Tag Archives: writing

CFP: UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control

UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control
7th Besides the Screen International Conference
Federal University of Espirito Santo, Brazil, 31 May to 2 June 2017

Deadline for proposals: 20th March 2017

Once again, virtual reality is a technology to come. The recent popularisation of immersive displays has revamped the interest on the possibilities of this subject. Alongside came the growth of other forms of volumetric image capture and exhibition, such as 3-D scanning and 360o video. These systems, many of them created to enable computer sensing, are now informing other observers. The way they have been deployed in fields from social media to heritage preservation and prosthetic medicine indicate their broad impact on emerging spatial ontologies.

The next Besides the Screen conference means to frame these growing trends in volumetric imaging in the long history intertwining geography and optics. Departing from cinema, the event seeks to explore how space and image have shaped one another across different media and cultural systems, tracing the power relations that cause topological subjectivities to emerge.

We invite proposals of papers, workshops, performances, screenings, artist presentations, and experimental projects that address, explore, and subvert topics such as:

  • the past, present, and future of VR technologies
  • 360o and immersive filmmaking in different genres
  • bodily affects and proprioception within virtual environments
  • multi-camera stitching aesthetics
  • visual effects / in-frame spatial compositing, both digital and analog
  • 3-D animation and synthetic spaces
  • moving images resulting from 3-D scanning, photogrammetry, and structured light capture
  • developments in computer vision and depth perception
  • real-time cartography as control interfaces
  • responses from the media and data industries to new image technologies
  • early stereoscopic, anamorphic, and panoramic devices
  • event cinema, site-specific projections, and pop-up screenings
  • cleavages and continuities between architecture and the moving image
  • moving image installation and performances
  • etc

To submit a project, please send an abstract (~250 words) and a short biographical note (~150 words) to the address besidesthescreen@gmail.com, with the subject SUBMISSION: BESIDES THE SCREEN 2017. Please include links for demos / previews of any video, performance, or installation submission. The deadline is 20th March 2017.

* * *

Besides the Screen is an international research network on the subject of experimental audiovisual media. It aims to reconfigure the field of screen studies by refocusing it on the seemingly secondary objects, processes, and practices that exist within cinema. Besides the Screen also means to promote an open and horizontal academic environment, favouring practice-based approaches to research and artist collaborations. More info can be found at besidesthescreen.com.

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 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)

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.

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

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 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.

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

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

Barcelona 2016 Centre for Media and Celebrity Studies (CMCS)

The following keynote might be of strong interest to scholars and media professionals examining new media, Internet celebrities, and online personas in social networks. We encourage social media scholars to join the conversation.

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We are honoured to announce that the 2016 CMCS conference Bridging Gaps: What are the media, publicists, and celebrities selling? will feature keynote speech by Professor P. David Marshall. Details are given below.

Deadline for Abstract Submissions: December 31, 2015
URL: http://cmc-centre.com/conferences/barcelona/

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2016 CMCS Keynote Speaker Professor P David Marshall

“Commodifying the Celebrity-Self: The Peculiar Emergence, Formation and Value of “Industrial” Agency in the Contemporary Attention Economy” by P David Marshall http://cmc-centre.com/keynote/

Professor Marshall, a research professor and holding a personal chair in new media, communication and cultural studies at Deakin University, has published widely in two areas: the public personality/celebrity and new media culture. His books include Companion to Celebrity (December 2015), Celebrity and Power (1997; second edition, 2014), Fame Games (2000), Web Theory (2003), New Media Cultures (2004), and The Celebrity Culture Reader (2006). He has been a keynote speaker at many international conferences as well as interviewed for articles and many broadcast media programs from CNN, FoxNews, BBC, and the ABC/Radio National to the Sydney Morning Herald, New York Times and the Toronto Star. His previous academic positions have been at Northeastern University in Boston, the University of Queensland in Brisbane, and Carleton University in Ottawa along with visiting positions at New York University, York University and Karlstad University. He is also Visiting Distinguished Foreign Expert in the School of Journalism and Communication at Central China Normal University (CCNU) in Wuhan China.

His current writing and research has focused on some key areas in contemporary popular culture: he has been developing the idea of ‘persona studies’, where the presentation of the public self has expanded well beyond celebrity culture via particularly online forms: it now structures and patterns reputation and value across many professions and through many recreational and leisure pursuits. He has developed three related concepts to help explore this change in contemporary culture: presentational media, the intercommunication industry, and the personalization complex. Forthcoming books include: Promotional Vistas (Palgrave, 2016), Contemporary Publics (2016), and Persona Studies: Celebrity, Identity and the transformation of the public self (Palgrave), and Persona in formation (Minnesota, Forerunner Series, 2016). He is also the founder of the Persona Studies Journal and M/C.

His personal blog can be found at: www.pdavidmarshall.com

The Centre for Media and Celebrity Studies (CMCS) is an international organization and research network that helps coordinating academic research and media commentaries on celebrity culture. CMCS carries a pedagogical philosophy that inspires integration of research and media skills training in academic and public discourses of fame. The centre believes in intellectual, aesthetic, and ethical values of bridging gaps in higher education and media. With this view, CMCS helps coordinating research, publications, creative productions, and media commentaries to restore artistic and ethical acts for social change.

CFP and Artwork: Taboo – Transgression – Transcendence in Art and Science

Ionian University, Department of Audio and Visual Arts CFP and Artwork: Taboo - Transgression - Transcendence in Art and Science

The Department of Audio and Visual Arts of the Ionian University in Corfu Greece organizes a two-day interdisciplinary conference with theoretical and artwork presentations under the theme of “Taboo - Transgression - Transcendence”, 20-21 May 2016, focusing on questions about the nature of the forbidden and the liminal as expressed in science and art.

Deadline for submitting abstracts: until February 29, 2016

Since the beginning of time, taboo has traced the edges of experience. As with Icarus, whose excitement made him forget the restrictions of his man-made wings leading to his fall towards death, humans have always been regulated by a set of rules defining the borders of knowledge and experimentation. What constitutes the limits of the accepted, however, has to be read within the ethical horizons of a specific time frame. It is not uncommon that what seems outrageously transgressive in one moment, can eventually transcend to a commonplace practice.

Limits are continuously put to test as contemporary scientific experimentation pushes forward our idea of the world, in quest for answers but also for solutions allowing us to overcome the problems present in our lives. Progress in fields such as the human genome editing, the creation of cyborgs and any human-like artificial intelligence, are only few examples presently generating double-edged questions on the nature of humanity. One could easily recall Dr. Frankenstein, whose ambition to solve the mystery of life and death ends up revealing the threshold of control between creator and creation. As we experience a gradual, but substantial, de-centering from the humanistic values, scientific experimentation bears potential turmoil; its advances are essentially stretching the borders of our experience of the world and ourselves, mostly revealing the fragility of social values.

However, isn’t this also the essential role of Art? More than ever before, isn’t this the point where science intrinsically meet with the arts? Arts apply critical questions to our certainties, and it is not a coincidence that in the last decades so many artists have focused on the human body as their primary medium for investigation. In the merging of science and art opens a space for creative transformation. Art’s playfully transgressive nature offers creative bypasses to the scientific grammar and expands the dialogue with its openness to a multiplicity towards the new. Nevertheless, art – albeit its originary affinity with the taboo – is never completely liberated from moral considerations. Deeply involved into this lively discourse on the nature of the taboo, art becomes the very domain of contemporary experimentation with transgression, in order to provoke and sparkle discourse, catalyzing possible forms of transcendence. Can this relation bear a force of liberating? Is there such a thing as incentive prohibitions and who/what defines the borders of accepted identities and ideologies? Immersing into the impure realm of limits and liminalities, one might trace the mental structures filtering our experience of the world, ultimately opening space for creative transformations through the mixing of art and science.

Submissions are welcome both from scientific fields acquainted to audio & visual technology and/or new media theory as well as from the diverse fields of artistic expression related with scientific issues. Suggested, but not exclusive topics, are those associated, from an artistic, scientific or ethical perspective, with: • Art as subversion and art as transcendence • Dirt, disgust and the polluted • The body machine and the animal body • Animal rights in Art and Science • Taboos in technological applications and transcendence in art creation • Tradition, experimental use of technology and contemporary aesthetics • Internet, new dimensions of “touching” and control • Post gender, transgressive identities and social models • Transgression, subculture and ritual • Trance culture, psychotropic substances and socialization • Attraction, eroticism and techno-reproduction • Dogmas’ transformations and dissolutions in present times • Educational environments and new practices of space transcendence • Plastic surgery and bοdy modification-body alteration • Gene editing, mutation and eugenics • Psycho-pharmacology, somatechnology and post-humanism • Human-like machines, uncanny valley and sex technology • Nanotechnology, skin and other dimensions of the body • Neurophysiology and cybernetic art • Art and neuroscience

For more info http://avarts.ionio.gr/festival/2016/en/conference/


 

Including a wide range of artistic and scientific activities, the Audiovisual Arts Festival provides a chance to highlight the overall results of the educational and research activities developed by the Faculty of Audiovisual Arts, particularly in the field of contemporary sonic and visual arts. The festival’s main program include, among other events, presentations of digital interactive audiovisual works/installations and electronic music concerts by artists from Greece and abroad. Ultimately, there will be workshops, focusing on familiarizing the audience with new audiovisual technologies as well as with the contemporary artistic expression using new media, and an international conference, in 2016 under the title “Taboo-Transgression-Transcendence in Science and Art”.

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.

Call for Reviews/Reports/Papers/ for Media-N, Journal of the New Media Caucus – Spring 2016 edition

Media-N, Journal of the New Media Caucus is making an open call for submissions to the Reviews and Reports section of our upcoming spring issue. The section is devoted to publishing short, high-quality essays and interviews that provide readers with an up-to-date picture of global trends in new media art. The subjects sought relate to new media books, exhibitions, and international festivals, conferences and symposia.

The deadline for submission is March 15th. The Editor-in-Chief (Pat Badani), the section Editor and the Editorial Board will review submissions. Selected authors will be notified in March.

This section of the journal offers opportunities for new media authors to address topics of current interest in brief, exploratory essays of 2,000 words. Please note that Media-N must be the first journal publisher of the submitted text.

-Please send your submission as a Microsoft Word doc to:

Francesca Franco <medianjournal.franco@gmail.com>

-In your email subject area write: Submissions: Reviews & Reports section.

-Attach Supporting material (Media): 2 images, or 1 video (25MB max) - or 1 sound file (25MB max). Do NOT embed media within your essay’s Word doc.

Submissions should contain the following information, in this particular order:

a-Essay title

b-Author’s name

c-Author’s academic position/affiliation/ etc: (eg: Independent artist, or researcher / Assistant Professor / Professor…)

d- Keywords (sequentially list 10 words that are central to your essay; separate each word with a comma, like this: erasure, photography, imagination, perception, experience, phenomenology, epistemology.)

e-The body of the essay

f-References

g-Author’s Bio – 50 word count (email and/or www. can be included at the end of the Bio.)

h-Copyright Statements (text and image release forms): http://median.newmediacaucus.org/copyright-statement/

i- Media - submit as attachments, file(s) that illustrate your essay: images, video, and/or sound files (do not embed images onto your Word doc)

Note: Media-N adheres to the publication guidelines set out by the Chicago Manual of Style, 16th Edition . Articles will not be published if guidelines are not met.

Please follow this link for detailed information about our submission guidelines:

http://median.newmediacaucus.org/guidelines/

……………

Mission:

With Media-N’s mission in mind, the Reviews and Reports section publishes high-quality essays that provide readers with an up-to-date picture of global trends in new media art.  For our readers, newly published books and current art exhibitions are important sites in which cutting-edge scholarship and emergent practices are first revealed. Beyond providing a glimpse of new discourse, we envisage reviewers evaluating how the author’s publication offers new theoretical insights and frameworks. We also encourage exhibition reviews. By bringing the interpretive tools of art criticism to bare on new media art, we hope to expand its understanding along with historicizing exhibitions considered seminal. With regards to reports, we continue to build on the success of the questionnaire and conference commentary format. These reports promote thoughtful and creative exchanges between theoreticians and practitioners on issues pertinent to conferences and symposia proceedings. Contributors entering into a dialogue with peers allow for the reader to gain a fuller picture of the new media landscape. These reports will also remain a vehicle to explore speculative research practices, allowing the reader to identify new categories, evolutions and ruptures in new media, and changing technical vocabularies.

……………………………………………………………………………………….

CAA Conference Edition – New York 2015 – NMC/Media-N – SRING 2015: V.11 N.02

CAA-Conference-2015-cover-smallCAA Conference Edition – New York 2015

NMC/Media-N - SRING 2015: V.11 N.02

Media-N, Journal of the New Media Caucus is pleased to announce the launch of our summer 2015 online and print edition.

 

Online & print edition

http://median.newmediacaucus.org/caa-conference-edition-2015-new-york/

CAA Conference Edition – New York 2015

I am delighted to publish the current CAA Conference Edition 2015, New York, and would like to thank Associate Editor Tiffany Funk for her role as Managing Editor of V.11 N.02. Tiffany assembled and edited the publication material with the assistance of Rachel Clarke and Sid Branca.

Each year, the New Media Caucus – an affiliate of the College Art Association – organizes panel presentations, events and exhibitions during the CAA annual convention, and Media-N Journal dedicates its summer edition to showcasing NMC conference proceedings and concurrent offsite events. The New Media Caucus’ Events and Exhibitions Committee – chaired by Joyce Rudinsky –organized the 2015 proceedings.

This year we saw one panel presentation and two events, the first a series of presentations in the Media Lounge onsite at the conference venue in the New York Hilton and the second our customary offsite Showcase event hosted this time around by Hunter College.

With the intention of creating a conversation outside of the habitual rhetoric of techno euphoria, skepticism, or dread, Aleksandra Kaminska chaired the panel “Technologies of Wonder: Affective Responses in a Posthuman World.” Panel members Janine Marchessault, Florence Gouvrit Montaño and Jordi Vallverdú, Robert Gero, and Aleksandra Kaminska herself, discussed ideas on how to restore and nurture the affective dimensions of techno-encounters.

The Media Lounge at the Hilton became the locus for various events around the theme of “Alternative Economies” presenting two dominant themes: how bodies and narratives can act as disruptive forces within certain economies and the modes in which alternative economies are established. These topics are covered in this edition via Mat Rappaport’s introduction, Stephanie Tripp’s roundtable discussion with event organizers, a curatorial statement on the first session by Liss LaFleur and Ash Eliza Smith, and finally, a report on the second session by Tiffany Funk.

Tiffany Funk also contributes a comprehensive, illustrated report on the exciting CAA 2015 Showcase event in which we saw the participation of eighteen artists.

Pat Badani

Editor-in-Chief

V.11 N.02 publication acknowledgements:

-Publication coordinator and Editor-in-Chief: Pat Badani
-Managing Editor for the current edition: Tiffany Funk
-Publication design and layout: Michael Powell (print); Stacey Stormes (web)
-Copy editors and proofreaders for the current edition: Stephanie Tripp, Tiffany Funk, Thomas F. Cohen and Pat Badani.
-Cover image: Voice of Echo, 2011, Erin Gee, © Erin Gee. (Used with permission.)

CALL FOR PROPOSALS FOR THE SPRING 2016 EDITION MEDIA-N, JOURNAL OF THE NEW MEDIA CAUCUS, Vol. 12 – N. 01

http://median.newmediacaucus.org

November 15, 2015: Deadline for submission of abstracts/proposals.
Mestizo Technology: Art, Design and Technoscience in Latin America

GUEST EDITORS
Paula Gaetano Adi, Rhode Island School of Design
Gustavo Crembil, Rensselaer Polytechnic Institute 

EDITOR-IN-CHIEF

Pat Badani

DESCRIPTION

Using the term “Mestizaje” as a lens to understanding Latin American culture, this thematic Spring 2016 issue of Media-N seeks to explore how electronic technologies are used in art and design practices within the context of Latin America – a diverse cultural and geopolitical region that embraces countries that stretch from the southern border of the United States of America to the southernmost tip of South America, including the Caribbean.

“Mestizaje” is a Spanish term broadly used to denote the hybridization of identities in Latin America. As a theme, numerous cultural producers have addressed it in one form or another, due to the nature of colonization in Latin America and the extensive and sometimes forceful cultural mixing that ensued. Today, the term “Mestizaje” not only refers to a process manifested in the blending of multiple subjectivities that involve ancestry, race, and language, but also the recognition of the plurality of intercultural mixtures and modern forms of hybridization beyond identity politics to cultural forms of technological art and design.

With the above in mind, Mestizo Technology: Art, Design and Tecnoscience in Latin America seeks submissions that consider the dynamics of “Mestizaje” in art and design; essays and artworks that conceptualize the development of unique technological practices in Latin America.  Some of our questions are: How is technology embodied, transformed, assimilated and appropriated in Latin American art and design?  What are the characters that mark technoscience in Latin American art and design practices? What are the roles of Latin American traditions and scientific knowledge in the production of digital media art, and what are the influences of Western scientific rationale and technical expertise?  And, how is Latin American technology-based art influencing artistic production in the West?

Mestizo Technology: Art, Design, and Technoscience in Latin America will investigate how technology functions within the everyday contradictions of local and global political, economical, social, and cultural relations in Latin America. Moreover, we are interested in submissions that survey how influences have been appropriated and adapted to the particular needs, resources and interests of Latin American thinkers and makers who question hegemonic histories of power.

Hence, the call for submission addresses how Latin American artists, designers, architects, educators, museums, and other organizations are delineating an aesthetic that acknowledges Latin America's place within a global modernity full of unexpected and involuntary encounters, dialogues, and confrontations. We seek contributions that examine the methodologies, theories, histories, and pedagogies that arise when producing, teaching and making technology-based art in the context of Latin America.  And, we welcome proposals that discuss original research and artworks from a broad range of technology-based areas that explore how these productions challenge the traditional dichotomies of craft/technology, western/indigenous, modern/traditional, global/local, developed/developing, big-science/small-science, high/low, and theory/practice.

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:

November 15, 2015: Deadline for submission of abstracts/proposals.

December 15, 2015: Notification of acceptance.

February 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 SUBMITION TO:
Email to: pgaetano@risd.edu - AND - crembg@rpi.edu

Subject line: Media-N Submission and you name(s)

Call for Work – In the In-Between: Journal of Digital Imaging Artists

We accept submissions of photographic and video work that critically examines the world through the properties, theories and applications of digital and web-based technologies.

We also welcome inquiries from volunteer writers, curators and historians interested in participating.

More Information on our website: www.inthein-between.com


In the In-Between: Journal of Digital Imaging Artists is a web-based research platform that publishes artists working at the intersections of photography and digital media.

Since June 2012, In the In-Between has published portfolios, interviews and essays on the work of nearly 60 artists investigating the use of 21st century image-making technology.

Call For Submissions : THE 3D ADDITIVIST COOKBOOK

We invite submissions to an open-source ‘Cookbook’ of radical ideas that cut across the arts, engineering, and sciences. Inspired, in part, by William Powell’s The Anarchist Cookbook (1969) The 3D Additivist Cookbook will contain speculative texts, templates, recipes and (im)practical designs for living in this most contradictory of times.

We believe technology can open up new perspectives, providing us with the means to challenge the structures, ideas, and institutions that maintain the status quo. But technological change is - almost by definition - tied to the functions of capitalism: a system that profits the few, often at the expense of civil liberties or the natural environment. The 3D Additivist Manifesto calls creators and thinkers to action around a technology filled with hope and promise: the 3D printer. By considering this technology as a potential force for good, bad, and otherwise, we aim to disrupt binary thinking entirely, drawing together makers and thinkers invested in the idea of real, radical, change.

Founded on those principles, The 3D Additivist Cookbook will be published freely online in 2016 under a Creative Commons License. Your submissions will also lay the groundwork for a series of symposia, exhibitions, and events to be held in 2016, exploring the potential of Additivist technologies to provoke affirmative action and systemic reorganisation in light of grand narratives such as Accelerationism, Posthumanism, and The Anthropocene.

What is Additivism?

The 3D printer is a profound metaphor for our times. A technology for channelling creative endeavour, through digital processes, into the layering of raw matter excavated from ancient geological eras. Considered as a tool for art, design and engineering, and gesturing towards a forthcoming era of synthetic chemistry and biological augmentation, 3D fabrication technologies are already a site of common exchange between disciplines and forms of materiality.

3D fabrication can be thought of as the critical framework of #Additivism: a movement that aims to disrupt material, social, computational, and metaphysical realities through provocation, collaboration, and ‘weird’ / science fictional thinking. Additivism embraces the 3D Printer in the same way that Donna Haraway embraced the figure of the Cyborg in her influential text A Cyborg Manifesto (1983). By considering the 3D printer as a technology for remodelling thought into profound, and often nightmarish, new shapes - Additivism aims to expose inbetweens, empower the powerless, and question the presupposed.

How do I take part?

A successful 3D Additivist Cookbook submission will disrupt common boundaries, exhibiting a conceptual malleability reminiscent of plastic. Our aim is for The 3D Additivist Cookbook to be filled with .obj and .stl templates, critical and artistic texts, algorithms and code, as well as propositions that are antagonistic to the timescales, infrastructures, and social givens layered into every 3D print.

Your submission could probe:

[*]The separation between digital forms and physical representations
[*]The blending of engineering, the sciences, and the arts
[*]The environmental impact of 3D fabrication, 3D printers, prints, and materials as a metaphor
[*]Future archaeologies and speculative designs
[*]A progressive aesthetics of destruction, decay, waste, extinction, or deviation
[*]The intimate relationship between crude oil, plastic, war, and globalisation
[*]The contradiction of accelerating techno-capitalism towards something more sustainable
[*]Gender, race, and body biases inherent in ‘post’ and ‘trans’ human thinking
[*]The possibility of grassroots activism with a global reach
[*]An ontology of meshes, layers and ‘deep-time’
[*]The aesthetics of 3D scanning, rendering, and fabrication
[*]The glitch/hack/virus/kluge as political methodology
[*]The potential of ‘open source’ to disrupt hierarchies and infrastructures of power
[*]The Anthropocene, The Speculative, The Posthuman, The Weird

Please explore our website for more Additivist ideas, browse interviews and press on the project, and watch/read and share our Manifesto, and this submission text with any interested parties.

Submission Guidelines:

[*]Your submission can take any form you believe answers the Additivist call.

[*]We ask that you submit no more than THREE things to The Cookbook.

The deadline for submissions is Friday July 31st 2015

Please submit to submit@additivism.org including this information:

1. Your name, the name of your collaboration, or a declaration to remain anonymous.
2. Your website or other URL that we can use for linkbacks.
3. Your twitter and/or facebook information, so we can keep in touch.
4. Your submission should be attached to your email. If your submission is over 10MB then please send us a link to your submission safely stored on a cloud server.
5. If you are sending 3D print templates please use .OBJ or .STL format.
For text please use .PDF or .DOC format.
For sketches or images please use .JPEG format.
For executable files, algorithms, working code, or other formats please send inside a .ZIP file or link to a Github page.
6. Please include an image or screengrab of your submission (if applicable).
7. Please include a short text of no more than 400 words outlining your submission. This text should explain:

a. What your submission is:
This may include a title for your speculative machine, essay, or disruptive 3D print technology. We would like you to paint us a picture of your submission, give it some context and background. If you are proposing a speculative intervention, please use this 400 words to describe clearly how your final submission will be realised.

b. How your submission functions:
How does your submission work? What does it do? What materials will be necessary for its construction? If your submission is entirely speculative then you will have to extrapolate accordingly.

c. Why you believe your submission contributes to #Additivism:
This is perhaps the most crucial question. Please channel your enthusiasm for Additivism, and help us expand our knowledge. What are your influences? Why does Additivism appeal to you? Why now?

Send your submissions to: submit@additivism.org

We will carefully consider every submission we receive, but submission to The 3D Additivist Cookbook does not guarantee inclusion. We will endeavour to get back to everyone who submits to The Cookbook, and ask for your patience. We value your creative labour and input, and will do everything in our power to respect and support your work.

The 3D Additivist Cookbook will be published online, and possibly in print, under a Creative Commons BY-NC-SA 4.0 licence. This means that it can be freely distributed, altered, and copied, as long as due credit is given, and its contents are not used for commercial purposes. Please be aware that we consider this openness as a crucial feature of The Cookbook. We intend to adapt and mutate The 3D Additivist Cookbook into as many forms as possible, including print, exhibition, performance, conference, and otherwise. We would LOVE to invite you to any exhibitions, lectures, presentations and/or seminars we hold, and intend to keep in touch with the community via twitter, facebook, email, and our tumblr. We also encourage you to follow/use the #Additivism hashtag on all social media platforms.

The 3D Additivist Manifesto was created by Morehshin Allahyari and Daniel Rourke, with sound design from Andrea Young.

LINK:
http://additivism.org/cookbook


 

The 3D Additivist Manifesto + forthcoming Cookbook blur the boundaries between art, engineering, science fiction, and digital aesthetics. We call for you - artists, activists, designers, scientists, and critical engineers - to accelerate the 3D printer and other Additivist technologies to their absolute limits and beyond into the realm of the speculative, the provocative and the weird.

Call for Papers and Artworks IEEE VISAP’15 “Data Improvisations”

IEEE VISAP'15 "Data Improvisations": Call for Papers and Artworks
Oct 16-30, 2015
Chicago, Illinois

Paper and artwork submissions due June 26, 2015
http://visap.uic.edu/2015
http://visap.uic.edu/2015/callforentries.html

The IEEE VIS 2015 Arts Program, or VISAP'15, showcases innovative artwork and research that explores the exciting and increasingly prominent intersections between art and visualization. Through a dedicated papers track and an art show that runs concurrently with the IEEE 2015 VIS 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. Submissions to VISAP'15 are due on June 26th; the theme for the Call for Papers and Artworks this year is Data Improvisations.

VISAP'15 runs for two weeks from October 16th through October 30th at two locations in Chicago, Illinois. During the main IEEE VIS 2015 conference (October 25th-30th), events will take place at the historic Palmer House Hotel and at the LeRoy Neiman Center at the School of the Art Institute of Chicago, both located in downtown Chicago. Additionally, the LeRoy Neiman Center will be open to the general public for viewing the VISAP'15 art installations both the week before and during the IEEE VIS conference.

Both the artworks and the papers will be selected through a rigorous peer review process in which submissions are evaluated on both quality and relevance to the IEEE VIS community by a program committee made up of experts in visualization and media arts. All accepted papers appear in the VISAP'15 proceedings; accepted artworks will be featured in a exhibition catalog designed by Jack Henrie Fisher. Additionally, in collaboration with Leonardo/ISAST, we will be selecting outstanding submissions to appear in a special section of an issue of Leonardo, the Journal of the International Society of the Arts, Sciences and Technology.

VISAP'15 Chairs: Angus Forbes, Fanny Chevalier, and Daria Tsoupikova

For more information, please contact Angus Forbes: aforbes@uic.edu.


 

IEEE VIS 2015 is the premier forum for advances in scientific and information visualization. This weeklong event convenes an international community of researchers and practitioners from academia, government, and industry to explore their shared interests in tools, techniques, and technology.

A full complement of research presentations, tutorials, workshops, panels, demonstrations, posters, and exhibitions make this conference one of the largest and most important gatherings of researchers and professionals who specialize in the visual analysis of data.

Call for Panel Participation – CAA Washington, DC 2016

Augmented Reality- invention/reinvention

The New Media Caucus invites individuals to submit artwork or papers for a panel titled Augmented Reality - invention/reinvention.

_______________________________

This panel sponsored by the New Media Caucus calls for artists, scholars, and theoreticians to reflect on the possibilities of understanding cultural issues related to the continuum of Augmented Reality. Augmented Reality as project, paper, performance, public art, and mobile location are welcomed.

While Baudrillard theorized about simulation, William Gibson imaginatively constructed virtual possibilities through fiction. As early as 1985, Virtual Reality platforms were physically realized by Jaron Lanier and Thomas Zimmerman’s manufacture of VR gloves and goggles.

Today artists critically manipulate the continuum between reality and virtuality testing our abilities to discern fact and fiction. We are able to explore the possibilities of augmented reality experiences through 3D models, video, web links, sounds or other digital media via the ubiquity of smart phones or tablets. This ubiquity welcomes both narrative and performativity into the continuum of the real and imagined.

Artistic creation in virtual realms reflect cultural realisms of identity, race, geographic location, gender, sexuality and others not as absolute or inherited but as malleable possibilities, subject to continuous invention and re-invention by creating layers of imagination and technological forms.

Submission must include:

  • 3-page CV, submitted as PDF 

  • 300 – 600 word abstract that describes the artistic or scholarly work.
  • Documentation of art.

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

NOTES:

  • This panel is for the 1.5-hour New Media Caucus sponsored panel session.
  • Panelists must be NMC members. 
There are no membership fees. JOIN NMC
  • Panelists do not need to be CAA members. 

  • NMC does not fund conference fees, transportation, or hotels for panelists. 

  • 1.5 hour sessions at CAA are free and open to the public. 

  • Presenting during a 1.5 hour session does not disqualify you from chairing a panel or serving as a panelist in 2.5 hour session at CAA.

TIMELINE: 
Peer review will occur shortly after the deadline. 
Notification of acceptance will be late May. 
The chosen panel will be submitted to CAA in mid June.

DEADLINE: 
Email submissions by May 31, 2014 to Elizabeth Demaray, mailto:demaray@camden.rutgers.edu.

Call for Papers and Artworks – Metaplastic Arts,Design Virtual Worlds 2015

CYBERWORLDS 2015 INTERNATIONAL CONFERENCE
7-9 OCTOBER 2015, GOTLAND, SWEDEN
Uppsala University, Campus Gotland, Visby, Sweden

http://cyberworlds-conference.org/

SUBMISSION DEADLINE: 3 MAY,2015

Send your paper to: gianluca.mura@polimi.it

More information from http://artsvirtualworlds.artsmachine.org/

Submission include full paper (up to 8 pages), short paper (up to 4 pages)
poster and artworks (1 page, abstract).
The papers must be written in English, carefully proofread, and formatted to Conference Publishing Services Manuscript Formatting Guidelines
fro m http://www.computer.org/portal/web/cscps/formatting

Please use the following template for preparing your papers from:
http://www.artsmachine.org/web/docs/IEEECS_CPS.zip or

http://www.artsmachine.org/web/docs/IEEECS_CPS_LaTeX.zip

By submitting a paper the authors confirm that their papers represent original previously unpublished work, and if accepted, the author will register for the conference and present the papers.

INTRODUCTION
Virtual Worlds are information spaces and communities that immensely augment the way we interact, participate and receive information throughout the world. Virtual Worlds seriously impact our lives and the evolution of the world economy by taking such forms as social networking services, 3D shared virtual communities, and massively multiplayer online role-playing games.

OBJECTIVE
The goal of the MetaPlastic Arts,Design and Virtual Worlds is to analyze and trace the advancements of new Art and Design theories and practices in Virtual Worlds.
MetaPlastic Arts,Design and Virtual Worlds is a special session at the 2015 International Conference on Cyberworlds

http://artsvirtualworlds.artsmachine.org/

PUBLICATIONS
– MetaPlastic Arts,Design & Virtual worlds papers will be published within the CYBERWORLDS 2015 Conference proceedings by IEEE Computer Society (through CPS) and submitted to the IEEE Xplore and Computer Society digital library, and for indexing through INSPEC, EI (Compendex), Thomson ISI,and other indexing services.

– MetaPlastic Arts,Design & Virtual Worlds Selected Papers will be asked to write an article for a Special Iss ue of the IJACDT International Journal of Art,Culture and Design Technologies

The METAPLASTIC ARTS,DESIGN & VIRTUAL WORLDS CYBERWORLDS 2015 Special Session
will address a wide range of research and development topics,but not limited to the following topics:
– Aesthetics and semantics
– Art and heritage in cyberspace, cyber-museums
– Artworks, performances, and installations
– Brain-computer interfaces
– Cognitive informatics
– Computer vision, augmented, mixed and virtual reality
– Creative and innovative media arts concepts and projects
– Cultural heritage within the Web
– Cyberethics and cyberlaws
– Cybernetics, artificial intelligence, and cognitive-based concepts and practices
– Cybersecurity
– Cyberworlds and their impact on the real worlds
– Data mining and warehousing in cyberworlds
– Digital art, digital culture, net art, and digital design
– E-learning in virtual collaborati ve spaces
– Edutainment
– Networked and shared virtual worlds
– Virtual collaborative spaces
– Shape modeling for cyberworlds
– Virtual humans and avatars
– Multimodal interaction and rendering
– Affective computing
– Social computing
– Online communities
– E-learning in cyberworlds
– Multi-user web games
– Art and heritage in cyberspace, cyber-museums
– Cyberethics and cyberlaws
– Cybersecurity
– Welfare in cyberworlds
– Data mining and warehousing in cyberworlds
– Visual analytics in cyberworlds
– EEG-based emotion recognition
– Haptic interaction and rendering
– Human-computer interaction studies and applications
– Human-computer interfaces
– Human issues/impacts
– Information visualization in art and design issues
– Imaginary and creative concepts and applications
– Innovative Web, Web3D, and multimedia studies and applications
– Intelligent talking a gents
– Multi-user web games
– Networked collaboration
– Psychology and cognition studies
– Shape modeling for cyberworlds
– Shared virtual worlds
– Social and ethical issues
– Social networking
– Technologies for teaching art and design
– Virtual architecture and heritage
– Virtual, augmented, and mixed realities in art and design
– Virtual collaborative spaces
– Virtual humans and avatars
– Visual languages
– Virtual metaplasticity, metaplastic virtual worlds

Prof.Dr.Gianluca Mura
MetaPlastic Arts&Design Virtual Worlds Chair
http://artsvirtualworlds.artsmachine.org

CYBERWORLDS 2015
http://cyberworlds-conference.org/

ARRAY [ ] new media foundations for art and design edu Call for Collaboration, peer-reviewed repository

ARRAY [ ] new media foundations for art and design edu
Call for Collaboration, peer-reviewed repository

essay proposals:
http://www.arrayproject.com/eform/submit/essay-submission

project proposals:
http://www.arrayproject.com/eform/submit/project-submission

You may propose multiple essays and/or projects. Select contributors will add their content directly. ARRAY [ ] projects can be edited and modified as contributors test and refine their projects in studios, workshops, and classrooms.

This ongoing project is made possible through the cultural support of a generous community of media and technology practitioners, researchers, activists, artists, designers, teachers and critics who care about learning, and share their code and ideas online. ARRAY [ ] was selected by Rhizome.org’s membership for a 2012 Rhizome Commission. Thank you!

Trowbridge and Westbrook are both Assistant Professors at the School of the Art Institute of Chicago where they teach courses in the Department of Contemporary Practices (first year/foundations curriculum) and upper division courses in The Department of Art and Technology Studies. Trowbridge and Westbrook collaborate as Channel TWo [CH2], a new media art and design studio focused on mixed up reality, media production, design, development, and distribution… authorized formats + unauthorized ideas, systems of control + radical togetherness. more: www.onchanneltwo.com


 

ARRAY [ ] new media foundations for art and design is a repository of entryways into new media craft, processes, materials, cultures, and contexts specifically geared towards beginners (both teachers and students). ARRAY [ ] content includes both project scenarios and essays as mechanisms for learning. Unlike a conventional printed textbook, ARRAY [ ] uses the flexibility of the web platform to grow, change, adapt, and respond to shifts in art, design, technologies, and education. ARRAY [ ] is a peer-reviewed repository and publication, edited by Adam Trowbridge and Jessica Westbrook.

ARRAY [ ] Statements:

ARRAY[ ] is independent, and non-corporate. Our editors, developers, advisors, contributors, and organizers are all teachers and professors deeply invested in education.
ARRAY[ ] is a repository of knowledge based on the idea that the “foundations” of new media are constantly shifting, negotiated, contested, and divergent.
ARRAY[ ] is focused on art and design students, because these are populations that can operate outside of the bounds of acceptable behavior.
ARRAY[ ] is resistant to uncritical approaches to teaching contemporary media practices.
ARRAY[ ] is suspicious of concepts like "access," innovation," and "evidence-based strategies."
ARRAY[ ] is counter to cultures of training and certification.
ARRAY[ ] is interested in sociopolitical factors of interface, media, and distribution systems.
ARRAY[ ] is conscious of the complexity of learning over time.
ARRAY[ ] is intended to assist teachers and learners in reducing fear, and increasing agency.

more: http://www.arrayproject.com/content/about-array