Tag Archives: Call

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.

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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.

Call – Fullbright Scholars Program 2017-2018

The Fulbright Scholar Program offers teaching, research or combination teaching and research awards in over 125 countries for the 2017-2018 academic year. Opportunities are available for college and university faculty and administrators as well as for professionals, artists, journalists, independent scholars and many others.  

Opportunities that may be of particular interest include:

  • Norway: Digital Culture – A teaching and research award which allows the selected candidate to take part in the activities of the Digital Culture program and the Digital Culture and Electronic Literature research groups in the Department of Linguistic, Literary and Aesthetic Studies at the University of Bergen. The scholar will teach three courses in digital culture and digital media aesthetics and evaluate student work.
  • Latvia: Multiple Disciplines – Liepaja University has requested a specialist in new media arts. The selected scholar will teach undergraduate and graduate courses in one or more of their area of specialization. Interested applicants should contact the host institution for further information and to discuss their background and teaching.
  • Bulgaria: Communications, Journalism, Media – The selected scholar will teach undergraduate or graduate courses or both, consult on curriculum development and assist with student advising. Applications are sought in all appropriate disciplines with preference for scholars in digital technologies in the media and electronic media.

For further awards in the field, please visit our updated Communications, American Studies and Fine Arts discipline pages. There you will find award highlights and examples of successful projects in the discipline, and scholar testimonials which highlight the outcomes and benefits associated with completing a Fulbright Scholar grant.

For eligibility factors, detailed application guidelines and review criteria, please follow this link: http://cies.org/program/core-fulbright-us-scholar-program. You may also wish to register for one of our webinars or join our online community, My Fulbright, a resource center for applicants interested in the program.

Applicants must be U.S. citizens and the current competition will close on August 1, 2016.

Please contact Bill McShane at wmcshane@iie.org for additional information.

The Fulbright Program, sponsored by the U.S. Department of State’s Bureau of Educational and Cultural Affairs, is the U.S. government’s flagship international exchange program and is supported by the people of the United States and partner countries around the world.

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

*Open Call for Artists: Black Box 3.0*

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

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

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

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

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

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

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

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

APPLY: www.aktionsart.org/submissions


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

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

 

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

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

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

Contact: smoro@idsva.org

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

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

Call for Papers SECAC: Ecology Communication in Art and Education

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

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

Deadline: April 20th

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

Contact: skgevurtz@vcu.edu

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

Call for Applications – Summer 2016 Programs at School of Machines, Making, and Make-Believe

The School of Machines, Making, and Make-Believe is thrilled to announce our open call for applications! Our four-week intensive summer programs will focus on three main areas: computer vision, machine learning for artists, and virtual reality. http://schoolofma.org/programs/

Leading figures in the fields of new-media art and technology will unite in Berlin to lead the full-time programs, which have in the past drawn attendees from as far away as Brazil, Mexico, India, and the US, as well as from several countries throughout Europe.

Visit our website to learn more and submit an application: http://schoolofma.org.

In addition, we're excited to offer two scholarships per program to cover tuition cost for refugee applicants with some experience in the areas of art and technology. If you know persons who may be interested in applying, please forward this email!

TOPICS | PROGRAM DATES::
See Or Be Seen (topic: Computer Vision): 6 June - 1 July
The Neural Aesthetic (topic: AI & Machine Learning for Artists): 4 July - 29 July
Virtual Fictions: (topic: Storytelling & Virtual Reality): 1 August - 26 August

Second Early application deadline: 2 May
Regular application deadline: Program Begin

Twitter | https://twitter.com/schoolofmaaa
Facebook | https://www.facebook.com/schoolofmachines

School of Machines, Making & Make Believe is a uniquely curated School born in Berlin, Germany in 2014, keen on inventing one-of-a-kind hands-on learning experiences in the areas of art, technology, design, and human connection. We embrace art, creativity and exploring the latest technology and ourselves with humility and curiosity.

We teach tangible skills like how to code, work with electronics and use digital fabrication tools while exploring concepts, narrative and play. Our goal is to help people take the fantastical ideas inside their heads out into the physical realm to further their artistic practice or to help wrestle out the confidence to begin one. We teach technology to artists and design, creativity, and art to the technology community.

 

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

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

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

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

Call for Panel Proposals – CAA New York 2017

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

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

PROPOSALS MUST INCLUDE:

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

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

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

NOTES:

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

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

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

Games++

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

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

http://gamesplusplus.org/

 

CFP – Digital Humanities – MMLA – Due April 5th

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

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

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

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

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

Media-N Fall 2016 Issue CFP

Uncovering News: Reporting and Forms of New Media Art

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

Guest Editors

Abigail Susik, Willamette University

Grant Taylor, Lebanon Valley College

Editor-In-Chief

Kevin Hamilton

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

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

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

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

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

 

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

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

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

TIMELINE:

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

July 15, 2016: Notification of acceptance.

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

ABSTRACT GUIDELINES:

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

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

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

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

SEND THE SUBMISSION TO:

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