • - Presentation Materials (6min with PPT, Keynote, QT files, etc)
  • - A statement (upto 300 words) and work samples (5 images and/or video links/website links)
  • - Please submit all materials via email kimhy@wssu.edu (under 10MB), WeTransfer (over 10MB upto 2GB) or DropBox link. All materials are on one computer for the presentations for 16 members.

Call for Presentations for the New Media Caucus, New Media Lounge at College Art Association, New York City

Between Biology and Art

Convened by Renate Ferro, Chair
Tohm Judson, and Elisabeth Pellathy

Within the hybrid interventions of BIOART, the tools of the citizen artist and new media technologies converge.  This round table will investigate this territory that encapsulates the boundaries between truth and the imagination as it relates to such conceptual issues as politics, race, feminism, ethics, scientific methodology, among others.  These new generative iterations create grounds of tension for creative and critical engagement within the fields of research and art.  We invite new media artists, researchers, historians and others to join this round table where we investigate current topics such as germs, fermenting, probiotics, skin, ecologies and many more intersections between biology, technology, and new media practices. We particularly seek innovative presentations.  Please send a proposal with documentation (imagery, vimeo links, other links) and a cv to Renate Ferro, Cornell University, rferro@cornell.edu by December 1st.

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

Instructor or Professional-in-Residence- Digital Art and Animation at Louisiana State University

Instructor or Professional-in-Residence- Digital Art and Animation
College of Art and Design - Louisiana State University

LSU is seeking an energetic, articulate, and accomplished industry professional to teach 3D modeling, animation, and visual development for games, animation, and visual effects in LSU's School of Art and Digital Media Arts and Engineering program. We are looking for someone to help shape a program for a rapidly changing industry that engages emerging technologies and innovation. The successful candidate will teach undergraduate and graduate level courses in a thriving cross-disciplinary digital arts program.

This position will teach applied hands-on classes to students with diverse background experiences, work with the program directors to develop and maintain new courses and curriculum, participate in school activities with relation to the program, and keep abreast of industry trends and content creation tools.

The LSU School of Art is comprised of undergraduate and graduate programs in Digital Art, Graphic Design, Studio Art as well as Art History. The School has 600+ students and is a unit of a College that also includes Architecture, Landscape Architecture, and Interior Design.

LSU’s Digital Art program is closely connected with the Digital Media Arts & Engineering program and Cultural Computing research group within the Center for Computation and Technology. The group emphasizes arts, visualization, advanced technologies, and research. It is a platform for intersections among the arts, and computational sciences, uniting scholars across the university, including Music, Mass Communication, Computer Science, Electrical and Computer Engineering, and English.

Required Qualifications: Master's degree in related field. Candidates with significant experience who do not currently possess the terminal degree required may still be considered.
Professional experience with games, visual effects, or animation as a senior-level artist or instructor. Basic knowledge of modeling, rigging, texturing, rendering, and animating 3D models in a software package such as Maya, 3ds Max, or Houdini.

Preferred Qualifications: Master's degree in Fine Arts or equivalent degree in a related discipline. 7-10 years of industry experience. Prior experience with teaching.

Salary will be commensurate with qualifications and experience. An offer of employment is contingent upon a satisfactory pre-employment background check. Application review will begin October 31, 2016, and will continue until a candidate is selected. Apply online and view a more detailed ad at: https://lsu.wd1.myworkdayjobs.com/LSU/job/LSU---Baton-Rouge/Instructor-or-Professional-in-Residence--Full-Time----Digital-Art-and-Animation_R00006579. Position # R00006579.

LSU is committed to diversity and is an equal opportunity/equal access employer.


The LSU School of Art is comprised of undergraduate and graduate programs in Digital Art, Graphic Design, Studio Art as well as Art History. The School has 600+ students and is a unit of a College that also includes Architecture, Landscape Architecture, and Interior Design.

LSU’s Digital Art program is closely connected with the Digital Media Arts & Engineering program and Cultural Computing research group within the Center for Computation and Technology. The group emphasizes arts, visualization, advanced technologies, and research. It is a platform for intersections among the arts, and computational sciences, uniting scholars across the university, including Music, Mass Communication, Computer Science, Electrical and Computer Engineering, and English.

Assistant Professor of Creative Arts and Technology at Bloomfield College

Division of Creative Arts & Technology

Assistant Professor of Creative Arts and Technology

Bloomfield College invites applications for a full time, tenure track position, at the rank of Assistant Professor in the division of Creative Arts & Technology for the 2017-2018 academic year. We are at a very exciting time with new facilities and are seeking a skilled trans-disciplinary new media artist with expertise in interactive storytelling and a deep understanding of game creation and play. We are seeking someone who is visionary, experimental and can bridge contemporary art making practices with the current cultural effects of new media and Internet technologies. We look to influence the next generation of art-makers through the presentation and production of ideas, issues and criticism.

The ideal candidate should be socially and culturally active - globally perceptive, and be able to incorporate several new media forms. Critical to this position will be a deep commitment to understanding race and class issues and the ability to relate to a diverse student population. We celebrate learning about the strengths and differences of our students.

The strength of CAT has always been forward thinking in collaborating within the following areas: animation, music technology, video, photo and expanded media, design, physical computing, creative coding, interactive, locative and web-based art making, mobile design & development, UX design, virtual reality, performance and play.

QUALIFICATIONS:

The successful candidate should have the appropriate terminal degree for their field (MFA, PhD, or equivalent), proven excellence and commitment in teaching, and share our values in a deep commitment to our students, with at least three years of prior teaching experience. A strong professional record of exhibitions, publications or productions and knowledge of traditional and contemporary art, theory and criticism will be regarded highly.

Responsibilities include teaching six courses per year. The candidate is expected to participate in the administration of the division, student advising, organization of special events, committee participation and to perform college-wide services.

HOW TO APPLY:

Applicants should submit the following as two PDF files:

1) Cover letter, Curriculum Vitae, list of three references and contact information, Teaching Philosophy, Diversity Statement and URL(s) for an online portfolio of work. Optional: examples of student work, writing samples, etc.

Maximum PDF file size: 5 MB.

2) Examples of your creative work: maximum 20 still images and/or video with links embedded in a PDF. Maximum PDF file size: 5 MB.

Please send two PDF files (Electronic applications only, no hard copies will be accepted), with subject heading: Full Time Search - to: CAT_Search@bloomfield.edu.

Deadline: Review of applications will begin immediately; applications must be received by November 15, 2016 (11.59pm EST) to be considered.

Tenure-Track Assistant Professor in Transnational identities and digital media studies at Tulane University

The Department of Communication at Tulane University invites applications for a tenure track position at the Assistant Professor rank focusing on the cultural-political implications of digital media in global contexts. We are especially interested in qualified applicants whose research addresses intersections of cultural identities, new media, and social/political formations. Possible areas include the role of digital and new media in political struggles, postcoloniality, populism, mobile communication, social networking, technological affordances, and/or cultural production. We encourage scholars who can teach fieldwork methods to apply.

This is a tenure-track position that will begin August 2017. We are an interdisciplinary department in the School of Liberal Arts specializing in the critical study of media, technology and transnational communication. With more than 200 undergraduate majors, our full-time faculty offers a range of theoretical, historical, and practice-oriented courses.

QUALIFICATIONS

Qualified candidates for this position will hold a PhD degree in Communication or a related field by May 2017.

APPLICATION INSTRUCTIONS

Candidates should submit a letter or application, a curriculum vitae, three recommendation letters, and two writing samples (articles, papers or chapters). Whenever applicable, candidates should submit up to two syllabi of courses taught and teaching evaluations. Questions can be directed to Dr. Ana Lopez (lopez@tulane.edu), Chair of the Search Committee. Review of applications will begin 7 November 2016 and will continue until the position is filled. https://apply.interfolio.com/37636

Assistant Professor of Art, Design and Technology at Texas Woman’s University

The Department of Visual Arts at Texas Woman's University seeks a candidate to teach and develop courses that bridge the many intersecting areas of art, design, and technology, within a visual arts context. Qualifications include a terminal degree (MFA, MD, or PhD) in Art, Art History, Art Education, Design, Visual Culture or related fields, with an interest in contemporary hybrid practices that employ new technologies alongside traditional approaches. Experience beyond graduate teaching, as well as a record of exhibitions, publications, and/or any other peer-reviewed accomplishments for intellectual endeavors, are highly desirable. The ideal candidate will engender hybrid practices in the department, and teach courses in all levels of undergraduate teaching (foundation/core, intermediate, advanced concentration, cross-disciplinary, and special topics), and graduate teaching (seminars, independent studies, theory and practice). Special consideration will be given to candidates who possess experience, and have the ability to teach/develop courses (both online and face-to-face), in more than one of the following areas: Art Education, Graphic Design (interactive/responsive), 3D Aspects and Design, Foundations in Art/Design/Media, Computer-aided Art, Time-based Art (Animation, Installation, Performance, Photography, Film, Video), Community Arts, and Social Practice. Alongside their teaching responsibilities, candidates must maintain a scholarly practice in the form of creative/research activities, as well as serve the department, school, college, university, community and discipline through service.

Please submit the following materials to facultyjobs@twu.edu position IRC1266:

- Application letter
- Curriculum vitae
- Teaching philosophy
- Statement of scholarly (creative/research) practice
- Samples of students works (images, papers, et cetera) in the form of one URL or PDF file
- Samples of own works in the form of one URL or PDF file
- Name and contact information of three references willing to provide a letter upon request
- Abbreviated sample syllabi (optional)

Deadline: December 15, 2016 or until filled.


The Department of Visual Arts offers programs leading to the Bachelor of Arts (B.A.), Bachelor of Fine Arts (B.F.A.), Master of Arts (M.A.), and Master of Fine Arts (M.F.A.) degrees in art. An undergraduate program may be selected with a focus in art history, ceramics, graphic design, painting, photography, sculpture, studio arts, or visual art leading to teacher certification in art. The programs are designed to prepare visual artists, scholars and/or educators who are well grounded in studio art practices, history and criticism of art, and professional practices. The department strives to build the student's awareness of context, purpose, creative and aesthetic inquiry, critical theory and practice, historical and contemporary trends, professional responsibility and personal voice in the visual arts. Integrating studio and theoretical studies, the various programs provide a comprehensive approach to art learning, which facilitates a collaborative, cooperative, and supportive community. The faculty, staff and students are very active in their pursuits of excellence in their disciplines. Gallery showings, juried exhibitions, conference presentations, publications and positions with many well respected universities and arts organizations are some of the ways that the Department of Visual Arts continues to excel in all areas of the arts.

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

INTERNATIONAL OPEN CALL – IMPACT16 – Symposium and Public Presentations

How and where do alternative realities come about both in and between different fields of knowledge? How can we productively uncover contradictory “rift zones” in today’s world? What kind of frameworks for action can we cultivate?

  • 4-DAY SYMPOSIUM with extensive interdisciplinary exchange
  • 30 PARTICIPANTS (artists, scientists and experts from other varied fields)
  • 3 ONE-DAY WORKSHOPS with 3 ARTIST COLLECTIVES

impact16 is aimed at artists and advanced students, practitioners and theoreticians from the natural and social sciences, technology, architecture and urban planning, philosophy, political activism, as well as from the visual and performance arts.

APPLICATIONS UNTIL 10. OCTOBER 2016

Online application form: www.pact-zollverein.de/en/platforms/ impact-application Limited number of 30 participants. Selection is based on the quality of submitted applications (CV, letter of motivation and, where applicable, work samples). The working language is English.

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.

Call For Essays – Cinematic Fixations

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

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

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

Call for papers: Digital Fabrication @ FATE 2017

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

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

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

Possible topics to explore:

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

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

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

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 FOR SUBMISSIONS – Public Journal of Imaging America

CALL FOR SUBMISSIONS

Special Issue: Digital Engagements – When the Virtual Gets Real

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

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

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

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

Possible Topics

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

Format

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

Submission Process

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

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

Call: 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 Applications to The Art & Law Program

Applications are now open for the Fall 2016 session of the Art & Law Program in New York City.

Information about the Art & Law Program is available here: http://www.artlawprogram.com/new-page/

Applications are accepted online here: http://www.artlawprogram.com/new-page-1/

Fellows of The Program meet once a week for a 3-hour seminar to discuss readings and visual materials with the Director of the Program, Sergio Muñoz Sarmiento, curator/art historian and Associate Director of the Program, Lauren van Haaften-Schick, and/or with a guest seminar leader. There is an emphasis on the close analysis of legal cases, texts and materials. Through this examination of legal structures and modes of thought, the Program aims to critique current artistic, curatorial, theoretical, art historical, and design practices and methodologies. At the conclusion of the seminars, Fall term Fellows are expected to participate in a pecha-kucha presentation.

Applicants with backgrounds in art, art history/criticism, curating, architecture, film, writing, philosophy, business, economics, sociology, urban planning, political science and history are strongly encouraged to apply.

The Fall 2016 term runs from September 12 to December 12, 2016. Seminars will be held at the School of Visual Arts, in New York City, on Monday nights from 6pm to 9pm.

Applications for the Fall 2016 term are due on July 4, 2016. Application inquiries should be sent via e-mail to Sergio Muñoz Sarmiento: sms@artlawoffice.com


The Art & Law Program is a seminar series & residency program with a theoretical and philosophical focus on the effects of law and jurisprudence on cultural production and reception.

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

Leonardo ABstract Services Opportunity

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

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

Deadline : June 30

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

Sign Up to Receive Opportunities for Leonardo

Survey on Data Usage in Art History

NMC members,

Please consider taking a short survey that seeks to gauge information about the usage and users of open data and datasets from museums and other cultural heritage institutions. If you’ve worked with museum APIs, SPARQL endpoints, or Github datasets (or other art historical data), this survey is for you! The primary survey groups are those working and researching in art history. However, researchers in all disciplines are encouraged to respond. Please distribute this survey to other interested parties!

The survey is here: http://goo.gl/forms/a1TOlGUEPE

Thanks for your consideration, and if you have any questions, please contact me.

Sarah E. Seymore
Digital Metadata Technician
Digital Scholarship Center
University of Oregon Libraries
sseymore@uoregon.edu

The Digital Scholarship Center (DSC) collaborates with faculty members and students to transform research and scholarly communication using new media and digital technologies. Based on a foundation of access, sharing, and preservation, the DSC provides digital asset management, digital preservation, training, consultations, and tools for digital scholarship.

Call for applications, symposium: Art History in Digital Dimensions

Deadline: May 30, 2016

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

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