Re: [spectre] Call for Applications: Simultaneous Arrivals - Artistic Research Residency

[Hanns Holger Rutz]

P.S. apologies, we noticed the 'conditions' section had been initially 
dropped from the website, which we have now rectified: 
https://simularr.net/call/


On 02/11/2022 15.06, Hanns Holger Rutz wrote:

Call for Applications (please distribute)

** Simultaneous Arrivals: Artistic Research Residency spring 2023 **

Simultaneous Arrivals (simularr) is an artistic research project on 
novel forms of collaborative practices within the PEEK framework of the 
Austrian Science Fund FWF (AR 714-G), running from 2022 until 2025.


simularr is happy to announce the open call for an artist-researcher to 
join and complement the team in Graz (Austria) during the first in-situ 
interval of the project for the period April and May 2023.


**Application timeline:** Submission deadline is 01 December 2022 
(e-mail reception, 24:00 CET). Short-listed applications will be 
notified on 08 December and invited to an online (Jitsi or Zoom) meeting 
on 16 December.


**About the Project**

simularr (https://simularr.net/) posits a novel mode of collaborative 
artistic process based on simultaneity and spatiality. These two 
elements act as ‘basic’ or ‘boundary’ concepts that guide artists 
working together, preserving diversity and individuality among the 
group, while binding the process as a whole and bridging boundaries 
between different practices. We aim to create new aesthetic approaches 
that reveal the collaborative process without collapsing to a single or 
synchronised position / object. The project designs methods that 
facilitate contact among the concurrent artistic processes and 
understanding how these concepts affect them. What are reference frames 
that allow to establish a “togetherness, at the same time”, and how do 
different types of spaces—thought spaces, aesthetic spaces, 
architectural spaces—and their corresponding modes of spatiality 
interact and interfere?


** Who the Call Addresses **

This call is directed at mid-career artists-researchers with prior 
experience in collaborative approaches and whose work incorporates 
spatial practices (e.g. intermedia, installation art, sound art, new 
media art, performing arts). Applicants should be able to demonstrate 
this through their past work (consistent portfolio / research material). 
They are capable and interested in exposing and reflecting their process 
and work through writing, discussion and other forms of discourse. They 
have an understanding of the field of artistic research, and they are 
intrigued by developing and sharing new approaches and methods for 
collaborative artistic practice and research with the team and with 
other artists-researchers during interval.


** How to Apply **

The full length call, along with conditions and links to forms, can be 
found on the project’s website: https://simularr.net/call/

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[spectre] Call for Applications: Simultaneous Arrivals - Artistic Research Residency

[Hanns Holger Rutz]

Call for Applications (please distribute)

** Simultaneous Arrivals: Artistic Research Residency spring 2023 **

Simultaneous Arrivals (simularr) is an artistic research project on 
novel forms of collaborative practices within the PEEK framework of the 
Austrian Science Fund FWF (AR 714-G), running from 2022 until 2025.


simularr is happy to announce the open call for an artist-researcher to 
join and complement the team in Graz (Austria) during the first in-situ 
interval of the project for the period April and May 2023.


**Application timeline:** Submission deadline is 01 December 2022 
(e-mail reception, 24:00 CET). Short-listed applications will be 
notified on 08 December and invited to an online (Jitsi or Zoom) meeting 
on 16 December.


**About the Project**

simularr (https://simularr.net/) posits a novel mode of collaborative 
artistic process based on simultaneity and spatiality. These two 
elements act as ‘basic’ or ‘boundary’ concepts that guide artists 
working together, preserving diversity and individuality among the 
group, while binding the process as a whole and bridging boundaries 
between different practices. We aim to create new aesthetic approaches 
that reveal the collaborative process without collapsing to a single or 
synchronised position / object. The project designs methods that 
facilitate contact among the concurrent artistic processes and 
understanding how these concepts affect them. What are reference frames 
that allow to establish a “togetherness, at the same time”, and how do 
different types of spaces—thought spaces, aesthetic spaces, 
architectural spaces—and their corresponding modes of spatiality 
interact and interfere?


** Who the Call Addresses **

This call is directed at mid-career artists-researchers with prior 
experience in collaborative approaches and whose work incorporates 
spatial practices (e.g. intermedia, installation art, sound art, new 
media art, performing arts). Applicants should be able to demonstrate 
this through their past work (consistent portfolio / research material). 
They are capable and interested in exposing and reflecting their process 
and work through writing, discussion and other forms of discourse. They 
have an understanding of the field of artistic research, and they are 
intrigued by developing and sharing new approaches and methods for 
collaborative artistic practice and research with the team and with 
other artists-researchers during interval.


** How to Apply **

The full length call, along with conditions and links to forms, can be 
found on the project’s website: https://simularr.net/call/

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Re: [spectre] Dispatches from Ukraine: Tactical Media Reflflections and Responses

[Hanns Holger Rutz]

Frankly Christoph, I don't think you have absorbed anything that had 
been written in that very long statement.


The whole situation reminds me very much of the coup in Venezuela when 
Maduro took over after the death of Chavez. Exactly the same "there is 
only shades of gray, but Chomsky, but America, but bla".


There are moments in life when you can make very clear decisions on 
which side to stand. This doesn't imply at all, that you cannot 
criticise anyone "on your side". We don't need to be fanboys of USA to 
take a clear position in this war. But I'm repeating what Rasa already 
wrote, so I don't know if it makes sense to try to come to any common 
sense here.


As a person that grew up in Western Germany, for the first time I 
understood that I might be wrong on judging things that I have not 
personally experienced, was getting to know people, friends, who had 
tried to flee the GDR or be non-conformant in the GDR, and who ended up 
in GDR prison and were damaged for life.


Best, .h.h.



On 18/07/2022 09.51, christoph theiler wrote:
Rasa wrote: "In this situation there are only clear two sides - Either 
Supporting Ukraine or Being Pro -Tutin"


I cannot agree with this friend/enemy logic: "If you are not my friend, 
then you are my enemy".
It has already been said here that in addition to Ukraine and Russia, 
America also plays an important role in this conflict.


Best
Christoph




Rasa Smite schrieb:

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Re: [spectre] anti eurasian integration: splitting germany from russia

[Hanns Holger Rutz]

I was counting down the seconds until receiving this crap (from this 
person).


My thoughts are with multiple friends and colleagues of mine from 
Ukraine who are fearing for their country, their families and friends. 
Fuck everyone gaslighting and/or eating the Russian propaganda.


Signed off from the thread,

.h.h.



On 24/02/2022 12.03, heath bunting wrote:

https://www.youtube.com/watch?v=Ip9fHJM8m7M
https://www.youtube.com/watch?v=6_F0lTsvgrk



On Thu, 24 Feb 2022, Andreas Broeckmann wrote:


Dear friends,

after the build-up of the last days and weeks, this morning we woke up 
to a terrible new situation. The Russian attack on Ukraine is a 
catastrophe, for the people and the country of Ukraine, and thus for 
Europe, and I believe also for Russia. This war will not only bring 
futile and awful destruction, but it will also change many things, not 
only in the Ukrainian territories now under attack.


I'm writing to open up this space for debate. You may have other 
channels for such discussions elsewhere (... it has been more than 
twenty years ago that the Syndicate list, the precursor to Spectre, 
was an important channel for such discussions during the conflict in 
Kosovo and the NATO attacks on Serbia). But this list, with its legacy 
of reflecting the diversity and solidarity of artists and cultural 
practitioners in "Deep Europe" and beyond, is certainly available for 
exchange, analysis and coordination if required.


If there are people here on the list who can report about the 
situation in Ukraine, they may want to inform their international 
colleagues about what forms of help and solidarity might be useful.


And if there are people (especially in Russia, Ukraine, Belarus, etc.) 
who would like to write anonymously, please, feel free to write to me 
and I will anonymise and forward any reasonable messages.


Andreas
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[spectre] two new online / hybrid pieces: 'Kontakt (simultan)' and 'in|fibrillae'

[Hanns Holger Rutz]

Dear Spectrites,

I would like to invite you to explore two new pieces created for web
browsers.

'Kontakt (simultan)' is a piece on an experimental waiting process
taking place inside the studio space of Reagenz, Graz (AT). Here, a
glass plate with collected lichen fragments is automatically irrigated
and photographed four times a day, perhaps producing an extremely slow
growth, that is revealed as a time series of the photographs. The
process can be followed on the Mastodon social media account
https://botsin.space/@kontakt , showing the daily rhythms and perhaps a
long-term evolution. The photographs are augmented by text lines
contributed by people reacting to an ongoing open call, reflecting on
waiting and on making contact. **You are kindly invited** to read and
participate in the open call at
https://www.researchcatalogue.net/view/1154218/1294325

'in|fibrillae', premiered at this week's xCoAx, is a sound poem created
together with Nayarí Castillo. It is accessible at
https://www.sciss.de/exp/infibrillae/ . The piece is a reconfiguration
of an audio-visual installation into the online browser space. It is
loosely based on a previous work in|filtration, unravelling it into
hundreds and thousands of small fibres, in order to transpose the
original materiality for a personal space. in|fibrillae is about
exchange between otherwise disconnected and “uncommunicative” segments,
departing from forms of spatiality: the distinction between a common
space and an individual (or inner) space. The common is a repertoire of
shared topological forms for sound structures. It is individuated
through genetically programmed synthetic sounds, yielding the distinct
corpora of virtual sub-spaces. The pure sonic layer is complemented by a
layer of animated digital image and text fragments. The images are based
on wax paper prints taken from cut tree branches in Caracas, and the
bulge that the trees regrow around the cut producing a visible boundary
surface. Each sub-space corresponds to a poem, a set of words that
belong together. They appear in permutations inside the trunk drawings.
To our knowledge, in|fibrillae is the first piece to use scsynth.wasm,
running the SuperCollider sound synthesis engine through WebAssembly in
the browser. It requires a recent Firefox or Chrome/Chromium desktop
browser.

Both pieces are meant to run for a long time, and currently, they also
have physical installation forms at the facade of our art space Reagenz.
Here 'Kontakt (simultan)' is showing the current photograph alongside a
month old one, allowing one to explore the changes through stereoscopic
optical lenses.

Best regards,

Hanns Holger Rutz



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Re: [spectre] Signale Lecture "Algorithms that Matter" - 21 April 2021, 18:00 CEST (UTC+2) online

[Hanns Holger Rutz]

as correctly remarked, Europe is in summer time right now, so this is
18:00 CEST (UTC+2) !


On 19/04/2021 16:00, Hanns Holger Rutz wrote:
> Wednesday, 21 April 2021, 18:00 CET (UTC+1), online



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[spectre] Signale Lecture "Algorithms that Matter" - 21 April 2021, 18:00 CET (UTC+1) online

[Hanns Holger Rutz]

Wir kindly invite you to a "Signale Lecture", and to explore the Almat
Meta Exposition.

-- Algorithms that Matter --
Concluding presentation of the Almat project

Wednesday, 21 April 2021, 18:00 CET (UTC+1), online
Vimeo and Zoom links: https://almat.iem.at/signale.html

Algorithms that Matter (Almat) is an artistic research project that aims
at understanding the increasing influence of algorithms, translating
them into aesthetic positions in sound. Throughout Almat, we built new
perspectives on algorithmic agency by subjecting the realm of algorithms
to sonic experimentation and diffractive reading, working on several
sound and intermedia pieces, inviting guest artists to participate in
artistic research residencies, and collaborating with national and
international partners to organise events such as workshops and new
formats in artistic research around the topics of Almat. The vast
collection of materials coming out of these instances was developed in
the form of a Continuous Exposition, a network of pages on the Research
Catalogue platform: texts, sketches, sounds, images, videos,
transcriptions, code. In the past year, all these materials were
annotated with meta data, and a parser software was developed to store
the data in the form of a novel search engine accessible at

https://metaexpo.almat.iem.at/

In 2020, Almat collaborated with the project Algorithmic Segments, a
parcours in the context of Graz Kulturjahr 2020 that presented various
positions in sound art and digital art, spread across gallery and museum
spaces in the inner city of Graz. During the Signale Lecture, a short
version of the Algorithmic Segment video documentation will be featured.

- Almat team: Hanns Holger Rutz, David Pirrò, Daniele Pozzi
- Guest artists:
  Ron Kuivila, Erin Gee, Jonathan Reus, Luc Döbereiner, Ji Youn Kang
- Meta Exposition software: Luc Döbereiner
- Video documentation Algorithmic Segments: Victor Jaschke

Algorithms that Matter ran within the framework of the Austrian Science
Fund (FWF) – PEEK AR 403-GBL – and was funded by the Austrian National
Foundation for Research, Technology and Development (FTE) and by the
State of Styria. It was hosted by the Institute of Electronic Music and
Acoustics (IEM) at the University of Music and Performing Arts Graz.

More information about the "Signale" event series at:
http://signale.kug.ac.at/signale-graz/rahmenprogramm.html



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[spectre] Almat 2020 symposium on algorithmic agency in artistic practice - program online now

[Hanns Holger Rutz]

_Almat 2020 program online now!_

We are happy to announce the availability of the program of the Almat
2020 symposium on algorithmic agency in artistic practice.

https://www.researchcatalogue.net/view/921059/921060

We thank all contributors who made their work available as dedicated
pages on the Research Catalogue. The program will be followed up by
round-table discussions on September 19, which we intend to make
available as video recordings.

The Almat 2020 symposium is interested in the genealogical, processual
aspects of algorithms and their transformative potential. We seek
critical approaches that avoid both mystification and commodification,
that aim at opening the black box of "wonder" that is often presented to
the public when utilising algorithms. We depart from the assumption that
algorithms possess an inherent material agency that emerges from the
intra-action between human and machine (K. Barad). In these exchange
processes, we experience gaps, breaks and bends in the flow, the
reconfigurative nature of the algorithmic which bounces back and
reconfigures our thinking and approach to artistic work. When algorithms
are inserted in the creative process, they actively shape this process
and spread outside the boundaries of a particular medium or artefact.
The symposium looks to rethink the relation between humans and
algorithms (N.K. Hayles) in terms of an organic or ecological
perspective (Y. Hui) in which actors are entangled and co-generative.

The foundation for the symposium is given by the eponymous artistic
research project Almat - Algorithms that Matter, funded by the Austrian
Science Fund (FWF AR 403-GBL) and hosted at the Institute of Electronic
Music and Acoustics (IEM) at the University of Music and Performing Arts
Graz.

Almat 2020 was originally planned to take place (06–07 July) adjoining
the 8th Conference on Computation, Communication, Aesthetics & X – xCoAx
(08–10 July). xCoAx is an exploration of the intersection where
computational tools and media meet art and culture, in the form of a
multi-disciplinary enquiry on aesthetics, computation, communication and
the elusive X factor that connects them all. Due to the Coronavirus
crisis, xCoAx went into an online-only mode, and the Almat symposium has
been replaced by an online assemblage of the submitted proposals only.

_List of contributions_

Luc Döbereiner and David Pirrò
Contingency and Synchronization

Kosmas Giannoutakis and Arthur Lanotte-Fauré
Confluent Currents

Dragica Kahlina
Game Audio as an Autonomous System

Steffen Krebber
The Modernist Anticlock

Ron Kuivila
Hearing Changes: Listening to the Air, The Fifth Root of Two, Sparkline
(with acceleration)

Daniel Mayer
Algorithms in Sound Synthesis, Processing, and Composition: a Dialectic Game

Jeffrey Morris
Bytebeat: Deterministic and Undeterminable

Tom Mudd
Algorithms and Agency in Electronic Music: Three Recent Projects

Daniele Pozzi
Relating Sound Algorithms and Concrete Spaces: Two Recent Works

Hanns Holger Rutz
Writing (about) Writing Machines

Casper Schipper
Cisp: a Live-Coding Language for Non-Standard Synthesis Algorithms

Oswaldo Emiddio Vasquez Hadjilyra
Material Composition

Rewa Wright and Simon Howden
Making a Software Assemblage with Plants-Bodies-Data

Stefano Zorzanello
Copernicus Listening. Creative Survival Strategies and Techniques in the
World of Sounds
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[spectre] Graz: openings of 'Algorithmic Segments' 23+31 July

[Hanns Holger Rutz]

In summer and autumn 2020, /Algorithmic Segments/ presents various
positions in sound art and digital art, spread across gallery and museum
spaces in the inner city of Graz (AT). The project initiated by Hanns
Holger Rutz and David Pirrò is supported by the framework of Graz
Cultural Year 2020 and organised at the Institute of Electronic Music
and Acoustics (IEM) of University of Music and Performing Arts Graz.

After a delay caused by the pandemic, and after moving the partner event
'xCoAx - Conference on Computation, Communication, Aesthetics & X' into
the virtual domain (https://2020.xcoax.org), we are happy to announce
that the first two exhibitions are now starting in physical space:

- on 23 July at 19:30h opens the audio-visual installation 'Wordless: A
Conversation with Samuel Beckett and Morton Feldman at the End of
History' by Netherlands-based sound artist Jonathan Reus. Using machine
learning algorithms, he invokes an absurd conversation between the late
writer and the late composer. This dialogue can be witnessed daily
between 11–19h at the entrance of Forum Stadtpark Graz (Stadtpark 1),
visible on two tube monitors and audible through outside speakers. The
sparseness of the sound recordings lead the algorithm to create abstract
sounds that capture the cadence and timbre of the voices, but it fails
to produce comprehensible speech. The exhibition runs until 06 September.

- on 31 July at 19:00h opens the space and sound installation
'in|filtration' at esc medien kunst labor Graz (Bürgergasse 5). It deals
with persistent and inconspicuous processes of exchange, in which
surfaces and membranes between adjacent actors and systems are not only
regarded as forms of dissociation, but as partially permeable layers,
thus allowing imaginings, signals, materials, light and sound to
propagate and melt the identities of the separate. A translucent and
sensorial space/body acts as a vessel for sound structures that migrate
between two seemingly opaque computer systems. The physical space is
interwoven with an algorithmic space, sounding and sensing its
environment. Algorithmic space is understood as intrinsic speculative
movement and the interaction with humans who write code and experiment
with it. Making visible and audible the exchange processes between
humans and machines becomes a means of critically articulating this
space. The exhibition is open Tue–Fri 15–18h and runs until 28 August.

Further information and dates can be found at
https://algorithmische-segmente.mur.at

About the project: Segmentation is a core principle of analysis in many
different disciplines, such as biology (literally to disassemble
organisms, but also the sequencing of DNA), in music and phonology (to
structure the stream of sound), or in informatics (to formulate and
implement an algorithm). It is also an artistic operation, ranging from
film cut to the sampling of sounds and other existing materials. What we
are interested in this project is to understand the segmentary, not as
an expression of isolation or fragmentation, but on the contrary, as a
decentralised surface of "fitting pieces" whose meaning emerges through
assembly by the audience.

Algorithmic Segments is built as an interaction between various
stakeholders, institutions and events, which contribute to, carry and
shape the project in different ways: Algorithms that Matter (ALMAT),
Conference on Computation, Communication, Aesthetics & X (xCoAx), Master
Module in Art, Science and Technology (MAST) at the Institute of Spatial
Design of TU Graz, esc media art lab, Kunsthaus Graz, Forum Stadtpark,
Reagenz – Space for Artistic Experiments, Grazer Kunstverein.
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[spectre] xCoAx 2020 submissions extended to February 16

[Hanns Holger Rutz]

 day.
- Friday July 10 evening: Conference dinner.

**Registration**

- Author registration: € 220 — Before May 3rd. One author per paper.
  Includes entry to conference, performances, and conference dinner.
- Reduced registration: € 90 — Non-presenting co-authors, authors
  without academic affiliation, general public. Includes entry to
  conference and performances, and conference dinner.
- Doctoral symposium: € 90 — Includes entry to conference and
  performances, and conference dinner.
- Conference dinner: € 30 — Open to non-registered accompanying persons.
- ALMAT discount: € 30 — Add this to your ticket, and in addition to
  xCoAx you will also be registered for the Algorithms that Matter
  symposium (06–07 July 2020) at a discounted price.
- Registrations will open after the notifications of the reviews (March
  2020).

**Scientific committee**

Adriana Sá - ESAD/CICANT
Alessandro Ludovico - Winchester School of Art, University of
Southampton / Neural
Alice Eldridge - University of Sussex
André Rangel - CITAR
Andreas Broeckmann - Leuphana Arts Program, Lüneburg
Andreas Muxel - Faculty of Design at University of Applied Sciences Augsburg
Andreas Zingerle - independent artist
Andres Burbano - School of Architecture and Design, Universidad de los
Andes, Colombia
Anne Balsamo - University of Texas at Dallas
Anneké Pettican - Department Lead Art & Communication, University of
Huddersfield
Arne Eigenfeldt - Simon Fraser University
Boris Debackere - V2 / Luca School of Arts
Carlos Guedes - New York University Abu Dhabi
Chara Lewis - Manchester School of Art, Manchester Metropolitan University
Christian Faubel - independent artist
Cristina Sá - CITAR / Portuguese Catholic University, School of Arts
Dale Macdonald - University of Texas at Dallas
Daniel Irrgang - Weizenbaum Institute / Berlin University of the Arts
Daniel Schorno - STEIM
David Pirrò - Institute of Electronic Music and Acoustics, University of
Music and Performing Arts, Graz
Filipe Pais - Ensadlab, Ensad, Paris
Francisco Cardoso Lima - Independent Artist, Aveiro
Frieder Nake - University of Bremen & Hochschule für Künste Bremen
Hanns Holger Rutz - University of Music and Performing Arts Graz
Heitor Alvelos - ID+ / Faculty of Fine Arts, University of Porto
Irina Spicaka - CC4AV
João Cordeiro - CITAR / University of West London
Jason Reizner - Bauhaus-Universität Weimar
Jon He Massey - University
Jon McCormack - Monash University
Kristin Mojsiewicz - Edinburgh College Of Art, University Of Edinburgh
Linda Kronman - independent artist
Luísa Ribas- CIEBA / Faculty Of Fine Arts, University Of Lisbon
Manuela Naveau - Ars Electronica
Mario Verdicchio - Università degli Studi di Bergamo
Martin Kaltenbrunner - Kunstuniversität Linz
Max Hampshire - Independent Researcher & Artist
Miguel Carvalhais - INESC TEC / Faculty Of Fine Arts, University Of Porto
Mitchell Whitelaw - College Of Arts And Social Sciences, Australian
National University
Mona Kasra - University Of Virginia
Nathan Wolek - Stetson University
Nuno N. Correia - University Of Greenwich
Patrícia João Reis - University Of Applied Arts Vienna, Austria,
Department Of Digital Arts
Paulo Ferreira Lopes - Hochschule Mainz
Pedro Cardoso - INESC TEC / Faculty Of Fine Arts, University Of Porto
Penousal Machado - University Of Coimbra
Philip Galanter - Texas A University
Ricardo Melo - CEOS.PP / Polytechnic Of Porto. Porto Accounting And
Business School
Rodrigo Hernández-Ramírez - Instituto de Arte, Design e Empresa (IADE)
Rosemary Lee - IT-University Copenhagen
Roxanne Leitão - Central Saint Martins, University Of The Arts London
Rui Penha - INESC TEC / Feup
Rui Torres - Electronic Literature Organization / Faculty Of Human And
Social Sciences, University Fernando Pessoa, Porto
Samuel Van Ransbeeck - UCP/CITAR
Sophie-Carolin Wagner - Austrian National Library / RIAT
Shusha Niederberger - House Of Electronic Arts Basel
Tim Boykett - Time's Up
Thor Magnusson - University Of Sussex / Ixi Audio
Valentina Nisi - University Of Madeira
Valentina Vuksic - Zurich University of the Arts
Winnie Soon - Department of Digital Design at Aarhus University

**Organizing committee**

André Rangel - CITAR
Jason Reizner - Bauhaus-Universität Weimar
Luísa Ribas - CIEBA / Faculty of Fine Arts, University of Lisbon
Mario Verdicchio - Università degli Studi di Bergamo
Miguel Carvalhais - INESC TEC / Faculty of Fine Arts, University of Porto

**Local organizing committee**

David Pirrò - Institute of Electronic Music and Acoustics, University of
Music and Performing Arts Graz
Hanns Holger Rutz - Institute of Electronic Music and Acoustics,
University of Music and Performing Arts Graz
Daniele Pozzi - Institute of Electronic Music and Acoustics, University
of Music and Performing Arts Graz

**Contacts**

i...@xcoax.org
http://xcoax.org
https://twitter.com/xcoaxorg
http://facebook.com/xcoax.org
https://www.instagram.com/xcoaxorg/
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[spectre] ALMAT 2020 submissions extended to February 16

[Hanns Holger Rutz]

**ALMAT - Algorithms that Matter**
**Symposium on Algorithmic Agency in Artistic Practice**

6–7 July 2020, Graz Austria

**Extended submission deadline: 16 February 2020**

https://almat.iem.at/symposium.html

Please feel free to distribute this call to your networks.

Artists and scientists have worked with digital computers for over
seventy years, and algorithmic practices exist for a lot longer. But in
recent years, increased computing power and decreased costs and
miniaturisation of machines have created a new quantity and quality of
everyday exposure, economic and political criticality, and with it a
wave of public attention and discourse. As artists-researchers, how do
we incorporate this new situation into our practices, and more
importantly, how does this changed situation retroact on our
understanding of the role of digital art, sound art and artistic
practice itself?

Rather than understanding algorithms as existing and transparent tools,
the ALMAT Symposium is interested in their genealogical, processual
aspects and their transformative potential. We seek critical approaches
that avoid both mystification and commodification, that aim at opening
the black box of "wonder" that is often presented to the public when
utilising algorithms.

The foundation for the symposium is given by the eponymous project ALMAT
– Algorithms that Matter. ALMAT is an artistic research project by
Hanns Holger Rutz and David Pirrò funded by the Austrian Science Fund
(FWF AR 403-GBL) and hosted by the Institute of Electronic Music and
Acoustics (IEM) at the University of Music and Performing Arts Graz.

ALMAT 2020 will take place (06–07 July) adjoining the 8th Conference on
Computation, Communication, Aesthetics & X – xCoAx (08–10 July). xCoAx
is an exploration of the intersection where computational tools and
media meet art and culture, in the form of a multi-disciplinary enquiry
on aesthetics, computation, communication and the elusive X factor that
connects them all. xCoAx has issued a separate call for participation –
http://www.xcoax.org – and reduced combi-tickets are
available for xCoAx + ALMAT.

**Call for Contributions**

The ALMAT Symposium calls for artistic research contributions in the
following two categories:

1. Contributions exploring the symposium's theme and the questions
   arising from it. This may include:
   - What are the material qualities specific of algorithms and
 algorithmic practices? How does the algorithmic become malleable
 as material?
   - Are there particular affordances of the algorithmic?
   - How does algorithmic agency unfold, how can it be observed,
 formulated, or communicated? Which alternatives to traditional
 concepts such as control/controller could be formulated?
   - How does the reconfigurative "intrinsic" or "speculative"
 movement of algorithms extend to or retroact on the artist or
 recipient, how does it shape their interactions?
   - How can artistic experimentation with algorithms be communicated
 to an audience, how may it help sensitise and empower people to
 take ownership of the algorithmic?
   - Which are the thresholds of heteronomy/autonomy, what makes an
 algorithmic practice become generative?
   - What are philosophical, technological, aesthetic or artistic
 consequences of acknowledging the agency of algorithms?

2. Contributions that explicitly refer to the research, the
   experiences and the case studies of the ALMAT research
   project. Contributions may be commentary, continuation, critique
   or, more in general, a response to one or more aesthetic and
   theoretic manifestations and artefacts reflected in the project's
   documentation. The project's (ongoing) documentation is an online
   hypertext starting at the Continuous Exposition:
   https://www.researchcatalogue.net/view/381565/381566 . In
   particular, we identified a number of works that are
   good candidates for responses, as they will be visible or audible
   during the symposium (see submission page).

For more information and details of contribution formats and
application process, please refer to:
https://www.researchcatalogue.net/view/381565/698006

Contact: For any questions, please write to .
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[spectre] xCoAx 2020 Call for papers, artworks, and performances

[Hanns Holger Rutz]

**xCoAx 2020: 8th International Conference on**
**Computation, Communication, Aesthetics and X**

8–10 July 2020, Graz, Austria

http://xcoax.org/

Please feel free to distribute this call to your networks.

**Submission deadline: 31 January 2020**

xCoAx is an exploration of the intersection where computational tools
and media meet art and culture, in the form of a multi-disciplinary
enquiry on aesthetics, computation, communication and the elusive X
factor that connects them all.

xCoAx has been an occasion for international audiences to meet and
exchange ideas, in search for interdisciplinary synergies among computer
scientists, artists, media practitioners, and theoreticians at the
thresholds between digital arts and culture. Starting in 2013 in
Bergamo, xCoAx has so far taken place also in Porto, Glasgow, Lisbon,
Madrid, and Milan.

The focus of xCoAx is on the unpredictable overlaps between the freedom
of creativity and the rules of algorithms, between human nature and
machine technology, with the aim to evolve towards new directions in
aesthetics.

In 2020 xCoAx will take place in Graz, Austria, directly adjoining the
symposium **Algorithms that Matter (ALMAT)**. On the two days preceding
xCoAx, ALMAT gathers artists and researchers to present and discuss the
relations between algorithmic agency and artistic research, the practice
of algorithmic experimentation and its impact on compositional process.
ALMAT has issued a separate call for participation –
https://almat.iem.at/symposium.html – and reduced combi-tickets are
available for xCoAx + ALMAT.

**Topics**

You are invited to submit theoretical, practical or experimental
research work that includes but is not limited to the following topics:
Computation, Communication, Aesthetics, X, Algorithms / Systems /
Models, Artificial Aesthetics, Artificial Intelligence, Audiovisuals /
Multimodality, Creativity, Design, Interaction, Games, Generative Art /
Design, History, Mechatronics / Physical Computing, Music / Sound Art,
Performance, Philosophy of Art / of Computation, Technology / Ethics /
Epistemology.

**Submission Categories**

Papers, artworks, performances, ongoing doctoral research (all details
for submission at http://xcoax.org/). For this edition of xCoAx, a
special call for performances for MUMUTH's Ligeti Hall is also being
launched.

**Publications**

All accepted works will be published in a proceedings book with ISBN
(see http://proceedings.xcoax.org for previous editions) and the authors
of the best papers will be invited to a special issue of the
Scopus-indexed Journal of Science and Technology of the Arts
(http://artes.ucp.pt/citarj/).

**Keynote Speakers**

Yuk Hui
Špela Petrič

**Doctoral Symposium Chairs**

Marko Ciciliani

**Organizing Committee**

André Rangel: CITAR / i2ADS
David Pirrò: Institute of Electronic Music and Acoustics, University of
Music and Performing Arts, Graz
Hanns Holger Rutz: Institute of Electronic Music and Acoustics,
University of Music and Performing Arts, Graz
Jason Reizner: Bauhaus-Universität Weimar
Luís Nunes: i2ADS / Faculty of Fine Arts, University of Porto
Luísa Ribas: CIEBA / Faculty of Fine Arts, University of Lisbon
Mario Verdicchio: Università degli Studi di Bergamo
Miguel Carvalhais: INESC TEC / Faculty of Fine Arts, University of Porto

**Local Organizing Committee**

David Pirrò: Institute of Electronic Music and Acoustics, University of
Music and Performing Arts, Graz
Hanns Holger Rutz: Institute of Electronic Music and Acoustics,
University of Music and Performing Arts, Graz
Daniele Pozzi: Institute of Electronic Music and Acoustics, University
of Music and Performing Arts, Graz

**Contacts**

i...@xcoax.org
http://xcoax.org
https://twitter.com/xcoaxorg
http://facebook.com/xcoax.org
https://www.instagram.com/xcoaxorg/
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[spectre] Algorithms that Matter Symposium 2020: Call for contributions

[Hanns Holger Rutz]

**ALMAT - Algorithms that Matter**
**Symposium on Algorithmic Agency in Artistic Practice**

6–7 July 2020, Graz Austria

https://almat.iem.at/symposium.html

Please feel free to distribute this call to your networks.

**Submission deadline: 31 January 2020**

Artists and scientists have worked with digital computers for over
seventy years, and algorithmic practices exist for a lot longer. But in
recent years, increased computing power and decreased costs and
miniaturisation of machines have created a new quantity and quality of
everyday exposure, economic and political criticality, and with it a
wave of public attention and discourse. As artists-researchers, how do
we incorporate this new situation into our practices, and more
importantly, how does this changed situation retroact on our
understanding of the role of digital art, sound art and artistic
practice itself?

Rather than understanding algorithms as existing and transparent tools,
the ALMAT Symposium is interested in their genealogical, processual
aspects and their transformative potential. We seek critical approaches
that avoid both mystification and commodification, that aim at opening
the black box of "wonder" that is often presented to the public when
utilising algorithms.

The foundation for the symposium is given by the eponymous project ALMAT
– Algorithms that Matter. ALMAT is an artistic research project by
Hanns Holger Rutz and David Pirrò funded by the Austrian Science Fund
(FWF AR 403-GBL) and hosted by the Institute of Electronic Music and
Acoustics (IEM) at the University of Music and Performing Arts Graz.

ALMAT 2020 will take place (06–07 July) adjoining the 8th Conference on
Computation, Communication, Aesthetics & X – xCoAx (08–10 July). xCoAx
is an exploration of the intersection where computational tools and
media meet art and culture, in the form of a multi-disciplinary enquiry
on aesthetics, computation, communication and the elusive X factor that
connects them all. xCoAx has issued a separate call for participation –
http://www.xcoax.org – and reduced combi-tickets are
available for xCoAx + ALMAT.

**Call for Contributions**

The ALMAT Symposium calls for artistic research contributions in the
following two categories:

1. Contributions exploring the symposium's theme and the questions
   arising from it. This may include:
   - What are the material qualities specific of algorithms and
 algorithmic practices? How does the algorithmic become malleable
 as material?
   - Are there particular affordances of the algorithmic?
   - How does algorithmic agency unfold, how can it be observed,
 formulated, or communicated? Which alternatives to traditional
 concepts such as control/controller could be formulated?
   - How does the reconfigurative "intrinsic" or "speculative"
 movement of algorithms extend to or retroact on the artist or
 recipient, how does it shape their interactions?
   - How can artistic experimentation with algorithms be communicated
 to an audience, how may it help sensitise and empower people to
 take ownership of the algorithmic?
   - Which are the thresholds of heteronomy/autonomy, what makes an
 algorithmic practice become generative?
   - What are philosophical, technological, aesthetic or artistic
 consequences of acknowledging the agency of algorithms?

2. Contributions that explicitly refer to the research, the
   experiences and the case studies of the ALMAT research
   project. Contributions may be commentary, continuation, critique
   or, more in general, a response to one or more aesthetic and
   theoretic manifestations and artefacts reflected in the project's
   documentation. The project's (ongoing) documentation is an online
   hypertext starting at the Continuous Exposition:
   https://www.researchcatalogue.net/view/381565/381566. In
   particular, we identified a number of works that are
   good candidates for responses, as they will be visible or audible
   during the symposium (see submission page).

For more information and details of contribution formats and
application process, please refer to:
https://www.researchcatalogue.net/view/381565/698006

Contact: For any questions, please write to .
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[spectre] Simulation and Computer Experimentation in Music and Sound Art - Ghent - Registration open till March 18

[Hanns Holger Rutz]

Simulation and Computer Experimentation in Music and Sound Art
Event from March 21, 2019 until March 22, 2019
Orpheus Institute (Ghent, Belgium)

The seminar aims to bring together practitioners and scholars to discuss
the wide-reaching implications of the ‘agential cut’ (Barad) or ‘ontic
cut’ (Rheinberger) – the separation between operationalised model or
abstract theory and perceived or experimentally verified ‘reality’, the
fissure already indicated by Husserl and realised in experimental
computational systems.

Co-organisers

- ‘Music, Thought and Technology’ (Orpheus Institute, Ghent)
- ‘Algorithms that Matter’ (University of Music and Performing Arts
Graz, FWF AR 403-GBL)

Registration

General fee: € 50
For docARTES students, Orpheus related researchers, teachers and
students at Flemish conservatoires and all those who responded to the
call for proposals, the general fee is waived.

Deadline: 18 March 2019


For registration, programme and info:

https://orpheusinstituut.be/en/news-and-events/simulation-and-computer-experimentation-in-music-and-sound-art
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[spectre] Call - Simulation and Computer Experimentation in Music and Sound Art - Almat @ Orpheus Research Seminar 2019

[Hanns Holger Rutz]

 of the
  phenomenon in question? That is, might it tell us as much about the
  context, the world-view of its own development as about its subject
  phenomenon?
- The way computation can merge with composition and performance opens
  to question our received understanding of the processes of
  contemporary musical/sonic creation.
- A major value of computation as a tool lies in the possibilities it
  offers for the development of instruments and apparatuses of enquiry
  or experience that would otherwise be impossible. What value do
  simulations of physically ‘impossible’ systems have? What relation is
  there to the tradition of ‘thought experiment’?
- Rather than remaining inert tools, computational processes tend to
  unfold a specific agency, retroacting on the research or creative
  process they are inserted into.
- What kind of materiality do computational experiments develop? If they
  lack the material resistance as part of the experimental arrangement
  (Gramelsberger), could there be a different kind materiality that
  comes into play?
- Computational methods enter in a ‘co-generative’ relationship with the
  entities they interact with: they co-determine the outcome of the
  research or artistic endeavours. Humans and computational processes
  are inextricably entangled in a network of relations, an ecosystem of
  interdependences devoid of hierarchies and separability.
- If there is always already an ‘experimental intelligibility internal
  to computation’ (Parisi) through which the premises of the input data
  are autonomously revised, what are the opportunities in this duality
  of experimentality (intrinsic to computation as well as introduced
  through an experimenter’s design)?
- What are the implications for artistic work if experimental computer
  systems are always the result of a collaborative writing process of
  several authors (Gramelsberger)?

## People

Convenors: Jonathan Impett, Hanns Holger Rutz, David Pirrò
Invited Speakers: Luciana Parisi, N.N.



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[spectre] CALL - inSonic 2018: Algorithmic Spaces - ZKM + ALMAT

[Hanns Holger Rutz]

(please distribute)

In the run-up to the festival »inSonic 2018: Algorithmic Spaces«
(December 7–8, 2018) the ZKM | Karlsruhe and the project »Algorithms
that Matter« (ALMAT) call for submissions of works dealing with space
and the spatiality of calculation processes. Deadline: October 14, 2018!

Are there inherent spatial properties of algorithms? What, for example,
is the connection between the iterations of code, the behavior of
multi-agent systems, the exploration of databases and their inscription
in perceptible, auditory space? We are looking for works that use
generative processes to produce space instead of using a secondary
spatialization process, treating space as a critical phenomenon
resulting from the work with algorithms, for sound artifacts that
investigate concepts of space by embedding them in algorithmic processes.

Submissions can include both fixed media compositions and live
performances. The Open Call for Works for the festival »inSonic 2018:
Algorithmic Spaces« focuses on works that apply unexpected,
non-cartesian, non-standardized, reckless and experimental approaches to
space in sound to map special materializations of algorithmic spaces.

Each submission must be accompanied by an explanation (max. 300 words)
explaining the space concept pursued and its strategy of implementation.
In addition, a technical description must be submitted which outlines
the ground plan of the piece, the spatial or environmental requirements
as well as expected rehearsal and set-up times.

The successful submissions will be presented at the opening concert of
»inSonic 2018: Algorithmic Spaces« in the Cube of the ZKM on December 7,
2018.

In addition to a fee of €300, the artists of the selected submissions
will be reimbursed travel costs of a maximum of €400 and accommodation
costs of a maximum of €200.

Submissions can be made up to and including Sunday, **October 14, 2018**
(with no expiring download link) by sending an e-mail to hertz-...@zkm.de.

»inSonic 2018: Algorithmic Spaces« is a cooperation between ZKM |
Karlsruhe and »Algorithms that Matter« (ALMAT, FWF AR 403-GBL).

https://zkm.de/en/call-for-works-algorithmic-spaces
https://almat.iem.at/
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[spectre] Call: "Algorithms that Matter" @ impuls Academy 2019 Graz, workshop with Robin Minard, David Pirrò, Hanns Holger Rutz

[Hanns Holger Rutz]

(sorry for x-posts & please distribute)

ALMAT - Algorithms that Matter

@ impuls 11th International Ensemble and Composers Academy for
Contemporary Music 2019, Graz (AT)

special workshop
for computer music practitioners, sound artists and composers
with Robin Minard, David Pirrò, Hanns Holger Rutz

11.-21. February 2019


Algorithms that Matter (ALMAT) focuses on the experimentation with
algorithms and their embedding in sound works. Rather than conceiving
algorithms as established building blocks or the a priori formalisation
of a compositional idea, we look at them as performing entities whose
consequences are irreducible to models. Algorithms “matter” in the sense
that matter and meaning cannot be distinguished, neither can artists and
their computational tools. Algorithms actively produce spaces and
temporalities which become entangled with their physical embeddings.

The 2019 edition of the workshop focuses on the development of a
site-specific sound installation. The installation will explore the
interactions of algorithmic and physical spaces and their dynamic and
mutable properties. Participants will work on the premise that spaces
and our perception of them change depending on presence, absence, the
movement of visitors, the time of the day, the rhythm of the
surroundings as well as the sonic and algorithmic interventions we bring
into them.

This workshop seeks to attract computer music practitioners, sound
artists and composers by offering a platform for exchange and reflection
about their personal approaches towards algorithmic experimentation. The
participants are invited to develop their various approaches within an
atmosphere of collaboration, where special emphasis will be given to the
translation of environmental data (such as sensor input from the
surroundings and visitors) through computer music systems developed and
assembled by the participants and tutors. One question we want to pursue
is how behaviours can be composed that transition from "technical and
artificial" to "organic and alive", particularly through the
articulation of spatiality.

The workshop starts with an internal presentation of the participants
for the other participants and tutors. An initial sound situation using
a large number of small reconfigurable speakers forms the starting point
for in-situ work. This structure will then be available for
decomposition and rearrangement by the participants. The space will
become a public exhibition halfway through the workshop, making it
possible to observe and adapt to the interactions with the audience, a
central question in the making of sound installations.
The workshop will be held with technical infrastructure provided by the
Institute for Electronic Music and Acoustics (IEM), including an
48-channel sound system and a selection of sensors.
The workshop ALMAT was developed by David Pirrò and Hanns Holger Rutz
(both IEM Graz) and will be held together with the special support by
Robin Minard.

How to apply:
1.) First, you must register and be accepted as a participant of the
impuls Academy 2019.
2.) Along with your application, you must submit a statement concerning
your specific interest in participating in the ALMAT Workshop or
send this by e-mail to office(at)impuls(dot)cc.
3.) In addition, please send a description of your personal work in
relation to the workshop's theme stating your previous experiences
and describing employed computational approaches, their aesthetic
motivation, and a proposal for working within the installation
setting (up to 500 words), as well as a Curriculum Vitae (up to 500
words). Please send both parts to office(at)impuls(dot)cc by
__October 1st, 2018__ at the latest.
4.) The selection of participants will be announced by the beginning of
November 2018.
5.) Please be aware that the participation at ALMAT requires a daily
presence and will be considered as one of the very intense special
programs. This implies that ALMAT participants will not be granted
the same amount of individual lessons with other tutors as regular
participants, but only one more lesson.

http://www.impuls.cc/academy-2019/
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Re: [spectre] Antw: Re: on Hungary

[Hanns Holger Rutz]

statistics - so sweet. personally, I am very happy that the government
spends more on humanitarian needs than weapons. anything else would be
highly worrying.

three more random links. as y'all love numbers:

https://www.helsinki.hu/wp-content/uploads/HHC-Hungary-asylum-figures-1-January-2018.pdf

(1216 of 9797561 equals 0.12 permille)

numbers versus feelings:

https://www.youtube.com/watch?v=xnhJWusyj4I

on the conspiracy of media and hate speech:

https://elpais.com/internacional/2018/04/12/actualidad/1523553344_423934.html

have a nice day, .h..h.



On 13/04/18 12:23, Oliver Grau wrote:
> Heath,
> 
> you are right. 
> 
> German taxpayers now come up with 30-50 Bio. Euro per year for war
> refugees (and tolerated illegal migrants from many countries), which is
> more then the total defence budget (!) or 2-3 times what the state
> invests for education, research and innovation..
> https://www.bundeshaushalt-info.de/#/2017/soll/ausgaben/einzelplan.html
> 
> Those regime change policies / arab spring movement-wars in Irak,
> Libya, Syria.. were started by the US, UK and their allies, like Saudi
> Arabia. 
> Europe should not support those covert war forms. 
> But politicians like Merkel first deliver weapons and then kill the
> German welfare state producing right wing parties in Germany and in
> other european states.  
> 
> regards,
> Oliver
> 
> 
> 
> 
 heath bunting  13.04.2018 12:04 >>>
> here in the United Kingdom (UK) [the key partner in the United States
> of 
> America Empire (USAE)], its seems unfair to expect the Hungarian people
> to 
> solve the Syrian refugee crisis, which has been caused by the actions
> of 
> the USAE, while the Hungarian people have had no material benefits from
> 
> these conquests
> 
> the UK has a long history of imperialism and dealing with both the 
> benefits and negative effects
> 
> on the other hand, i don't see Hungary in this mode
> 
> labelling non-imperial nation states as racist or corrupt instead of 
> attacking the much larger organised criminal network of the USAE seems
> dis-proportionate
> 
> the same goes for expecting Swedish people to integrate 100,000s of
> north 
> Africans - its wrong to denounce them as racist
> 
> 
> perhaps of interest
> 
> https://www.zerohedge.com/news/2018-04-13/myth-european-democracy-shocking-revelation
> 
> 
> but i would be concentrating on this today
> 
> https://www.zerohedge.com/news/2018-04-13/taking-world-brink-annihilation
> 
> 
> 
> hope all is well
> 
> 
> 
> On Fri, 13 Apr 2018, Andreas Broeckmann wrote:
> 
>> janos,
>>
>> it is weird to read this, but isn't it clear that these things are
> happening? 
>> and isn't the really worrying thing that hungarians have voted for
> fidesz 
>> (party, leader, and candidates) despite the likelihood of this kind
> of 
>> manipulation of public opinion?
>>
>> i don't want to sound fatalistic, but the worrying thing is that
> while 
>> telling the truth is still important, it does not seem to make much
> of a 
>> difference...
>>
>> ok, yes, we have to keep on telling the truth, searching, telling...
>>
>> excuse the fatalistic glitch.
>>
>> regards,
>> -a
>>
>>
>>
>> Am 13.04.18 um 11:29 schrieb János Sugár:
>>> *Hungarian journalists admit role in forging anti-migrant
> 'atmosphere of
>>> fear'*
>>> /Employees of state TV network describe how channels pumped out
>>> pro-government messaging ahead of Victor Orbán's election victory
> this 
>>> week/
>>> /.../
>>> The journalists believe the anti-migrant messages often come
> directly
>>> from the government. People who work on stories directly involving
> Orbán
>>> receive a list of keywords to use. "Sometimes the editor will come
> into
>>> the office on the phone and dictate a whole story to us, word for
> word.
>>> We do not know who is on the other end of the phone," said one.
>>> /.../
>>>
> https://www.theguardian.com/world/2018/apr/13/hungary-journalists-state-tv-network-migrants-viktor-orban-government
> 
>>>
>>>
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[spectre] CALL - Reminder + Extended Deadline - Thresholds of the Algorithmic - ALMAT @ BEK

[Hanns Holger Rutz]

Call for Applications:
Workshop-in-Exposition: Thresholds of the Algorithmic
Bergen (NO), June 2018.

**Reminder and extended deadline: 23 February 2018**

(please distribute)

Algorithms have been used in music and sound art even before the
emergence of “computer music” in the 1950s, but today we witness an
entire new wave of interest, reflected in festivals, genres,
publications and research projects. It is the very notion of algorithms
that is shifting. They are no longer an abstract formalisation, but
emerge from artistic praxis and experimentation and become entangled in it.

Almat and BEK are happy to announce a call for participation in a
workshop-in-exposition taking place in Bergen, Norway, June 2018. This
will be a part of BEK and Notam’s ongoing series of workshops for
advanced users. It is a hybrid format that places the workshop inside an
exhibition context, where the exposed works and artefacts form the basis
of the workshop’s activity. Instead of “closed works”, what is exposed
to the general public are objects, sounds or installations that are open
to engagement and reconfiguration during the workshop.

Algorithms that Matter (Almat) is an artistic research project funded by
the Austrian Science Fund FWF, PEEK AR 403-GBL, and based at the
Institute of Electronic Music and Acoustics (IEM) in Graz, Austria.
BEK and Notam are centers for innovation and use of technology in music
and the arts in Norway. Both Notam and BEK have a strong focus on
education, and strive to establish new goals and provide new impulses
for current music technologists and artists.

- https://almat.iem.at
- http://www.bek.no
- http://www.notam02.no

- Full text of the call:
  https://almat.iem.at/assets/downloads/almat-bek_call2018.pdf
- Application form:
  https://almat.iem.at/assets/downloads/almat-bek_form2018.pdf

## Theme and Format

Thresholds are locations of transitions, points where one modality
becomes another, where a qualitative change occurs. In physics the point
where an aggregate state changes—the phase transition—is a distinguished
transitional location were the properties of the adjacent states become
evident. Similarly, in this workshop-in-exposition we want to study the
properties of the algorithmic by putting ourselves in threshold
positions and actively shape them. More than merely separating two
sides, one can spend time on a threshold, move along a ridge, performing
a tightrope walk while trying not to fall to either side.

Situated within the Almat artistic research project, this event aims at
bringing together practitioners and researchers in the field of digital
art, sound art and computational aesthetics. The hybrid format of
workshop-in-exposition puts on display works of the participants
pertaining to the theme, and at the same time avails them for
interrogation, discussion and reconfiguration during the week long workshop.

The full call embeds a list of three different ‘thresholds’ from which
the applicants should point out a specific one, that they recognise as
being addressed by their own artistic work. This will act both as a
point for further exploration during the workshop and as a bridge
towards audience perception.

## Application

Please read carefully the call and fill out the form provided at
https://almat.iem.at/call2018.html and send it to al...@iem.at along
with the required accompanying documents.

We aim at a balance of gender and background of the applicants.

Conditions:

- Duration of exhibition: from 08 June to 17 June 2018
- Start date (in situ): 04 June 2018
  (preparation and set up from 04 June to 08 June 2018)
- End date: 17 June 2018
- Applicants must be present during the workshop.
- Workshop fee must be paid by confirmed participants (see form)

**Application deadline: 23 February 2018** (e-mail reception, 24:00 CET)

If you have further questions, please do not hesitate to contact us at
al...@iem.at.

iem.at | kug.ac.at | bek.no | notam02.no | fwf.ac.at
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[spectre] CALL - Workshop-in-Exposition: Thresholds of the Algorithmic - ALMAT @ BEK

[Hanns Holger Rutz]

Call for Applications:
Workshop-in-Exposition: Thresholds of the Algorithmic
Bergen (NO), June 2018.

(please distribute)

Algorithms have been used in music and sound art even before the
emergence of “computer music” in the 1950s, but today we witness an
entire new wave of interest, reflected in festivals, genres,
publications and research projects. It is the very notion of algorithms
that is shifting. They are no longer an abstract formalisation, but
emerge from artistic praxis and experimentation and become entangled in it.

Almat and BEK are happy to announce a call for participation in a
workshop-in-exposition taking place in Bergen, Norway, June 2018. This
will be a part of BEK and Notam’s ongoing series of workshops for
advanced users. It is a hybrid format that places the workshop inside an
exhibition context, where the exposed works and artefacts form the basis
of the workshop’s activity. Instead of “closed works”, what is exposed
to the general public are objects, sounds or installations that are open
to engagement and reconfiguration during the workshop.

Algorithms that Matter (Almat) is an artistic research project funded by
the Austrian Science Fund FWF, PEEK AR 403-GBL, and based at the
Institute of Electronic Music and Acoustics (IEM) in Graz, Austria.
BEK and Notam are centers for innovation and use of technology in music
and the arts in Norway. Both Notam and BEK have a strong focus on
education, and strive to establish new goals and provide new impulses
for current music technologists and artists.

- https://almat.iem.at
- http://www.bek.no
- http://www.notam02.no

- Full text of the call:
  https://almat.iem.at/assets/downloads/almat-bek_call2018.pdf
- Application form:
  https://almat.iem.at/assets/downloads/almat-bek_form2018.pdf

## Theme and Format

Thresholds are locations of transitions, points where one modality
becomes another, where a qualitative change occurs. In physics the point
where an aggregate state changes—the phase transition—is a distinguished
transitional location were the properties of the adjacent states become
evident. Similarly, in this workshop-in-exposition we want to study the
properties of the algorithmic by putting ourselves in threshold
positions and actively shape them. More than merely separating two
sides, one can spend time on a threshold, move along a ridge, performing
a tightrope walk while trying not to fall to either side.

Situated within the Almat artistic research project, this event aims at
bringing together practitioners and researchers in the field of digital
art, sound art and computational aesthetics. The hybrid format of
workshop-in-exposition puts on display works of the participants
pertaining to the theme, and at the same time avails them for
interrogation, discussion and reconfiguration during the week long workshop.

The full call embeds a list of three different ‘thresholds’ from which
the applicants should point out a specific one, that they recognise as
being addressed by their own artistic work. This will act both as a
point for further exploration during the workshop and as a bridge
towards audience perception.

## Application

Please read carefully the call and fill out the form provided at
https://almat.iem.at/call2018.html and send it to al...@iem.at along
with the required accompanying documents.

We aim at a balance of gender and background of the applicants.

Conditions:

- Duration of exhibition: from 08 June to 17 June 2018
- Start date (in situ): 04 June 2018
  (preparation and set up from 04 June to 08 June 2018)
- End date: 17 June 2018
- Applicants must be present during the workshop.
- Workshop fee must be paid by confirmed participants (see form)

**Application deadline: 16 February 2018** (e-mail reception, 24:00 CET)

If you have further questions, please do not hesitate to contact us at
al...@iem.at.

iem.at | kug.ac.at | bek.no | notam02.no | fwf.ac.at
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Re: [spectre] looking for technopaganist performances by european women

[Hanns Holger Rutz]

out of curiosity - what's the quality of being "European" supposed to
produce? and when is somebody "European"?


On 27/11/17 11:55, lucille c wrote:
> Dear,
> 
> As an invited curator, and in order to go beyond too close networks, I
> am looking for European women artists dealing with technopaganism
> through performances in the context of the 2nd edition of the digital
> festival /Ladybug/ directed by Julien Ribeiro, which will take place in
> Lyon in November 2018
> http://geministears.com/
> 
> European women artists working with technologies & paganism,
> ecofeminism, witchcraft, esoterism,,,
> Forms: a priori already created performances / performance art, poetry,
> dance, theater, mixed proposals / no musical gigs
> Please send to c.lucille(at)gmail.com :
> -a video link,
> -a short work presentation & bio,
> -your technical rider and financial conditions
> / in english or french
> Deadline: 31st of December
> 
> lucille calmel
> http://www.myrtilles.org/news/
> 
> thank you in advance & feel free to share!)
> 



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Re: [spectre] Call for Applications - Algorithms that Matter - Artistic Research Residency

[Hanns Holger Rutz]

Please note the approaching deadline - 16 April 2017 - this is also
Easter holidays, so if you plan to go on an egg hunting trip, make sure
to send your application in time!


On 2017-02-20 22:10, Hanns Holger Rutz wrote:
> (apologies for cross posting)
> 
> 
> __Algorithms that Matter__
> 
> Artistic Research Residency - Call for Applications
> https://almat.iem.at/call
> 
> Algorithms that Matter (Almat) is an artistic research project funded by
> the Austrian Science Fund FWF, PEEK AR 403-GBL, and based at the
> Institute of Electronic Music and Acoustics (IEM) in Graz, Austria.
> 
> Almat is happy to announce a call for three artistic residencies to take
> place in 2017/18!
> 
> __What__
> 
> Algorithms that Matter is an artistic research project by Hanns Holger
> Rutz and David Pirrò. It aims at understanding the increasing influence
> of algorithms, translating them into aesthetic positions in sound,
> building a new perspective on algorithm agency by subjecting the realm
> of algorithms to experimentation.
> 
> Almat is grounded in the idea that algorithms are agents that
> co-determine the boundary between an artistic machine or “apparatus” and
> the object produced through this machine. The central question is: How
> do algorithmic processes emerge and structure the praxis of experimental
> computer music? The hypothesis is that these processes, instead of being
> separated from the composer—as generators and transformers of infinite
> shapes—exhibit a specific force that retroacts and changes the very
> praxis of composition and performance.
> 
> A series of systematic experiments is carried out by the project team
> together with the artists in residence. Over defined periods of time,
> artists develop series of interrelated sound pieces that interrogate
> specific aspects of algorithmicity. The work process is observed and
> transcribed into complementary forms of presentation and discourse,
> including concerts and exhibitions, an online public “continuous
> exposition”, and gatherings that connect artists-researchers across
> various institutions in Europe.
> 
> The project not only aims at extending the praxis of experimental
> computer music using algorithmic processes, but also at contributing to
> the scope and methodology of artistic research.
> 
> __Who__
> 
> This call is directed at experienced practitioners in sound art and
> experimental computer music, for whom algorithmic and computational
> strategies represent a central element in their work. Applicants should
> be able to demonstrate this through their past work. They are capable
> and interested in exposing and reflecting their process and work through
> writing, discussion and other forms of discourse. During the project,
> they are expected to either engage with software frameworks that the
> project team has developed, or with software they have developed in open
> source environments.
> 
> __Residencies__
> 
> The project offers three residencies in the period from October 2017 to
> December 2018
> (see possible periods listed in the application form).
> 
> The project is conceived in such way, that applicants will work
> collaboratively with the project team. Each residency will be preceded
> by an online preparatory process in cooperation with the project team
> (this will begin at latest two months before the start of the actual
> residency). The applicants are then expected to spend the two months of
> the residency in situ.
> 
> The residency's aim is to carry out algorithmic experimentation (in the
> form of compositions, installations, etc.) in an iterative setting, with
> focus on process and specific constraints. Applicants are expected to
> work both independently and collaboratively during the residency. An
> additional researcher will observe and document the work process and
> contribute to the public exposition of the traces.
> 
> The tangible outcomes will be presented locally and internationally by
> the project team, and the artists are invited to attend events related
> to the project. We want to emphasise that research is the prime focus of
> the residency, but that we intend to provide opportunities for public
> presentation of the works and artefacts created through the process.
> 
> __Application__
> 
> The applicants are commended to carefully read through the summary,
> research questions and methodology provided on the project's website:
> https://almat.iem.at
> 
> Please fill out the form provided at https://almat.iem.at/call.html and
> send it to al...@iem.at along with the required accompanying documents.
> 
> We aim at a balance of gender and background of the applicants,
> asserting the diversity of the project.
>

[spectre] Call for Applications - Algorithms that Matter - Artistic Research Residency

[Hanns Holger Rutz]

(apologies for cross posting)


__Algorithms that Matter__

Artistic Research Residency - Call for Applications
https://almat.iem.at/call

Algorithms that Matter (Almat) is an artistic research project funded by
the Austrian Science Fund FWF, PEEK AR 403-GBL, and based at the
Institute of Electronic Music and Acoustics (IEM) in Graz, Austria.

Almat is happy to announce a call for three artistic residencies to take
place in 2017/18!

__What__

Algorithms that Matter is an artistic research project by Hanns Holger
Rutz and David Pirrò. It aims at understanding the increasing influence
of algorithms, translating them into aesthetic positions in sound,
building a new perspective on algorithm agency by subjecting the realm
of algorithms to experimentation.

Almat is grounded in the idea that algorithms are agents that
co-determine the boundary between an artistic machine or “apparatus” and
the object produced through this machine. The central question is: How
do algorithmic processes emerge and structure the praxis of experimental
computer music? The hypothesis is that these processes, instead of being
separated from the composer—as generators and transformers of infinite
shapes—exhibit a specific force that retroacts and changes the very
praxis of composition and performance.

A series of systematic experiments is carried out by the project team
together with the artists in residence. Over defined periods of time,
artists develop series of interrelated sound pieces that interrogate
specific aspects of algorithmicity. The work process is observed and
transcribed into complementary forms of presentation and discourse,
including concerts and exhibitions, an online public “continuous
exposition”, and gatherings that connect artists-researchers across
various institutions in Europe.

The project not only aims at extending the praxis of experimental
computer music using algorithmic processes, but also at contributing to
the scope and methodology of artistic research.

__Who__

This call is directed at experienced practitioners in sound art and
experimental computer music, for whom algorithmic and computational
strategies represent a central element in their work. Applicants should
be able to demonstrate this through their past work. They are capable
and interested in exposing and reflecting their process and work through
writing, discussion and other forms of discourse. During the project,
they are expected to either engage with software frameworks that the
project team has developed, or with software they have developed in open
source environments.

__Residencies__

The project offers three residencies in the period from October 2017 to
December 2018
(see possible periods listed in the application form).

The project is conceived in such way, that applicants will work
collaboratively with the project team. Each residency will be preceded
by an online preparatory process in cooperation with the project team
(this will begin at latest two months before the start of the actual
residency). The applicants are then expected to spend the two months of
the residency in situ.

The residency's aim is to carry out algorithmic experimentation (in the
form of compositions, installations, etc.) in an iterative setting, with
focus on process and specific constraints. Applicants are expected to
work both independently and collaboratively during the residency. An
additional researcher will observe and document the work process and
contribute to the public exposition of the traces.

The tangible outcomes will be presented locally and internationally by
the project team, and the artists are invited to attend events related
to the project. We want to emphasise that research is the prime focus of
the residency, but that we intend to provide opportunities for public
presentation of the works and artefacts created through the process.

__Application__

The applicants are commended to carefully read through the summary,
research questions and methodology provided on the project's website:
https://almat.iem.at

Please fill out the form provided at https://almat.iem.at/call.html and
send it to al...@iem.at along with the required accompanying documents.

We aim at a balance of gender and background of the applicants,
asserting the diversity of the project.

__Conditions__

- Duration of residency: 2 months
- Start date (in situ): October 2017 (select time slots in form)
- Remuneration: c. 5,000 EUR total (contract for work; subject to
taxation where applicable). This sum is meant to cover all expenses,
such as travelling, living costs and accommodation.

__Application deadline:__ 16 April 2017 (e-mail reception, 24:00 CET)

If you have further questions, please do not hesitate to contact us at
al...@iem.at.

__Additional Information__

The Institute of Electronic Music and Acoustics is a department of the
University of Music and Performing Arts Graz, founded in 1965. It is a
leading institution in its field, with more than 25 staff

[spectre] Interpolations micro-symposium, Graz 02-Dec-16

[Hanns Holger Rutz]

Interpolationen - Interpolations
Friday Dec 2nd, esc media art lab Graz AT

'Interpolations' is a workshop and a micro-symposium built around the
current exhibition at esc 'Imperfect Reconstruction'. It aims at
bringing together researchers and artists in order to identify their
different approaches to and perspectives on the algorithmic, gathering
positions and possibilities that may then be “interpolated” to obtain
joins. We do not try to generate a “complete” picture, but we are
interested especially in the distances and gaps, seeing them as positive
aspects of the algorithmic, as all the resistances that prevent the
termination of thoughts and movements.

The workshop is the first part of the event. It takes place in the
morning/at noon and is comprised of invited participants, who, with the
exhibition as a point of departure, discuss and work together on topics
such as experimentation with algorithms, algorithmic agency, algorithms
and corporeality, methodology and artistic research.

The symposium starts at 4 pm and invites a broad audience. We want to
diverge from the classical form of a symposium and integrate well with
the artistic environment. We begin with a friendly reception with food
and drinks, as well as a quick tour through the exhibition. Then, in
order to stimulate discussion between the participants and the audience,
the workshop participants provide short individual “statements”, whereby
the term “statement” can be interpreted liberally. A statement can mean
a train of thought that serves as the basis for discussion, it can mean
a piece of work that fits with the theme or that includes performative
aspects in its presentation, etc. It leads to a moderated discussion
where the audience is invited to join. Finally, there is a dedicated
slot at the end of the afternoon for a longer performative presentation.

With Christa Brüstle, Luc Döbereiner, Gerhard Eckel, Klemens Fellner,
Urs Hirschberg, Reni Hofmüller, Lisa Horvath, Veronika Mayer, David
Pirrò, Hanns Holger Rutz, Reiko Yamada

Online: http://esc.mur.at/en/termin/interpolations



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