Tag Archives: video

56th Ann Arbor Film Festival Call for Entries Opening Soon

Awards:
The AAFF offers approximately $21,000 in cash and in-kind awards each year. For a list of the award winners from the 55th AAFF, see: http://aafilmfest.org/news/308-55th-aaff-awards

Entries:
Open to the public

Eligibility:
The Ann Arbor Film Festival is open to all motion pictures and all genres that demonstrate a high regard for the moving image as an art form. Work previously submitted may not be re-entered. Entries are accepted in one of two categories: short and feature length. Short films are 59 minutes and under in runtime. Feature films are 60 minutes or longer in runtime. Foreign entries should have English subtitles.

Formats:
Entries are accepted in the following formats: Internet Link (URL) and 16mm. We DO NOT accept DVD, Blu-Ray, VHS or video data files for screening purposes.

If you would like the festival to prescreen a 16mm print of your film, please contact the AAFF directly to make shipping arrangements at submissions@aafilmfest.org

One AAFF entry form or withoutabox entry is required per film. Please submit a brief 2-3 sentence statement (no more than 70 words) about your film for use in the festival program.

Please do not submit a press packet with your film. Due to the volume of entries we cannot ensure that your press packet will survive submission season. If your film is accepted, you will be notified of how to submit your press material.

Fees:
Deadlines for the upcoming 56th AAFF (Festival dates: March 20-25, 2018)
* Early Deadline: July 1- July 31 ($30 Short / $40 Feature)
* Official Deadline: Aug. 1 - Aug. 31 ($45 Short / $55 Feature)
* Late Deadline: Sept. 1 - Sept. 30 ($60 Short / $70 Feature)
For more information: http://www.aafilmfest.org

The Ann Arbor Film Festival is the oldest avant-garde and experimental film festival in North America, founded by George Manupelli in 1963. Internationally recognized as a premiere forum for independent filmmakers and artists, each year's festival engages audiences with remarkable cinematic experiences. The six-day festival presents 40 programs with more than 180 films from over 20 countries of all lengths and genres, including experimental, animation, documentary, fiction, and performance-based works.

 

The Cube Art Project Call for Artists

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

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

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

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

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

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

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.

 

A Normal Future – Interview with NORMALS

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

On Media Players and Dulltech

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

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

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

RE: artist problems with video installations:

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

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

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

RE: is it artwork, commercial product, critique?

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

RE: favorite file formats

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

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

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

TRANSFORMERS: Code and Data-Driven Animation

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

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

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

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

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

CALENDAR

SUBMISSION DEADLINE
September 4, 2015

NOTIFICATION
November 15, 2015

SUBMISSION FORM LINK

http://bit.ly/transformersCAA

SUBMISSION REQUIREMENTS

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

Call For Artwork – CURRENTS New Media Festival

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

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

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

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

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

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


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

Exhibition Announcement – Revisions—Zen for Film

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

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

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

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


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

Call for Entries : MADATAC 07

Screen Shot 2015-06-04 at 5.52.55 PM

VIDEOART & NEW MEDIA AUDIO-VISUAL ART OPEN CALLS
Spain and International/ It is left open without restrictions a call to select, by means of a criteria in which will be valued particularly the experimentation, the innovation and the risk, the creations of all those audio-visual artists who wish that their works are part of the MADATAC/TRANSMADATAC project.

More information on the MADATAC websitehttp://madatac.es/en/madatac-07-call_2015/

The 7th edition will give a free approach to the concept:

ART FOR A QUANTUM OF TIME
.A quantum means the smallest possible discrete unit of any physical property, such as energy or matter.

.A chronon is a unit of time, as part of a hypothesis that proposes that time is not continuous, considered to be the smallest time interval that can be measured.

.A chronon is a quantum of time.

.How many chronons will fit into a moving image?

This project is dedicated to divulge Video Art and Audio Visual-Art in all its modalities, any processes of image-sound interaction without exclusion of experimental-expanded cinema and similar processes, with the aim to disclose to the great public a view of the consolidated video artists and offer a platform for all those emergent video artists with a future projection who contribute with renewing proposals, avoid conventional visual language and does not find their place in other mass media spaces.

Call for Short Films and Videos – Transient Visions: Festival Of The Moving Image

Transient Visions: Festival of the Moving Image, will be held October 16 & 17, 2015, at Spool Mfg., an artist-run Art Space in Johnson City, NY. Transient Visions is accepting submissions of challenging and experimental short films and videos, 20 minutes or less, from emerging and established artists/filmmakers across the globe. Transient Visions: Festival of the Moving Image has screened works of Albert Alcoz, Amber Bemak, Jason Bernagozzi, Vera Brunner-Sung, Alberto Cabrera Bernal, Roger Deutsch, Clint Enns, Thorsten Fleisch, LJ Frezza, Vincent Grenier, Christina Hunt, Ted Kennedy, Eva Kolcze, Péter Lichter, Jesse Malmed, Kristin Reeves, Joel Wanek, Josh Weissbach, among many others.

Transient Visions: Festival of the Moving Image celebrates the cutting edge art of the moving image through screenings, exhibitions and performances, providing a cultural experience that enriches the local community. The Festival serves as a venue to meet artists in this region and beyond, exchanging and sharing ideas, while developing mutual relationships.

Funding for the 2015 Transient Visions: Festival of the Moving Image is provided in part by a project grant from Broome County Arts Council’s United Cultural Fund.

Website: http://www.transientvisions.org/

Submission Guidelines: http://www.transientvisions.org/submission-guidelines.html

Call For Entries: 10th International Festival of Contemporary Animation & Media-Art LINOLEUM

 

The 10th International Festival of Contemporary Animation & Media-Art LINOLEUM. Fall 2015 Kiev/Ukraine

Objectives

– encouraging and celebrating creativity among animators and media artists;

– popularization of contemporary animation and media art in Ukraine.

Nominations

The Jury will select principal nominees during the Festival.

The winners will be awarded Grand-Prix, prizes and monetary prizes.

The Festival will be held with the support of «Michael Tsarev Art Projects» (Germany) and FILM.UA Group (Ukraine).

Total prize fund of the Festival is $5000.

Selection Process

The selection of works for the participation in the Fest will be carried out by the Organizing Committee and the Jury.

The names of the selected artists will be published on the official Linoleum webpage.

Conditions of Selection

The number of works presented by one participant is unlimited. The works are accepted without any strict thematic limitation, but under the common title “Cloud of Dust”.

Entry Requirements

Basic requirements of Organizing Committee to the competitive works are:

– must be completed in 2014-2015;

– no running time limitations;

– at least 30% animation;

– subtitled into English, Ukrainian or Russian (in case the submitted work is in a foreign language).

Your submitted work will not be returned to you or provided feedback on. The festival staff guarantees confidentiality of information and recognizes the authors’ intellectual property.

You can submit your work by July 31, 2015.

The committee will announce the names of the selected artists by August, 2014.

Technical Requirements

You can send a link to your project to linoleumfest2014@gmail.com.

Specifications:

1. a link to your work in a DVD format (VOB format or an archive containing a VIDEO_TS folder);

2. make sure you provide your work in the best video quality available (Full HD, HD), any format.

3. The link should contain the following information about your project. This information will be used in press-releases and catalogues:

– an application form (see the attachment);

– a short synopsis of your film (up to 500 symbols);

– a detailed synopsis of your work (optional);

– screenshots of your film (3 screenshots, 300 dpi resolution);

– photographs of the director and DoP (300 dpi resolution);

– contact information and a short bio of an artist or a studio CV;

– film transcripts (preferably).

We recommend that you use the following exchangers when you will send work through the Internet:

https://www.wetransfer.com/;

https://www.yousendit.com/.

The possibility of acceptance of works on the film 16mm or 35mm is to be discussed with the Organizing Committee.

Contacts

For any information about the competition and Fest please apply to the organizing committee of the Fest:

– e-mail: linoleumfest2014@gmail.com

Call For Entries: 19th VIDEOMEDEJA

 

19th International Video Festival VIDEOMEDEJA
October 23 – 25 2015 | Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia

Like previous years we are looking for new video art works and short films, media installations, live audiovisual performances, network based projects. In addition, we are very glad to receive proposals from curators and producers/distributors for the non-competitive special screenings.

Entry forms are online and artists can easily provide their video previews directly by web form.

Categories: Video/Film | Media installations | Network and Software projects | Live av performances

Deadline: 15 July 2015
videomedeja.org

Call For Entries – Video + New Media

Grey Projects invites Work in Video, Video/Media Installation, and New Media. All video art styles will be considered including shorts, experimental, poetic, abstract, documentary, music, animation. 10 min max, 5 min or less preferred. Entries will be considered for multiple exhibitions. See prospectus for full information and details on Installation and New Media work.


Grey Projects curates video and new media works for multiple venues, customizing selection and presentation based on exhibition parameters.

Call For Videos – Without Words Film Festival 2015

Words are everywhere.

In each sphere of society, they reflect our thoughts, reflexions and ideas.
Spoken or written, they convey stories, information and messages.
The only exception to this hegemony of words is arts.
Painting, sculpture, music, photography, installation and video art are the only mediums that are able to convey a message without the use of words.

Without Words Film Festival” celebrates once a year since 2014, video art that uses words only to announce its title and author.

Without Words Film Festival” takes place at the end of November at University of Lorraine, Ile du Saulcy in Metz (France).
It begins with a special contest open to Lorraine University students.

Each year, the members of the jury of “Without Words Film Festival” reward the three videos they prefer.

The theme of “Without Words Film Festival” 2015 is: “Time distorsions”.

Regulations :
1) Deadline to send your videos : September 15, 2015, exclusively by review link (vimeo, youtube, etc.)
2) There is no entry fee
3) Each author can send a maximum of 2 videos
4) The videos sent must be related to the theme “Time distorsions” and must not have been produced before 2013
5) The submitted videos have to last between one and ten minutes
6) If selected, the author will be asked to send a HD quicktime file by wetransfer
7) The result of selections will be communicated to the artists in November 2015
8) Required information to be sent to withoutwords@free.fr :
– Title
– Author
– Length
– Year of production
– Synopsis
– Review link

Call for Video Works : Print Screen Festival 2015

The theme for 2015’s Print Screen festival is "Hypersensitive:" an examination of if and how digital technologies change our sensitivity toward one another and the world around us. Questions explored will include those ranging from the more literal -- What added senses does technology provide us, and what are their limitations? Does a technologically-heightened sensibility lead to added sensitivity? -- to the more theoretical: How does technology impact emotions? How does technology change our awareness toward the social injustices and global concerns?

This is the second year that Print Screen will explore this theme through a curated program of video works. In our first year we received over one-hundred and fifty submissions and exhibited the works of nineteen international artists.

Submissions must be works that are 10 minutes or under. Works will be selected according to their merit, complexity and depth of the concept. Works that touch on the following themes related to “Hypersensitive” will be especially considered:
* Senses: Heightened, Modified, Manipulated
* The Transhuman and his emotional states
* Sensitivity toward one another through the use of technology
* Emotional computing and programming

To submit work:
Submissions may be made through the Print Screen Entry Form: http://goo.gl/OL7I7q, in English or Hebrew. A new entry form is required for each submission. Deadline for submission is April 15, 2014

Selection Notification: Early May 2015
Exhibition: May 27th-30th, 2015

Questions? Direct to printscreen.video@gmail.com or liat@digikits.ch.


 

This will be the fifth year of Print Screen, Israel's International Digital Culture Festival. Just as the "PrintScreen" function captures a screenshot of a computer, so too does the festival capture a contemporary screenshot of life in the epoch of new media.

The festival draws together artists, technologists and digital culture researchers for four days of programming at the Holon Cinematheque in Holon, Israel. Print Screen includes a wide variety of films, contextual programming, interactive presentations, master classes with international artists, workshops, lectures and panel discussions.

In 2014, more than 2,000 participants took part of the screenings and activities. Notable guests included Evan Roth (US), Johannes Grenzfurthner (AU), Julian Oliver (DE/NZ) and Yossi Vardi (IL). More at http://www.printscreenfestival.com.