Tag Archives: symposium

Report from Computer Art Congress 5

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Bonjour de Paris!

I'm writing today quite early in the morning before I head out to Charles de Gaulle and return home. In my short stay I've had difficulty sleeping, so I thought I might make use of some of that time while everything is still relatively fresh in my head. Its likely I won't get it all here before I begin traveling, but I couldn't wait to get started.

The Computer Art Congress is an international gathering around Art, Science, Technology, and Design. The first edition was celebrated in Paris (2002), followed by Mexico City (2008), Paris (2012), and and Rio de Janeiro (2014). In fourteen years, this community of artists, curators, researchers, scholars, scientists, designers, students, and professionals have contributed to the domain of knowledge surrounding digital media with artworks, papers, round tables, workshops and exhibitions. This edition of CAC was held in Paris, at the Maison des Sciences de l'Homme and extended this tradition under the theme "Digital Art: Archiving and Questioning Immateriality". It was held from October 26-28 2016. CAC.5 was developed through 45 accepted proposals from 80 submissions and included representatives from 19 countries.

 

Maison des Sciences de l'Homme, Saint Denis, Paris

Maison des Sciences de l'Homme, Saint Denis, Paris

Each panel and paper was well developed, and presented a different aspect of the selected theme. Because the congress is a relatively small and welcoming group, I was able to attend all of the panels. To me this was an added benefit because, as many of you may experience at academic conferences, I didn't have to select between different panels that were concurrent. The panels were also complemented by performances and an exhibition. I'm going to mention only a small handful of things that stand out to me in this report (although I would love nothing more than to continue the discussions initiated by each paper, performance, and artwork). Several of us used the #cac5p to share our observations in realtime and perhaps that might give a different sort of snapshot.

Daniela de Paulis, OPTICKS

Daniela de Paulis, OPTICKS

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Christa Sommerer with Laurent Mignonneau

In the first panel, Daniela de Paulis discussed her work on the project OPTICKS which uses moonbounce to sound/receive images. The performances described used a radio telescope to transmit images in an earth-moon-earth circuit. It struck me as an interesting appropriation of historical equipment developed for military and scientific purposes in the service of artistic expression. The work embraced interference and the potentials caused by transforming and transmitting images between digital and analog technologies. Among the other presentations, Christa Sommerer shared the interactive work that she and Laurent Mignonneau have develop in recent years with flies as a visual metaphor or momento mori.

Bernard Stiegler, invited keynote lecture

Bernard Stiegler, invited keynote lecture

The first day of CAC.5 was closed by an invited keynote from Bernard Stiegler. The philosopher presented his well developed concerns regarding the anthropocene and exosomatization. Although the talk was dense, Stiegler presented his thoughts in a lucid and engaging way. I was struck by his ability to explain the transformation or traces of words that describe how we think about the world through time... at once historical but also cross-referenced with our current or contemporary understanding. To me, it was a philosophy as a form of alchemy - searching for the trace of a formula for more complete understanding of our experience in the world as the world begins to disappear.

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Andres Burbano presenting on Konrad Zuse

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Ricardo Dal Farra presenting on an archiving project of electroacoutsic music from Latin America

monkeyTURN

monkeyTURN

Day two begin with Andres Burbano giving us an overview of the first programmable flatbed plotter-type drawing machine developed Konrad Zuse around. Later in the day Ricardo Dal Farra shared his research into the collection and preservation of electroacoustic and electronic music from Latin America that is supported by the Daniel Langlois Foundation. In the evening he gave a performance titled "ORGANIC" that was a form of visual music wherein the animated forms were developed by algorithms that were also used to produce sound. The performance just prior to this was from Naoyuki Tanaka and included animation projection mapped onto an robot. In this work, titled "monkeyTURN", Tanaka performed the visuals, robot, and sound at once creating a unified sequence that called into question the relationships between man, animal, and machine.

Frank Soudan presenting on "FFF"

Frank Soudan presenting on "FFF"

Malu Fragoso presenting on WE BEES

Malu Fragoso presenting on WE BEES

Lev Manovich, invited keynote with remote delivery

Lev Manovich, invited keynote with remote delivery

The third and final day of CAC.5 continued the program of thought-provoking and expressive ways of considering the question of the immaterial in digital art practices. Frank Soudan gave an overview of the work "FFF" that he has been developing with Marc Veyrat. The project explores the use of data as a material for sculpture and not in the service of visualization. It pulls data from participants Facebook streams to generate and accumulate stoppages on the mesh of an interactive sphere. This was followed by Malu Fragoso's recent work creating artificial interfaces with natural and organic elements that are developed through hybridization, telematics, and networked or distributed materiality. Colonies of bees are tracked using simple DIY electronics systems and the data is streamed into the artistic installation that includes objects, sounds, smells, and projections related to the data. The invited keynote later in the day was given remotely by Lev Manovich who had recently submitted a draft for his forthcoming book on Cultural Analytics.

At the close of the congress, a round table announced the plans for CAC.6 to be held in Guanajuato City in 2018. The plans will be developed over coming years as will the theme which will include topics related to digital art education. I look forward to the potential of meeting and seeing everyone at the next Computer Art Congress. In closing, I'd like to thank the Everardo Reyes, Khaldoun Zreik, and everyone at Computer Art Congress for having me, my paper, and my artwork... it was a wonderful time!

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A. Bill Miller is an Assistant Professor at University of Wisconsin - Whitewater.

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.

ART NEWS FROM SIGGRAPH 2016

HIGHLY INTERACTIVE ART GALLERY PRESENTATION - 'DATA MATERIALITIES'

TO BE SPECIAL FEATURE AT SIGGRAPH 2016 IN ANAHEIM

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

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

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

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

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

"Data Materialities" Art Gallery highlights include:

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Digital Curation” – What’s in a Word (or Two)?

In early October, 2015, Phyllis Hecht and Joyce Ray, both faculty in Johns Hopkins University Museum Studies program, hosted a summit meeting in Washington DC on the topic of Digital Curation. I was lucky to be able to attend this 2-day meeting and, since this was not a public conference, I wanted to share some of the experience with a broader audience.

The goals of the meeting were to:

  1. Highlight innovative practices supported by digital curation in art museums and discuss the opportunities and challenges that these present;
  2. Identify the roles and responsibilities of digital curation interns, faculty supervisors, and host organizations/mentors; and,
  3. Publish a summary report on the value of digital curation in art museums, the role of art museums in educating a new generation of digital curators, and the potential role of digital curation internships and research in advancing the art museum mission.

Attendees included about 30 museum directors, curators, museum CIO’s and technology staff, vendors, consultants, and foundation leaders. The two days were formatted in sections; each kicked off by a presentation, followed by broad-ranging open discussion. Presentations were offered by individuals below (that give a sense of the group’s professional diversity):

  • Phyllis Hecht & Joyce Ray, Johns Hopkins University
  • Diane Zorich, Consultant
  • John Ryan, Local Projects
  • Douglas Hegley, Minneapolis Institute of Art
  • Ben Fino-Raden, MoMA
  • Anne Goodyear, Bowdoin College Museum of Art
  • George Coulbourne, Library of Congress
  • Eleanor Fink, American Art Collaborative
  • Monkia Hagedorn-Saupe, Institue fur Museumsforschung

Of particular interest to me was a topic that could have been some semantic navel-gazing - defining “Digital Curation” - but was, in fact, due to the discussants, a chance to frame curating itself anew. “Digital Curation” was being used in the room much like it is elsewhere, very broadly to mean any act of selection, organization, and management applied to digital content conducted by any person (but most likely a cultural heritage professional, be they curator or IT manager.) Museum professionals in the room brought up the fact that “curating” as a term has experienced some dilution of late. These days, boutique shop windows are “curated,” craft beers are presented by beer curators, and everyone with an Instagram account is an image curator. However, rather than be caught up in this false dilemma of professionalism v. populism, discussants took the conversation in a more constructive direction. Anne Goodyear and Rob Stein (Dallas Museum of Art) discussed how - to paraphrase - quantitative shifts in the mass availability of information may lead to qualitative shifts in thinking. At the end of the first morning, that lead me to tweet:

“A new human consciousness emerged this morning at #jhudigcur @JHMuseumStudies & kinda blew my tiny mind. Had to leave to rethink curating.”

The next morning, having had a night to stew on that, I tweeted my proposed definition of Digital Curation:

“Digital curation may or may not use digital objects & tools but is curating in relation to network consciousness.”

I’ll have to see if that holds up to scrutiny or to practice. In the meantime, the folks at JHU are planning to publish proceedings from this meeting that will include, hopefully, not only more detail than this snapshot post, but also an index of suggested sources on the topic of digital curation. As you might have guessed, you can also find the event in tweet-archive form under #jhudigcur.

Richard Rinehart, Director, Samek Art Museum, Bucknell University

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

SRA_FullColor Version_outlines-2

We are delighted to announce the opening of the exhibition Stimulus Response Affect, which explores varied ways artists engage the human body through sensorial, perceptual, chronological and spatial shifts, using sound and kinetic sculpture, interactive video, participatory games, augmented reality, social media and programmed software.

The Oakland University Art Gallery is hosting this event, co-curated by Colleen Ludwig and Vagner M. Whitehead. From October 16, 2015 to November 22, 2015, eleven works by fourteen artists from around the Great Lakes, in the U.S. and Canada.

These dynamic artworks activate the viewer as a participant, raising questions about self, relationships, surroundings and society, and provide the unique opportunity to experience and actively (re)consider the relevance and implications of innovative interactive contemporary art. With this in mind, we also invite you to attend a special symposium in conjunction with the exhibition the day after the opening.

The exhibition opens on October 16, from 6 to 8 pm.

On October 17, from 9 to 5 pm, featured artists will engage with the public in a four session symposium.

Play, Response and Learning

- Cristobal Mendoza and Annica Cuppetelli

- Bradley Tober

- Brian Patrick Franklin and Chris Wille

Text, Error Message, Codification, Reverb

- Sophia Brueckner

- Andrea Roberts

- Meg Mitchell

Malleable Architecture, Space and Time

- Brian Schrank

- Aaron Higgins

Augmented Reality, Conflict and Participation

- Channel TWo (Adam Trowbridge and Jessica Westbrook)

- Byron Rich and John Wenskovitch

- Ben Grosser (via Skype)

The SRA symposium will be live-streamed at the Hub in an upcoming post; we invite you to return and participate from afar.

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Dispatch from Vancouver – ISEA2015 Part 2

ISEA2015 is barely half over, and its amazing to think back to what's already happened and also what is still to come. I'm not able to stay for the entire conference, but have really enjoyed the engaging programming and all of the events. I'm going to just mention a few... as I'm sure you know its impossible to see everything that you really want to at a conference of this scale. The quality of what I've seen and heard about, however, puts you in the position where its difficult to make a bad decision - there's something for everyone.

On Sunday morning, Brian Massumi delivered an intense and immensely interesting keynote address to a packed room. The talk was centered around what he sees as key concepts in explaining his approach and interest in affect. He also careful expanded on some of the misconceptions surrounding those concepts. Although the talk was dense, it was a great way to kick off the next several days which will include hundreds of papers, posters, demos, exhibitions (proceedings here).

And in regards to exhibitions, it would be hard to report on what I did and saw in Vancouver without going back to the Saturday evening opening of the ISEA Disruption exhibition at Vancouver Art Gallery. The show coincided with an annual event at the gallery called FUSE. After the private opening for ISEA attendees, the gallery opened to the community and it included music and performances in the gallery courtyard/park. The word is that something like 5000 people attended the opening - it was completely packed. The gallery was so crowded at times it was tricky to see the work, but if that's a trade off for being able to show and share the work that artist involved with ISEA are doing then its not necessarily a bad thing in my opinion.

A second keynote was given by Michael Connor from Rhizome on Sunday afternoon. He gave an interesting overview of the development of the site and organization over the years and its numerous shifts in focus. I couldn't make out in his conclusion whether or not he thinks Rhizome , as an institution of some sort, is acting basic or is normcore. 

Sunday evening programming included an opening at the Museum of Vancouver. Just outside the museum, as the evening went on, the sun set over the mountains/bay. And after a quick ride back to the SFU Woodwards campus the night continued on with audio/visual performances. This was the first of the two nights of performance programming from the Mutek Cabaret. It was another intense and interesting way to end a intellectually stimulating and fun day.

I'm about to board my plane... I can't believe I'm gonna miss the next few days, with equally engaging content. Don't miss The Yes Men or Rosa Menkman - all having keynotes later this week.

--END DISPATCH

CALL FOR SUBMISSIONS – 15TH BIENNIAL ARTS AND TECHNOLOGY SYMPOSIUM

openallports

CALL FOR SUBMISSIONS:

"OPEN ALL PORTS"

The Ammerman Center at Connecticut College seeks submissions for its 2016 Biennial Symposium for Arts and Technology being held February 25-27, 2016 at Connecticut College.

Paid Commissions Deadline: September 30
General Submissions Deadline: October 19

The aim of the symposium, now in its 30th year, is to create a forum for multi-disciplinary dialogue at the intersection of arts, technology and contemporary culture. The symposium brings artists and researchers from a wide range of fields together to engage, interact and share ideas as they present new works, research and performances in a variety of formats. Featured events include a keynote address by Natalie Jeremijenko, several commissioned multi-disciplinary works, panel discussions and paper presentations, workshops, gallery exhibitions, music concerts, installations, screenings, public interventions and live media performances. Newly commissioned works will be presented alongside selected works by symposium participants.

This year, the symposium theme is “Open All Ports”. Ports, as physical places, demarcate points of passage such as arrival and departure, entry and exit. Historical New London, the host city for the symposium, is a prime example of such a port. Virtual ports (such as network and computer ports) undergird our digital connectivity. We now exist in an era in which we attempt to balance access, information, security, privacy and freedom. Ports have gained newfound significance, no longer understood solely as traffic nodes, but as points of a larger exploration and reflection on connectivity and sharing. As such, they lead us to a revealing diversity of perspectives that range from corporeality to virtuality, and from empowerment to vulnerability.

In working at the crossroads of technology, the arts and the humanities, one often encounters calls to openness, alongside some real issues that this very openness engenders. In making “Open All Ports” the theme of this symposium, we ask: What if, once all the points of connection were made available, new linkages could indeed take place? New representations, previously unseen, were afforded the platform for visibility and voice? New and unknown interfaces, realized? All the “big data” was completely unfiltered, flowing in all directions? What are the implications of all source code being open? We encourage and invite participating artists, theoreticians and researchers to relate their work to this theme or to an expanded context.


 

The Ammerman Center for Arts and Technology is pleased to present Open All Ports: the 15th Biennial Symposium on Arts and Technology, february 25 - 27, 2016.

This three day event will be highlighted by sessions, performances, exhibitions, and new works at the intersection of arts and technology.

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

Extended Deadline (submissions are due on May 15th)

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

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

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

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


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

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

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

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


 

Call for Expressions of Interest to Host ISEA2018

ISEA International is pleased to announce the call for Expressions of Interest to host ISEA2018 (24th International Symposium on Electronic Art). Potential host organisations should consult the 2018 Guidelines for Symposium Host Candidates on the ISEA International website prior to making a bid.  The Guidelines can be found here:  http://bit.ly/1FRaAjU

The Expression of Interest should consist of a 3-5 page proposal including details about host organisation, partners, outline budget and finance plan, symposium themes, artistic programme, creation of International Program Committee, plans for proceedings, milestone dates, registration fees and other relevant details. In preparing your response please refer to the Symposium Guidelines, section 4.2.

Selected  potential host organisations will be invited to meet with the Board and give a presentation on their Expression of Interest to delegates at the ISEA International General Meeting during ISEA2015 in Vancouver, Canada (August 14-18, 2015). 

TIMETABLE FOR 2018 BIDS

May 31, 2015              Deadline for submitting Expression of Interest

June 15-30, 2015         Bidding organisations notified

August, 2015                Presentation of plans at ISEA2015 (Vancouver, Canada) and meeting with ISEA International board

November 15, 2015     Deadline for Full Bid documents

December, 2015           Possible Skype meeting with ISEA International Board

December 31, 2015      Candidates notified of outcome

QUESTIONS & CONTACT INFORMATION

Interested parties are encouraged to contact ISEA International HQ for further details. The Expression of Interest should be sent electronically to: Sue Gollifer, ISEA International HQ Director, University of Brighton, UK email: <info@isea-web.org>

ISEA is a forum for interdisciplinary academic discourse and exchange among culturally diverse organisations and individuals working with art, science and technology. The Symposium is an annual nomadic event, hosted by organisations around the world. The first International Symposium on Electronic Art was held in 1988 in Utrecht, The Netherlands. 

Future ISEA symposium schedule:

ISEA2015 Vancouver, Canada      http://isea2015.org/

ISEA2016 Hong Kong, China       http://isea2016.info/

ISEA2017 Manizales, Colombia 

ISEA International http://isea-web.org

 

Call for Design Exhibition ISWC 2015

International Symposium on Wearable Computing

Dear Colleagues,

We are pleased to announce the call for the 2015 ISWC Design Exhibition.

Please kindly forward this email to interested colleagues, researchers, designers, and scholars.
**Important Dates**
1. Submission deadline: May 29, 2015 11:59pm PDT
2. Notification of acceptance: June 19, 2015
3. Camera-ready version of submission and supporting images: July 3, 2015
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Call for Design Exhibition Submissions

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ISWC 2015 (Collocated with UbiComp 2015)

http://www.iswc.net/
http://iswc.net/iswc15/calls/design_exhibition.html

September 7-11, 2015, Osaka, Japan

ISWC 2015, the nineteenth annual International Symposium on Wearable Computers, is the premier forum for wearable computing and issues related to on-body and worn mobile technologies. ISWC 2015 brings together researchers, product vendors, fashion designers, textile manufacturers, end users, and related professionals to share information and advances in wearable computing. ISWC 2015 will be held September 7-11 in Osaka, Japan, collocated with UbiComp 2015.

ISWC 2015's Juried Design Exhibition invites submissions of original works of wearable technology and/or novel applications for new audiences using existing technologies. Submissions may comprise any type of wearable technology (electronic, mechanical, textile and garment-based, etc). Awards for the best design will be given in three categories: Aesthetic, Functional, and Fiber Art.

== Design Exhibition Categories==

*Functional:Submissions to this category should be functionally-focused wearable designs, aimed at using technology to solve a particular problem or meet a specific need.
*Aesthetic:Submissions to this category should be aesthetically-focused wearable designs, aimed at developing an aesthetic or visual effect through the use of technology.
*Fiber arts:Submissions to this category should be non-wearable, but textile- or fiber-integrated innovations. Fiber arts submissions may be functionally or aesthetically focused.

Confused about which category to pick? Many designs address both functional and aesthetic aspects of a problem. Designers should consider in which aspect their design is strongest, and submit it to that category.

==Submission Content==

Designers are asked to submit an illustrated design statement detailing the work's concept, motivation, intended audience and end-use, technological functionality, and execution. Detailed images must illustrate the text.
Please submit your document as one compiled PDF file, formatted according to the ACM extended abstracts format. The submission should not exceed 6 pages, including embedded images. All figures should be included in the document body and referenced in the text. Please cite all references used in the text according to the ACM formatting instructions. Your submitted PDF should not exceed 6 pages or 5MB. Please prepare your paper for blind review: do not include any names or institution affiliations within your submitted PDF.

Design submissions should include an illustration or image. It is strongly encouraged to include High Res Images and a Video at the time of submission. High Res Images and a Video will be required of all accepted designs for the camera ready submission and will be used in the ISWC Design Exhibition. Submit your design statement and supporting materials through the PrecisionConference site

Please note: Accepted designs will need to for shipped/transported to Osaka, to arrive on or before September 7, 2015. Authors will be responsible for shipping items to and from Osaka, Japan.
==Evaluation Criteria==
1) Concept Originality: How novel is the concept or application? Has it been done before? Is the approach novel? The work should exhibit depth of understanding and insight.
2) Technological Innovation: How innovative is the use of technology: have advances been made in the use of standard tools for a new purpose? Have new technologies been developed? What does the technology bring to the wearer or the viewer in the wearable environment?
3) Execution: How professional and polished is the finished product? Have appropriate or novel construction techniques been implemented? How have standard hardware components been adapted for the wearable environment?
4) Communication and Rigor:How well have the concept, novelty, and use of technology been communicated? Is the idea and process evident in written and visual materials?
5) Audience/Usability:How appropriate is the design for the intended audience/purpose? (Aesthetic and Fiber Art.) How well have the designers addressed the usability of their interface/interaction? (Functional and Fiber Art.)
All submissions will be evaluated by the jury panel for their following design elements, as outlined above: concept, use of technology, execution, and visual/written communication. Aesthetically-focused designs will also be evaluated with respect to their aesthetic novelty and appropriateness for the intended purpose, and functionally-focused designs will also be evaluated with respect to the usability of the technology for the specified audience.

Accepted works will be exhibited at the conference venue, and accepted exhibitors may be asked to supply additional visual materials to accompany the exhibition. Designers will assume the cost of transporting their work to and from Osaka, to arrive before September 7th, 2015.

Design statements from all accepted designs will be included in the ISWC Adjunct Proceedings. Design awards will be presented at the conference for the Aesthetic, Functional, and Fiber Arts categories.
== Submission Inquiries ==
Should you have any inquiries prior to the submission deadline, feel free to contact the Chairs of the Design Exhibition at ** design@iswc.net **.
==Design Exhibition Chairs==

1) Margarita Benitez, Kent State University
2) Halley Profita, University of Colorado at Boulder
==Important Dates==

1. Submission deadline: May 29, 2015
2. Notification of acceptance: June 19, 2015
3. Camera-ready version of submission and supporting images: July 3, 2015

glitch.refrag.paris Symposium

reFrag: is a symposium exploring new connections between art, culture and technology.

reFrag: glitch gathers together artists working in the international networks of Glitch Art for 4 days of intensive workshops, talks and performances with exhibitions in Paris and online. reFrag: glitch address the multifold ways in which glitches manifest and/or are mobilized artistically in our lives. Glitches occur in our identity (de/re)constuctions; instabilities and errors in digitized financial markets (i.e. flash crashes); hacking, cracking and tactical glitches; Dirty New Media Art approaches and the non-neutrality of technological systems.

Parsons Paris and The School of the Art Institute of Chicago’s Film, Video, New Media & Animation Department collaborate on reFrag:glitch, an international Glitch Art event running from the 19th to the 23rd of March 2015.

reFrag: glitch breaks, cracks, ruptures as dirty disorganizational strategies for gathering/rallying glitch communities. Join us online and/or in Paris via the open track[s] for proposing and participating: These open track[s] to schedule opens room for surprises, improvisation and self-organized forms of participation.

Art of the Networked Practice | Online Symposium

 

March 31 – April 2, 2015
http://oss.adm.ntu.edu.sg/symposium2015/

Presented by the NTU School of Art, Design & Media
Co-chaired by Randall Packer & Vibeke Sorensen
In Association with Furtherfield | London

The Art of the Networked Practice | Online Symposium is an international gathering exploring emergent forms of networked research, artistic production, and teaching in the arts. Intended as a global and inclusive gathering, without registration fees, the symposium unites local and remote speakers and audiences via Web-conferencing from around the world to discuss a range of topics, including: distributed teaching and studio models, collective research, peer-to-peer cultural production, networked performance, big data cultural analytics, and a broad array of issues in Internet art & culture. The Art of the Networked Practice | Online Symposium brings together artists, educators, theorists, and scholars from universities, art schools, museums, alternative art spaces, and other cultural institutions to capture the range and diversity of current networked practices in the arts.

Keynotes:
Steve Dixon, JonCates, Peter Looker, Lev Manovich

Panelists:
Tim White, Anne Balsamo, Deborah Howes, David A. Ross, Anne-Marie Schleiner, Marc Garrett, Ruth Catlow, Alex Adriaansens, Juan Camilo González, Charlotte Frost, Melinda Rackham, McKenzie Wark

Live Webcam Cyberformance:
New work by Helen Varley Jamieson with NTU students

Networked Installation:
Data visualization by Juan Camilo González

The NetArtizens Project:
Created by Furtherfield with Nick Briz, Joseph Yølk Chiocchi

Visit the Website for full symposium details:
http://oss.adm.ntu.edu.sg/symposium2015/

Sponsored by the NTU School of Art, Design & Media
Centre for Liberal Arts & Social Sciences (CLASS)
Teaching, Learning and Pedagogy Division | EdeX