[spectre] [CAS] Registration Open! Electronics and Visualisation in the Arts Conference

[Paul Brown via SPECTRE]

EVA London Conference

2024 www.eva-london.org


Dear EVA London Members, 

We are delighted to announce that registration for EVA London 2024 is now open! 
Join us for a week-long conference featuring talks discussing critical 
advancements at the intersection of art and technology, networking, and a wide 
range of topics from museums and performance to AI and Digital Ethics.

Programme Information: http://www.eva-london.org/eva-london-2024/programme/


Key Links and Dates:

Conference Dates: 8th-12th July, 2024

Attendance: Hybrid (British Computer Society, Moorgate, London and Online)

Book Online Here: 
https://www.eventbrite.co.uk/e/hybrid-eva-london-2024-computer-arts-society-tickets-893579449187

Registration Closes: 5 July 2024 (In-Person Attendance) and 8 July 2024 (Online 
Attendance)



What to Expect:

Attendance:

EVA London 2024 is a hybrid event, physically at the BCS London office, and 
online using Zoom Meeting for the main conference and potentially other 
technologies for some associated events.

If you have a special requirement for combining physical and online attendance, 
please contact Graham Diprose on grahamdipr...@gmail.com.

Programme:

EVA 2024 programme will be released soon! For more information, please see our 
registration page here: http://www.eva-london.org/eva-london-2024/register/

Proceedings:

With registration, it is possible to order the printed EVA London 2024 
Proceedings in full colour, for posting or collection at the conference.

Overseas Delegates:

For overseas delegates who wish to attend any EVA London Conference and require 
proof of attendance, please email Kerry Wear kerry.w...@bcs.uk 


Please check http://www.eva-london.org/eva-london-2022/ for latest information.

*EVA London - bringing together artists, designers, researchers, technologists, 
to discuss electronic visualisation technologies in art, design, music, dance, 
theatre, the sciences and more.*

We look forward to hearing from you!

Hashtag: #EVAlondonconf
Facebook: EVA London

EVA Organising Committee

***
If this message was forwarded to you, join our mailing list to receive EVA 
London announcements (only) directly.

Send an email to: lists...@jiscmail.ac.uk 
Subject: leave blank.
Message: SUBSCRIBE EVA-LONDON

EVA London is co-sponsored by the Computer Arts Society, a Special Interest 
Group of the British Computer Society, and by the BCS .
***

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[spectre] [CAS] CAS evening at EVA London 2024: Book Launch and Talks

[Paul Brown via SPECTRE]

The Computer Arts Society’s 2024 series of events continues
 
CAS Evening at EVA London 2024: Book Launch & Talks
 
Mon, 8 July 2024 18:00 - 20:30 BST In Person and via Zoom  
Other time zones here:  https://www.timeanddate.com 
  
 
The event will be held in person at the BCS London HQ and via Zoom.
BCS, The Chartered Institute for IT
Ground Floor, 25 Copthall Avenue, London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/
 
Creative Simulations: George Mallen and the Early Computer Arts Society
Edited by Catherine Mason, the story of the origins and history of the CAS 
through its activities and exhibitions from 1969 to the early 1970s.  
https://link.springer.com/book/9783031506192
 
The Arts and Computational Culture: Real and Virtual Worlds
Edited by Tula Giannini and Jonathan P. Bowen, this book offers a very broad 
range of research and ideas that are all very relevant to today’s digital 
artists, creators, curators, archivists, and academics.
 
Speakers:  Catherine Mason http://www.catherinemason.co.uk/ will talk about her 
new book about George Mallen – CAS Co-Founder and President Emeritus – and the 
early days of CAS and various contributors to ‘The Arts and Computational 
Culture: Real and Virtual Worlds’ will give brief presentations. There will 
also be a talk by Jonathan P. Bowen and Jack Copeland entitled ‘Turing, Warhol, 
and Monroe: Development of ‘The Turing Guide’ cover’.
 
This will be followed by a drinks reception and an opportunity to meet many of 
the authors.  Attendees will receive a discounted price on the books.
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is open to the public and is free but you must book your place for 
both in-person and zoom attendance here: 
https://EVALondonBookLaunch080724.eventbrite.co.uk 
  
And… please note that a ticket to this event does not include entry to the EVA 
London 2024 conference but does include the two current CAS Exhibitions. 
__
 
We have no meeting in August.  Our next meeting is on 18 September 2024 when 
Catherine Mason will talk about early CAS projects including George Mallen's 
Ecogame.

You can see our future programme here: 
https://computer-arts-society.com/events/index.html
 

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[spectre] CFP: Re:generative 2025: Conf on the Histories of Media Art, Science and Technology

[Oliver Grau via SPECTRE]

Re:generative 2025: Call for Papers

 

Int. Conference on the Histories of Media Art, Science and Technology titled
Re:generative takes place in Colombia in May 2025. The World Conference has
been held on a different continent every two years since 2005.

 

In a context of profound changes and transformations, the regenerative is
presented as an alternative to restore, renew or reconstruct lost or
invisible memories. From the perspective of sustainability, the regenerative
implies thinking about actions that imply survival as a vital matter of
engendering for its re-existence.

 

The organizing committee invites researchers of different areas, disciplines
and practices to submit individual papers, posters and full panels with new
and original research preferably in the following themes:

 

-Expanded communities, rhizomatic participation and creation.

-Circular dynamics, autonomous economies and practices

-Resilient ecosystems and adaptive systems

-Open knowledge: consilience between design, art and science

-Innovation based on the reinterpretation and validity of ancestral
memory

-Future Memories: Documentation, Preservation and new Tools for
Research

-Pioneers of Media Art 

 

Conference language is English and Spanish with simultaneous translation
between the two languages during the conference. 

 

Re:generative 2025 will be held in conjunction with the 24th International
Image Festival, organized by the University of Caldas, in Manizales, and the
University of Bogota Jorge Tadeo Lozano. (Link to Festival) Re.generative
conference delegates will have ample opportunities to also attend artistic
activities (exhibitions, concerts, Media Art shows, among others).

 

Conference dates: May 5–10, 2025 in Manizales (World Cultural Heritage Site)
& Bogotà (Capital City) in Colombia.

 

Call for Papers now open

Deadline for panels and individual papers June 30th, 2024. 

Notification of acceptance will be announced by October 5th, 2024.

Submission language is English or Spanish.

Individual proposals for papers should consist of a max. 250-word abstract
with title.

Proposals for full panels should consist of a max. 500-word abstract
outlining the panel and individual topics of confirmed speakers.

Submitters should upload a short bio file (Word), no longer than ½ page per
person. The short bios will be used on the conference website together with
your abstracts.

Abstract submission:  
https://www.mediaarthistory.org/?page_id=4688

 

A separate “Call for Artworks” to be exhibited at the Festival can be found
here. LINK ??

 

 

Initiated by the Media Art Histories EXECUTIVE BOARD

Najam ASSAR (PK, DK), Andres BURBANO (CO/ES), Sean CUBITT (AU), Oliver GRAU,
(DE/AT) (Conference Founder and Chair), Inge HINTERWALDNER (DE), Laura
LEUZZI (UK), Gunalan NADARAJAN (SG/US) Chris SALTER (CH), Yu-Chuan TSENG
(TW) 

 

MediaArtHistories HQ: Wendy Jo COONES

  https://www.mediaarthistory.org/

 

Media Art Histories Honorary Board

Rudolf ARNHEIM, Linda HENDERSON (served in the Board from 2005-2018),
Douglas KAHN (2005–2018), Martin KEMP (2005 – 2018), Tim LENOIR (2005-2016),
Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE (2005-), Peter WEIBEL
(2005-2023), Erkki HUHTAMO (2005-2023), Machiko KUSAHARA (2005-2023)

 

Organizing Committee

Universidad de Caldas - Carolina Salguero, Walter Castañeda, William Ospina,
Oscar Villota, César Arias, Mario Valencia, Margarita Villegas, Carolina
Calderón

Universidad de Bogotá Jorge Tadeo Lozano - Felipe Cesar Londoño, D.A.
Quevedo Restrepo, Elkin Rubiano, Alfredo Gutiérrez

 

Re:generative Co-Chairs: 

Carolina SALGUERO. Universidad de Caldas. Manizales

Felipe Cesar LONDOñO. Universidad de Bogotá Jorge Tadeo Lozano

 

Media Art History Conf – Re:generative 2025 Board

Ibero-American Observatory of Digital and Electronic Arts OIADE Board - Jose
Ramón Alcalá. España, Daniel Argente. Uruguay, Humberto Valdivieso.
Venezuela, Emilio Martínez. España, Ricardo Dal Farra. Andres Burbano
(CO/ES), Concordia University. Montreal, Raquel Caerols. Universidad
Complutense de Madrid, Cleomar Rocha. MediaLab Brasil, Daniel Cruz. MAC
Chile, Tania Aedo. UNAM México

 

International partner institutions: 

Maestría en Artes Mediales, Universidad de Chile, Museo de Arte
Contemporáneo de Chile, Maestría en Diseño Interactivo, Universidad de
Buenos Airees Argentina Universidad Federal de Goias, Brasil, Archive for
Digital Art, (DE/AU), Cátedra Max Aub UNAM Mexico, Ibero-American
Observatory of Digital and Electronic Arts OIADE, Southern Network for
Science, Arts and Technolog. RedCatSur

 

 

Oliver GRAU

Fellow Academy of Visual Arts, Hong Kong Baptist University 

International Society for MediaArtHistories (MAST) Wien / Berlin
www.mediaarthistories.org  

ARCHIVE OF DIGITAL ART (ADA) www.archive-digitalart.eu

[spectre] Seven Things About Late Technoculture, Dani Ploeger & Viv Lennert

[Pierre Wolter via SPECTRE]

Dear friends,

we would kindly invite you to our opening / performance
SevenThings About Late Technoculture

Dani Ploeger & Viv Lennert

at art claims impulse and as talk at re:publica 2024

https://re-publica.com/de/session/seven-things-about-late-technoculture
https://www.art-claims-impulse.com/en/

Opening 28.05, 20:00, at Art Claims Impulse
Markgrafenstraße 86, 10969 Berlin

Exhibition: till 15.06.24, Wed-Sat 12:00 -18:00

In short, social media-optimised clips in the tradition of layered 
www-aesthetics, Viv Lennert and Dani Ploeger approach the gap between 
media studies and digital media content: Research as a controversial 
spectacle between real time and end time. The end time of technoculture 
has arrived. Under ever-increasing pressure from states and market 
forces, cultural and academic institutions are obsessed with the digital 
dissemination of everything and anything, trying to reach as many people 
as possible with everything. Written academic publications are no longer 
of interest and all exhibitions must include multimedia gimmicks. 
Thorough research processes and lengthy intellectual arguments are 
avoided, and all content must be interdisciplinary, short and accessible 
to everyone.
In response, Dani Ploeger & Viv Lennert's ‘Seven Things About Late 
Technoculture’ consists of seven academic essays in the form of 15-25 
second social media reels that integrate written works and performances 
by Dani Ploeger, video art by Viv Lennert and a copyright-free happy 
hardcore track. The video material was shot while the two artists spent 
a day in an electronics store in the centre of Munich.



Mit freundlichen Grüßen / Kind regards

Pierre Wolter


---

Pierre Wolter
Gallerist/Curator
Art Claims Impulse
Markgrafenstraße 86
10969 Berlin
www.art-claims-impulse.com 
Tel:+493033879688
Mob:+4915165906600
Auch interessant / Also interesting:
ACI-Shop
https://art-claims-impulse.com/en/aci-shop 

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[spectre] INVITATION: reading group on critical AI & LLMs and SAVE THE DATE mur.at worklab 19.-23. June 2024

[Margarethe Maierhofer-Lischka via SPECTRE]

dear community,


this is an invitation from mur.at - open source art server & net art 
platform - to some of our current activities. remote participation may 
be possible on request, please get back to us if you wish to do so!


best,

maggie (for mur.at)

~~~

*mur.at worklab SAVE THE DATE*

we will be hosting our traditional worklab again this June. GIA will 
present their work, plus we have some more exciting talks and workshop.


save the date: mur.at worklab 19.-23. June 2024 @ KiG, Volkshaus Graz
more infos & detailed program will follow shortly.

*mur.at presents AiR@mur*

currently the slovenian collective GIA is doing an artist residency at 
mur.at. they are artists, coders and media theorists and activists and 
run the noncommercial server project kompot.si in Ljubljana. during 
their residency GIA hosts an open reading group focused on the topics of 
critical "AI" & LLMs (large language models), and they will also present 
& discuss their work at our annual worklab. the reading group happens 
every wednesday 16-18h Vienna time at the mur.at headquarter, 
Leitnergasse 7, Graz. remote participation is possible on prior request. 
come and join us to discuss the future of chatbots!


more info and texts to read: https://mur.at/post/2024-gia-readinggroup/
detailed invitation here:

~~


The GIA collective is organising a reading group in May and June 2024.

    Dates: Wednesdays May 22, May 29, June 5
    Time: 16.00-18.00
    Location: mur-Projektraum, Leitnergasse 7, 8010 Graz
    The reading group will be held in English only.

LLMs represent a major advancement of the ‘computational turn’ in 
mediality, but remain rather isolated as an object of investigation or 
critique. This is partly due to marketing hype surrounding them (which 
becomes the secondary object of critique) or their ambivalent corporate 
origin, but also a lack of ambitious theoretical considerations.


In order to attempt a more wide ranging view we invite you to join GIA’s 
activities the mur.at worklab and together we will consider questions like:


    How do LLMs remediate old dreams (and nightmares) of universal 
languages, encyclopedists, archivists and all kinds of information 
management projects to which LLMs are peculiarly related?


    How is the question of remediation related to abstraction and what 
kind of vistas do LLMs open for us (new dreams and new nightmares)?


    In what sense can we understand LLMs as the first true AI cultural 
interfaces? What does the future hold in an era of ubiquitous LLMs?


    What kinds of social and self-relations will be afforded by LLMs?

We will address these and similar questions in our activities. These 
include Wednesday reading groups (22.5. 29.5. 5.6. // 16.00 - 18.00) in 
the mur.at project room (Leitnergasse 7) and a traditional worklab in 
June (19. -23. 6.) at KIG.


More information about the coming reading seminars:

    You can come to any seminar. There’s no need to attend all.
    The texts we will read will be announced here each week. If you 
want to suggest a text, you can do so at the seminar or send us an email 
at g...@kompot.si


For the first week we suggest to read:

    Operative ekphrasis: The collapse of the text/image distinction in 
multimodal AI
    Buckland, M. The expansion of bibliography: Dog-stone, antelope, 
and evidence


Secondary (not necessary) texts:

    Non-Human Words: On GPT-3 as a Philosophical Laboratory
    The Model is The Message

If you would like to join or if you have any questions, please contact 
us at g...@kompot.si


See you around!

GIA team

--
“There are no passengers on spaceship earth. We are all crew.” ― Marshall 
McLuhan

Margarethe Maierhofer-Lischka
sound / music / arts / thoughts
https://suonoreale.mur.at
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[spectre] Invitation to Piksel Fest Spill Opening Exhibition Tomorrow and Artists Presentation & Workshop on Saturday!

[220hex via SPECTRE]

Dear friends and Piksel lovers,

We hope this message finds you well. This is a kind reminder about our 
Opening Exhibition tomorrow at 18:00 at Studio 207, Piksel, Strandgaten 
207, Bergen.


*Exhibition Opening: Silent Vegetal Thoughts* Join us tomorrow, Friday, 
May 24th, for the grand opening of the exhibition "Silent Vegetal 
Thoughts." Experience the groundbreaking work of renowned bio artists 
María Castellanos and Alberto Valverde (ES). Their site-specific 
installation allows plants to control our IoT system, manipulating both 
lights and sound in the gallery. This is an event not to be missed!


*Artist Presentation and Workshop on Saturday* On Saturday, May 25th, at 
14:00, don't miss the chance to engage directly with the artists during 
their presentation. Right after their presentation, we will host the 
*Workshop: Discovering Plant Magic: A Sensory Adventure with Soft 
Sensors*, from 15:00 to 18:00. To register, please send an email to 
pikse...@piksel.no.


For more details on the Piksel Fest Spill program, please visit:

  * Piksel Fest Spill Program Overview

  * Additional Program Details


We look forward to seeing you at these inspiring events and workshops. 
If you have any questions, please don't hesitate to reach out.


Warm regards,

Piksel Team

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Re: [spectre] [CAS] 2024 Member's Exhibition Opening & Reception - 26 June

[Vera Frenkel via SPECTRE]

Hello Paul,
Tried to register, but was asked for a code that I couldn’t find.

Vera

On Tue, May 21, 2024 at 4:00 PM Paul Brown via SPECTRE <
spectre@mikrolisten.de> wrote:

>
> The Computer Arts Society’s 2024 series of events continues
>
> *2024 CAS Member’s Exhibition*
> Opening Reception and talks by Participating Artists
>
>
> 19:00 BST, Wednesday 26 June 2024 In Person and via Zoom
> Other time zones here:  https://www.timeanddate.com
>
> The event will be held in person at the BCS London offices and via Zoom.
> BCS, The Chartered Institute for IT
> Ground Floor
> 25 Copthall Avenue
> 
> London, EC2R 7BP, UK
> 
> Directions here:
> https://www.bcs.org/about-us/our-london-office-and-event-venue/
>
> This new exhibition at the CAS gallery space at the BCS London HQ shows 20
> recent works by our members selected from entries submitted for
> review.  Curated by Sean Clark and selected by a panel including Catherine
> Mason, Nick Lambert, Geoff Davis and Paul Brown.
>
> Speakers to be announced.  Moderator: Sean Clark
>
> The event will be recorded and uploaded to the CAS YouTube Channel.
>
> This event is open to the public and is free but you must book your place
> for both in-person and zoom attendance here:
> https://computerartssociety26062024.eventbrite.co.uk/
>
> __
>
> Our next meeting is the *EVA 2024* Conference - Monday 8 - Friday 12 July
> 2024
>
> You can see our future programme here:
> https://computer-arts-society.com/events/index.html
>
> __
> SPECTRE list for media culture in Deep Europe
> Info, archive and help:
> http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
>
__
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[spectre] [CAS] 2024 Member's Exhibition Opening & Reception - 26 June

[Paul Brown via SPECTRE]

The Computer Arts Society’s 2024 series of events continues
 
2024 CAS Member’s Exhibition
Opening Reception and talks by Participating Artists
 
19:00 BST, Wednesday 26 June 2024 In Person and via Zoom  
Other time zones here:  https://www.timeanddate.com 
  
 
The event will be held in person at the BCS London offices and via Zoom.
BCS, The Chartered Institute for IT
Ground Floor
25 Copthall Avenue
London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/
 
This new exhibition at the CAS gallery space at the BCS London HQ shows 20 
recent works by our members selected from entries submitted for review.  
Curated by Sean Clark and selected by a panel including Catherine Mason, Nick 
Lambert, Geoff Davis and Paul Brown.
 
Speakers to be announced.  Moderator: Sean Clark
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is open to the public and is free but you must book your place for 
both in-person and zoom attendance here:  
https://computerartssociety26062024.eventbrite.co.uk/
 
__
 
Our next meeting is the EVA 2024 Conference - Monday 8 - Friday 12 July 2024

You can see our future programme here: 
https://computer-arts-society.com/events/index.html

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[spectre] Women in Sonic/Electronics, Happenstance Gallery, London.

[lauraplanagracia via SPECTRE]

Women in Sonic/Electronics
@ Happenstance Gallery
334 Old Street London EC1V 9DR

Sunday 26 May 2024

soundcheck 13:00
doors 14:30
Laura Netz 15:00
Nicola Woodham 15:40
Esther Planas 16:10
closing 16:50

TICKETS: 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637

ARTISTS:

Laura Netz, a hacking culture and noise scene participant, is promoting the 
Sonic Electronics series in London. The series invites different artists from 
the community influenced by noise, experimental, electronics, and open-source 
music.

Nicola Woodham has composed and performed experimental music since 2014 with 
extended vocals, free-improvisation, sound poetry and noise. She has always 
formed alliances with audio technology to create trickery with her voice – 
thwarting and testing expectations of what sort of sounds should come from her 
disabled, performing, female identifying body.

Esther Planas’ research focuses on self-instituting practices during hostile 
times and spaces. She works with her project Escuela de Calor/School of 
Calidity to generate a series of ongoing situationist processes where urban 
sites are found, inhabited, and where unexpected encounters can happen.

MORE DETAILS: 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637


Please contact us 
la...@netzzz.net
http://netzzz.net/  __
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[spectre] STRANGERNESS: INTIMACIES IN UNCANNY WORLDS

[Gary Hall via SPECTRE]

STRANGE/R/NESS: INTIMACIES IN UNCANNY WORLDS

A series of events presented by the Postdigital Intimacies research
cluster in the Centre for Postdigital Cultures, Coventry University

JUNE 3-6, 2024

Register now!

https://urldefense.com/v3/__https://www.eventsforce.net/cugroup/frontend/reg/thome.csp?pageID=521339_sel_menu=8706=1868__;!!K7l7YuZ3_aFnun0eduI!jbYWZqnxrVMVtY439gQjaB-YP_OmTgxs-_VkLPPAgV8KPuyZssgW0QDxRdEvJdXzR7KolnDKlGsQsTV8OjHi-orGzVhkTIYjkmNkUoyB$


Join us for a week-long series of online events (3rd-6th June) exploring
what is uncanny, strange, and ‘other’ in relation to today’s digital,
and postdigital, intimacies. The talks in this event take as their
starting point the current context of our seemingly ‘post’-Covid-19
reintegration and disintegration, and the apparent return to ‘normal’
after a prolonged period of deep digitalisation, not to mention the ways
in which the digital has come to mediate and, at times, regulate, our
most intimate lives, with regard to work, health, relationships,
domestic space, and more. We explore, in this context, the expansion of
technological surveillance capitalism, disinformation and misinformation
shaping how we feel and engage in the world, how make sense of our
bodies, and (dis)connect with others, and the ways in which these
encounters are simultaneously strange and familiar. Indeed, current
questions over notions of truth, agency, and authenticity are, in
today’s postdigital cultures, just as likely to lead to violence,
polarisation, and the annihilation of marginalised people.

Following both Lauren Berlant and Shaka McGlotten then, we use
“intimacies” in a (post)digital context to denote “contacts and
encounters, from the ephemeral to the enduring, made possible by digital
and networked means” and as a “vast assemblage of ideologies,
institutional sites, and diverse sets of material and semiotic practices
that exerts normative pressures on large and small bodies, lives, and
worlds” (McGlotten, 2013; 7).

The speakers in this series reflect on the uncanny and familiar in such
postdigital intimacies. Collectively, we ask how these contexts generate
and, at times, unravel intimacies, as relationalities, connectivities,
and networks, that emerge in and through humans, events, technologies,
animals, objects, and emotions. In doing so, we start from the
assumption that intimacy itself must be thought about differently to
take account of the messiness and ambiguities of these connections.

Digital intimacies and the Queer Geographies of Encounter

Dr Regan Koch, Senior Lecturer in Human Geography, Director of the City
Centre, Queen Mary University of London, UK

3rd June, 4-5.30pm BST

Intimacy often refers to deeply personal desires and attachments. It is
generally understood to be a private matter that is nonetheless governed
by social conventions and heterosexual norms. However, as Lauren Berlant
(1998, 282) highlighted, the ‘inwardness’ of intimacy comes with a
corresponding publicness – an aspiration for something shared, even if
largely unspoken: “Intimacy builds worlds; it creates spaces and usurps
places meant for other kinds of relation.” Queer theory emerged, in
part, as an orientation towards this kind of world-building. It
identifies and affirms relationships and spaces that break with
convention, foregrounding LGBTQ+ experiences in an aspiration to create
wider publics where desires and sexualities are emancipated from
oppressive norms and structures. Berlant’s work did this in part by
extending the very notion of intimacy, understanding it not simply as
romance or sex, but as a wider epistemology for thinking about social
connection. Over the past decade, the ways intimacy is pursued and
practised have been radically reshaped by digital technologies. New
kinds of devices, software and platforms have brought novel forms of
encounter for sex, dating, friendship, entertainment and sharing
resources (Koch & Miles, 2021). LBGTQ+ communities are often at the
forefront of such changes, driven by the necessity of being marginalised
or excluded from the typical spaces of intimacy, and in pursuit of the
pleasures and affordances it can bring. In this talk, I will reflect
critically reflect upon these new technologically mediated worlds to
examine new, queer geographies of encounter which deserve exploration
given their far-reaching implications for LGBTQ+ lives and wider society.

“Under Cover of Niceness: Deepening White Supremacy through Wellness,
Crypto & Hyper Segregation”

Dr Jessie Daniels, Professor of Sociology, Hunter College, USA

4th June, 4-5.30pm BST

The conventional way of understanding white supremacy is one that relies
on a lens of Othering extremists as incomprehensible miscreants to

Re: [spectre] CFP: Modernism in Ukraine (London, 4-5 Oct 24)

[Darko Fritz via SPECTRE]

Dear Katia and others


Regarding the statement 'this international conference will bring together 
established and emerging scholars for a first-ever discussion dedicated 
exclusively to Ukraine’s visual culture of the late nineteenth and twentieth 
centuries to be held outside Ukraine.’:

1990, the exhibition The Ukrainian Avant-Garde 1910-1930 was held in the Museum 
of Contemporary Art in Zagreb (16/12/1990 - 24/02/1991), curated by Tihomir 
Milovac. On the occasion of the exhibition, a round-table meeting on the same 
theme was held. I may only guess that was the first presentation of the 
Ukrainian avant-garde separated from the Russian avant-garde.
The catalogue is published in Croatian and English.

Ukrajinska avangarda 1910-1930
Muzej suvremene umjetnosti, Zagreb, 1990.

Best regards

Darko


> On 15.05.2024., at 11:04, Andreas Broeckmann LEU via SPECTRE 
>  wrote:
> 
> From: Katia Denysova
> Date: May 14, 2024
> Subject: CFP: Modernism in Ukraine (London, 4-5 Oct 24)
> 
> The Courtauld Institute of Art, London, Oct 4–05, 2024
> Deadline: Jun 9, 2024
> 
> Call for Papers | International Conference | Modernism in Ukraine: Local 
> Contexts, Intercultural Encounters, Transnational Exchanges.
> 
> The Courtauld Institute of Art, London (4–5 October 2024).
> 
> Coinciding with the final stop of the touring exhibition In the Eye of the 
> Storm: Modernism in Ukraine, 1900–1930s at the Royal Academy of Arts in 
> London (29 June – 13 October 2024), this international conference will bring 
> together established and emerging scholars for a first-ever discussion 
> dedicated exclusively to Ukraine’s visual culture of the late nineteenth and 
> twentieth centuries to be held outside Ukraine.
> 
> For decades the modernist art production of Ukraine has been viewed through 
> the imperialist lens of the so-called ‘Russian avant-garde’, with scholarship 
> dedicated specifically to the local Ukrainian context remaining marginal and 
> mostly a purview of home-produced historiography. The Russian Federation’s 
> brutal and unprovoked full-scale invasion of Ukraine in February 2022 has 
> finally prompted a reassessment of the existing art historical canon, posing 
> uncomfortable questions regarding the complicity of western academia and 
> institutions in overlooking the Kremlin’s neo-imperialist pretensions. The 
> current conference seeks to harness this unprecedented moment to redress 
> historical injustices, invest in epistemic reparations and reclaim names, 
> events and institutions for Ukraine’s cultural space. At the same time, by 
> recognising and celebrating the country’s multicultural dimension and 
> pluralism of its artistic practices, the presented discussions will go beyond 
> the established national paradigm to investigate cultural transfers and 
> intercultural exchanges.
> 
> The conference seeks to address the following questions: How did artists 
> engage with indigenous pictorial traditions to construct Ukraine’s modern 
> cultural identity? How did this engagement evolve under the changing 
> political and ideological regimes? What intercultural and transnational 
> encounters had informed the development of modern art in Ukraine? What is the 
> legacy of Ukraine’s artistic modernism and what vision of the future can it 
> offer?
> 
> We invite proposals for 20-minute papers or presentations that address the 
> abovementioned questions and/or the conference themes more broadly. Proposals 
> can be dedicated to visual arts in a variety of media, roughly spanning the 
> period from the late nineteenth to the late twentieth century, as well as the 
> practice of contemporary artists working with the legacy of Ukraine’s 
> artistic modernism.
> 
> Proposal submissions
> 
> Please submit the following materials, along with the full name and contact 
> email address of the participant and information about any access 
> requirements:
> 
> A proposal of up to 500 words for a 20-minute paper, or an alternative 
> presentation
> An academic CV of no more than 2 sheets of A4 or a 200-word biography
> To: modernisminukra...@gmail.com
> 
> By: 11 pm (23:00) BST on Sunday 9 June 2024
> Selected participants will be contacted by the end of June 2024
> 
> Funding/Access statement
> 
> We welcome the participation of doctoral and post-doctoral researchers, and 
> independent scholars, from all backgrounds and will do our best to ensure 
> that the event is accessible to all attendees.
> 
> The event will be held in London with on-site participation of all speakers, 
> wherever possible. The conference organisers will aim to cover travel 
> expenses and accommodation of the invited speakers, especially those in need 
> of financial assistance and without institutional funding.
> 
> Co-organised by Katia Denysova (University of Tübingen) and Maria Mileeva 
> (The Courtauld Institute of Art)
> 
> 
> Reference / Quellennachweis:
> CFP: Modernism in Ukraine (London, 4-5 Oct 24). In: ArtHist.net, May 14, 

[spectre] call for projects - Magic Circles virtual worlds lab

[Gabriel Menotti via SPECTRE]

*MAGIC CIRCLES - A laboratory of virtual worlds*
Online, Sep-Nov 2024
CAD$1000 + production support for participating projects

Read the full call and apply by July 1: https://research-practice.com/magicc

Seeking to investigate virtual worlds in all their wealth and diversity,
the Magic Circles laboratory program invites practitioners from different
areas to engage in an eight-week cycle of online discussions, tours, and
experiments. We are looking for projects at any stage of development that
explore the possibilities (and shortcomings) of virtual worlds. The
laboratory is conceived as a sort of horizontal production residence,
through which participants will be encouraged to support and guide each
other in their online spaces of choice. Participating projects will receive
a CAD$1000 stipend. Ad hoc production support may also be available on a
case-by-case basis.



EXAMPLES OF ELIGIBLE PROJECTS INCLUDE

- Surveys of in-world ecosystems, economies, cultures, and communities;

- Development of world-specific interactive content (games, puzzles,
automata, Turing-complete computers, Rube Goldberg machines, etc);

- Creation of in-world artworks and performances of any kind (sculpture,
installation, exhibition, theater, concerts, etc.);

- In-world photography and filmmaking practices (video essays, fiction,
experimental, etc.);

- Pocket and purpose-built worlds in private servers;

- Development or detournement of control/sensorial interfaces
(accessibility hacks, mocap systems, teledildonics, etc.);

- Archaeology of defunct or discontinued platforms (MUDs, Habbo hotel, Club
Penguin, The Palace, etc.).



And some virtual worlds we hope to explore include but are not limited to
Second Life, VR Chat, Cluster, Minecraft, Roblox, Fortnite, World of
Warcraft, EVE Online, Elder Scrolls Online, Red Dead Online, and what have
you.



TO APPLY, please submit 1. a CV and/or portfolio; and 2. a cover letter
outlining the virtual world-related project you are currently developing
(max 500 words) to the address magiccircles...@gmail.com by July 1. If you
want, you may also submit additional materials about your proposed project
in the form of links in the email body.


Magic Circles is committed to the diversity of publics as well as to free
and open methodologies. The lab is supported by the Canadian Social
Sciences and Humanities Research Council’s *MetaMetaverse* project and the
Zentrum für Netzkunst.
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[spectre] CFP: Modernism in Ukraine (London, 4-5 Oct 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Katia Denysova
Date: May 14, 2024
Subject: CFP: Modernism in Ukraine (London, 4-5 Oct 24)

The Courtauld Institute of Art, London, Oct 4–05, 2024
Deadline: Jun 9, 2024

Call for Papers | International Conference | Modernism in Ukraine: Local 
Contexts, Intercultural Encounters, Transnational Exchanges.


The Courtauld Institute of Art, London (4–5 October 2024).

Coinciding with the final stop of the touring exhibition In the Eye of 
the Storm: Modernism in Ukraine, 1900–1930s at the Royal Academy of Arts 
in London (29 June – 13 October 2024), this international conference 
will bring together established and emerging scholars for a first-ever 
discussion dedicated exclusively to Ukraine’s visual culture of the late 
nineteenth and twentieth centuries to be held outside Ukraine.


For decades the modernist art production of Ukraine has been viewed 
through the imperialist lens of the so-called ‘Russian avant-garde’, 
with scholarship dedicated specifically to the local Ukrainian context 
remaining marginal and mostly a purview of home-produced historiography. 
The Russian Federation’s brutal and unprovoked full-scale invasion of 
Ukraine in February 2022 has finally prompted a reassessment of the 
existing art historical canon, posing uncomfortable questions regarding 
the complicity of western academia and institutions in overlooking the 
Kremlin’s neo-imperialist pretensions. The current conference seeks to 
harness this unprecedented moment to redress historical injustices, 
invest in epistemic reparations and reclaim names, events and 
institutions for Ukraine’s cultural space. At the same time, by 
recognising and celebrating the country’s multicultural dimension and 
pluralism of its artistic practices, the presented discussions will go 
beyond the established national paradigm to investigate cultural 
transfers and intercultural exchanges.


The conference seeks to address the following questions: How did artists 
engage with indigenous pictorial traditions to construct Ukraine’s 
modern cultural identity? How did this engagement evolve under the 
changing political and ideological regimes? What intercultural and 
transnational encounters had informed the development of modern art in 
Ukraine? What is the legacy of Ukraine’s artistic modernism and what 
vision of the future can it offer?


We invite proposals for 20-minute papers or presentations that address 
the abovementioned questions and/or the conference themes more broadly. 
Proposals can be dedicated to visual arts in a variety of media, roughly 
spanning the period from the late nineteenth to the late twentieth 
century, as well as the practice of contemporary artists working with 
the legacy of Ukraine’s artistic modernism.


Proposal submissions

Please submit the following materials, along with the full name and 
contact email address of the participant and information about any 
access requirements:


A proposal of up to 500 words for a 20-minute paper, or an alternative 
presentation

An academic CV of no more than 2 sheets of A4 or a 200-word biography
To: modernisminukra...@gmail.com

By: 11 pm (23:00) BST on Sunday 9 June 2024
Selected participants will be contacted by the end of June 2024

Funding/Access statement

We welcome the participation of doctoral and post-doctoral researchers, 
and independent scholars, from all backgrounds and will do our best to 
ensure that the event is accessible to all attendees.


The event will be held in London with on-site participation of all 
speakers, wherever possible. The conference organisers will aim to cover 
travel expenses and accommodation of the invited speakers, especially 
those in need of financial assistance and without institutional funding.


Co-organised by Katia Denysova (University of Tübingen) and Maria 
Mileeva (The Courtauld Institute of Art)



Reference / Quellennachweis:
CFP: Modernism in Ukraine (London, 4-5 Oct 24). In: ArtHist.net, May 14, 
2024. .

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[spectre] CONF: What remains of the "Friendship between Peoples"? (Berlin, 1 Jun 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Helena Doppelbauer
Date: May 14, 2024
Subject: CONF: Was bleibt von der Voelkerfreundschaft? (Berlin, 1 Jun 24)

Stadtwerkstatt und nGbK, Karl-Liebknecht-Straße 11/13, 10178 Berlin, 
01.06.2024


Was bleibt von der Völkerfreundschaft?

[English version below]

Ein Symposium der Prater Galerie, kuratiert und organisiert von Lena 
Prents und Antonina Stebur. Mit deutsch-englischer Simultanübersetzung 
und der Artistic Lunch-Performance „Plates of Unity“ von HakkaMoon.


Das von Olexii Kuchanskyi kuratierte begleitende Filmprogramm „Diaries 
of the Common“ wird im Veranstaltungsraum der nGbK von 11:00-19:00 zu 
sehen sein. Das Screening von Henrike Naumann / SI_Process ‚Breathe‘ mit 
einem anschließenden Gespräch zwischen Henrike Naumann und Vasyl 
Cherepanyn findet ebenfalls im Veranstaltungsraum der nGbK von 
19:00-20:00 statt.


Aufgrund der begrenzten Plätze bitten wir freundlich um eine 
verbindliche Anmeldung bis 30.5.2024 unter i...@pratergalerie.de


Seit dem Beginn des russischen Angriffskrieges gegen die Ukraine wird in 
Deutschland in vielen Medien auf das Bild der ehemaligen Freundschaft 
und der heutigen Feindschaft zwischen den zwei Völkern angespielt. Kaum 
ein privates Gespräch unter denjenigen, die im Sozialismus und mit der 
Ideologie der Völkerfreundschaft aufgewachsen sind, kommt ohne Reflexion 
über die einstige Verbundenheit der „Völker der Sowjetunion“ aus. 
Freundschaft ist ein wichtiger Begriff mit einer komplexen 
Beziehungsgeschichte. Aber was heißt bzw. hieß das eigentlich, wenn 
ganze Völker befreundet waren? Welcher Art war diese Freundschaft, die 
einerseits emanzipatorische und versöhnende Aspekte, aber auch 
hierarchische und sogar koloniale Gebärden enthielt?
Nach dem Ende des Zweiten Weltkrieges wurde „Völkerfreundschaft“ über 
die Sowjetunion hinaus zu einem zentralen Propagandabegriff im 
sozialistischen Lager. So ideologisch und unehrlich der Begriff seinem 
Ursprung nach auch ist, teilweise wurde er doch mit Leben gefüllt. Unter 
dem Titel „Völkerfreundschaft“ oder „Freundschaft und Brüderlichkeit“ 
gab es tatsächliche Begegnungen und Freundschaften – zwar nicht von 
Völkern, aber von Menschen. Und es gab einen kulturellen Austausch, der 
für beide Seiten gewinnbringend war. Eine stabile Freundschaft der 
Völker ist dabei anscheinend aber nicht entstanden: Mit dem Ende des 
Sozialismus begann eine schier endlose Reihe von völkisch-nationalen 
Konflikten bis hin zu Kriegen, woran sich bis heute nichts geändert hat.
„Was bleibt von der Völkerfreundschaft?“ ist ein Symposium, das die Idee 
von Freundschaft und Brüderlichkeit in (post-)sozialistischen Kontexten 
in den Mittelpunkt stellt. Es widmet sich dem Begriff und seiner realen 
Ausprägung aus historischen, dekolonialen, kunstwissenschaftlichen 
Perspektiven und lädt zum Nachdenken darüber ein, wie die politische 
Vorstellungskraft von Künstler:innen sowie feministische und queere 
Imaginationen die Idee von Freundschaft in neue Bindungen und 
Gemeinschaften verwandeln: etwa in die Idee der Schwesterlichkeit, der 
Fürsorgegemeinschaft oder der Wahlverwandtschaft.
Referent:innen: Felix Ackermann, Yevgenia Belorusets, Vika Biran, Olena 
Oleksandra Chervonik, Taras Gembik, Tereza Hendl, Beáta Hock, Iva Kovač, 
Kata Krasznahorkai und Bojana Pejić.


Das Symposium der Prater Galerie „Was bleibt von der 
Völkerfreundschaft?“ findet im Rahmen der Kyiv Perenniale 2024 und in 
Kooperation mit der nGbK Berlin statt. Kyiv Perennial 2024 ist eine 
Kooperation des Visual Culture Research Centers, der neuen Gesellschaft 
für bildende Kunst und der Kulturstiftung des Bundes, in Zusammenarbeit 
mit Between Bridges und der kommunalen Prater Galerie. Die 
Kulturstiftung des Bundes wird gefördert von der Beauftragten der 
Bundesregierung für Kultur und Medien. Prater Galerie ist eine kommunale 
Einrichtung des Bezirksamtes Pankow von Berlin.


1. Juni 2024, 11:00–20:00

Program Stadtwerkstatt.

11:00–11:15 Welcoming Address by Lena Prents and Antonina Stebur

11:15–12:15 Keynote Dr. Tereza Hendl: Not Our Brothers Either: From 
Subjugation to Liberation


12:15–12:30 Break

12:30–14:00 Panel 1, Looking Back: The Socialist Friendship Project – an 
Imperial Construction or Attempt at Reconciliation?


Prof. Dr. Felix Ackermann: Post/national/sozialistische Rituale der 
Verständigung

Dr. Beáta Hock: Communist Europe’s Brotherly Nations across the Globe

14:00–15:00 – Artistic Lunch-Performance “Plates of Unity” by HakkaMoon

15:00–16:30 Panel 2: Construction of ‘Friendship between Peoples’ in 
Visual Culture and Arts


Dr. Kata Krasznahorkai: Unsere Schwester, Angela
Olena Chervonik, PhD(c): Photography against the Grain of the Soviet 
‘Friendship of the Peoples’
Bojana Pejic: Sexualized Geographies: Forgetting or Remembering Wartime 
Rape?


16:30–17:00 Break

17.00–18.30 Panel 3: What’s Next for the ‘Friendship between Peoples’?

A conversation between Yevgenia Belorusets, Taras Gembik, and Iva Kovač, 
moderated by Vika Biran.

[spectre] transversal audio: Bojana Kunst Book Presentation: Das Leben der Kunst. Transversale Linien der Sorge

[info--- via SPECTRE]

 

Bojana Kunst Book Presentation: Das Leben der Kunst. Transversale Linien der Sorge
Bojana Kunst, Stefan NowotnyEdited by Lina Dokuzović
Audio to be released today, 15 May, at 18:00 CEST
Bojana Kunst's new book deals with the complex relationship between life and art and discusses this relationship from the angle of care. The author not only critically examines various backgrounds to contemporary debates on care, but furthermore lays an emphasis on its ambivalent character: care can be part and parcel of relations of violence as much as it can become the basis for a poetic-imaginative reorientation of social, ecological and micropolitical relationality.
This recording of the book presentation with Bojana Kunst and Stefan Nowotny took place at Depot in Vienna (https://depot.or.at) on 20 March 2024. The presentation of the German translation of the book took place in English, with parts of the following audience discussion also in German. It has been published by transversal texts as an audio episode as part of the Peripheral Visions project.
https://transversal.at/audio/
 
Previous episode"Not only Producing Radical Content, but Producing it in a Radical Way"The Practices of Suburbia and Subtextos and the Spanish Independent Publishing EcosystemKike España and Sara Jiménezhttps://transversal.at/audio/suburbia-subtextos
 
These audios are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] 24-25 September 2024: Oulu Finland - More-than-Planet Event

[Annick2 via SPECTRE]

Dear Spectrites

It is my great pleasure to forward the announcement of Photo 
North about the event it is organising at the end of 
September as part of the More-than-Planet Creative Europe 
project.


Oulu, Finland will be the place to be this Autumn!

Best

Annick

*
*

*Photo North: More-than-Planet Environmental Literacy 
Seminar and Photo Exhibition Opening will take place on 
24-25 September 2024 at Valve Cultural Centre, Oulu.*


Globally, 75% of the world's land area is under direct human 
influence. Our actions and the way we understand and 
conceptualise the planet have a concrete impact on our 
environment. The technologies used to study and describe the 
Earth's environment, as well as the concepts, value systems 
and cultures that define the human perspective, are often 
complex, difficult to understand and disconnected from 
people's everyday lives.


How can artists and critical researchers contribute to the 
challenges of space and ecological crisis? How can 
environmental literacy open up new perspectives, connections 
and agency for individuals and communities in a world 
struggling with climate change?


These themes will be explored in the More-than-Planet 
seminar starting on Tuesday 24th of September. The event 
will include presentations on interspecies relations, the 
problematics of observation and imaging technologies, 
satellite remote sensing, ecological transition and the role 
of art in social discourse. In addition, we will hear  
presentations of the workshops and residencies carried out 
during the More-than-Planet project.


On the evening of the first day of the seminar at 19:00, the 
opening of the More-than-Planet exhibition will be 
celebrated in the Valve and Photo North galleries. The 
exhibition is open until 19th of January 2025. The 
exhibition, which focuses on environmental literacy, offers 
perspectives and views from the space, the forests and 
beneath the earth's surface. The artists featured in the 
exhibition are Baran Caginli, Felicia Honkasalo, Mari 
Keski-Korsu, Kotryna Ula Kiliulyte, Minna Långström and 
Cesar and Lois collective.


Combining satellite data, artistic research, citizen science 
and photography, the More-than-Planet project develops 
environmental literacy through artistic work and 
collaborations linking space, climate and environmental 
research from 2022 to 2025. Project partners include the 
Waag Society in the Netherlands, the Ars Electronica Centre 
in Austria, Leonardo/Olats and Makery in France and Project 
Atol in Slovenia. Photo North's local partners include the 
University of Oulu's Oulanka Research Station, the Pyhäsalmi 
Mine's Callio Lab research and testing organisation, and the 
University of Oulu's Kerttu Saalasti Institute.


The international research project More-than-Planet 
 develops 
environmental literacy through space exploration, artistic 
work and collaboration between 2022 and 2025. This project 
receives funding from the European Union’s Creative Europe 
programme under grant agreement No 101056238 and national 
match funding from the City of Oulu and the Finnish National 
Agency for Education.


@more_than_planet

@waagnl

@makeryfr

#leonardoolats

@arselectronica

@projektatol

@photonorth.fi
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[spectre] Timo Kahlen: BEWARE ! Opening at RUINE DER KÜNSTE BERLIN (Ruin of the Arts Berlin), Sunday 19 May 2024

[Timo Kahlen via SPECTRE]

Dear friends, artists & inquisitive minds!


A cordial invitation to the opening
of the sound art / AI exhibition "Timo Kahlen: BEWARE !"
at the Ruine der Künste Berlin
Hittorfstr. 5, 14195 Berlin (U3 Free University / Thielplatz)
on Sunday, 19 May 2024 from 3 - 6 pm


B E W A R E ! Caution ! Things are not always as they seem. The future is not 
as certain as we hope. Art is less predictable than expected. The ruin more 
tangible than expected.

Timo Kahlen presents three new sound works - between material massiveness and 
fleeting idea. Let us surprise you. 

Exhibition from 19 May to 16 June. Open every Sunday from 3 - 6 pm (and by 
appointment). Admission is free.


image: Timo Kahlen. Sketch for "BEWARE", 2010-2024 © Timo Kahlen VG Bild-Kunst. 
Further works in the exhibition: "Sound without Sound", AI-generated sound 
events (Timo Kahlen in dialogue with Chat GPT, January 2024) and "Flicker", 
2024, sound composition for the ceiling of the Ruine der Künste Berlin.


I am on site. Work in progress.
With best regards
Timo Kahlen


Sound sculptor / media artist.
Appointments at m...@timo-kahlen.de 
Website: www.timo-kahlen.de 
Interview (German): "Timo Kahlens Konzeption haptischer Klänge: 
Wahrnehmungsfallen" auf Deutschlandfunk Kultur
https://www.deutschlandfunkkultur.de/timo-kahlens-haptische-klangskulpturen-flauschige-objekte-100.html
 

Interactive net and sound art: "Re-Play: 21 'vanished‘ works of net art by Timo 
Kahlen"
www.staubrauschen.de/re-play/  for MacOS 
X and Windows



Möchten Sie den Newsletter nicht mehr erhalten, senden Sie bitte eine Mail an 
m...@timo-kahlen.de  mit dem Betreff ‚unsubscribe‘.
If you wish to unsubscribe from this newsletter, please send an e-mail to 
m...@timo-kahlen.de  with ‚unsubscribe‘ in the 
header.


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[spectre] CONF: Reise(un)freiheit - Mobilitaeten [Un/Free to Travel - Mobilities of artists during the Cold War] (Dresden, 30-31 May 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Kerstin Schankweiler
Date: May 6, 2024
Subject: CONF: Reise(un)freiheit - Mobilitaeten (Dresden, 30-31 May 24)

Albertinum, Staatliche Kunstsammlungen Dresden, 30.–31.05.2024
Anmeldeschluss: 20.05.2024

"Reise(un)freiheit - Mobilitäten von Künstler:innen während des Kalten 
Krieges" –
Symposium des Forschungsprojekts „Affektive Archive – Auslandsreisen von 
Künstler:innen zur Zeit der DDR“ (TU Dresden, Leitung Prof. Dr. Kerstin 
Schankweiler) in Kooperation mit dem Albertinum (Staatliche 
Kunstsammlungen Dresden).


Moderationen: April Eisman, Lena Geuer, Marie Meyerding, Kerstin 
Schankweiler


Die strenge Absicherung der Grenzen in der DDR erschwerte auch die 
Mobilität von Künstler:innen. Trotzdem konnten sie Auslandsreisen für 
verschiedenste Zwecke beantragen, etwa im Rahmen kulturpolitischer 
Vorhaben, zur Begleitung von Ausstellungen oder für Studienreisen. 
Ebenso bereisten internationale Künstler:innen die DDR. Erinnerungen an 
solche Reisen sind heute immer noch lebendig und lassen sich in 
Interviews und Archivdokumenten wie Reiseanträgen, Berichten oder 
Reisetagebüchern nachvollziehen. Insbesondere zeugen auch Kunstwerke von 
den persönlichen Erfahrungen und Eindrücken der Auslandsaufenthalte. 
Vielen Künstler:innen wurden Reisen jedoch verwehrt und nicht selten 
wurde Kunst zum Mittel des Protests gegen die Einschränkungen.


Das Symposium widmet sich den Spannungsfeldern der Reise(un)freiheit. 
Themen sind die politischen Rahmenbedingungen und persönlichen 
Motivationen für Auslandsreisen, imaginierte und durchgeführte Reisen 
sowie ihr Niederschlag in der Kunst. Wie wurden Reisen individuell 
ausgestaltet und Restriktionen mitunter umgangen? In welchem Verhältnis 
steht eine Kunstgeschichte des (Nicht-)Reisens während des Kalten 
Krieges zu dem Topos der vielbehandelten „Künstlerreise“? Welche 
methodischen Zugänge bieten sich für eine Auseinandersetzung mit dem 
Thema an? Diesen Fragen nähert sich das Symposium in Vorträgen, einer 
Lecture Performance und Ausstellungsrundgängen an.

Konferenzsprachen: Deutsch und Englisch

PROGRAMM:

DONNERSTAG, 30. Mai 2024

13:30 Uhr
Begrüßung
Hilke Wagner, Direktorin des Albertinum (SKD)

13:40-14:00 Uhr
Einführung: Affektive Archive – Auslandsreisen von Künstler:innen zur 
Zeit der DDR

Kerstin Schankweiler, Jule Lagoda, Nora Kaschuba

14:00-14:40 Uhr
Ein schneller und distanzierter Blick auf die sozialistischen 
Geschwister – Reisebilder aus der Zeit des Staatssozialismus

Jérôme Bazin

19 Uhr Ausstellungseröffnung in der Galerie der TU Dresden im Görgesbau
REISE(UN)FREIHEIT – WERKE VON ANNEMIRL BAUER
Kooperation des Forschungsprojekts „Affektive Archive“ mit der Kustodie 
der TU Dresden und dem Annemirl Bauer Haus und Archiv in 
Niederwerbig/Amrei Bauer


FREITAG, 31. Mai 2025

10:00-11:20 Uhr
Revolutionary Romances? Globale Kunstgeschichten in der DDR 
Ausstellungsrundgang mit dem kuratorischen Team Mathias Wagner und 
Pauline Hohn


11:40-12:20 Uhr
Norden as Conflict and Contact Zone. Danish artists exhibiting, 
travelling and networking in the GDR, 1951–1989

Kristian Handberg

12:20-13:00 Uhr
The Art of Socialist ‘Friendship’: Charles White‘s sojourns in East Germany
Sasha Artamonova

14:15-15:00 Uhr
Lecture performance: Tales and Places I (Aleppo, Schönebeck, Berlin, 
Beirut) Philipp Farra und Olga Hohmann


15:00-15:40 Uhr
Art to Declare: The Flow of Art and Artists between the GDR and the Arab 
World As Documented Via al-Majallah Between 1959 and 1990

Hala Ghoname

15:40-16:30 Uhr
Abschlusskommentar Elke Neumann
Mathias Wagner

Verabschiedung
Hilke Wagner

--
Anmeldung unter: artinnetwo...@tu-dresden.de Informationen zum 
Forschungsprojekt: https://tud.de/gsw/affektivearchive

Kontakt: nora.kasch...@tu-dresden.de, jule.lag...@tu-dresden.de

Reference / Quellennachweis:
CONF: Reise(un)freiheit - Mobilitäten (Dresden, 30-31 May 24). In: 
ArtHist.net, May 6, 2024. .


_

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ISSN 2750-5685

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[spectre] Genossin Sonne (Comrade Sun) opens at Kunsthalle Vienna on 16 May

[Inke Arns via SPECTRE]

Dear all,

I’ve been absent from this list for quite a while now and left all the admin 
work to Andreas. Sorry for this, I promise to be more present again from now on 
;-)

I really hope to see some of you in Vienna, for the opening of the exhibition 
COMRADE SUN that looks at the relationship between revolution and the sun.

The opening will take place at Kunsthalle Vienna on Thu, May 16th, at 19:00.

Looking forward to see some of you,

all the best,
Inke

PS: An article that will be reprinted in the book published on the occasion of 
the exhibition is this one (check out the diagrams!): 
https://www.researchgate.net/publication/351700433_Shifting_Pattern_of_Extraordinary_Economic_and_Social_Events_in_Relation_to_the_Solar_Cycle
 

PPS: Yes, I am still running www.hmkv.de ;-)


---
---


GENOSSIN SONNE (Comrade Sun)
16/5 – 1/9 2024

kunsthalle wien / Museumsquartier

A joint exhibition of kunsthalle wien and Wiener Festwochen | Freie Republik 
Wien In collaboration with Klima Biennale Wien

Press conference: Thu 16/5 2024 • 10 am

Opening: Thu 16/5 2024 • 7 pm

Artists: 
Kobby Adi • Kerstin Brätsch • Colectivo Los Ingrávidos • Nicholas Grafia & 
Mikołaj Sobczak • Sonia Leimer • Maha Maamoun • Wolfgang Mattheuer • Marina 
Pinsky • Katharina Sieverding • The Atlas Group • The Otolith Group • Huda 
Takriti • Suzanne Treister • Anton Vidokle • Gwenola Wagon • Hajra Waheed

Curators: Dr. Inke Arns (Director of HMKV Hartware MedienKunstVerein) and 
Andrea Popelka (Kunsthalle Wien)

Assistant Curator: Hannah Marynissen

Exhibition design: Marlene Oeken & Martha Schwindling


ON THE EXHIBITION

The essayistic group exhibition Genossin Sonne [Comrade Sun] brings together 
artistic and theoretical work in which cosmic connections and reconstructions 
of cosmology are imagined as an element of political struggle, drawing on 
sources from fiction, theory, poetics, and other writing. Is intensified solar 
activity (incidence of sunspots and solar winds) related to terrestrial 
revolution, as the Soviet cosmists claimed? What exciting speculative 
reflections on this matter might be found in contemporary art and poetry?

The moving image—film and video as media of light—is a particular focus in this 
exhibition, but hypnotic, febrile, fiery, and menacing affects also emanate 
from works in other media. The sun acts both as source of life and energy for 
political struggle and as admonishing figure whose sheer mass and duration lay 
bare the brevity of human life on planet Earth.


THE CURATORIAL CONCEPT

The exhibition title Genossin Sonne is perplexing. How can the sun, the star at 
the center of our solar system, be a comrade? In what struggle, in what 
revolutionary upheaval? Can the sun be a revolutionary subject? And what does 
revolution have to do with the cosmos?

The word “revolution” came to mean “violent overthrow of an existing 
social-political order” following the Haitian/Caribbean, French and North 
American revolutions of the late 18th century. Before that time, however, it 
was used in astronomy with reference to the rotation of celestial bodies. The 
connotation of social and political actions came later.

Capitalism and industrialization soon took charge of humans’ radical 
“emancipation” from their environment, replacing a relationship of mutual 
co-operation with one of extraction. Nature now became an adversary, an other 
to be exploited for raw materials. Yet in the context of the present climate 
catastrophe, humanity is beginning to remember that it is a part of its 
environment. The exhibition Genossin Sonne goes a step further, playfully 
speculating that the sun itself may be our comrade, our ally.

The Soviet researcher Alexander L. Chizhevsky (U.S.S.R., 1897–1964) had long 
since seen it this way. Chizhevsky was an interdisciplinary scientist, Cosmist 
and biophysicist. He was among the founders of heliobiology as a research 
discipline, and also studied the effects of air ionization. The first refers to 
influence of the sun on the biosphere; the second to the effect of air 
ionization on biological entities. He discovered, for example, that geomagnetic 
storms caused by solar activity can affect the function of electrical systems, 
potentially causing airplane crashes or locust plagues. He also believed that 
increasing negative ionization of the Earth‘s atmosphere would stimulate “mass 
excitability”. According to Chizhevsky, human history is heavily influenced by 
11-year cycles of sunspot activity, bringing about rebellion in the forms of 
revolt, revolution, and civil war.

Chizhevsky built a stellar scientific career in the U.S.S.R. of the 1920s and 
1930s. But in 1942 Josef Stalin discovered his research, including a seminal 
work of 1924 on “physical factors of the historical process”. Chizhevsky was 
asked to repudiate his work on solar cycles, which contradicted official 
historical theories of the 1905 and 1917 revolutions. He refused, was arrested, 

[spectre] CONF: Towards an Automated Art? (Lisbon, 24 May 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Raquel Pereira
Date: May 3, 2024
Subject: CONF: Towards an Automated Art? (Lisbon, 24 May 24)

Colégio Almada Negreiros (CAN), Universidade Nova de Lisboa
Registration deadline: May 15, 2024

"Towards an Automated Art? Learning Machines, Human Creativity and 
Uncertainty"; Colégio Almada Negreiros (CAN) Universidade Nova de 
Lisboa, Campus de Campolide.


Scientific Coordination:
Luis D. Rivero-Moreno (Universidad de León, Spain & IHA-NOVA 
FCSH/IN2PAST, Portugal)
Helena Barranha (Insitituto Técnico Superior, Universidade de Lisboa & 
IHA-NOVA FCSH / IN2PAST, Portugal)


Cultural production is becoming progressively controlled by machine-made 
calculations. Computational tools in the form of algorithms and AI seem 
to be getting closer to the loop of producing, distributing, selling and
validating artworks in a completely digital context. It is possible to 
predict that, in the near future, they will be able to make their own 
decisions and produce new creative forms without direct human hand 
intervention. The arrival of an entire synthetic creative system is 
drawing nigh.


While images abound and never-ending streams of data are becoming 
unachievable for humans, the need for reflection is more urgent than 
ever. The predominant discourse has naturalised technology as neutral 
and unstoppable, favourable to all. Nevertheless, art might feature 
there not as a blind ally of technology, but as a necessary counterpart, 
a means of reflecting on the need and direction of its benefits through 
its use. The widespread use of software tools and apps makes us 
dependent on our trust in technology while interacting with the real 
physical world. The search engines guide us in our navigation of the 
Internet, its platforms and databases, making things visible in the 
virtual digital world. How are they programmed? By whom? To see what? 
Are we finally entering a new art ecosystem where artists are as 
replaceable as images? Are we becoming immersed in a new mechanized and 
financialized art system where artworks can be rapidly produced, 
consumed and wasted? Can human creativity survive in this context? Can 
machines really learn how to make art?


This one-day conference aims to provide a space for interdisciplinary 
discussion, bringing together different perspectives on the interaction 
between creative practices and digital technologies, with a particular 
emphasis on the still uncertain impact of AI on contemporary arts.


PROGRAMME

9:00: Registration

9:30 - 10:45: Opening Session (Room 219)

Keynote lecture: “Do Machines Deep Dream of Automated Artists?” – Andrés 
Burbano

Moderators: Luis D. Rivero Moreno and Helena Barranha

10:45 - 11:15: Coffee break

SESSION 1: 11:15 - 13:00 Questioning the Nature of Art in the Age of AI 
(Room 219)


“AI Art and the Productive Potential of Opacity” – Jasmin Pfefferkorn

“The Aura in Contemporaneity: Destruction or Evolution?” – Rita Cêpa

“Quantum Perspectives in Art and New Media: Towards Temporal Difference” 
– Yana Naidenov


“Latent Space: How Far is Far Away?” – Rodrigo Gomes

13:00 - 14:30: Lunch break

--
CONCURRENT SESSIONS 2a / 2b: 14:30 - 16:00

SESSION 2a
History and Archaeology of New Media Art (Room 219)

“Automation in Visual Arts (around 1960): Some Dilemma with a Special 
View to Control” – Michael Rottmann


“From BBSes to DAOs - What Can We Learn from Early 1990s Digital 
Utopianism for Artist Organizations Today?” – Anna-Lisa Scherfose


“The Venice Bienal 2022 and the Let’s get Digital Exhibition in 
Florence. The New Paradigms and Challenges of Digital Art. Will We Be 
Able to Tell the Right Story?” – Filomena Serra


“Making up for Lost Ground and the Exhibition Net Art in the Bermuda 
Triangle… at CAAA in Guimarães” – Sofia Ponte and Maria Luís Neiva


SESSION 2b
Artistic Research, Copyright and Preservation (Room SE1)

“Creativity and Copyright in a World of AI-Generated Images” – Adelaide 
Rossi


“Future Us: Speculative (Re)positionings Regarding AI Literacy in 
Artistic Training and Research” – Margarida Alves, Henrique Cabrita and 
Helena Elias


“Dialogues on the Preventive Conservation of the artwork _DATA|ergo 
sum|RELOADED by Ana Marcos” – Irene Vivas Márquez and Keitty de Oliveira 
Silva


“Documenting Creative Processes in Generative Art. An Approach through 
Dario Lanza’s Work” – Esther Moñivas Mayor and Darío Lanza Vidal


16:00 - 16:30: Coffee break

--
CONCURRENT SESSIONS 3a / 3b: 16:30 - 18:00

SESSION 3a
Automated Creativity and AI Aesthetics (Room 219)

“Emergence of Human-Machine Co-creativity? Shifting from ‘AI Art’ 
Towards Issues in AI Aesthetics” – Alexander Matthias Gerner


“Technologisation of Art or Artisation of Technology? – Discussing AI 
Art in the Museal Context” – Franziska Garms


“Generative AI and the Fear of Images — Looking for Clues about the 
Future of Artificial Intelligence in Iconophobic Reactions to 
Lithography and Desktop Publishing” – Mário Moura


“Family Portrait[s]: ‘Wreading’ the 

[spectre] [CAS] Call for Entries 2024 CAS Members Exhibition

[Paul Brown via SPECTRE]

R E M I N D E R

Following the 2023 CAS Members' Show, we are happy to announce that the CAS 
Members' exhibition 2024 is now open for entries. We are looking for printable 
artwork that will be exhibited at BCS Moorgate in London from July until 
November 2024. 20 works will be selected by the CAS committee for inclusion. 
The artworks will be featured in a printed catalogue. The exhibition preview 
will take place at BCS Moorgate in London on the 26th June 2024. Following the 
exhibition, the artworks will be added to the Computer Arts Archive.

To have a digital print considered for inclusion in the CAS Members' Exhibition 
2024 please complete the entry form at the link below. To qualify for 
consideration you MUST BE A MEMBER of the CAS JISC Mail List and the artwork 
must have been made AFTER 2020. There can only be ONE ENTRY per artist. We are 
interested in generative art, AI art where the tools have been used 
thoughtfully, artwork made with computers that goes beyond illustration and 
other work that can be printed and displayed in a frame. See the CAS23 
Exhibition for details of the work selected last year.
The deadline for entries is Sunday 19th May 2024.

If your artwork is selected then the information you enter into the submission 
form (apart from your email address) will be used in the accompanying 
exhibition notes, on the website, and in the exhibition catalogue.

The image will be printed on 483mm by 329mm paper (A3+) in landscape. It should 
include a 25mm white border. Ideally, the image should be 300dpi.

Further details and entry form:  
https://computer-arts-society.com/exhibitions/cas-members-2024.html

To join the CAS JISCmail list –  go to www.jiscmail.ac.uk/cas 
 and create an account then join list CAS.


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[spectre] Apply Now: MA Spiel und Objekt

[Hannah Perner-Wilson via SPECTRE]

Dear friends and colleagues,

The MA studio Spiel und Objekt provides time and space for experimenting with 
new aesthetics in theatrical storytelling, while learning the fundamental 
skills and technical knowledge for staging interactive theatrical processes.

We’re entering the fourth round, and look forward to receiving applications for 
our next cohort! 
The application period is from 11.03. to 14.05.2024. 
Please consider applying, and/or forwarding this information 
 to anyone who could be 
interested.

Further information on applications can be found on our program’s website 
www.spielundobjekt.de  

Greetings:-)
Hannah && Clemens

_
Spiel und Objekt
Hochschule für Schauspielkunst Ernst Busch
spielundobj...@hfs-berlin.de 
https://spielundobjekt.de/ 
https://www.hfs-berlin.de/ 
https://www.instagram.com/spiel_und_objekt/ 
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[spectre] CFP: ESPACE art actuel, n° 139 (Dossier: Blockchain : apres les protocoles)

[Andreas Broeckmann LEU via SPECTRE]

From: André-Louis Paré
Date: May 2, 2024
Subject: CFP: ESPACE art actuel, n° 139 (Dossier: Blockchain : apres les 
protocoles)


Montréal, Canada
Deadline: May 31, 2024

[English version below]

ESPACE art actuel, n° 139 (Hiver 2025), Dossier: Blockchain : après les 
protocoles.


En 2023, le Centre Pompidou a acquis un ensemble d’œuvres qui explore le 
lien entre blockchain et création artistique. Relevant pour la plupart 
du net art, ces nouvelles acquisitions reposent sur des protocoles de 
connexion au réseau Internet. Elles s’inscrivent dans le sillage d’une 
histoire du protocole (ou du certificat) liée à l’art conceptuel et 
minimal, selon les commissaires Marcella Lista et Philippe Bettinelli. 
Elles ont d’ailleurs été exposées aux côtés d’œuvres historiques, telles 
que le Chéquier (1959) d’Yves Klein, qui certifie céder à l’acquéreur 
«un volume de sensibilité picturale immatérielle et transférable».


Le développement accéléré des technologies de chaîne de bloc 
(blockchain) à partir de 2008 a ouvert la voie à de nouveaux protocoles 
d’échange et de création dans les mondes de l’art. La technologie 
blockchain repose sur des protocoles de validation de blocs 
d’information, qui s’enchaînent les uns aux autres pour former un 
registre comptable sécurisé et partagé. Ce dossier porte sur 
l’appropriation de la blockchain dans le domaine de la création 
artistique. Il vise plus particulièrement à mettre en lumière comment la 
blockchain façonne des protocoles de création, des protocoles 
économiques et des protocoles de gouvernance. Mais au-delà du formalisme 
des protocoles, le dossier s'intéresse à ce qui déborde du cadre 
procédural et mécanique.


Utilisant cette technologie comme médium de création, l'artiste canadien 
Dmitri Cherniak crée des œuvres d'art génératives inscrites sur la 
blockchain. Il développe des protocoles conceptuels où les œuvres sont 
produites automatiquement par un algorithme, suivant des instructions 
prédéfinies. En 2023, la maison de vente Sotheby's a lancé une 
plateforme dédiée aux arts génératifs sur la blockchain. Son lancement 
rendait hommage à Vera Molnár, une pionnière hongroise de l'art 
numérique et de l’art algorithmique, célèbre pour ses œuvres 
géométriques abstraites. Après le succès retentissant de ses ventes de 
NFT en 2021, l'initiative de Sotheby's parie sur l’intérêt des 
crypto-investisseurs pour le collectionnement de NFT, malgré 
l’effondrement brutal de ce marché à la fin de la pandémie.


L'utilisation de la blockchain dans le marché de l'art a capté 
l’attention médiatique – et la critique d’une bonne partie du monde de 
l’art. Ce système marchand repose principalement sur un protocole de 
certification: la capacité d’un registre de chaîne de bloc à certifier 
l’unicité d’une œuvre (c’est le principe du NFT, ou jeton non-fongible) 
de manière à créer de la rareté dans l’infinie reproductibilité 
numérique. De plus, les contrats dits intelligents (smart contract), 
dont les clauses de cession des œuvres sont encodées directement dans la 
blockchain, facilitent l'échange et la monétisation des œuvres. Les 
protocoles de la blockchain ont ainsi ouvert un imaginaire pour repenser 
la certification de la valeur, la monnaie, les formes de propriété, la 
distribution du pouvoir et les circuits économiques dans les mondes de 
l’art.


De nombreuses initiatives récentes s’inspirent de la blockchain pour 
réimaginer les modes d’organisation dans le monde de l'art. Depuis 2015, 
la galerie londonienne Furtherfield se positionne en fer de lance pour 
expérimenter les protocoles de gouvernance issus de la blockchain. 
Croisant la critique institutionnelle et l’esprit des cultures du libre 
et de l’open source issus des débuts d’Internet, la galerie explore des 
modes alternatifs de financement et de cocréation dans l’écosystème des 
arts. Ces expérimentations ont abouti à la publication de l’ouvrage 
Radical Friends – Decentralised Autonomous Organisations and the Arts 
(2022). Dans le même esprit, lors de l’exposition documenta 15 (2022), 
le collectif palestinien Dayra a présenté le projet The Question of 
Funding, un prototype spéculatif de circuit économique detiné au milieu 
artistique de Gaza.


Un dernier ensemble de pratiques, davantage plastiques, s’inscrivent 
dans une mouvance post-internet, sous la forme d’œuvres installatives ou 
vidéo. Elles s’intéressent à la blockchain comme univers de 
représentations, comme matière pour explorer notre rapport à la 
technologie. Parmi les premiers à s’être saisis de ces enjeux, l’artiste 
Simon Denny a commissarié deux expositions: Proof of Work (2018) et 
Proof of Stake: Technological Claims (2021, avec Bettina Steinbrügge). 
Leur titre fait référence aux principaux protocoles de validation 
technique des blockchains pour en questionner les visions 
techno-émancipatrices. Mais la critique la plus incisive est venue de 
Hito Steyerl, dont la vidéo Animal Spirits (2022) étrille la toxicité 
des marchés 

[spectre] CFP: Women and Mail Art (online, 11-25 Oct 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Elize Mazadiego
Date: May 2, 2024
Subject: CFP: Women and Mail Art (online, 11-25 Oct 24)

online, Oct 11–25, 2024
Deadline: Jun 15, 2024

Call for Papers for the Online Workshop Series: "Women and Mail Art: 
Gendered Perspectives on Marginal Artistic Practices".

Dates: October 11th, 18th, 25th, 2024, 14:00-17:00 CET.

Organizers: Prof. Dr. Agata Jakubowska, University of Warsaw
Prof. Dr. Elize Mazadiego, University of Bern.

There is extensive research on international contacts, forms of 
connection and networks among neo-avant-garde artists developed through 
their artistic production, yet, their gender aspect remains largely 
ignored. Meanwhile, in the same period, feminist art developed 
intensively, and many feminist artists participated in international 
exchanges of neo-avant-garde circles. This workshop seeks to address the 
participation of women artists in global avant-garde art networks, whose 
activity remains largely eclipsed by their male counterparts. It 
concentrates on mail art as a specific art practice but also includes 
other types of related artworks (DIY publications, artist’s books, 
experimental visual poetry and concrete poetry) that circulated between 
artists. This 3-part workshop aims to explore the activities of women 
artists and the presence of gender/feminist issues in mail art, visual 
poetry, and art publications. In a series of presentations, we propose 
to discuss new research on the subject, extend our knowledge of 
particular artists, artworks and projects and encourage reflection on 
conceptual frameworks within which we approach alternative practices of 
women artists.


We invite interdisciplinary scholarship from academics, researchers, 
postgraduates and practitioners.


Potential topics include, but are not limited to:
-women artists active in mail art -women artists as networkers and other 
significant roles, identities and positionalities

-networks of women’s visual/concrete poetry (publications and exhibitions)
-specific artworks and their circulation
-DIY publications as a feminist medium in a transnational perspective
-conditions of artistic production: material, technical, economic, 
social, etc.

-forms of solidarity (political or otherwise)
-gendered perspectives on marginal communication and systems theory
-political responses to repression and censorship
-reception and modes of visibility/invisibility

Please submit an abstract of approximately 300 words together with a 
short biographical note (150 words max.) in a single document (word doc 
or pdf) to: womenandmail...@gmail.com by 15 June 2024.


Notifications of acceptance will be sent by 10 July 2024.

Reference / Quellennachweis:
CFP: Women and Mail Art (online, 11-25 Oct 24). In: ArtHist.net, May 2, 
2024. .


_

ArtHist.net - Network for Art History / Fachforum der Kunstgeschichte
ISSN 2750-5685

Editorial Board Contact Address / Fragen an die Redaktion:
edit...@arthist.net

Submit contributions to / Beiträge bitte an:
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Update your subscription / Abo-Verwaltung:
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[spectre] exhibition Critical Tourism . grey) (area

[Darko Fritz via SPECTRE]

Critical Tourism

Kortil Gallery, Rijeka
7 - 29 May 2024.

Artists: Boris Cvjetanović, Jana Dabac, Vitar Drinković, Katerina Duda, Darko 
Fritz, Dina Gligo i Vedran Gligo, Igor Grubić, Božena Končić Badurina, Andreja 
Kulunčić, Jelena Lovrec, Maja Marković, Edita Pecotić, Ivan Ramljak, projekt 
Reciplaža (Valerija Jurjević, Sanda Hančević, Darko Fritz), Ilija Šoškić, Vice 
Tomasović
Curator: Darko Fritz

Critical tourism implies a critique of haphazard touristification and the 
reflection of its social and aesthetic connotations. Critical tourism is aimed 
at modelling an interdisciplinary critical discourse that challenges the 
commercial strive for mono-economy of tourism in Croatia and elsewhere, and its 
consequences on cultural, social and spatial development. The exhibition 
represents a selection of works of artists produced or coproduced by the grey) 
(area association, a space of contemporary and media art from Korčula, with 
three of its members also being exhibitors: Darko Fritz, Edita Pecotić, and 
Ivan Ramljak.
On the one hand, grey) (area seeks to actively include contemporary local and 
international creativity within the existing framework of so-called cultural 
tourism, which primarily relies on traditional contents of cultural heritage. 
With the programme of artistic residencies, production of works in Korčula and 
personal presence of artists and guest curators in programme implementation, 
grey) (area contributes to the active participation of artists/visitors, 
whereby it displaces them from the passive/consumerist position of a tourist. 
On the other hand, through one of the programme lines entitled Critical 
Tourism, grey) (area presents a selection of artistic works and projects 
reflecting on various, primarily negative consequences of tourism, with 
emphasis on the concept of common goods of a community, such as public space 
and infrastructure. The exhibition represents a selection of works of artists 
who critically thematise tourism in general through artistic interpretations of 
said topic, using them as tools for commenting and criticising the dominant 
sociocultural and political-economic practices while putting emphasis on and 
directing the view towards the ethics, poetics, and policies of space. As case 
studies, its methodologies can be applied to similar tourist 
locations/destinations all over the world.

The starting point of all activities of grey) (area is learning and knowledge 
through practice. The same methodology is applied to artistic and curatorial 
research: the projects do not depart from set premises, but rather establish 
themselves in theoretical discoveries during the project, through practice. I 
term this methodology curatorial practice a posteriori, curating as praxis. In 
this very notion I see a significant deviation from the dominant curatorial 
practices of contemporary art in recent decades, ever since the curators have 
taken over the role of main authors who often illustrate with the artworks 
their own, previously set theses, postulates, and theories. This achieves 
merely an illusion of curatorial and artistic interactions since the hypotheses 
have been set in advance, with the top-down method, and primarily represent the 
curator’s aesthetics, while the artworks are merely a tool of its 
actualisation. I term such aspect a priori curating. Contrary to this, grey) 
(area operates through curatorial practices a posteriori, through the 
application of praxis in the context of contemporary art, where discoveries are 
accumulated and aesthetics are formed through years-long programmatic 
guidelines following the merely indicated starting positions of curatorial 
initiations. In the field of common interest of the curator and the artist, the 
curator listens to art instead of imposing it. This is how the programmatic 
guideline of grey) (area entitled Critical Tourism developed, which is achieved 
through a years-long, open programme. The results of the second programmatic 
guideline, entitled History of Contemporaneity, offer possible solutions to 
questions opened up by Critical Tourism, thus indicating good cultural and 
artistic practices from the history of the 21st century and the specificity of 
the island of Korčula as the model of sustainable insular development. Through 
the project guideline History of Contemporaneity, grey) (area actualises a 
series of years-long scientific and research projects that include the 
production and presentation of new artworks. The scientific research Industrial 
Heritage of the Island of Korčula, led by Marija Borovičkić and Lea Vene, was 
represented at the exhibition with the artist’s book If the Factory Honked by 
Božena Končić Badurina, issued following the workshop Fabrikivanje, Industrial 
Heritage of Vela Luka. The scientific and artistic research International 
Artists’ Meetings in Vela Luka 1960–1972, led by Darko Fritz, was presented 
with his experimental film Imagined Futures: Tourism. 

[spectre] QUEER TOSQUELLES

[info--- via SPECTRE]

 

QUEER TOSQUELLESAnti-Fascism, Vagabonding Psychiatry, Non-Identitarian Lives 
International Conference21 June 2024, 10:30 – 22 June, 18:00Kunsthochschule für Medien KölnAula of the KHMFilzengraben 2, Köln
QUEER TOSQUELLES will engage with the history of revolutionary, anti-fascist psychiatric practices and their involvement in ways of fleeing and resisting since the 1920s in Spain, France, Italy, and Germany.
The international conference will focus on the practices of Catalan/French psychiatrist François Tosquelles (1912–1994), who influenced Félix Guattari, Frantz Fanon and many others – from institutional analysis to political philosophy. Tosquelles is still largely unknown in Germany. For some years now, however, a lively reception has been taking place in the art field, especially in Spain and France, with large archival and research exhibitions, catalogues and films.
The conference at the KHM will bring together researchers and artists working on the genealogies of Tosquelles's manifold surrounds and exploring the potentials of his practice today. Here, queerness emerges in many facets: through Tosquelles's insistence on the deconstruction of the nuclear family and the importance of other forms of making kin, through the various rhythms of vagabonding, through the weird, the strange, the non-sensical and the non-normalized, through a political philosophy of multiplicity, through a queering practice that traverses all non-identitarian forms of life. With Janna Graham, Carles Guerra, Isabell Lorey, Angela Melitopoulos, Stefan Nowotny, Anne Querrien, Gerald Raunig, Wanderley Santos, Francesco Salvini, Henning Schmidgen, Elena Vogman.
Organized by Isabell Lorey, Anna Bromley, Konstantin Butz, Lilian Haberer, Katrin M. Kämpf, Mary Mikaelyan, Maren Mildner, Stefan Nowotny, Heidi PfohlIn cooperation with the European Institute for Progressive Cultural Policies (eipcp)
Info/schedule: https://www.khm.de/queertosquelles/ 
 
Out now
Anne Querrien: Maschinen | Gefüge | Kartentransversal texts 2024https://transversal.at/books/maschinen-gefuege-karten 
The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
           -- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] [CAS] Talk - Unreliable Past, Lev Manovich - 15 May 2024

[Paul Brown via SPECTRE]

R E M I N D E R

The Computer Arts Society’s 2024 series of events continues
 
Unreliable Past

Speaker: Lev Manovich;  Moderator: Bronaċ Ferran
19:00 GMT, Wednesday, 15 May 2024
Other time zones here:  https://www.timeanddate.com 
 

This event will be held via Zoom only.
 
I will describe a number of characteristics of visual generative media (i.e., 
“GenAI") that I believe are particularly significant or novel.  My arguments 
draw on both the history of art from the 18th, 19th, and 20th centuries, and 
the recent history of digital media over the last forty years. They also 
reflect my own experience as an artist who was trained in traditional art 
techniques and then started working with computers in 1984. I will also discuss 
the ideas behind some of my generative artworks included in my recent personal 
exhibitions, “Unreliable Past” and “Memory, Draw" (2023-2024).
 
Lev Manovich – http://manovich.net/ – is an artist, author, and one of the 
world's most influential digital culture theorists. Currently, he is the 
Presidential Professor of Computer Science at the City University of New York's 
Graduate Center and the Director of the Cultural Analytics Lab. His books 
include Artificial Aesthetics, Cultural Analytics, AI Aesthetics, Instagram and 
Contemporary Image, Software Takes Command, and The Language of New Media. 
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is Zoom only and is open to the public and is free but you must book 
your place here:  https://ComputerArtsSociety150524.eventbrite.co.uk 

___

Our next meeting will be the CAS Members Exhibition Opening and talks on 26 
June 2024 In Person and Zoom.

You can see our future programme here: 
https://computer-arts-society.com/events/index.html


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[spectre] exhibition & talks "Melting Mountains“ in Berlin // until May 5

[Studio Theresa Schubert via SPECTRE]

This is the last week to see the exhibition "Melting Mountains“ at Meinblau in 
Berlin - it’s still on view until May 5!

Further, on Sunday there will be a discursive event contextualising and 
expanding on the topic of the exhibition. 
Atmospheric geologist  Tobias Sauter (Interim Prof. for Climate Geography HU 
Berlin) will give practical insights into his work as a glaciologist and what 
the glacial meltdown might mean for water availability in the near future. The 
artist duo Nina and Adnan Softic will talk about communicability of scientific 
facts and their work KLIMATON that sonifies research data from the arctic 
expedition MOSAiC. Theresa Schubert will present observations from her 
residency at Fondazione Pistoletto and in the North-West Italian Alps which led 
to her work cycle on glaciers, which is followed by a discussion. 

WHERE
Meinblau, Christinenstrasse 18-19, 10119 Berlin

OPENING HOURS
Thursday to Sunday: 14:00-19:00 (and by request)

EVENTS
Sunday, 05.05.24, 17:00–18:30 Theresa Schubert in conversation with geologist 
and expert on glaciersTobias Sauter (Humboldt University in Berlin) and the 
artist duo Adnan & Nina Softić.


ABOUT THE EXHIBITION

What can fluvial systems and glaciers tell us about climate change? What is at 
stake in terms of how we experience, understand and value water systems? And 
how can we measure the human impact on these complex water networks?
With her exhibition Melting Mountains, Berlin-based artist Theresa Schubert 
invites visitors to cultivate a new sensitivity towards the intersection of art 
and science. 'The Glacier Trilogy' focuses on glaciers and the melting of 
glaciers as starting points of fluvial systems. Glaciers hold an extreme 
importance not only as storages of water but also as a memory of the earth’s 
past and as indicators of climate change. Glacial ice archives millennia-old 
(an)organic information, such as microorganisms, pollen, organic remains, and 
atmospheric dust, allowing scientists to acquire knowledge about ancient 
ecosystems and to predict future climate change.

During her residency at Cittadellarte – Fondazione Pistoletto and through an 
arts & science collaboration within the START4Water programme, Theresa Schubert 
investigated these fluvial systems in the Piemont area in North-West Italy and 
started to develop The Glacier Trilogy. Schubert looked/listened and responded 
with various media technologies to the signals that the environment in the 
Western Italian Alps produce. Combining advanced computational technologies 
(such as generative adversarial networks, atmospheric sensors or realtime 
ice-fluid simulation for 8K) with sculpture materials, the works increase 
awareness of the fragility of the environment and the transformations due to 
climate change, stimulating an emotional engagement of the audience. The trio 
of works that make up 'The Glacier Trilogy' are now shown together for the 
first time at Meinblau in Berlin, accompanied by an extended supporting 
programme.

More on: www.meltingmountains.de __
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[spectre] panel discussion: Museums, Archives, AI, and other Epistemic Infrastructures (diffrakt, Berlin, 3 May, 7.30pm)

[Gabriel Menotti via SPECTRE]

Hey all!

In case it might be of interest for those in Berlin this week:

*Museums, Archives, AI, and other Epistemic Infrastructures*
Friday, 3 May 2024, 7.30 pm, diffrakt | centre for theoretical periphery
Crellestraße 22, 10827 Berlin

Conversation with
Víctor Fancelli Capdevila | Lisa Deml | Nathalia Lavigne | Gabriel Menotti

Modernity’s pretenses at universality were connected to the propagation of
infrastructures to materialize, accumulate, and reproduce information.
Institutions such as archives, museums, libraries, and universities have
long constituted hegemonic bodies of knowledge by synchronizing and staging
them as such. It comes as no surprise that these institutions fall into a
crisis as new media platforms challenge their purported monopoly over truth
making. The open internet, social media, and, more recently, large language
models have accelerated the displacement of modern information systems,
allowing for the multiplication of fragmented worldviews. But if on the one
hand we must contend with ‘alternative’ truths and hallucinated ‘evidence’,
on the other, we have gained multiple opportunities for epistemic dissent
and disobedience. How might these emerging infrastructures affect the
politics of knowing, remembering, and imagining?

This conversation brings together curators, archivists, and scholars
working at the intersection of art (institutions) and (information)
technologies to discuss productive tensions between institutionalized and
insurgent epistemic infrastructures. We will be addressing activities such
as the expansion of museums’ public programmes by digital networks, the use
of proxy heritage to challenge cultural dispossession, and the creation of
decentralized archives for the activation of subaltern historical
narratives.

http://diffrakt.space/en/museums-archives-ai-and-other-epistemic-infrastructures
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[spectre] Another Planet: the videos are now online!

[Annick2 via SPECTRE]

Dear Friends and Colleagues,

You could not attend the LASER Paris meeting of March 14th 
2024 "Another Planet" with Luis Campos, Chloé Audas, Michèle 
Boulogne and Antti Tenetz;


You came but you would like to listen to some parts again;

You know students or friends that you would have liked that 
they could have attended that event?


The videos recordings are now online! (scroll down the page)

https://www.olats.org/une-autre-planete/

Michèle Boulogne presentation is in French, the others in 
English.


Enjoy!

Best Wishes

Annick Bureaud

During this LASER Paris meeting, two artists —*Michèle 
Boulogne* and *Antti Tenetz* and two scientists, one in 
Humanities and the other in hard science —*Luis Campos* and 
*Chloé Audas*, shated their researches and knowledge, their 
approaches and results.


Alltogether, we discussed what is, or what could be, another 
planet —another one than ours or ours but differently.



   > Luis Campos, historian of sciences, Rice University (Houston,
   Texas, USA)// Ascensions and Astrobotany: Islands in
   the Sky


   > Chloé Audas, Head of the MELiSSA project, (ESA/ESTEC,
   Noordwijk, The Netherlands) //MELiSSA Project: space
   research for sustainability

Chloé Audas asked not to published online the video 
recording of her presentation. Therefore we kept only the 
part with the discussion with Luis Campos.


*> Michèle Boulogne*, artist and designer, (Rotterdam, The 
Netherlands and Martinique, France) // */Mining the Sky,/ 
the pursuit of finitude*


*> Antti Tenetz*, artist, researcher and curator, project 
manager of "More-than-Planet" for the Northern Photographic 
Centre, (Oulu, Finland) // *Into the Void - Art in extreme 
environments? Space, mine, research station in sub-arctic 
wilderness, analog astronaut missions.*


Programme created by Leonardo/ISAST (www.leonardo.info), 
LASER (Leonardo Art Science Evening Rendez-vous, 
www.leonardo.info/laser) is a sharing of experiences around 
art-science projects in semi-formal meetings, outside the 
institutional framework.


LASER Paris of March 14th 2024 is organised by 
*Leonardo/Olats* in partnership with *Matrice*, centre for 
social and technological innovation 
(https://www.matrice.io/), with the support of *Rice Global 
Paris Center *(https://global.rice.edu/pariscenter).*.*


LASER Paris"Another Planet" is part of /More-Than-Planet/ 
project, an international cooperation project between 
Stichting Waag Society (NL), lead partner, Zavod Projekt 
Atol (SI), Ars Electronica (AT), Digital Art International 
ART2M (FR), Northern Photographic Centre (FI) and 
Leonardo/Olats (FR). Co-funded by the European Union.
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[spectre] Fwd: Strange/r/ness: Intimacies in Uncanny Worlds: Forthcoming series of online events

[Andreas Broeckmann LEU via SPECTRE]

 Weitergeleitete Nachricht 
Betreff: 	Fwd: Strange/r/ness: Intimacies in Uncanny Worlds: Forthcoming 
series of online events

Datum:  Mon, 29 Apr 2024 07:34:45 +0100
Von:Gary Hall 

Please see below, and save the dates! Registration details to follow…

*Strange/r/ness: Intimacies in Uncanny Worlds*

*A series**of events presented by the Postdigital Intimacies research 
cluster in the Centre for Postdigital Cultures, Coventry University.*


Join us for a week-long series of online events (3^rd -6^th 
June) exploring what is uncanny, strange, and ‘other’ in relation to 
today’s digital, and postdigital, intimacies. The talks in this event 
take as their starting point the current context of our seemingly 
‘post’-Covid-19 reintegration and disintegration, and the apparent 
return to ‘normal’ after a prolonged period of deep digitalisation, not 
to mention the ways in which the digital has come to mediate and, at 
times, regulate, our most intimate lives, with regard to work, health, 
relationships, domestic space, and more. We explore, in this context, 
the expansion of technological surveillance capitalism, disinformation 
and misinformation shaping how we feel and engage in the world, how make 
sense of our bodies, and (dis)connect with others, and the ways in which 
these encounters are simultaneously strange and familiar. Indeed, 
current questions over notions of truth, agency, and authenticity are, 
in today’s postdigital cultures, just as likely to lead to violence, 
polarisation, and the annihilation of marginalised people.


Following both Lauren Berlant and Shaka McGlotten then, we use 
“intimacies” in a (post)digital context to denote “contacts and 
encounters, from the ephemeral to the enduring, made possible by digital 
and networked means” and as a “vast assemblage of ideologies, 
institutional sites, and diverse sets of material and semiotic practices 
that exerts normative pressures on large and small bodies, lives, and 
worlds” (McGlotten, 2013; 7).


The speakers in this series reflect on the uncanny and familiar in such 
postdigital intimacies. Collectively, we ask how these contexts generate 
and, at times, unravel intimacies, as relationalities, connectivities, 
and networks, that emerge in and through humans, events, technologies, 
animals, objects, and emotions. In doing so, we start from the 
assumption that intimacy itself must be thought about differently to 
take account of the messiness and ambiguities of these connections.



*Digital intimacies and the Queer Geographies of Encounter *

*/Dr Regan Koch, Senior Lecturer in Human Geography, Director of the 
City Centre, Queen Mary University of London, UK/*


*3^rd  June, 4-5.30pm BST*

Intimacy often refers to deeply personal desires and attachments. It is 
generally understood to be a private matter that is nonetheless governed 
by social conventions and heterosexual norms. However, as Lauren Berlant 
(1998, 282) highlighted, the ‘inwardness’ of intimacy comes with a 
corresponding publicness – an aspiration for something shared, even if 
largely unspoken: “Intimacy builds worlds; it creates spaces and usurps 
places meant for other kinds of relation.” Queer theory emerged, in 
part, as an orientation towards this kind of world-building. It 
identifies and affirms relationships and spaces that break with 
convention, foregrounding LGBTQ+ experiences in an aspiration to create 
wider publics where desires and sexualities are emancipated from 
oppressive norms and structures. Berlant’s work did this in part by 
extending the very notion of intimacy, understanding it not simply as 
romance or sex, but as a wider epistemology for thinking about social 
connection. Over the past decade, the ways intimacy is pursued and 
practised have been radically reshaped by digital technologies. New 
kinds of devices, software and platforms have brought novel forms of 
encounter for sex, dating, friendship, entertainment and sharing 
resources (Koch & Miles, 2021). LBGTQ+ communities are often at the 
forefront of such changes, driven by the necessity of being marginalised 
or excluded from the typical spaces of intimacy, and in pursuit of the 
pleasures and affordances it can bring. In this talk, I will reflect 
critically reflect upon these new technologically mediated worlds to 
examine new, queer geographies of encounter which deserve exploration 
given their far-reaching implications for LGBTQ+ lives and wider society.


*“Under Cover of Niceness: Deepening White Supremacy through Wellness, 
Crypto & Hyper Segregation” *


*/Dr Jessie Daniels, Professor of Sociology, Hunter College, USA/*

*4^th  June, 4-5.30pm BST*

The conventional way of understanding white supremacy is one that relies 
on a lens of Othering extremists as incomprehensible miscreants to 
ordinary, “nice” people. Contrary to this, I explore the way the very 
idea of “niceness” serves as a kind of cover, a Trojan Horse if you 
will, for the political and 

[spectre] Fwd: CFP: I Remember This (Vienna, 7-8 Oct 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Andrea Neidhöfer
Date: Apr 26, 2024
Subject: CFP: I Remember This (Vienna, 7-8 Oct 24)

Vienna, Oct 7–08, 2024
Deadline: May 26, 2024

In 2004, ten more countries joined the EU, this large-scale expansion 
brought about a change on the political map that was expected to have a 
substantial impact on the political, social, economic and cultural 
landscape. In the art field, this process of transformation has been the 
subject of reflection, in particular, in works of art, as well as in 
exhibitions and special programmes.


Organised by three different archives, the project Art Archive Study. 
Before and After 2004 is an attempt to look more closely at this 
specific moment in time by engaging with their holdings as corpora — 
archival bodies — and examining them in relation to each other.


These archives are: Moderna galerija Archives in Ljubljana (founded in 
1971), the Archive of Fine Arts in Prague (founded in 1984), and basis 
wien – Archive and Documentation Centre (founded in 1997).
The work of these three archives is based on the compilation of material 
published in the field of art, including so-called ephemera, that 
documents exhibitions and performances, and the accompanying reception 
in the media. By collecting, sorting, describing, conserving, making 
accessible and exhibiting the archived material, the remnants of events 
in the field of art are preserved and their contexts shown. However, 
this does not lead to their quasi-reconstruction, or 1:1 reproductions, 
forming instead a temporal distance to embedded knowledge, and 
constructing new layers of information. The archives become containers 
for legible traces, where knowledge gaps are implied along with blind 
spots intrinsic to such documentation.


An archive conference is being organised in order to contribute 
proactively to these processes.


The title of the conference I REMEMBER THIS is a reference to an artwork 
from 1998 by Roman Ondak, who removed the electric sockets, ventilation 
covers, and alarm sensors from the walls at City Gallery Prague, and 
mounted them on a scaled-down version of the City Gallery room's 
architecture — effectively doubling the space. It is one in a series of 
works that, as Ina Blom describes, “explicitly connected the 
vacillations of memory to the technical and institutional framework of 
art display.”  Following the idea of this artwork, its traces and 
sources, the conference will pay particular attention to the sources and 
context of information gathering, knowledge production, historical 
material and associated personal and collective memories.


Scheduled to be held in Vienna on the 7th and 8th of October 2024, the 
conference is to address a number of highly relevant and urgent issues 
that emerged in the project Art Archive Study. Before and After 2004, 
such as: - Have there been any changes in the field of art as a 
consequence of the EU expansion and, if so, what are they and from what 
perspective can they be described, especially in the light of the thesis 
that these changes are still ongoing?
- What is the terminology and which categories were useful before the 
expansion that might have lost their significance? - How was — or still 
is — the focus on so-called Eastern European Art interwoven with the 
business operations of banks and insurance companies in parallel to the 
art market?
What are the priorities and incentives established by the development 
and promotion of specific programmes and awards?
- What role did cultural capital play in entering (and taking over) the 
markets of the newly developed Eastern European countries?
- What forms of critical artistic engagement can be identified in the 
artistic production of this period regarding issues of identity, gender, 
Eurocentrism and globalisation? Which criteria in the evaluation of 
major thematic exhibitions or touring exhibitions with direct 
connections to the new community space require readjustment?
- What were the specific opportunities and promises that the economic 
and political opening brought for artists in the new member states?


We invite contributions related to the issues and questions proposed. 
Suggested topics include, but are not limited to:
- Art, society and economy in the early 2000s, the EU expansion in 2004 
and its impact on art production

- Exhibition history, large-scale exhibitions, projects
- East and Central and Eastern Europe CEE as historic terms and 
established brands

- The art market — art fairs
- Academic and artistic mobility, programmes and impact
- Documentation as an artistic practice
- Oral History as an archival method
- Digital methods in art history, data analyses, visualisation - 
Institutional transformation, networks, cooperation

- Globalisation, Eurocentrism and unofficial discourse

Contributors will have the option of working with the holdings and data 
results of the organising archives themselves, while not being obliged 
to do so.


Please submit proposals 

[spectre] Book release: Exit Reality by Valentina Tanni [ENG]

[Marcela Okretič via SPECTRE]

Dear friends,

We are proud to announce the release of the English version of *Exit
Reality: Vaporwave, Backrooms, Weirdcore, and Other Landscapes Beyond the
Threshold.*

>From the eerie, strung-out sounds of vaporwave and increasingly bizarre
niches within ASMR videos to the quasi-mythical spaces of underground
labyrinths and young TikTokers experimenting with quantum jumping, art
historian and curator *Valentina Tanni *explores the influence of Internet
aesthetics in her new book *Exit Reality*. The book, now translated from
Italian into English and jointly published by *NERO Editions *and *Aksioma*,
will be launched on* 15 May 2024*.

‘Tanni's new book is a guide to learning how to navigate internet
aesthetics. It’s also
an explicit invitation to art criticism to take artistic productions
created online seriously’.
- Artribune.com

*Exit Reality* marks the first attempt to map a world imbued with
disorienting hallucinatory qualities, a realm that appears as a parallel
planet that has emerged from the depths of code-space. Starting from the
advent of vaporwave, which infused the network’s native imagery with
spectral qualities in the early 2010s, she takes us on a descent through
the levels that traverse the silent horror of the Backrooms, brushes
against the obsession with sensory stimulation of ASMR, delves into the
algorithmic surrealism of weirdcore, and lands in the exploration of
pseudomagical practices such as reality shifting and memetic rituals. All
the while, we remain comfortably seated before our screen, inside a
battlestation ready to take off for a one-way astral journey, eternally
trapped in the liminal space born from the now inseparable bond between
human visions and Machine dreams.

*PRE-ORDER* 

Exit Reality will be available for pre-order at the standard price of €22
until 24 May 2024. During that time, readers will be able to enjoy a
discount on shipping.
The book is available to purchase via the websites of Aksioma
and NERO Editions
.

___



*Valentina TanniExit Reality: Vaporwave, Backrooms, Weirdcore, and Other
Landscapes Beyond the Threshold*
Format: 10.5 x 16.7 cm
Pages: 264
Language: EN
Year: 2024
ISBN 978-961-7173-46-8 (Aksioma)
ISBN 978-88-8056-254-2 (NERO)

Translated by: Anna Carruthers
Copyediting: Miha Šuštar
Editorial coordinators: Janez Fakin Janša, Lorenzo Micheli Gigotti
Design and layout: Lola Giffard-Bouvier

Published by:
NERO Editions
and
Aksioma – Institute for Contemporary Art, Ljubljana

This book is published in the frame of the project .expub – Exploring
expanded publishing .
Funded by the European Union. Views and opinions expressed are however
those of the author(s) only and do not necessarily reflect those of the
European Union or the European Education and Culture Executive Agency
(EACEA). Neither the European Union nor EACEA can be held responsible for
them.
Additionally supported by the Ministry of Culture of the Republic of
Slovenia and the Municipality of Ljubljana.
___

*PRESS KIT*

___


Marcela Okretič
Aksioma - Institute for Contemporary Art, Ljubljana
www.aksioma.org
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[spectre] Celebrating 25 YEARS of the ARCHIVE OF DIGITAL ART (ADA)

[Oliver Grau via SPECTRE]

*Celebrating 25 YEARS of the ARCHIVE OF DIGITAL ART (ADA)*
Join us celebrating the 25th anniversary of the Archive of Digital Art (ADA). 
For over a quarter of a century, ADA has been a leading project dedicated to 
digital art, with a background of more than 35 years. It has grown to become 
one of the most significant online archives for digital art, documenting the 
rapidly evolving world of digital art and its related fields. In cooperation 
with established media artists, researchers and institutions it today documents 
thousands of artworks at the intersection of art, science and technology:  
 www.archive-digitalart.eu

 

*ADA: Home to Thousands of Artworks*

With several thousand events, 1000+ institutions, 3500 Articles and several 
thousand documented art works and their technical data ADA represents the 
scientific selection of 800 artists of 5000+ evaluated artists. We invite you 
to explore our Artist & Scholar Features  
 
https://www.archive-digitalart.eu/features/featured-artists.html

Discover the works of JEFFREY SHAW, with 148 documented artworks of his oeuvre. 
Shaw’s artworks are milestones of technological and cultural innovation that 
have had seminal impact on the theory, design and application of digital media 
in art, society and industry, and his artistic achievements are amongst the 
most cited in new media literature. 
https://www.archive-digitalart.eu/database/artists/general/artist/shaw.html

*ADA‘s Future as a Hub*

As a scientific archive, ADA has been globally oriented since its inception. 
Reflecting this, we have adopted the new URL  
 www.archive-digitalart.eu, signifying a role 
as a HUB. In the future, the ADA database will be made for free to qualified 
initiatives in countries with a long-established media art scene but lacking a 
database adapted to digital cultures. A Europe-wide call will be published and 
an international jury will select the winning initiatives. These archives can 
aggregate to a European network and beyond.

 

*Connected Archives* 

ADA has been part of a global information network alongside other leading 
archives (ISEA, SIGGRAPH, FILE, ZKM, ARS...). Our goal is to realize the 
forward-looking *Liverpool Declaration*, signed by over 500 colleagues since 
2011   
https://www.mediaarthistory.org/?page_id=557. This aims to document and improve 
access to digital contemporary art through an interoperable network of 
archives. Join us for our next Summit on New Media Art Archiving from June 
25-26th @ ISEA2024 Brisbane. Developing program:  
 
https://isea2024.isea-international.org/program

 

*Stay Connected*
Follow us on FB at Media Art Histories RESEARCH  
 
https://www.facebook.com/groups/377264145713664 and Archive of Digital Art  
 https://www.facebook.com/virtualart.at

INSTA:   
www.instagram.com/oliver.grau2018/
Or contact us directly at:   
edi...@archive-digitalart.eu

*SHARE Your Exhibitions and Research* 
Members, artists and scholars, document exhibitions and upload publications, 
announce upcoming events, post comments, conferences and other relevant news 
for peers and the community. *BECOME a Member of the ADA Archive* 
With five published articles and/or exhibitions you meet the academic standard 
to register as a contributing member of the ADA community for your own archive 
pages:   
https://www.archive-digitalart.eu/support/login.html

*Artists & Scholars Represented* 
ADA represents a wide range of artists and scholars, including Rebecca ALLEN, 
Suzanne ANKER, Cory ARCANGEL, Roy ASCOTT, BANZ, Louis BEC, Giselle 
BEIGUELMAN, Maurice BENAYOUN, Ursula BERLOT, Simon BIGGS, Julius v. BISMARCK, 
Andres BURBANO, Paolo CIRIO, Sean CUBITT, Charlotte DAVIES, FLEISCHMANN & 
STRAUSS, Masaki FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON, 
Ryoji IKEDA, Eduardo KAC, Denisa KERA, Ryszard KLUSZCZYNSKI, Elke REINHUBER, 
Ken RINALDO, KNOWBOTIC RESEARCH, George LEGRADY, Golan LEVIN, Rafael 
LOZANO-HEMMER, Lev MANOVICH, Michael NAIMARK, Joseph NECHVATAL, David ROKEBY, 
Chris SALTER, Bill SEAMAN, Paul SERMON, Jeffrey SHAW, Karl SIMS, SOMMERER & 
MIGNONNEAU, STANZA, Nicole STENGER, Tamiko THIEL, THOMSON & CRAIGHEAD, Peter 
WEIBEL...

*ADA Mission* 
Digital Art, due to its processual, ephemeral, interactive, technology-based 
and fundamentally context-dependent character, risks extinction without 
adequate documentation. ADA is based on an expanded concept of documentation, 
which takes account of the specific conditions and needs of digital art. 
Museums and collectors who want to build 

[spectre] Let’s Play Majerus G3 - a project by Cory Arcangel, April 27, 2024 – March 15, 2025 Berlin

[Stephen Kovats via SPECTRE]

Dear Spectrites,

apologies if this has been cross posted, but in case not ... and if you 
are in Berlin, don't miss Cory Arcangel's new project */Let’s Play 
Majerus G3 /*which opened last night at the Michel Majerus Estate! The 
show features Michel Majerus' laptop and the works therein resuscitated 
by Cory Arcangel which were thought to have been lost or destroyed after 
the death of the artist in 2002. A major work of digital art restoration 
undertaken in cooperation with the New York based digital arts 
organisation Rhizome, the exhibition underscores "the increasingly 
prominent role of archiving digital materials and interrogates the ways 
in which these holdings crucially factor into authoring art-historical 
narratives surrounding 21st-century protagonists."


Tomorrow, Saturday April 27th, 11.00 am til 12.00 noon, the 
estate/gallery will host a conversation between Cory Arcangel and Dragan 
Espenschied (Preservation Director, Rhizome) - seating on first come / 
first served basis.


Michel Majerus Estate
Knaackstrasse 12
D-10405 Berlin

All further info, background and credits via https://michelmajerus.com/

greetings,

Stephen


--
--
r0g_agency for open culture and critical transformation gGmbH
--

Knobelsdorffstr. 22
14059 Berlin

openculture.agency
X @intertwilight

#ASKnet / #defyhatenow / #MMN - Migrant Media Network / #ASKotec / #ROSHOP /
 //  --  //

'We choose to do the other things, not because they are easy, but because they are 
hard"
JFK, Rice University, 1961
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[spectre] CONF: Modernisms in an extended territorial context (Vienna, 7 May 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Dr. Miroslav Halak
Date: Apr 25, 2024
Subject: CONF: Modernisms in an extended territorial context (Vienna, 7 
May 24)


Belvedere 21, Arsenalstraße 1, 1030 Vienna, May 07, 2024

Modernism is not a compact phenomenon of art history. By the end of the 
19th century, the art scenes in the established cultural centres were 
becoming increasingly diverse, but the paradigm shift did not take place 
only in Paris, London, Berlin, and Vienna. From 1900 onwards, very 
intense impulses for the entire modern art movement came from the 
various regions of Central and South-Eastern Europe. But how can the 
territory of networked and exchanged modernity be delimited? Where are 
the geopolitical boundaries of what we call “modernity” in the broad 
cultural sense?


How far has the notion of a new art that breaks its formal norms and 
deconstructs social conventions penetrated? Rather than drawing 
alternative maps that, with a diachronic approach, re-establish the 
boundaries of the modernist world again and in a different way, we are 
also moved to examine this question critically in the light of current 
revisions of concepts such as nation, border, identity, history, myth, 
etc. On the occasion of the exhibition In the Eye of the Storm, the 
Austrian Gallery Belvedere is organising a scientific symposium with the 
aim of discussing with experts on this period of art the question of the 
situation of Modernism in the peripheral centres of art history. 
Kharkiv, Lviv, Odesa, as well as Kosice, Krakow, Brno, Miskolc, and many 
other places, but also small regions outside the mainstream of 
international galleries, have an exciting scene, or simply solitaires of 
art, without which Modernism could not achieve the global impact it did.


Program

Unteres Belvedere

09:00 In the Eye of the Storm. Modernism in Ukraine
Exhibition Tour with the Curators
Konstantin Akinsha, Katia Denysova

Belvedere 21

10:30 Greetings and Introduction
Stella Rollig (Belvedere, Vienna)

Panel I: Preconditions / Situation / Continuity / Discontinuity
Moderation: Konstantin Akinsha

11:00 Brno Modernism and the Formation of Regional / Transnational 
Identity, 1900-1939

Matthew Rampley (Masaryk University, Brno)

11:30 Vsevolod Maksymovych: from Secession to Futurism
Maryna Drobotiuk (National Art Museum of Ukraine, Kyiv)

12:00 How to get to a common art history of European Modernism. A 
somewhat naive proposal

Dorota Kudelska (The John Paul II Catholic University of Lublin)

12:30 Discussion and lunch break

Panel II: The fetishism of folk art and the crime of ornament
Moderation: Alexander Klee (Belvedere, Vienna)

14:00 From Folk to Abstract: Ukrainian Embroidery as a Medium for 
Modernist Experimentation Katia Denysova (The Courtauld Learning Centre)


14:30 Ornament and Avant-garde
Konstantin Akinsha (Freelance curator and researcher)

15:00 Slovak Modernity in Search of Identity. Between Folklore and 
Industrialization

Miroslav Haľák (Belvedere, Vienna)

15:30 Discussion and coffee break

Panel III: Peripheral centres
Moderation: Miroslav Haľák

16:00 Lemberg / Lwów / Lviv on the map of European modernism Andrij 
Bojarov (Media artist, researcher of Lviv and Ukrainian avant-garde, 
independent curator)


16:30 Czech modernisms as pioneers and not epigones? Networks between 
Prague, Paris, Berlin, Vienna, Budapest and L’viv

Marie Rakušanová (Charles University Prague)

17:00 Bridging Borders: Abstract Artistic Dialogue between Paris and 
Central European Peripheries

Flóra Mészáros (Metropolitan University of Budapest)

17:30 Final Discussion and break

18:30 Keynote Lecture
Myroslava Mudrak (The Ohio State University)

The event will be held in English. The symposium begins at 9:00 am with 
a guided tour of the exhibition "In the Eye of the Storm" at the Untere 
Belvedere. The lectures will follow at 10:30 am in the Blickle Kino of 
Belvedere 21. During the all-day event, visitors will be offered water 
and hot drinks during the breaks.


In order to participate, please register at: 
https://www.belvedere.at/event-tickets/8917.



Reference / Quellennachweis:
CONF: Modernisms in an extended territorial context (Vienna, 7 May 24). 
In: ArtHist.net, Apr 25, 2024. .

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[spectre] Reminder: cfp DRHA annual conference 2024 // BANAL DEVICES: everyday technologies in globalized technocultures

[Ploeger, Dani via SPECTRE]

Dear people,

There is still about one and a half week left to submit artwork and 
paper proposals for this year's DRHA conference, "BANAL DEVICES: 
everyday technology in globalized technocultures", which will be 
organised by the Technology, Performance and Society research unit at 
the University of Music and Theatre Munich from 8-10 September. Please 
send your proposals by 1 May. More info is below.


With warm wishes,
Dani Ploeger


Digital Research in the Humanities and Arts (DRHA) 2024
BANAL DEVICES: EVERYDAY TECHNOLOGY IN GLOBALIZED TECHNOCULTURES
University of Music and Theatre Munich, 8-10 September 2024

What systems and devices are relevant in people’s everyday lives, beyond 
the globalized dreams and universalising narratives professed by big 
tech and state bodies in the Global North? This question will be the 
starting point for DRHA 2024.


In critical scholarship and art, engagement with technologisation 
oftentimes occurs in response to hypes around state-of-the-art 
innovations. These hypes are in turn generated by tech corporations and 
government bodies. Thus, there is a tendency for critical practices in 
technology to focus on the spectacle of the new and extraordinary, while 
disregarding the lasting and far-going impact of what we might call the 
realm of the “technologically banal”. As a result, these practices 
become complicit in the propagation of the very “myth of progress” that 
underpins the techno-sphere they intend to critique.


In Syria, ChatGPT is hardly ever used, and quotidian debates on 
technology are shaped by challenges in basic electricity provision. In 
Ukraine, high-tech weapons don't play the role that most contemporary 
conferences and exhibitions on the topic suggest ("Panic! The autonomous 
combat robots are coming!"). Instead, commonplace mobile phone cameras 
and toy drones are highly relevant on the battlefield. At media art 
exhibitions and technology conferences, one encounters countless 
artworks and discussions about Big Data, AI, interactions with microbes 
and virtual reality. Yet, highly relevant technologies in the realm of 
the seemingly ordinary, like washing machines, insect repellents and 
water purifiers, are rarely discussed.


DRHA 2024 will investigate the role of the seemingly banal, commonplace 
and boring in- and outside the world of high-technology.


VENUE
The main conference venue will be the Reaktorhalle at Luisenstrasse 37a, 
the former Institute of Technical Physics, a listed Bauhaus building 
located in the Munich Museum District, designed in 1957 by Joseph von 
Wiedemann and Franz Hart.


ORGANISERS
Banal Devices is convened by Prof. Dr. Dani Ploeger, and hosted by the 
Chair of Performance and Technology at the University of Music and 
Theatre Munich. The conference will be accompanied by an exhibition of 
artworks curated by Dr. Elena Papadaki (curator and researcher, 
councillor at the Royal Society of Arts).


KEYNOTE CONTRIBUTORS
Alex Murray-Leslie (co-founder of Chicks on Speed; Professor of Digital 
Performance, Norwegian University of Science and Technology, Trondheim)
John Zerzan (author of Future Primitive (1994), Twilight of the Machine 
(2008) and Why Hope? The stand against civilization (2015))


DRHA: DIGITAL RESEARCH IN THE HUMANITIES AND ARTS
Since 1996, Digital Research in the Humanities and Arts (previously 
named Digital Resources for the Humanities) has organized gatherings 
across Europe to examine the technologization of cultural activity, 
resources and heritage. Through its annual conference, the organisation 
provides intellectual and physical space for cross-disciplinary exchange 
and collaboration between artists and humanities scholars, often leading 
to new research networks and publications.

https://drha.tech/

CALL FOR CONTRIBUTIONS
Call for papers
We are inviting proposals from scholars and artists who are keen to join 
a shared exploration of the conference theme. Please submit a 250-750 
abstract for a 15-minute presentation that articulates a critical 
position in relation to the theme, connected to your areas of interest 
and expertise.


Call for artworks
In parallel with the conference, a group exhibition will be presented at 
the conference venue, curated by Dr. Elena Papadaki (curator and 
researcher, councillor at the Royal Society of Arts). We are inviting 
proposals for screen-based artworks and performances that engage with 
the everyday and the banal in technologised culture. Please submit a 
description of max. 2 pages, including images and/or viewing/listening 
links.


Please submit your proposals to drha2024mun...@gmail.com by May 1st 
2024. Notifications of acceptance will be sent by June 15th. For 
questions about the conference and the process, please contact 
dani.ploe...@hmtm.de

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[spectre] Fwd: COALITION exhibition, 15 years of art and ecology, Gaîté Lyrique, Paris

[Andreas Broeckmann via SPECTRE]

 Weitergeleitete Nachricht 
Betreff:COALITION exhibition, 15 years of art and ecology
Datum:  Thu, 18 Apr 2024 15:21:21 +0200
Von:COAL 





*COALITION *EXPOSITION
15 years of art and ecology

To celebrate its 15th anniversary, COAL, the reference association for 
art and ecology, has joined forces with the Gaîté Lyrique to present a 
major multidisciplinary exhibition highlighting nearly 50 artists 
representing the richness and large array of approaches within the 
ecology art scene.



A new generation of artists, all from different backgrounds, are working 
to restore balance. Like a river that grows and makes its bed by 
embracing the diversity of its nourishing lands and the flows that feed 
it, these artists amplify our sensitive relationship with the world 
through constantly renewing practices, knowledge and know-how. From 
political action to restorative practices, from the arts of the hand to 
the arts of the earth, in connection with thinkers, scientists, citizens 
and activists who seek, transform and act, art has the power not only to 
alert and denounce, but also to repair and connect through gestures of 
care and sharing. It contributes to the growth of this COALITION, this 
community of care and action that is essential for everyone to find 
inspiration, the means and the courage to implement transformation 
towards a more sustainable and fairer world.








*
HIGHLIGHTS*
*Sat April 27, 5pm | EARTH DAY *
Performances /in partnership with Centre Wallonie Bruxelles-Paris /
*Sat May 18, 6pm | MARATHON TO THE FUTURE *
Encounters, performances and celebrations /for Nuit des Musées /
*Sat May 25 | NATURE FESTIVAL*
/at Gaîté Lyrique /
Off-site /with Zone Sensible and
the Dominique Fiat gallery/
*Sat June 1 | NUIT BLANCHE*
Immersive experience /Carte blanche to Vergine Keaton /
*More meetings with Makesense, On est prêt, Quota climat and new youth 
workshops throughout the exhibition!

*


*WITH ARTISTS: *

Ackroyd & Harvey (UK), Art Orienté Objet (FR), Brandon Ballengée (US), 
Thierry Boutonnier (FR), Alex Cecchetti (IT), Julian Charrière (FR/CH), 
Olivier Darné (FR), Paul Duncombe (FR), Fabiana Ex-Souza (BR), Sara 
Favriau (FR), Feipel & Bechameil (BE), Beya Gille Gacha (FR), Marina 
Gioti (GR), Shaun Gladwell (AU), Camille Gobourg (FR), Noémie Goudal 
(FR), Elsa Guillaume (FR), Louis Guillaume (FR), Hehe (UK/DE), Hypercomf 
(GR), Michel Jocaille et Charlotte Sarian (BE), Vergine Keaton (FR), 
Jean-François Krebs (BE), Androa Mindre Kolo (CG), Martin Le Chevallier 
(FR), Sandra Lorenzi (FR), Angelika Markul (FR/PL), Le Nouveau Ministère 
de l'Agriculture - Suzanne Husky et Stéphanie Sagot (FR), Lucy+Jorge 
Orta (UK/ AR), Stéfane Perraud et Aram Kebabdjian (FR), Clément Richem 
(FR), Belen Rodriguez (ES), Eleonore Saintagnan (BE), Erik Samakh (FR), 
Linda Sanchez (FR), Momoko Seto (JP), Stefan Shankland (FR), Shivay La 
Multiple (FR/NC), Maria Thereza Alves (BR), Laurent Tixador et Julia 
Hanadi Al Abed (FR), Anaïs Tondeur (FR), Paula Valero Comín (ES), Marie 
Velardi (CH), Capucine Vever (FR), Clément Vuillier (FR), Michael Wang 
(US).


*Curated by * Lauranne Germond, co-founder and director of COAL, and 
Sara Dufour, the association's program director.

*
EXHIBITION *
/April 24 - June 2, 2024.
Free admission.
Tuesday to Friday, 2 pm to 8 pm, Saturday and Sunday, 2 pm to 7 pm.
Grande galerie [Level -1], Gaîté Lyrique.

/
//

Find out more 









COAL  	> 






Ressource0.com 
 	> 




*For any other information* please write to cont...@projetcoal.fr

© COAL 2024. Under no circumstances will your address be passed on to a 
to a third party. You have the right to access, modify, rectify and 
delete data concerning you. (art.34 of the French Data Protection Act of 
6 January 1978).


www.projetcoal.org 



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[spectre] Fwd: Exh. Edith-Russ-Haus, Oldenburg: Robert Glas – Rooms of Muted Violence

[Andreas Broeckmann via SPECTRE]

Am 16.04.24 um 16:58 schrieb Edith-Russ-Haus:


Newsletter | Ausstellungseröffnung:Robert Glas – Rooms of Muted Violence

Please scroll down for English 
version


Liebe Freundinnen und Freunde des Edith-Russ-Hauses für Medienkunst,

sehr herzlich möchten wir Sie zur Eröffnung unserer nächsten 
Ausstellung einladen.


Robert Glas – Rooms of Muted Violence

Künstlergespräch

Mittwoch, 24. April 2024, 17.30 Uhr

Mit Robert Glas (in englischer Sprache)

Eröffnung

Mittwoch, 24. April 2024, 19 Uhr



[mod: image removed: 
https://www.edith-russ-haus.de/en/exhibitions/upcoming ]


Rooms of Muted Violenceist eine Einzelausstellung des niederländischen 
Künstlers Robert Glas.


Glas’ künstlerische Praxis gilt der fortgesetzten Untersuchung einer 
bürokratisch hergestellten Gerechtigkeit. Die dabei entstehenden Werke 
sind zumeist Filme und Filminstallationen. Damit eröffnet Glas Räume, 
in denen man eingehend beobachten kann, wie Bürokratien Gerechtigkeit 
schaffen, welche Art von Gerechtigkeit sie produzieren, wer daraus 
Vorteile zieht und auf wessen Kosten dies geschieht.


Im Zentrum der Ausstellung steht die Videoinstallation 1986, Or a 
Sphinx’s Interior(2022). Ausgangspunkt dieser Arbeit ist die seit den 
1980er Jahren bemerkbare Expansion des Gefängnissystems in der 
gesamten westlichen Welt. Die jahrzehntelangen abolitionistischen 
Praktiken, auf eine Abschaffung von strafenden Institutionen 
abzielten, stehen in einem harschen Gegensatz zu dem heute praktisch 
unwidersprochenen Ruf nach härteren Strafen.


Für diese Videoinstallation rekonstruierte Glas das Architekturmodell 
einer Rotterdamer Gefängniszelle im Maßstab 1:1. Das Original wurde 
1986 von dem renommierten niederländischen Gefängnisarchitekten Carel 
Weeber gebaut. In Zusammenarbeit mit dem Schauspieler Ali Ben Horsting 
(in der Rolle des Architekten in jüngeren Jahren), einem ehemaligen 
Insassen der Haftanstalt sowie Weeber selbst entstand eine 
Videoarbeit, die Weebers Besichtigung des Testmodells in den 1980er 
Jahren untersucht. Die Ausgangsfrage – „Wie testet man eine 
Gefängniszelle?“ – führt zu grundsätzlichen Überlegungen, wie ein 
Leben und ein Körper durch die Haft beeinflusst werden.


Auch die anderen Arbeiten in der Ausstellung, die ebenfalls auf 
umfangreichen Recherchen zum Justizwesen und zum europäischen 
Asylsystem beruhen, zeichnen sich durch einen ruhigen und 
nachdenklichen Tonfall aus. Für den Künstler sind Gespräche das 
wichtigste Instrument, um zentrale politische, ideologische und 
soziale Fragen zu verhandeln. Sie beruhen auf seinem Interesse an den 
Möglichkeiten, eine gemeinsame Sprache zu nutzen, um den Zusammenbruch 
der Kommunikation zwischen der formalisierten Welt bürokratischer 
Gerechtigkeit und der alltäglichen Lebenswelt zu überwinden.


English Version

Dear friends of the Edith-Russ-Haus for Media Art,

you are cordially invited to the opening of our next exhibition.

Robert Glas – Rooms of Muted Violence

Artist talk:

Wednesday, 24 April 2024, 5.30 p.m.

with Robert Glas (in English language)

Opening:

Wednesday, 24 April 2024, 7 p.m.

Rooms of Muted Violenceis a solo exhibition by the Dutch artist Robert 
Glas.


Glas’s practice involves ongoing research into bureaucratically 
produced justice. With film and film installations as the predominant 
outcome, he aims to open up spaces to scrutinize the ways 
bureaucracies produce justice, what kind of justice they produce, and 
at whose gain and whose cost.


The exhibition revolves around the video installation 1986, Or a 
Sphinx’s Interior(2022), which takes inspiration from the noticeable 
expansion in the prison system from the 1980s onward throughout the 
Western world. The decades-long abolitionist practices before this 
U-turn stands in stark contrast with today’s virtually uncontested 
call for harsher punishments.


For this video installation, Glas reproduced, at 1:1 scale, an 
architectural model of a Rotterdam prison cell. The original was built 
by the renowned Dutch prison architect Carel Weeber in 1986 as part of 
his design process. Working with actor Ali Ben Horsting (in the role 
of the architect’s younger self), a former detainee of the prison, and 
Weeber himself, Glas created a video work examining Weeber’s visit to 
the test model in the 1980s. The initial practical question of “How 
does one test a prison cell?” leads to underlying questions on how a 
life and a body are affected by incarceration.


The other works in the exhibition, also based on extensive research 
into both the justice and  European asylum systems, share a calm and 
contemplative tone. The artist instrumentalizes conversation as a 
primary tool in tackling major political, ideological, and societal 
questions, unfolding from his interest in the possibilities of using a 
common language to move beyond the communication breakdown between the 
formalized world of bureaucratic 

[spectre] Exhibition Melting Mountains in Berlin until May 5

[Studio Theresa Schubert via SPECTRE]

Dear spectres,

A warm invite to everyone in Berlin to my exhibition "Melting Mountains" in 
Berlin on view until May 5!

WHERE
Meinblau, Christinenstrasse 18-19, 10119 Berlin

OPENING HOURS
Thursday to Sunday: 14:00-19:00 (and by request)

EVENTS
- April 27, 5-6pm | in conversation with Ingeborg Reichle
- May 5, 5-7pm | in conversation with Tobias Sauter and Adnan & Nina Softić

ABOUT THE EXHIBITION

What can fluvial systems and glaciers tell us about climate change? What is at 
stake in terms of how we experience, understand and value water systems? And 
how can we measure the human impact on these complex water networks?
With her exhibition Melting Mountains, Berlin-based artist Theresa Schubert 
invites visitors to cultivate a new sensitivity towards the intersection of art 
and science. 'The Glacier Trilogy' focuses on glaciers and the melting of 
glaciers as starting points of fluvial systems. Glaciers hold an extreme 
importance not only as storages of water but also as a memory of the earth’s 
past and as indicators of climate change. Glacial ice archives millennia-old 
(an)organic information, such as microorganisms, pollen, organic remains, and 
atmospheric dust, allowing scientists to acquire knowledge about ancient 
ecosystems and to predict future climate change.

During her residency at Cittadellarte – Fondazione Pistoletto and through an 
arts & science collaboration within the START4Water programme, Theresa Schubert 
investigated these fluvial systems in the Piemont area in North-West Italy and 
started to develop The Glacier Trilogy. Schubert looked/listened and responded 
with various media technologies to the signals that the environment in the 
Western Italian Alps produce. Combining advanced computational technologies 
(such as generative adversarial networks, atmospheric sensors or realtime 
ice-fluid simulation for 8K) with sculpture materials, the works increase 
awareness of the fragility of the environment and the transformations due to 
climate change, stimulating an emotional engagement of the audience. The trio 
of works that make up 'The Glacier Trilogy' are now shown together for the 
first time at Meinblau in Berlin, accompanied by an extended supporting 
programme.

More on: www.meltingmountains.de 


Press Release: 
https://nl.kulturkurier.de/list/2726/newsletter/111376/?token=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJsaXN0SWQiOjI3MjYsIm5ld3NsZXR0ZXJJZCI6MTExMzc2LCJzZW5kaW5nSWQiOjE2MzYwNiwiaWF0IjoxNzExMDIyNzAzLCJleHAiOjQ4MzMwODY3MDN9.gQKWMHeQwd3ZkE1CmruH5oHyhGGDcpUAM1oZoH4jvmg

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[spectre] [CAS] Talk - Unreliable Past, Lev Manovich - 15 May 2024

[Paul Brown via SPECTRE]

The Computer Arts Society’s 2024 series of events continues
 
Unreliable Past

Speaker: Lev Manovich;  Moderator: Bronaċ Ferran
19:00 GMT, Wednesday, 15 May 2024
Other time zones here:  https://www.timeanddate.com 
 

This event will be held via Zoom only.
 
I will describe a number of characteristics of visual generative media (i.e., 
“GenAI") that I believe are particularly significant or novel.  My arguments 
draw on both the history of art from the 18th, 19th, and 20th centuries, and 
the recent history of digital media over the last forty years. They also 
reflect my own experience as an artist who was trained in traditional art 
techniques and then started working with computers in 1984. I will also discuss 
the ideas behind some of my generative artworks included in my recent personal 
exhibitions, “Unreliable Past” and “Memory, Draw" (2023-2024).
 
Lev Manovich – http://manovich.net/ – is an artist, author, and one of the 
world's most influential digital culture theorists. Currently, he is the 
Presidential Professor of Computer Science at the City University of New York's 
Graduate Center and the Director of the Cultural Analytics Lab. His books 
include Artificial Aesthetics, Cultural Analytics, AI Aesthetics, Instagram and 
Contemporary Image, Software Takes Command, and The Language of New Media. 
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is Zoom only and is open to the public and is free but you must book 
your place here:  https://ComputerArtsSociety150524.eventbrite.co.uk 

___

Our next meeting will be the CAS Members Exhibition Opening and talks on 26 
June 2024 In Person and Zoom.

You can see our future programme here: 
https://computer-arts-society.com/events/index.html


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[spectre] transversal audio: Russian-Language Translation and Publishing Cooperative 'Radical Theory and Praxis'

[info--- via SPECTRE]

 

Tactical In/Visibility and DeterritorializationThe Networked Practices of the Russian-Language Translation and Publishing Cooperative “Radical Theory and Praxis”
A Conversation with Lora Timarova, host: Lina Dokuzović
Audio to be released today, 17 April, at 18:00 CEST
In this discussion, Lora Timarova of the translation and publishing cooperative Radical Theory and Praxis talks about how their practices both emerged and developed in relation to the state of the Left – initially founded in and anchored to Moscow, and mainly integrating Russia, Ukraine, and Belarus – to later expanding to create a large translocal network that spans far beyond the region. Consisting of a large number of conscientious objectors to the invasion of Ukraine who fled being drafted or people who fled the war itself or those who fled other forms of oppression, the diaspora and other groups and individuals acting in solidarity support the work of the cooperative. We discuss the importance and remaining popularity of the printed book in times when people search for a sense of unity and collectivity in a landscape of corrupt media and fractured relations.
From their website www.rtpbooks.info: “By publishing books about the history of liberation movements, social and environmental initiatives, alternative economic models and political prisoners, we strive to inspire activists to new achievements and push our society towards social change.”
https://transversal.at/audio/
 
 transversal audio season will return on Wednesday, 8 May, with an episode on the Spanish independent publishing ecosystem.
 
These audios are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] Women in Sonic/Electronics @ Happenstance Gallery Sunday, 28 April 2024

[lauraplanagracia via SPECTRE]

Women in Sonic/Electronics

@ Happenstance Gallery
334 Old Street London EC1V 9DR
soundcheck 13:00
doors 14:30

Sunday, 28 April 2024
Laura Netz 15:00
Maike Zimmerman 15:40
Hannah Kemp-Welch 16:10
closing 16:50

TICKETS: 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637

Artists:

Laura Netz
Participant at hacking culture and noise scene has taken part in many 
international events, such as exhibitions, workshops, conferences, and 
concerts. Nowadays, she is promoting the series Sonic Electronics taking place 
in London, various venues, where inviting different artists from the community 
influenced by noise, experimental, electronics and open source music.
http://netzzz.net/medial-ages-live/

Maike Zimmerman
Maike Zimmermann is a media artist based in Berlin and London. Her artistic 
practice explores the intersection of moving image, sound, photography, and 
narrative concepts, primarily within the realms of live cinema, expanded 
cinema, video art, and site-specific works. Maike has received numerous awards, 
including grants from the Arts Council England, the DAAD Promos Travel 
Scholarship, the Bremer Filmbüro, as well as research grants from the Berlin 
Senate, Stiftung Kunstfonds, and project funding from the Bundesverband 
Bildender Künstlerinnen und Künstler e. V.
http://www.maike-z.com/

Hannah Kemp-Welch
Hannah is a sound artist, currently focused on radio art practices. She 
experiments with simple designs for DIY radios, and amateur broadcasting via 
citizen bands. During residencies at MoKS (Estonia) and Full of Noises (UK), 
she developed new designs for very-low-frequency radio recievers to listen to 
the Earth’s electromagnetic static.
https://www.sound-art-hannah.com/

TICKETS: 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637

Contact/Unsubscribe to
la...@netzzz.net





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[spectre] 4th Summit on New Media Art Archiving: Preliminary Programme

[Oliver Grau via SPECTRE]

 
 
   

 
 
  4th Summit on New Media Art Archiving: Preliminary Programme
  
  
   
   
June 25 & 26 2024, @ ISEA2024 Brisbane, Australia

   
 

   
The 4th SNMAA will be part of the 29th International Symposium on Electronic Art, ISEA2024 (June 21-29). For the programme of ISEA2024 (under development) see https://isea2024.isea-international.org/program.

   
 

   
The preliminary programme of the 4th Summit on New Media Art Archiving is below, organised by category, not presentation order. Please note that a number of the presenters will present from remote places via video conferencing.

   
 

   
Tuesday June 25

   
 

   
Opening: Meet the Team: a (very) short intro to the co-operating archives for the Summits on New Media Art Archiving

   
 

   
Papers (long)


Media Archiving Tradition: Algorithmic Analysis and Preservation of Geometric Patterns in Historical Architectural Monuments by Selcuk Artut (TR) 
Re-enactment, Users Manuals and DNA Storage: methods for media art preservation by Louise Curham (AU) 
Documenting the Ephemeral: Strategies for Preserving Early Internet Art by Ze Gao (HK), presented by Zheng Wang (SG) 
Latin American MediaArt: Political dimensions of the archive of the International Image Festival by Caerols Mateo & Raquel Raquel (ES) 
An Interdisciplinary Practice-based Research on Constructing Techno-Art Cloud Exhibition Platform by Chih-Yung Chiu (TW) 
DAFNE+: Blockchain for preservation and valorization of experimental music and sound production by Gregory Beller (FR) 

   
Papers (short)


Integrating LLMs and RAG for Improved Usability in Multimedia Archives by Sean Carroll (UK) 
Deep Learning Algorithms as Potential Solutions to Challenges in Video Art Preservation by John HoFung Chow & Sam Chan (HK) 
New Animation Art: The History and Evolution of Computer Animation at Prix Ars Electronica by Jürgen Hagler (AT) 

   
Archive Presentations


Ars Electronica Archive Relaunch by Christina Radner (AT) 
The Computer Arts Society and Computer Arts Archive by Sean Clark & Paul Brown (UK/AU) 
The Immersive Archive by Zeynep Abes, Nathan Fairchild (presenters), Michael Wahba, Katrina Xiao, Spencer Lin, Scott Fisher (US) 

   
Panels


SNMAA Sustainability Panel with Violeta Vojvodic Balaz (RS), Wim van der Plas (NL), Terry Wong (HK/CA), Bonnie Mitchell (US), Janice Searleman (US), Byeongwon Ha (KR/US) Moderator: Oliver Grau (AT) 
Archiving Australian Media Arts of the 1990s: Towards a method and a national collection with Helen Stuckey, Cynde Moya, Candice Cranmer, Xanthe Dobbie & Troy Innocent 

   
Wednesday June 26


Special Panel Session, organised by ISEA2024/4th SNMAA:The Heritage of the Pioneers, with Peter Beyls (BE), Keisuke Oki (JP), Christa Sommerer & Laurent Mignonneau (AT/FR) and Stelarc (AU), moderated by Melanie Swallwell (AU) 

   
Other ISEA2024 Presentations Related to Archiving:


ISEA Symposia in Australia: Past, Present and Future (1992, 2013 & 2024) by Terry C. Wong 
An Immersive, Interactive Journey Back in Time: Traversing SIGGRAPH’s 50th Conference History Exhibition and Events by Bonnie Mitchell, Kon Hyong Kim, Yamin Xu & Terry C. W. Wong 
A Short History of the International Symposium on Electronic Art by Wim van der Plas 

   
The 4th Summit on New Media Art Archiving is organised by a team representing the archives of ISEA, SIGGRAPH, ZKM, ADA, FILE, Memoduct and others and is endorsed by Ars Electronica, in close co-operation with ISEA2024.

   
 

   
 



 Prof. a.D. Dr. habil. Dr. hc Oliver Grau
 

 Director ARCHIVE OF DIGITAL ART (ADA) www.archive-digitalart.eu
 

 International Society for MediaArtHistories (MAST) Wien / Berlin www.mediaarthistories.org
 

 Academia.edu https://ae-eu.academia.edu/OliverGrau
 

  
 

  
 

   
  
 

     
  
 

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[spectre] CFP: Dumbarton Oaks Mentorship Program f. East-Central European Scholars, 2024/2025

[Andreas Broeckmann LEU via SPECTRE]

From: Tomasz Grusiecki
Date: Apr 11, 2024
Subject: CFP: Dumbarton Oaks Mentorship Program f. East-Central European 
Scholars, 2024/2025


Virtual
Deadline: May 3, 2024

We invite applications for a remote four-session mentorship program 
tailored to early-career scholars, with a special focus on those 
affected by the ongoing conflict in Ukraine. This program is meant to 
offer professional development and workshop opportunities around the 
following topics:


- Publishing in top academic journals and books
- Writing successful grant applications
- Preparing successful job documents
- Disseminating research in different contexts

Each professional development event will include presentations from 
experts and opportunities for Q and feedback. These events will be 
followed by one-on-one mentoring sessions, which are intended to expand 
on the feedback received, while offering additional tailored guidance 
for each participant. There might be the possibility for an in-person 
gathering of all participants upon the completion of the program.


The four sessions will take place in Fall of 2024 (September-November) 
and Spring of 2025 (February-April). Participants must attend all 
workshops and mentoring sessions to complete the program successfully. 
Upon completion, each participant will receive a certificate.


Eligibility
The successful applicants should be advanced PhD candidates (within 1 
year of completion of their degrees) or junior-level scholars (up to 5 
years since graduation with a doctoral degree).


We encourage historians and art historians with a specialty in the 
medieval or early modern visual culture of East-Central Europe to apply 
to this program. Preference will be given to scholars whose work has 
been disrupted by the ongoing conflict in Ukraine. We also welcome 
applicants from East-Central European countries (including but not 
limited to Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, 
Czechia, Estonia, Hungary, Kosovo, Latvia, Lithuania, Moldova, 
Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia, 
Slovenia) who have been traditionally underrepresented in Anglo-American 
academic circles. We anticipate selecting 6-8 participants for this program.


Applications
To apply, please use the online Embark portal 
(https://www.doaks.org/research/fellowships-and-awards/opportunities-ukraine-scholars) 
to upload a one-page letter of interest with details about your 
research, skills, and reasons for participating; a CV; and the names and 
contact details of two referees who may be contacted to provide support 
letters, if needed, by May 3, 2024.


Co-Organized with North of Byzantium and Connected Central European 
Worlds, 1500-1700


Co-organizers: Tomasz Grusiecki (Boise State University), Suzanna Ivanič 
(University of Kent), Nikos D. Kontogiannis (Dumbarton Oaks), Maria 
Alessia Rossi (Princeton University), Alice Isabella Sullivan (Tufts 
University)



Reference / Quellennachweis:
CFP: Dumbarton Oaks Mentorship Program f. East-Central European 
Scholars, 2024/2025. In: ArtHist.net, Apr 11, 2024. 
.

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[spectre] BEYOND CONTROL: Resisting Digital Oppression & Authoritarianism - April 20-21, Berlin

[Tatiana Bazzichelli via SPECTRE]

Dear Spectre List,

I would like to invite you to take part in person or online at our 32nd
conference "BEYOND CONTROL: Resisting Digital Oppression &
Authoritarianism", at Kunstquartier Bethanien (Berlin and streaming),
April 20-21, 2024.
https://www.disruptionlab.org/beyond-control
Tickets: https://tickets.disruptionlab.org

Challenging wartime systems of misinformation, communication monopolies
& anti-democratic propaganda machines.

The conference challenges systematic strategies of repression to advance
political goals, discussing misinformation and information warfare in
the context of right-wing propaganda. The talks expose the monopoly of
communication channels that can shape and distort reality, conceal
abuses and maintain power, and present strategies to circumvent
restricted access to technology and information during wars and conflicts.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TALKS & WORKSHOPS

Saturday April 20, 2024

16:30 – 16:40 CET · OPENING
Tatiana Bazzichelli (Artistic Director, Disruption Network Lab, IT/DE)

16:40–18:10 CET · KEYNOTE · Unveiling the Depths of Online Racism: Jihad
Van Puymbroeck's Story to Justice
Jihad Van Puymbroeck (Activist & Communication Strategist, BE).
Moderated by Nyima Jadama (Activist & Moderator, GM/DE).

Jihad Van Puymbroeck, a Muslim woman of Moroccan and Belgian descent,
has been active in anti-racist civil society for more than ten years.
Van Puymbroeck is one of the civil parties in the lawsuit against Schild
& Vrienden, a Flemish far-right youth movement that attacked her online.
She won her case after a long agony and will tell her story and expose
the depths of online racism.

18:40 –20:40 CET · PANEL · Gaza, Ukraine & Azerbaijan: Challenging
Network Authoritarianism
Manolo Luppichini (Filmmaker & Author, IT), Arzu Geybulla (Journalist &
Editor, AzNet Watch, Global Voices, AZ/TR), Tetyana Lokot (Associate
Professor in Digital Media and Society, Dublin City University, UA/IE).
Moderated by Tatiana Bazzichelli (Artistic Director, Disruption Network
Lab, IT/DE).

Join us to hear three different stories from Gaza, Ukraine, and
Azerbaijan, documenting the monopoly of communication channels during
wartime. How can we circumvent restricted access to digital
infrastructure in war?

Sunday  April 21, 2024

11:00–13:00 CET · WORKSHOP #1  · Community Girlblogging to Save The Internet
Irma Mastenbroek (Mathematician & AI Researcher, NL/DE)

In times of digital cultural crisis, girls can steer the internet away
from its neoliberal path of self-destruction. Mathematician and AI
researcher Irma Mastenbroek will explore how collaborative coding of
HTML+CSS web pages can help us gain independence from Big Tech and
rebuild community.

14:30–16:30 CET · WORKSHOP #2 · WikiLeaks: Can We Set the Records
Straight and Open the Space to Free Assange?
Raja Stutz & Claudia Daseking (Assange Support Berlin, DE)

Raja Stutz and Claudia Daseking from Assange Support Berlin will discuss
misinformation around the case of Julian Assange and share strategies for
reclaiming public opinion about WikiLeaks' contribution to press freedom
and our right to know.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

More info & schedule:
https://www.disruptionlab.org/beyond-control
GET TICKETS: https://tickets.disruptionlab.org

-- 
Tatiana Bazzichelli // Artistic Director
Disruption Network Lab
https://www.disruptionlab.org/
E-mail for personal messages: tbazz(at)disruptionlab.org
Twitter: @disruptberlin // @t_bazz
Fingerprint: A87C 3637 03ED 1D1C E6FE E828 1F55 2B2F F5A5 C9A0
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[spectre]  CURRENT SCREENSAVER  Vladan Joler / New Extractivism /

[metazoa.org via SPECTRE]

 CURRENT SCREENSAVER  Vladan Joler / New Extractivism / 

The map, an assemblage of allegories. These are the visual and narrative 
concepts with which the artist and scholar Vladan Joler builds his view of our 
social reality behind and on top of a digital medium. This reality is 
constructed by a mostly invisible, hidden or even obfuscated logic, driven by 
forces that we have not yet given a proper name. This is where the map of a new 
territory comes into play. […] more at 
https://screensaver.gallery/vladan-joler-new-extractivism



Get ScreenSaverGallery https://screensaver.gallery/get
Follow us on Telegram https://t.me/screensavergallery

Save Your Screen :)
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[spectre] 10 Jahre Project Space Festival: Ankündigung der ausgewählten Projekträume

[press]

ZumTransparenzbericht der Jury gibt Einblick in den Auswahlprozess, sowie die 
Entstehung, Förderung und Gestaltung des Festivals

⇨ please find English below ⇦
BETON Berlin 09, Sarah Lüdemann (Beauham), August 2023
Foto: BETON Berlin
Die Teilnehmenden des Project Space Festivals 2024 stehen fest

6x6 Project, ACUD Galerie, alpha nova & galerie futura, BETON Berlin, Co-Making 
Matters, COUNCIL+ , Die Möglichkeit einer Insel, die raum, diffrakt,  DOOM SPA, 
gr_und, GROTTO, Kleine Humboldt Galerie, Mehringplatz 20, Neun Kelche,  NEW 
FEARS, Pickle Bar, SAP Space, Scherben,  SCHNEEEULE, Solaris, SPOILER, Spor 
Klübü, stay hungry, the Gimp, The Watch, Tina Coupé, TROPEZ, TURBA, When You're 
Calmer

Aus 68 Bewerbungen hat die diesjährige Jury, Benjamin Busch, Aiko Okamoto , 
Nadim Samman, Jorgina Stamogianni und Antje Weitzel, die 30 Projekträume und 
Initiativen ausgewählt, die am Project Space Festival 2024 teilnehmen.

Zum Jury Verfahren gibt es einen Transparenzbericht. Der Transparenzbericht 
(https://projectspacefestival-berlin.us8.list-manage.com/track/click?u=46fd6a1f8a7a2ea3901204e9f=5a73b9a746=0a3bc00fd6)
 gibt einen Einblick in den Auswahlprozess, sowie die Entstehung, Förderung und 
Gestaltung des Festivals. Er wurde allen Bewerber*innen mit der Bekanntgabe der 
Juryentscheidung zur Verfügung gestellt.

In den kommenden Tagen gibt es die ersten Einblicke in das Programm der 
diesjährigen Festivalausgabe, die vom 1.-30. Juni stattfindet.
die raum, Exclusive Incline, Egemen Demirci & Sunette L. Viljoen, 2020
Foto: Jan Windszus
The participants of the Project Space Festival 2024 are confirmed

6x6 Project, ACUD Galerie, alpha nova & galerie futura, BETON Berlin, Co-Making 
Matters, COUNCIL+ , Die Möglichkeit einer Insel, die raum, diffrakt,  DOOM SPA, 
gr_und, GROTTO, Kleine Humboldt Galerie, Mehringplatz 20, Neun Kelche,  NEW 
FEARS, Pickle Bar, SAP Space, Scherben,  SCHNEEEULE, Solaris, SPOILER, Spor 
Klübü, stay hungry, the Gimp, The Watch, Tina Coupé, TROPEZ, TURBA, When You're 
Calmer

>From 68 applications, this year's jury, Benjamin Busch, Aiko Okamoto , Nadim 
>Samman, Jorgina Stamogianni and Antje Weitzel, selected the 30 project spaces 
>and initiatives that will take part in the Project Space Festival 2024.

There is a transparency report 
(https://projectspacefestival-berlin.us8.list-manage.com/track/click?u=46fd6a1f8a7a2ea3901204e9f=f92d77854e=0a3bc00fd6)
 on the jury process. The transparency report provides an insight into the 
selection process, as well as the development, funding and organization of the 
festival. It was made available to all applicants with the announcement of the 
jury's decision.

The first insights into the program of this year's festival edition, which 
takes place from June 1-30, will be available in the coming days.
Neun Kelche, Kleber und Falten, Julia Lübbecke, 2023
Foto: Dorothea Dittrich
Download Pressebilder / Press images 
(https://projectspacefestival-berlin.us8.list-manage.com/track/click?u=46fd6a1f8a7a2ea3901204e9f=c9bb8c29d0=0a3bc00fd6)
Kontakt | Contact: i...@projectspacefestival-berlin.com 
(mailto:i...@projectspacefestival-berlin.com)
Pressekontakt | press contact:
Wayra Schübel: Tel.: +49 (0) 176 24854560
E-Mail: pr...@projectspacefestival-berlin.com 
(mailto:pr...@projectspacefestival-berlin.com)
Instagram: @projectspacefestival 
(https://projectspacefestival-berlin.us8.list-manage.com/track/click?u=46fd6a1f8a7a2ea3901204e9f=962f426925=0a3bc00fd6)
   |  Website: projectspacefestival.berlin


Our mailing address is: ** i...@projectspacefestival-berlin.com 
(mailto:i...@projectspacefestival-berlin.com)

Want to change how you receive these emails?
You can
** update your preferences 
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Project Space Festival Berlin . Berlin . Berlin 10785 . Germany

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[spectre] CFP: Form, Production and Transknowledge in Soviet Modernity (Vienna, 25-26 Sept 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Natalia Ganahl
Date: Mar 22, 2024
Subject: CFP: Form, Production and Transknowledge in Soviet Modernity 
(Vienna, 25-26 Sept 24)


Institut für Kunstgeschichte, Universität Wien, Sep 25–26, 2024
Deadline: May 15, 2024

The Actuality of the 20s: Form, Production and Transknowledge in Soviet 
Modernity. International Conference.


Institut für Kunstgeschichte, Universität Wien.
Prof. Dr. Sebastian Egenhofer, Dr. Natalia Ganahl.

The materialist turn that came into force in Russia after the 
revolutions of 1917 encompassed knowledge and social politics, which 
simultaneously mutated into constructivist biopolitics and social 
control. As a turn in art, it was reflected in the reorientation of art 
and art theory makers towards the primary relevance of material-economic 
conditions, the data of scientific research and the reformatory 
discourses based on Marxism and Anarchism. The artistic practices of 
form-building turned to the exploration of natural resources, industrial 
technology and materials, energetic and physiological processes, as well 
as new forms of institutionalization according to the horizontal 
principles of the workshop and the laboratory. In the highly active 
intellectual landscape, transdisciplinary drafts emerge that go beyond 
the framework of the classical cogitatio universalis and aim at the 
fundamental reorganization of social life on the new principles of 
equality, non-alienated labour and social participation, permanent 
revolution of the forms of living. E.G. Kazimir Malevich, who saw the 
revolution as a further step towards the realization of the energetic 
dynamics of the world, defined it as a stage of a universal process that 
lies deeper than the utilitarian interests of individual classes and 
consists in overcoming the "objectification" of the world in images and 
representations. An energetic-materialist explanation of the world 
required a renewal of the understanding of art. The socialist path of 
art, according to the "proletarian monism" of Boris Arvatov,  consists 
in the "complete immersion of art in life", in the "creation of an 
incessantly created being".


In recent decades, there has been a growing interest in the historical 
origins of materialist anthropology in the age of industrialization, 
with its questions about the relationship between material and thought, 
about free will and suggestibility, about the integration of individuals 
and groups in systems of energy and information exchange, etc. The 
relevance of these questions prompts us to turn to the transdisciplinary 
projects of the early Soviet period, where the materialist doctrines 
were realized not only in scientific-philosophical and social-utopian 
thinking, but also in social production. The topicality and challenges 
of some of the artistic, theoretical and scientific projects launched 
after the revolution are only gaining visible contours today. Russian 
philosopher of feminism and knowledge Alla Mitrofanova writes: "What 
seems to me important in these almost forgotten discussions is their 
resonance with contemporary philosophical attempts to construct new 
approaches to ontology, with notions of the historical materiality of 
the natural, and with the impossibility of separating nature and 
culture..." Together, we can expand this list: the epistemologically and 
ontologically motivated critique of the central perspective and 
individual subjectivity, the questioning of the documentary status of 
image media and the truth value of representation as such, the 
performative turn in theatre and agitative activism, the orientation of 
the arts towards the neurological processes in the body or the 
problematization of the systemic interconnectedness of 
material-energetic processes in nature and social production. The 
practice of epistemological actualization of historically earlier models 
and languages of knowledge also becomes possible. As Pavel Florensky 
remarked in a letter about his own project of "concrete metaphysics", 
some concerns take 100 years to gain academic validity. Soviet modernism 
received its first productive reception in Western Europe and the USA as 
early as the 1970s. More recent editions and research show the new round 
of attention, which seems to be symptomatic. Ongoing wars in Ukraine and 
the Caucasus and new dictatorships are once again sharpening the 
contrasts between light and dark in this new exploration of the past. 
What can we learn today from the discussions and experiments of the 1920s?


The international conference in the Department of Art History at the 
University of Vienna collects original contributions from researchers in 
all relevant disciplines. The 30 minutes presentations could be oriented 
towards the following lines: form and critique, theory and laboratory, 
matter and movement, institution and mobility, energy and politics etc. 
We welcome explorations that deal with pictorial and artistic works, as 
well as with new forms 

[spectre] CONF: After Post-Photography-9 (online, 12-13 Apr 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Maria Gourieva
Date: Apr 2, 2024
Subject: CONF: After Post-Photography-9 (online, 12-13 Apr 24)

Online / European University at St. Petersburg, Apr 12–13, 2024

After Post-Photography, international conference on visual studies, 
history and theory of photography, will take place at the European 
University at St. Petersburg and online on 11-13 April 2024. Starting 
with a workshop for emerging scholars on 11 April (with limited 
attendance), the conference continues with 4 panels on 12-13 April, open 
for attendance. We welcome everyone interested in photography studies 
and are looking forward to the discussions and exchange of ideas.


In order to receive your zoom link please register here: 
https://eusp.timepad.ru/event/2818360/

To ask questions to the organizers please email: a...@mur.at

Conference organizing committee: Maria Gourieva, Olga Davydova, Daria 
Panaiotti, Friedrich Tietjen, Polina Shishkina, Vika Fomina, Glafira 
Kukhareva


Conference programme:

APRIL, 11, 11.00 – 16.00 MSK Workshop for emerging researchers (in 
Russian only)



APRIL, 12, 13:00 – 17:30 MSK (Russian and English, translation provided)

Irina Chmyreva. Reality in Scotoma of Photography and Propaganda: Gulag 
Photography Collection, 1929-1936


Erika Wolf. From Belly to Brain: The Soviet Reception of the Leica

Sofia Lavrova. “What we show there, here is… how to put it, embarrassing 
to show: Soviet Photography at Foreign Photographic Exhibitions


Anastasia Kuryanova. Seen Eye to Eye: China Through the Lens of Russian 
Photography vs. Other Visual Media, 1860s-1900s


Zsolt Batori. AI-Generated Photo-Based Images: Their Ontological Status 
and Interpretation


Timothy Druckrey. The Age of the Word Picture

Renee Brown. Unsystematic Systems: Paul Vanderbilt’s Reorganization of 
the FSA/OWI File



APRIL, 13, 13:00 – 17:30 MSK (Russian and English, translation provided)

Maria Gourieva. Photographic Objects and Materiality of Private Photography

Galina Orlova. Dosimetric Camera Obscura: Biopolitical and Photographic 
Arrangements of the Nuclear Century


Ondine Duche. Amateur Photography and the Persistence of Photographic 
Truth: A Critical Historiography Through Primitivism


Ilya Leonov. Revisiting Ancient Monuments: Domon Ken’s Buddhist Images 
in the Context of 1950s Japanese Photography


Varvara Mikhailovskaya, Katerina Gulina. Subjectivity of Broad-Scale 
Historical Corona Spy Satellite Photography in the Context of Ferrous 
Metal Diggers’ Сommunities


Marina Belaya. PhotoTherapy – How to Work with Photographs in 
Psychological Practice



Reference / Quellennachweis:
CONF: After Post-Photography-9 (online, 12-13 Apr 24). In: ArtHist.net, 
Apr 2, 2024. .

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[spectre] CFP: CoPDA 2024 - 8th Int. Workshop on Cultures of Participation in the Digital Age (@ AVI 2024) - EXTENDED DEADLINE April 10th

[Antonio Piccinno via SPECTRE]

---
Call for Papers (NEWSUBMSSION DEADLINE April 10th)
---
CoPDA 2024 - 8th International Workshop on Cultures of Participation in 
the Digital Age: Differentiating and Deepening the Concept of "End User" 
in the Digital Age


https://homes.di.unimi.it/cslab/copda2024/
June 3rd or 4th, 2024 - Arenzano (Genoa), Italy
In conjunction with AVI 2024 (https://avi2024.dibris.unige.it/home)


Overview

Recent developments in Artificial Intelligence (AI) and meta-design 
challenge the understanding of the concept of “end user”.
The 8th edition of this workshop aims to critically differentiate, 
dissect, and deepen the roles, experiences, and demands of end users by 
inviting contributions from different perspectives.


The workshop invites contributions to explore the following fundamental 
issues:

- Re-conceptualizing the multi-faceted roles that end users can play.
- Investigating how end users are evolving into active participants in 
the design and development through frameworks (such as meta-design) that 
encourage creation, modification, and evolution in individual and group 
activities.
- Understanding the skills and literacies (e.g., computational fluency) 
that end users need to acquire to be successful contributors (e.g., 
education, after-school clubs, etc.).
- Envisioning future scenarios and possibilities for end user roles and 
experiences in the context of emerging technologies and cultural changes.
- Understanding the design trade-offs associated with balancing the 
potential value of end-user contributions with the necessary effort to 
ensure that end users will be motivated to contribute over long periods 
of time.


Participants from academia, industry, and user communities are invited 
to share their ideas, insights, and experiences to increase our 
collective understanding and approach towards end users in the digital age.


Topics of discussion may include (but will not be limited to):
- Analysis of the use and historical development of the concept of “end 
user”
- Can meta-design frameworks facilitate and empower end users in 
becoming designers, shaping and adapting systems to their needs?
- What are the major responsibilities for end users in "end-user 
development” and/versus "end-user software engineering"?
- If computational fluency is widely achieved by humans in the digital 
age — how will this change the concept of "end user" and “learning with 
digital tools”?
- How can the division between professional developers and end users be 
designed and supported as collaborative interactions rather than a rigid 
separation?
- How do we scale up user participation from individuals to groups to 
communities?

- In which contexts are end users the drivers of the innovation?
- Which other frameworks and environments in AI exist in addition to 
Large Language Models (LLMs) for supporting end users?

- How does the role of end users change in the era of LLMs?
- Which additional learning demands occur that empower end users to 
assess LLM possibilities and limits?
- Success stories and failures (e.g., empirical studies) involving or 
analyzing end users as active participants in sociotechnical systems in 
different domains (education, workplace, at home, leisure, etc.).


-
Submissions

Authors are invited to submit a 6-page position paper using the 1-column 
CEUR template available at http://ceur-ws.org/Vol-XXX/CEURART.zip. An 
Overleaf page for LaTeX users is also available at 
https://www.overleaf.com/read/gwhxnqcghhdt
The papers can be submitted at: 
https://easychair.org/conferences/?conf=copda2024
All papers will be peer-reviewed by at least two members of the Program 
Committee.
Accepted papers will be collected and submitted for publication on 
CEUR-WS proceedings.


-
Important dates
-
- Apr 10th, 2024: Submission deadline for position papers - NEW
- Apr 23rd, 2024: Notification of acceptance
- May 10th, 2024: Camera ready
- Jun 3rd or 4th, 2024: CoPDA 2024 workshop

--
Organizing Committee
-
Barbara Rita Barricelli (Università degli Studi di Brescia, Italy)
Gerhard Fischer (University of Colorado, Boulder, USA)
Daniela Fogli (Università degli Studi di Brescia, Italy)
Anders Mørch (University of Oslo, Norway)
Antonio Piccinno (Università degli Studi di Bari, Italy)
Stefano Valtolina (Università degli Studi di Milano, Italy)

For any further information, please contact copda2...@easychair.org
--
~~
Prof. Antonio Piccinno
/Presidente Centro Servizi Informatici (CSI)
Delegato del Rettore ai temi della digitalizzazione presso CRUI
Delegato servizi informatici del Dipartimento di Informatica
/ Dipartimento di Informatica - Università degli Studi di Bari "Aldo Moro"
via Orabona, 4 - 70125 Bari, Italy
Personal Home Page 
Tel. +39 080 5442535 / Fax. +39 

[spectre] The Arts in Solidarity, 13 April at Casco Art Institute: Working for the Commons, Utrecht

[Gary Hall via SPECTRE]

 The Arts in Solidarity:


   Navigating Funding Constraints and Shifting Paradigms of Growth and
   Competition


 13 April 2024, 13:00–17:00 / Casco HQ
 Lange Nieuwstraat 7, 3512 PA Utrecht, Netherlands

 With contributions from Gertrude Flentge, Yazan Khalili, Laura
 Alexander, Justin O’Connor, Andy Hewitt, and Mel Jordan. This
 event is a working assembly convened by the Partisan Social Club,
 UK, and Casco Art Institute as part of the SPACEX-Rise exchange
 project.


In the UK and the Netherlands, numerous major arts institutions have
been compelled to align with neoliberal policies and ‘diversify’ their
funding sources over the past decade, thereby limiting possibilities for
economic sustainability. The Arts in Solidarity event raises crucial
questions about navigating challenging times. It unites scholars,
artists, and arts organizations from the UK and the Netherlands to
strategize alternatives to limiting and limited funding paradigms. Can
the UK's experience offer valuable insights? How have the arts
confronted past and present challenges? Together, we will discuss and
debate: How do we continue critical arts-based work when public
resources are dwindling? How can we better share and common our work?
How can we resist arts funding becoming a competitive process between
institutions? Can arts institutions apply social and art commoning
practices as methods to challenge the current economic structures of
funding? How can we impact policymaking through developing new
experimental, collaborative, and solidary practices? How can
commoning-based responses to the demise of arts subsidies help the arts
realign with radical agendas for more equitable futures?

*More information here: https://casco.art/activity/the-arts-in-solidarity//
/*

--
Gary Hall
Professor of Media
Director of the Centre for Postdigital Cultures, Coventry University:
https://postdigitalcultures.org/about/

Website:http://www.garyhall.info

Latest:

Blog: '30-Second Book Review No.1: Kate Crawford, Atlas of AI: Power, Politics, 
and the Planetary Costs of Artificial Intelligence 
(2021):http://garyhall.squarespace.com/journal/2024/3/4/30-second-book-review-no1-kate-crawford-atlas-of-ai.html

30-Second Book Review No.2: K Allado-McDowell’s Amor Cringe (2022) and 
Pharmako-AI 
(2020):http://garyhall.squarespace.com/journal/2024/3/20/30-second-book-review-no2-k-allado-mcdowells-amor-cringe-and.html

Interview: (open access) ‘How To Be A Pirate: An Interview with Alexandra 
Elbakyan and Gary Hall by Holger 
Briel’:https://www.liverpooluniversitypress.co.uk/pb-assets/OA%20chapters/Briel_9781802076622_ch5_OA-1687267442.pdf

Book series (open access): Combinatorial Books: Gathering Flowers series, 
edited by Janneke Adema, Simon Bowie, Gary Hall and Rebekka 
Kiesewetter:http://www.openhumanitiespress.org/books/series/liquid-books/















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[spectre] transversal audio: The Museum of Stones, the Minsk Yard Movement and Tactics of Publishing, Care and Collectivity, Part I

[info--- via SPECTRE]

 

Navigating Dangerous Terrain:The Yard Movement and the Tactics of Publishing, Care, and Collectivity of the Belarusian Museum of Stones, Part I
Moderator: Lina Dokuzović
Audio to be released today, 3 April, at 18:00 CEST
In part 1 of this discussion, the Museum of Stones – a name that refers to both a collective and the publication/newspaper they produce as well as a concrete location in Minsk, Belarus – talk about the practices of collectivity of Minsk's “yard movement” and the alternative infrastructures, tactical media, and technopolitics of care that developed in response to the parallel threats of political repression and the pandemic that escalated from 2020 and continue to this day. In a landscape of internet blackouts and water contamination, when the state not only abandons the public, but employs the most extreme disciplinary measures against it, complex strategies for disseminating information and for archiving and preserving knowledges of struggle emerged. Reflecting on the suspended timelessness of protest in relation to the legacies of resistance of the past and the imaginaries of the future, we discuss different tools – technologies, languages, experiments with multiple temporalities, among others – for confronting these ongoing challenges.
https://transversal.at/audio/
(Voices have been masked to protect the anonymity of the Museum of Stones) 
 
Part II of the discussion will be published next Wednesday, 10 April, 18:00 CEST
 
These audios are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] [CAS] Event: Bronaċ Ferran - Unearthing Digital Tendencies in Post-War Texts in Print, 17 April 2024

[Paul Brown via SPECTRE]

R E M I N D E R

The Computer Arts Society’s 2024 series of events continues
 
Unearthing Digital Tendencies in Post-War Texts in Print
 
Speaker: Bronaċ Ferran; Moderator: Sean Clark
19:00 BST, Wednesday, 17 April 2024
Other time zones here:  https://www.timeanddate.com 
 
 
This event will be held In Person at the BCS London HQ and via Zoom.
BCS, The Chartered Institute for IT
25 Copthall Avenue
London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/
 
Building on her recent doctoral thesis (Birkbeck, University of London, 2023 
https://eprints.bbk.ac.uk/id/eprint/51176/) and on her contribution to LACMA's 
CODED: ART ENTERS THE COMPUTER AGE catalogue (2023), Bronaċ Ferran addresses 
the emergence of digital tendencies in print and text-based practices in the 
post-war period. She will highlight connections between concrete poetry, 
typography and early computer arts practices as seen in works by Hansjörg Mayer 
and his circle of relations that included Jasia Reichardt, Max Bense, Frieder 
Nake, Dieter Rot and Emmett Williams. 
 
Bronaċ Ferran is a writer and (co) curator of exhibitions including 'Poetry, 
Language, Code' (2012); 'Brown & Son: Art That Makes Itself - Purveyors of 
digital images since 1968' (2015) & '...and the bunny goes POP!' (2018) 
https://www.thehorsehospital.com/events/and-the-bunny-goes-pop. She has also 
curated three concrete poetry exhibitions. In 2017 her monograph on Hansjörg 
Mayer was published by König books. In 2023 she wrote exhibition catalogue 
essays on Stephen Willats and Paul Brown and is currently completing a new 
essay on Waldemar Cordeiro for his Summer 2024 exhibition at The Mayor Gallery 
in London. She is a Visiting Research Fellow this year at the University of 
Hertfordshire and a regular contributor to Studio International magazine. 
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is In Person and Zoom and open to the public and is free but you 
must book your place here.  In person places are limited and early booking is 
advised: https://17april24cas.eventbrite.co.uk/
 
__
 
Our next meeting will be a talk by Lev Manovich on 15 May 2024 – Zoom only.

You can see our future programme here: 
https://computer-arts-society.com/events/index.html
 

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[spectre] 4/4 - 13/6: TOUR #MachinicCapitalismMolecularRevolution

[info--- via SPECTRE]

 

GIRA#CapitalismoMaquínicoRevoluciónMolecular
Del 4/4 al 13/6, Gerald Raunig estará de gira por distintas ciudades españolas presentando «Dividuum» (Vol.1) y «Desamblaje» (Vol.2) de «Capitalismo maquínico y revolución molecular» editados por Subtextos -> https://www.subtextos.es/desamblaje
Este conjunto de textos aporta una nueva y profunda complejización del funcionamiento del capitalismo contemporáneo: dividual y maquínico. Así como una sensibilidad renovada y desafiante a través las resistencias y rupturas existentes. Se trata, también, de un nuevo tipo de filosofía materialista de la multiplicidad, como desamblaje proliferante y entrelazado de conceptos, invenciones, historias y máquinas sociales.
TOUR#MachinicCapitalismMolecularRevolution
From 4/4 to 13/6, Gerald Raunig will be touring different Spanish cities presenting "Dividuum" (Vol.1) and "Dissemblage" (Vol.2) of "Machinic Capitalism and Molecular Revolution" edited by Subtextos -> https://www.subtextos.es/desamblaje
This set of texts provides a new and profound complexification of the workings of contemporary capitalism: dividual and machinic. As well as a renewed and challenging sensibility through the existing resistances and ruptures. It is also a new kind of materialist philosophy of multiplicity, as a proliferating and intertwined dissemblage of concepts, inventions, histories and social machines.
 
MálagaJueves 4 de abril 2024, 19:00con Programa de Estudios Radicalesen la Casa Azul (c/ Vital Aza 18)GranadaLunes 8 de abril 2024, 19:00con Universidad Libre de Granadaen CVA La Colectiva (c/ Nazaríes s/n)SevillaMartes 9 de abril 2024, 20:00con Kike Españaen La Fuga (c/ Conde de Torrejón 4)BilboViernes 12 de abril 2024, 19:00con Kike Españaen Louis Michel (c/ Elkano 27)DonostiSábado 13 de abril 2024, 11:30con Kike Españaen Kaxilda (Arroka Kalea 2)BarcelonaViernes 26 de abril 2024, 19:00hcon Universitat Popular Autogestionadaen La Comunal (c/ Riera d’Escuder 38)
MadridJueves 13 de junio 2024, 19:00hcon Marta Maloen Traficantes de Sueños (c/ Duque de Alba 13)
 
https://transversal.at/books/dividuum | https://transversal.at/books/dividuum-enhttps://transversal.at/books/ungefuege | https://transversal.at/books/dissemblage
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] Professorship at UdK Berlin

[Alberto de Campo via SPECTRE]

Dear all,

The UdK Berlin, College of Architecture, Media and Design – Institute of 
Time-Based Media, is seeking to appoint a:

Professorship (W2) »Time-based art with contemporary technologies«

Application deadline: April 15 2024

https://www.udk-berlin.de/universitaet/stellenausschreibungen/

https://www.udk-berlin.de/fileadmin/2_dezentral/FR_Stellenausschreibungen/Anz_2_223_24_Prof._Zeitbasierte_Kunst_mit_gegenwaertigen_Technologien_englisch_ohne_Link.pdf

---
Prof Dr Alberto de Campo
Generative Art / Computational Art
Institute for time-based media
University of the Arts Berlin
Grunewaldstrasse 2-5
D - 10823 Berlin, Germany

deca...@udk-berlin.de
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[spectre] INVITATION to WORKSHOP: Dialogue, Polis, and Democracy

[Emőke Bada via SPECTRE]

Apologies for crossposting!

*Together with Pezhman Golchin from the Writers in Exile of the PEN Club
Germany, Ideal Spaces Foundation wants to invite you for a series of
workshops, dealing with a topic that has become critical today: the
capability for true dialogue as a prerequisite for democracy. *

The workshops aim to provide a deeper understanding of the connection
between dialogue, free citizenship and democracy, all of them threatened
today, and to encourage the participants to disseminate the need for all
three of them.

The first workshop will start on* April 19, 2024, at 10 am CET*, at the
foundation’s venue, *Nesslerstr. 16, 76227 Karlsruhe, Germany. *You can
register for the event on this link.


*Dialogue *is more than just talk, or discussion. Dialogue, from the Greek*
dia-logos*, rests on respect for the other with whom I speak, not on
defending or pushing through my own position. Dialogue is an open-minded
and respectful conversation; to look at an issue from different
perspectives, with the intention being to find out something *together*
with the partner(s) in the conversation. A dialogue is rooted in respect.
This includes the other’s right to be (and to remain) in opposition to me;
and to make an exchange with the other on the base of argument, not on the
base of feelings/emotions or ideology. In a true dialogue, we can find out
something in common despite the fact that we have different positions.

The capability to lead a dialogue in this sense, a true dialogue, is an
endangered species today. Moreover, by its very origin in our Western
culture, the capability for dialogue is linked to the idea of free
citizenship – in its origins, the concept of the democratic polis, the
Greek ‘city state’ – and hence, to the idea of democracy. Dialogue, free
citizenship, and democracy intrinsically belong together, and without the
capability for dialogue, free citizens, democracy, diversity, and tolerance
become endangered species, too.

As a premise for liberty and democracy, dialogue has been eroded in recent
years, due to a combination of political, economic, and social forces
addressed in our workshops. Due to this erosion, the capability to lead a
dialogue not only needs respect and inner openness, but active learning by
doing. In our workshops, we want to offer this, together with the active
involvement of the participants. Each workshop is a dialogue, together with
the participants.

*The workshops are free of charge* and will be held as *hybrid events*,
that is, online participation is also possible. But we strongly recommend
participating physically, since a dialogue is best possible in person. For
those physically attending, travel and accommodation cannot be paid by our
foundation; but we are happy to provide you with documentation that you may
require to apply for travel grants. Please reach out to Emőke Bada (
emoke.b...@idealspaces.org) for assistance in procuring such files. We look
forward to seeing you at the workshop. Please click on this link

to
register for the event and reserve your place!
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[spectre] (un)real data ☁ - (隣)real effects, node #2

[Marcela Okretič via SPECTRE]

*How did we end up in a world where everything is rated and evaluated
according to personal taste? And where do we go from here?*


In the *second node* of *Tactics #15: (un)real data ☁ - (隣)real
effects
*,
dedicated to the politics of rating systems and grappling with the ability
of ratings to cause effects in the physical world, we focus on the artistic
duo *!Mediengruppe Bitnik*, researcher and architect *Selena Savić*, and
artist and critical engineer *Gordan Savičić*.


---



*2 April 2024 15:00-18:00* / ALUO, Tobačna 5, Ljubljana

*WORKSHOP *!Mediengruppe Bitnik, Selena Savić, Gordan Savičić: ⭐*1 Star
Workshop*


The artists scraped thousands of one-star reviews of public sites in
Ljubljana. Taking the scraped data as a starting point, the workshop will
look at the materiality of this data, its specific textures and aesthetics.
What types of views of the city can we generate from the data? How can we
approach the data in interesting ways? Can we use the scraped data as a
form of critique and artistic research? [MORE]



---



*3 April 2024 19:00* / Aksioma Project Space / until 26 April
*EXHIBITION OPENING AND PROJECT PRESENTATION*
!Mediengruppe Bitnik, Selena Savić, Gordan Savičić: *One Star Review Tour*


What are the consequences when we scrutinise and publicly evaluate the
places we love? With the exhibition *One Star Review Tour*, the artists
examine the prevalence of the five-star rating system in contemporary
data-driven environments. They explore how these systems, including credit
scores, social influence rankings and product/service reviews, influence
decisions in various aspects of daily life. The impact of ratings,
influencing our decisions on everything from restaurants and doctors to the
products we buy and the places we visit, will also be the subject of the
accompanying presentation by the authors. [MORE]








*Tactics #15: (Un)real Data – Real Effects*
*February–June 2024*

*Participants:* Alexandre Puttick, Cornelia Sollfrank, Felix Stalder,
Gloria Gammer, Gordan Savičić, Marta Peirano, !Mediengruppe Bitnik, Neja
Berger, Sebastian Schmieg, Selena Savić, Simon Weckert, Total Refusal,
Valentina Tanni

*Curators: *!Mediengruppe Bitnik (Carmen Weisskopf and Domagoj Smoljo)
*Artistic director:* Janez Fakin Janša

The programme is based on !Mediengruppe Bitnik’s research project *Latent
Spaces: Performing Ambiguous Data* at the Zürich University of the Arts.
The conference is developed in collaboration with Felix Stalder and with
the curatorial advice of the Latent Spaces research group.

*Production:* Aksioma – Institute for Contemporary Art, Ljubljana, 2024

*In collaboration with:* Kino Šiška Centre for Urban Culture and ALUO – The
Academy of Fine Arts and Design of the University of Ljubljana

*Supported by: *The Ministry of Culture of the Republic of Slovenia and the
Municipality of Ljubljana
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[spectre] Women in Sonic/Electronics

[lauraplanagracia via SPECTRE]

Women in Sonic/Electronics

@ Happenstance Gallery

334 Old Street London EC1V 9DR


TICKETS £10 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637

There is a discount code for £6 tickets - happenstancegallery.


Sunday, 24 March 2024

doors 14:30
Laura Netz 15:00
Conny Prantera 15:40
Annastasia Freygang 16:10
closing 16:50


Artists:

Laura Netz
Participant at hacking culture and noise scene has taken part in many 
international events, such as exhibitions, workshops, conferences, and 
concerts. In 2014, she released her first record at the [EdP069] Editora do 
Porto. In 2015, she launched her independent record label EAM 
Elektronische-art-and-music. She is well-known in London noise scene where she 
performs under the moniker Laura Netz / Medial Ages. Nowadays, she is promoting 
the series Sonic Electronics taking place in London, various venues, where 
inviting different artists from the community influenced by noise, 
experimental, electronics and open source music.

Anastasia Freygang
buny operates the mic. there is found sound via buttons, polyrhythmics.
it’s a quest that starts in the body, works cycles.
anastasia freygang facilitates experiments with language.
with a background in site specific interventions both short and long term ( 
soft beach, l honneur de timur, anatums abode) her practice grew into actively 
proposing to orientate on acoustic and rhythmic planes ( sonic social events)
buny came about via sampler and diy spaces- tending to improvisation on the 
spot.
drawing on ragamash, a form of sampling where rhythms and timelines collide, 
buny is attuning to places and people doing stirring.

Conny Prantera
The Seer is a multimedia live performance that combines spoken word, sound, 
theatre and video. The project is the creation of London based artist Conny 
Prantera and is constructed from a series of her poems, collages and paintings 
that narrate the life of a prophet echoing of Homeric myth, traditional 
folksong and dreamlike memories.


TICKETS 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637

DETAILS 
http://netzzz.net/women-in-sonic-electronics-happenstance-gallery-london/

Contact email la...@netzzz.net


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[spectre] Today, Wednesday 20 March: new transversal audio | book presentation in Vienna

[info--- via SPECTRE]

 

Queer Perspectives for Subverting Academic Writing on Former-Yugoslavia and BosniaA Conversation with Mišo KapetanovićHost: Lina Dokuzović
Audio to be released today, 20 March, at 18:00 CET
This discussion departs from Mišo’s previous work, drawing links to topics fleshed out within the Peripheral Visions project, of peripherality and subjectivation. We discuss various overlapping and intersecting practices of peripheralization that have been introduced or reinforced by academia and how this has created gatekeeping concepts out of the trauma of people of former-Yugoslavia, particularly Bosnia and Herzegovina. We then talk about Mišo’s more recent and current work that looks at queer perspectives on subverting these various problems through everyday lived experiences of defiance and creating shared moments of joy. We discuss the common elements that can define an understanding of Yugoslavia today – reflecting on the solidarity, anti-fascist, and anti-colonial core of non-alignment – as well as the hope that lied at the core of both non-alignment and the project of (the 2nd) Yugoslavia. Through this, we link to notions discussed in previous talks in this series of Yugofuturism and hope as a form of resistance in times of catastrophism and perspectives of technopolitics of care.
https://transversal.at/audio/
 
Das Leben der Kunst. Transversale Linien der SorgeBook presentation with Bojana Kunst and Stefan Nowotny
English-Deutsch
Wednesday, 20 March 2024, 19:00Depot, Breite Gasse 3, 1070 Vienna
https://transversal.at/event/buchprasentation-das-leben-der-kunst
Bojana Kunst's new book deals with the complex relationship between life and art and discusses this relationship from the angle of care. The author not only critically examines various backgrounds to contemporary debates on care, but furthermore lays an emphasis on its ambivalent character: care can be part and parcel of relations of violence as much as it can become the basis for a poetic-imaginative reorientation of social, ecological and micropolitical relationality.
Bojana Kunst, philosopher, dramaturge and performance theorist, University of GießenStefan Nowotny, philosopher, eipcp – European Institute for Progressive Cultural Policies, Vienna and Málaga
Bojana Kunst, Das Leben der Kunst. Transversale Linien der SorgeVienna: transversal texts 2023, https://transversal.at/books/das-leben-der-kunst
In cooperation with: Depot, https://depot.or.at
transversal audio season
After a short Easter break, the transversal audio season will return on Wednesday, 3 April, with the first part of a conversation with the Belarusian 'Museum of Stones': 
Navigating Dangerous Terrain: The Yard Movement and the Tactics of Publishing, Care, and Collectivity of the Belarusian Museum of Stones https://transversal.at/blog/transversal-audio-season-spring2024
 
These audios and events are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] Fwd: Bridging the Gaps. An Anthology of Art Criticism in Central and Eastern Europe

[Andreas Broeckmann via SPECTRE]

 Weitergeleitete Nachricht 
Betreff: 	Bridging the Gaps. An Anthology of Art Criticism in Central 
and Eastern Europe

Datum:  Wed, 20 Mar 2024 06:01:22 +
Von:e-flux Agenda 



Bridging the Gaps. An Anthology of Art Criticism in Central and Eastern 
Europe The book is a result of a collaboration between AICA Poland, AICA 
Slovakia, AICA Czech Republic and …





 
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/Bridging the Gaps. An Anthology of Art Criticism in Central and Eastern 
Europe/





International Association of Art Critics (AICA)








   
	/Bridging the Gaps. An Anthology of Art Criticism in Central and 
Eastern Europe, /AICA Polska, 2023. Photo: Arkadiusz Półtorak. 	







*/Bridging the Gaps. An Anthology of Art Criticism in Central and 
Eastern Europe/*



March 20, 2024

aica.org.pl 

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The book is a result of a collaboration between AICA Poland, AICA 
Slovakia, AICA Czech Republic and AICA Hungary. It is a collection of 
dispersed visual art critique written after 1989, translated into 
English and this way made available for research for international 
scholars and art critics. In the contemporary art history of Central and 
Eastern Europe (after 1989), systematic research on art criticism is 
very rare and so are the books collecting dispersed texts written by art 
critics, and almost always they are published in their original 
language. If there are such books published, these are collections of 
texts by one author and mostly come from earlier periods – 1970s and 
80s. The Anthology attempts to “bridge the gap” between the CEE region 
and the rest of the world, as well as between the countries within the 
region.


The main introduction to the book is a transcription from a roundtable 
discussion on the specificity of art criticism in the CEE region. The 
book is divided into nine chapters: Art during the transition period / 
Gender and body / Feminism / Otherness and politics of identities / 
Institutional Critique / Political (Engaged) Art and Censorship / Art in 
public spaces / Critique of critique / Critique on art from before 1989.


The /Anthology/ helps to answer vital questions, such as: What role does 
1989 play in the critical discourse in CEE? What kind of exchange took 
place among critical writing and discourse across CEE? What does 
critical writing on art and culture have in common across CEE, and what 
are the (local, national) differences? How has critical writing 
after-1989 envisioned the position and place of CEE in the world? Have 
the dichotomies of the second half of the twentieth century (such as 
East vs West) continued shaping the conversations? Asking these 
questions is vital for the intellectual development of our region, its 
self-awareness, and the decolonization from the (so-called) Western culture.


While individual texts have their concrete foci (exhibition, event, 
cultural trend, etc.), collectively the selected texts articulate the 
critical post-1989 era in CEE through a unique perspective: namely, the 
structure of collective feeling. By focusing not on the commonplace 
history-writing as a progression of cultural and political events but on 
capturing human emotions in, with, and through art–the anthology will 
offer an alternative, unparalleled understanding of the development of 
young and still fragile democracies. Through capturing the affective 
infrastructure of this era, the book will show relations and connections 
among the scenes across CEE, as well as the pronunciations of the shared 
commitment to the hopeful futures.


/*Bridging the Gaps. An Anthology of Art Criticism in Central and 
Eastern Europe After 1989*/
*Editors: *Jana Geržová (Slovakia) Júliusz Huth (Hungary) Małgorzata 
Kaźmierzak (Poland) Kata Balázs-Miklós (Hungary) Vlasta Čiháková Noshiro 
(Czech 

[spectre] AINIMALS (Finissage) - 5 minuten in die Zukunft (Opening)

[Pierre Wolter via SPECTRE]

Hey Spectres

I hope this message finds you well. I would like to invite you to two 
upcoming events.


*Finissage: AINIMALS, by Mihai Grecu*

Join us to our finissage tomorrow at Art Claims Impulse 


20.03.24, 16:30 - 21:30
Markgrafenstraße 86, 10969 Berlin.

--

*fünf minuten in die zukunft, Jörg Piringer*

Eröffnung: 28.03.24 *Performance & Handsignierung Künstler ist anwesend, 
16:30-21:30

Ausstellung:03.04.24 - 27.04.24 Mi-Sa, 12.00-18.00

Textbilder, Textvideos, Sprachperformance

fünf Minuten in die Zukunft ist das neueste Buch von Jörg Piringer. Es 
enthält Gedichte und Textbilder die das Leben in der hybriden 
digital-analogen Welt reflektieren. in ihnen fusionieren Maschinenkunst 
mit einer humanistischen Weltsicht, Kritik der sozialen Netzwerke mit 
Affirmation einer technischen Romantik, künstliche Unintellgenz mit 
menschlicher Banalität.
In der Ausstellung werden die Textbilder sowie Textvideos gezeigt, die 
Bezug auf den Inhalt des Buches nehmen. die Performance bringt die texte 
zum klingen und fügt ihnen eine weitere Dimension hinzu.


Jörg Piringer, ist ein österreichischer Künstler und Autor, Teilnehmer 
des Ingeborg-Bachmann-Preises 2020. Seine Werke sind eine einzigartige 
Verschmelzung von Poesie und Technologie. Piringer ist ein Grenzgänger, 
ein digitaler Dichter, der die Möglichkeiten der künstlichen Intelligenz 
(KI) nutzt, um neue Formen der Kunst und Poesie zu schaffen.
Piringer ist bekannt für seinen experimentellen Ansatz in Kunst und 
Literatur. Sein Werk zeugt von einem experimentellen Verständnis von 
Sprache und Technologie, die er auf innovative Weise miteinander verwebt.



Pierre Wolter

www.art-claims-impulse.com 
Tel:+493033879688
Mob:+4915165906600


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[spectre] [CAS] Event: Alex May Opening and Talk - Algorithmic Photography, 2 April 2024

[Paul Brown via SPECTRE]

R E M I N D E R

The Computer Arts Society’s 2024 series of events continues
 
Algorithmic Photography by Alex May
Exhibition Opening and Artist Talk 
 
Speaker: Alex May; Moderator: Sean Clark
 
This event is In Person and Zoom and open to the public and is free but you 
must book your place here:  https://computerartssociety030424.eventbrite.co.uk/
 
19:00 BST, Tuesday, 2 April 2024
Other time zones here:  https://www.timeanddate.com 
 
 
This event will be held In Person at the BCS London HQ and via Zoom.
BCS, The Chartered Institute for IT
25 Copthall Avenue
London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/
 
Internationally renowned digital artist Alex May will discuss “Algorithmic 
Photography”, a technique he created and pioneered to capture data and reveal 
hidden or unnoticed information in his own moving image artworks using bespoke 
computer vision algorithms that he has coded in C++. 
 
Through a multistage process encompassing video capture, motion detection, and 
colour space conversion, his abstracted compound compositions emerge, exploring 
subjects as diverse as ant swarms and starling murmurations, to wind farms and 
New York taxis. Central to May’s practice is an attempt to understand time and 
memory through digital processes.
 
“Algorithmic Photography” brings together twenty images for the first time that 
provide a broad contextualising overview of the techniques and subject matter 
May has been engaging with over the past eight years in his Algorithmic 
Photography practice.
 
His wider artistic practice questions how our individual and collective 
experiences of time, and formation of memories and cultural record, are 
mediated, expanded, and directed by contemporary technologies. The work forges 
creative links between art, science, and technology through a wide range of 
digital new media, including virtual and augmented reality, photogrammetry, 
photography, interactive robotic artworks, video projection mapping, generative 
works, performance, and video and sound art.
 
May has an international exhibition profile, including Tate Modern (London), 
MIT Museum (USA), Nobel Prize Museum (Sweden), ZKM (Germany), Ars Electronica 
(Austria), Milan Triennale (Italy), Beijing Art and Technology Biennale 
(China), WRO Media Art Biennale (Poland), HeK Basel (Switzerland), Kunstlerhaus 
Vienna (Austria), Victoria & Albert Museum (London), The Francis Crick 
Institute (London), Science Gallery Dublin (Ireland) and Science Gallery 
Bengaluru (India), ZHI Art Museum (China), and the Beall Center for Art + 
Technology, University of California, Irvine (USA). His work is held in the 
collections of ZKM, The Computer Arts Society, and The Amelia Scott (Tunbridge 
Wells).
 
Alex May's website is https://alexmayarts.co.uk/ and he can be found on 
Facebook, Instagram, X (Twitter), and YouTube as @alexmayarts
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is In Person and Zoom and open to the public and is free but you 
must book your place here:  https://computerartssociety030424.eventbrite.co.uk/
 
_
 
Our next meeting will be a talk by Bronaċ Ferran on 17 April 2024 – in person & 
zoom
 
You can see our future programme here: 
https://computer-arts-society.com/events/index.html
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[spectre] fwd: CFP: Inactivity: Between Aesthetic Practice and Sociopolitical Challenge (Berlin, 11-12 Jul 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Oliver Aas
Date: Mar 18, 2024
Subject: CFP: Between Aesthetic Practice and Sociopolitical Challenge 
(Berlin, 11-12 Jul 24)


ICI Berlin, Jul 11–12, 2024
Deadline: Apr 7, 2024

Inactivity: Between Aesthetic Practice and Sociopolitical Challenge.

Organized by Oliver Aas, Hana Gründler, Antje Kempe, and Barbara 
Kristina Murovec


A workshop of the Kunsthistorisches Institut in Florenz – 
Max-Planck-Institute, Research Group ‘Ethico-Aesthetics of the Visual’ 
and University Greifswald, Interdisciplinary Centre for Baltic Sea 
Region Research, in cooperation with the ICI Berlin (Institute for 
Cultural Inquiry).


At least since the Enlightenment, Western culture has been in the echo 
chambers of autonomy and its ethos of a rational, active, and ultimately 
self-creating and self-serving individual subject. Unlike in antiquity, 
when the fragile relation between otium and negotium was thought 
fundamental for the well-being of the (free) individual and society, 
today inactivity has become an increasingly problematic and, to a 
certain extent, morally and politically destabilizing category. Not too 
surprisingly, the French socialist Paul Lafargue’s claim that, next to 
the right to work, there should be a ‘right to be lazy’ (1883) was 
harshly criticized. His position, inspired by ancient philosophy, was 
reproached by socialist and capitalist perspectives. Significantly, in 
today’s age of hyperactivity, 24/7 accessibility, and accelerationism, 
one hears of the need to slow down, to do less (or indeed nothing at 
all), and to contemplate. The interest in (in)action — slow cinema, and 
even slow food and other so-called practices of ‘self-care’ — becomes 
steadily more important to artistic practices and in academic 
discourses. But what are the narratives behind this development? Are 
there different forms of inaction, some perceived as ‘productive’, and 
others as ‘destructive’? Can inaction be a progressive gesture ‘of 
doing’ at a moment when classical ‘actions’ have exhausted themselves? 
Would that also apply to a hypercapitalized and accelerated art market 
and exhibition system?


This workshop aims to critically examine artistic, literary, 
philosophical, and political strategies and practices of inaction. It 
looks at how these practices, on one hand, work against dominant 
cultural and political narratives and, on the other, are absorbed by 
capitalism and ultimately become neoliberal adjuncts to prevailing 
economic and political systems. The focus of the workshop will be on 
artistic and aesthetic practices from the early twentieth century until 
today, since they offer a particularly fertile testing ground for 
thinking through strategies of action and inaction. One example might be 
found with so-called unofficial artists, writers, and intellectuals in 
totalitarian or post-totalitarian systems. They could not afford to 
protest in plain sight and thus often chose non-assuming and perhaps 
counter-intuitive strategies like leisure, ambivalence, and irony for 
staging their resistance. Also, Eastern European performance art, for 
example, has long demonstrated that inaction can structure the artist’s 
presence as much as (if not more eloquently than) action. Here, the 
typical action, which with its Western connotations is often imagined to 
lead to a romanticized version of revolution, is subverted.


At the same time, conceptualizing inaction as an agent of change — also 
in the sense of contemplation as basis of creativity — comes with its 
pitfalls. When does inaction simply become a willful act of ignorance? 
As Hannah Arendt has elucidated, we have been witnesses to mass 
atrocities that we have refused to acknowledge, which alerts us to 
exercise caution when it comes to doing nothing. In this light, 
individual positions like ‘opting out’ and departing from sociopolitical 
life (e.g., abstaining from voting) become highly problematic. After 
all, who is free to ‘opt out’ and who remains helplessly stuck?


Also of interest are cultural and artistic practices that thematize 
inactivity as forms of resistance, resilience, or counter-movement in 
the broader field of heritage discourses, conservation, and art history, 
as well as within the museum context. The aim is to discuss, on the one 
hand, whether decay is understood as a kind of inactivity that causes a 
revaluation of objects, sites, and practices in terms of negation or 
negotiation. On the other hand, the aim is to interrogate how to 
interpret inactivity regarding questioned monuments, events, and places 
without sticking to the binarity of ‘productive’ or ‘destructive’ 
discourses. Does decay as process — and/or doing nothing as practice in 
the above-mentioned fields — also become an agent of change or, 
referring to the Aristotelian philosophy, counter-energeia in times of 
political and ecological crises?


The historical longue durée — starting with vita contemplativa and its 
contemporary relevance and 

[spectre] Professur + KM Stelle @UdK Berlin

[Manja Ebert via SPECTRE]

Liebe Alle, 

es sind 2 interessante Stellen an der UdK vakant
https://www.udk-berlin.de/universitaet/stellenausschreibungen/

Professur an einer Kunsthochschule (75%) 
Zeitbasierte Kunst mit gegenwärtigen Technologien
Das ist eine neu eingerichtete Stelle im Studiengang „Kunst und Medien“ 

Künstlerische * r Mitarbeiter * in Lehre im Bereich „Experimenteller 
Film/Medienkunst“ mit dem Schwerpunkt Kamera und Bildgestaltung Studiengang 
„Kunst und Medien“ (50%)

Sonnige Grüße
Manja
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[spectre] Fwd: Innumerable Petals at Zeta Contemporary Art Center, Tirana

[Andreas Broeckmann via SPECTRE]

 Weitergeleitete Nachricht 
Betreff:Innumerable Petals at Zeta Contemporary Art Center
Datum:  Fri, 15 Mar 2024 06:01:02 +
Von:e-flux Agenda 



Innumerable Petals at Zeta Contemporary Art Center Co-curated by Endri 
Dani and Markus Waitschacher. Participating artists: Abi Shehu, Agron 
Dine, …





 
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/Innumerable Petals/




Zeta Contemporary Art Center



 



	Agron Dine, /Vaditja e Luleve/, /(Watering Flowers)/, 1981. Oil 
Painting, 240x180 cm. Courtesy of Pallati i Kulturës (Palace of 
Culture), Tirana, Albania. Photo: Zeni Alia. 	






*/Innumerable Petals/*
April 4–May 5, 2024

*ZETA Contemporary Art Center*
Abdyl Frashëri Street, Nd.8, H.7, Ap.4 (2nd floor)
Hekla Center
1019 Tirana
Albania

Add to Calendar Add to Calendar 
 



www.bmeia.gv.at 

www.bmeia.gv.at 

qendrazeta.com 

Instagram 
 
/ Instagram 
 
/ Instagram 
 
/ Instagram 
 



Co-curated by Endri Dani and Markus Waitschacher.

*Participating artists:* Abi Shehu, Agron Dine, Alfred Lenz, Fatlum 
Doçi, Lumturi Blloshmi, Marianne Lang, Remijon Pronja, Rosella 
Pelliccioti (Was bleibt kollektiv / Gentian Doda), Ryts Monet, Susanna 
Hofer, zweintopf.


/Innumerable Petals/ brings together six Albanian artists and five 
Austrian artists in an exhibition which will be held in three locations 
in Tirana: ZETA Contemporary Art Center, ZENIT Art Gallery and Agimi Art 
Center. The curatorial orientation of this exhibition has its starting 
point in a casual encounter with a painting by the Albanian artist Agron 
Dine (b. 1948, Vlora), a painting that currently decorates one of the 
public institutions in the capital of Albania. The subject of this 
artwork is several young people who are watering healthy, blooming 
flowers in one of the city’s parks. In the background of this landscape, 
a cluster of industrial buildings evidences the sharp contrasts between 
organicity and an idealized and alienated future that represents the 
modality of perception and imagination in the 20th century.


Throughout human history, artists and thinkers alike have tried—as best 
they could—to understand the origin of living phenomena. In this 
collective exhibition, flowers (and other natural elements) serve as a 
catalyzing force embodying the concepts elaborated by the participating 
artists. Flowers function here as an analogy for the origin: the origin 
of fruits, of seeds, of forests, of all the history of material culture 
derived from the wood of those forests (from prehistory down to our 
present), and today flowers still possess great symbolic power—whether 
in mythology, religion, art, or politics.


The use of flowers as a metaphor for the origin, for the genesis or 
beginning /(the Big Bang effect)/, likewise suggests the terminological 
metaphor of the /flowering/ of the new economies of the global South and 
their forms of contact and confrontation with the old, capitalist 
countries of the West.


Austria’s historical background—belonging to a Western European 
context—is characterized by a specific register of practices of 
domination. Whereas Albania, a small territory that had previously been 
occupied by several empires, would 

[spectre] By Design or by Disaster Conference cfp on questions of power in eco-social transformation.

[Marc Herbst via SPECTRE]

The Masters in Eco-Social Design in the Department of Design and Art at the 
Free University of Bozen–Bolzano
has a new CFP for its annual By Design and By Disaster conference. 

This years topic relates to questions around power in relation to eco-social 
transformation. 
We are especially interested in left critiques of green transtion, and papers 
from social and insurgent movements addressing corporate
and state entanglements with the energy sector, and ways of confronting power 
to be able to re-organize was of living together differently in the now and 
future. 
...

Power in Transformation

What power is needed for transformation, what power must be overcome, what 
power is needed to sustain, and which ways of dealing with power and each other 
do we want to achieve in order to prefigure tomorrow today? 

We are trying to gain an understanding of the diverse dimensions of power in 
relation to social-ecological transformation. Building upon this, we want to 
clarify how design and art can contribute in moving towards solidary and just 
power relations among humans and with the more-than-human world. In other 
words, we ask how to deal with power in moving from capitalism, imperialism, 
and patriarchy towards commons, care, and queerness? How does design and art 
contribute to these transformations of power? And what about power in the 
processes and products of design and art?

For all questions related to the academic track please write to 
mustapha.elmoussa...@unibz.it 
.
For all other questions email designdisas...@unibz.it 
.

For the Call For Paper, see- 
https://designdisaster.unibz.it/by-design-and-by-disaster-conference-2024/ 

Submissions due April 2nd,

Conference July 11-14, 2024


….

Sincerely, 

Marc Herbst

Research Professor: Art department, Free University of Bozen-Bolzano
Co-editor: Journal of Aesthetics & Protest 
Co-curator: SALT. CLAY. ROCK.  on Nuclear 
Pasts and Radient Futures, nGbK Berlin 2024__
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[spectre] Fwd: CONF: Worlds Apart, Strangers Together (Singapore, 23-24 Mar 24)

[Andreas Broeckmann LEU via SPECTRE]

From: National Gallery Singapore
Date: Mar 13, 2024
Subject: CONF: Worlds Apart, Strangers Together (Singapore, 23-24 Mar 24)

National Gallery Singapore, City Hall Wing, Level B1, The Ngee Ann 
Kongsi Auditorium and Auditorium Foyer, Mar 23–24, 2024


Held alongside the exhibition 'Tropical: Stories from Southeast Asia and 
Latin America', “Worlds Apart, Strangers Together” is a two-day 
symposium that expresses South-South solidarities and reconsiders the 
conception of the “Global South,” both within the legacies of modernism 
and in light of post-colonial debates.


The programme includes a diverse range of lectures, screenings, 
performances, talks and dialogues, featuring artists, thinkers, and art 
historians including Manthia Diawara, Solange Farkas, Atreyee Gupta, 
Yuki Kihara, Partha Mitter, Eisa Jocson and Venuri Perera.


Programme:

Sat 23 Mar 2024

11 am, Partha Mitter on Reimagining Modernism: Picasso Manqué Syndrome 
and the Virtual Cosmopolitan.
In this keynote lecture, Professor Partha Mitter will address the 
asymmetrical relationship between the centre and periphery and propose 
strategies for decentring the dominant Western canon.
Free, registration required: 
https://web.nationalgallery.sg/#/detail?id=294408=product.


2 pm, In Dialogue with Yuki Kihara and Patrick Flores.
This dialogue between Yuki Kihara and Patrick Flores will delve into the 
colonial legacies in Oceania, as well as the complexities inherent in 
the primitivist gaze and its transformation in contemporary art.
Free, registration required: 
https://web.nationalgallery.sg/#/detail?id=294378=product.


4.30 pm, Screening: "Maison Tropicale".
Departing from artist Ângela Ferreira’s project at the 2007 Venice 
Biennale, Manthia Diawara’s film 'Maison Tropicale' (2008) probes the 
complex interrelationship between modernism, colonialism, and 
architecture in the Republic of Congo and Nige, shedding light on issues 
surrounding cultural heritage in a post-colonial environment.
Free, registration required: 
https://web.nationalgallery.sg/#/detail?id=294383=product.


Sun 24 Mar 2024

11 am, Solange Farkas on Transcultural Curation.
Hear from Solange Farkas as she shares about how to curate exhibitions 
involving different art ecologies and geopoetic conditions.
Free, registration required: 
https://web.nationalgallery.sg/#/detail?id=294406=product.


2 pm, Atreyee Gupta on The Non-Aligned Movement.
Drawing from an elucidation of Octavio Paz in the context of South Asia, 
Professor Atreyee Gupta will unravel the intricate connections and 
solidarities between Asia and Latin America.
Free, registration required: 
https://web.nationalgallery.sg/#/detail?id=294387=product.


4.30 pm, "Magic Maids", a work-in-progress sharing by Eisa Jocson and 
Venuri Perera.
Magic Maids is a work-in-progress sharing by artists Eisa Jocson and 
Venuri Perera, featuring excerpts of their research into the circulation 
of foreign migrant labour.

Free, no registration required.

https://www.nationalgallery.sg/see-do/programme-detail/978830422/tropical--worlds-apart-strangers-together

Reference / Quellennachweis:
CONF: Worlds Apart, Strangers Together (Singapore, 23-24 Mar 24). In: 
ArtHist.net, Mar 13, 2024. .


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[spectre] Fwd: ANN: Official and Non-Official in the Late Soviet Epoch (Rome/online, 18 Mar 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Oleksandra Osadcha
Date: Mar 13, 2024
Subject: ANN: Official and Non-Official in the Late Soviet Epoch 
(Rome/online, 18 Mar 24)


Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rom/ 
Online, Mar 18, 2024


In-Between: the Scylla and Charybdis of Official and Non-Official in the 
Late Soviet Epoch.


The Bibliotheca Hertziana is inviting you to the first seminar in the 
series of events “The Politics of Images.”


Speakers: Alex Bykov (Brno University of Technology),  David Crowley 
(National College of Art and Design), Agnė Narušytė (Vilnius Academy of Art)


The discussion of Soviet culture often revolves around triggering 
division into the official and the non-official, which simplifies our 
knowledge about the distribution of images at that period, omitting 
their existence in-between the extremities of allowed and forbidden. The 
research seminar will address these problematic dichotomies on the 
materials of different realms across the former Soviet space — from 
architecture to photography.


This research seminar is the first in the series of events “The Politics 
of Images” that will cover several aspects of the imagery’s circulation 
in, but not limited to, Ukraine. We seek the parallels within and beyond 
the former Soviet space that would help to have a better comprehension 
of the images’ social power and dispositifs. Organized within the 
ScienceForUkraine programme.


Programme:

11.00–11.40, David Crowley, Art as Dissent? Focusing on the 1960s and 
1970s, the period which saw a revival of modern art in the People’s 
Republics of Central/Eastern Europe, David Crowley will reflect on the 
ways that dissenting and official culture in Hungary, Poland and 
Czechoslovakia have been understood. The image of the artist as a 
dissenting nonconformist was particularly attractive to Western European 
intellectuals during this phase of the Cold War. The Biennale del 
dissenso culturale, in Venice in 1977, for instance, featured an 
exhibition titled ‘La nuova arte sovietica. Una prospettiva non 
ufficiale'. Ten years earlier, in 1967 Czech film-maker/artist living in 
West Germany, Petr Sadecký, invented a fictitious artistic group - 
Progressive Political Pornography (PPP), a network with cells in Soviet 
cities - to tap Western enthusiasm for the image of the political rebel. 
But few artists - in the region - accepted the mantle of ‘the 
dissident’. And, compared to other branches of culture, very few visual 
artists were targeted as ‘enemies’ by the authorities. Drawing on the 
work for his 2017 exhibition 'Notes from the Underground', Crowley will 
examine the ways in which ‘official’ and ‘independent’ artistic 
practices were entangled.


11.40–12.20, Alex Bykov, “Liquidation Recommended”. Creation and 
destruction of the Wall of Remembrance in Kyiv.
The “Park of Memory” at the Kyiv Crematorium, created by the artistic 
couple Ada Rybachuk and Volodymyr Melnychenko was probably one of the 
most significant constructions of the second half of the 20th century in 
Ukrainian architecture. Rybachuk and Melnichenko’s work belongs to the 
utopian practices of a total work of art (Gesamtkunstwerk). They 
developed a complex idea of the Memory Park from a landscape design, to 
the monumental Wall of Remembrance and unique Halls of Farewell. A 
monumental Wall of Remembrance was supposed to be the central element of 
this park: more than two hundred square meters of artistic reliefs, 
which would be passed by funeral processions. Creation of the Wall of 
Remembrance lasted for more than 10 years, but in early 1982, when its 
reliefs were almost finished, the Party leadership gave the order to 
eliminate them. In no time The Wall of Remembrance was filled with 
concrete. This grievous outcome was due to the fundamental differences 
between the views of artists and the views of the leaders of the 
Communist Party of Ukraine. The presentation will reveal artistic and 
personal struggles of Ada Rybachuk and Volodymyr Melnychenko living and 
working under the Soviet stipulations.


12.35–13.15, Agnė Narušytė, Lithuanian Photographers’ Association: 
Managing Creative Freedom, Collaboration, and Resistance. Establishing 
the independent Lithuanian Photographers’ Association in Vilnius in 1969 
was, in itself, an act of resistance to the Soviet occupation because 
all organisations had to be founded in Moscow and only then would form 
their branches in the ‘republics’. Even before that, the so-called 
School of Lithuanian Photography became a positive example discussed by 
the most prominent Soviet photography historians and theorists and 
revered by photographic communities all over the Soviet Union. By 
discussing the photo album by Antanas Sutkus and Romualdas Rakauskas, 
Weekdays in Vilnius (1965), and the ‘aesthetics of boredom’ practiced by 
young rebels in the 1980s, Agnė Narušytė will show how the organisation 
balanced between allowing creative freedom and satisfying 

[spectre] Wien, 20.03.2024, Buchpräsentation / Book presentation: Das Leben der Kunst. Transversale Linien der Sorge

[info--- via SPECTRE]

 

Das Leben der Kunst. Transversale Linien der SorgeBuchpräsentation mit Bojana Kunst und Stefan Nowotny
English-Deutsch
Mittwoch, 20. März 2024, 19:00Depot, Breite Gasse 3, 1070 Wien
https://transversal.at/event/buchprasentation-das-leben-der-kunst
Das neue Buch von Bojana Kunst beschäftigt sich mit dem komplexen Verhältnis zwischen Leben und Kunst und diskutiert dieses unter dem Blickwinkel der Sorge. Dabei werden nicht nur die Hintergründe gegenwärtiger Sorgedebatten untersucht, sondern die Autorin streicht auch deren ambivalenten Charakter heraus: Sorge kann ebenso sehr Teil von Gewaltverhältnissen sein, wie sie zur Grundlage für eine poetisch-imaginative Neuorientierung von sozialer, ökologischer und mikropolitischer Relationalität werden kann.
Bojana Kunst, Philosophin, Dramaturgin und Performance-Theoretikerin, Universität GießenStefan Nowotny, Philosoph, eipcp – European Institute for Progressive Cultural Policies, Wien und Málaga
Bojana Kunst, Das Leben der Kunst. Transversale Linien der SorgeWien: transversal texts 2023, https://transversal.at/books/das-leben-der-kunst
In Kooperation mit: Depot, https://depot.or.at
---
Das Leben der Kunst. Transversale Linien der SorgeBook presentation with Bojana Kunst and Stefan Nowotny
English-Deutsch
Wednesday, 20 March 2024, 19:00Depot, Breite Gasse 3, 1070 Vienna
https://transversal.at/event/buchprasentation-das-leben-der-kunst
Bojana Kunst's new book deals with the complex relationship between life and art and discusses this relationship from the angle of care. The author not only critically examines various backgrounds to contemporary debates on care, but furthermore lays an emphasis on its ambivalent character: care can be part and parcel of relations of violence as much as it can become the basis for a poetic-imaginative reorientation of social, ecological and micropolitical relationality.
Bojana Kunst, philosopher, dramaturge and performance theorist, University of GießenStefan Nowotny, philosopher, eipcp – European Institute for Progressive Cultural Policies, Vienna and Málaga
Bojana Kunst, Das Leben der Kunst. Transversale Linien der SorgeVienna: transversal texts 2023, https://transversal.at/books/das-leben-der-kunst
In cooperation with: Depot, https://depot.or.at
Related
Reflections on Care and Yugofuturism: The Publishing Practices of Theater Platform MaskaA Conversation with Alja Lobnik, Aleš Mendiževec and Pia Brezavšček, moderator: Lina Dokuzovićtransversal audio, to be published on Wednesday, 13 March, 18:00 CETMaska began their publishing practices over a century ago, but one of their most recent publications is Bojana Kunst’s book Politics of Care at the Crossroad of Art and Life, which was translated into German and will be presented in Vienna on March 20th. The discussion looks at the challenges of taking over such a long-standing institution and legacy, the importance of care in cultural work and their recent collaboration with Bojana Kunst, as well as some perspectives on the provocative notion of Yugofuturism. https://transversal.at/audio/
Upcoming event
Publishing and Becoming-Public after Social MediaWorkshop, Vienna, 19 March 2024, 12:00 - open endhttps://transversal.at/event/publishing-and-becoming-public-after-social-media
 
These events and audios are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] DRHA annual conference 2024 // BANAL DEVICES: everyday technologies in globalized technocultures

[Ploeger, Dani via SPECTRE]

Dear people,

I am sending you the call for contributions for this year's DRHA 
conference, hosted by the University of Music and Theatre Munich 
(Hochschule für Musik und Theater München), BANAL DEVICES: everyday 
technology in globalized technocultures. I hope some of you will be up 
for a trip to Munich in September! The conference starts right after Ars 
Electronica, which takes place only a few hours away.


With warm wishes,
Dani Ploeger


Digital Research in the Humanities and Arts (DRHA) 2024
BANAL DEVICES: EVERYDAY TECHNOLOGY IN GLOBALIZED TECHNOCULTURES
University of Music and Theatre Munich, 8-10 September 2024

What systems and devices are relevant in people’s everyday lives, beyond 
the globalized dreams and universalising narratives professed by big 
tech and state bodies in the Global North? This question will be the 
starting point for DRHA 2024.


In critical scholarship and art, engagement with technologisation 
oftentimes occurs in response to hypes around state-of-the-art 
innovations. These hypes are in turn generated by tech corporations and 
government bodies. Thus, there is a tendency for critical practices in 
technology to focus on the spectacle of the new and extraordinary, while 
disregarding the lasting and far-going impact of what we might call the 
realm of the “technologically banal”. As a result, these practices 
become complicit in the propagation of the very “myth of progress” that 
underpins the techno-sphere they intend to critique.


In Syria, ChatGPT is hardly ever used, and quotidian debates on 
technology are shaped by challenges in basic electricity provision. In 
Ukraine, high-tech weapons don't play the role that most contemporary 
conferences and exhibitions on the topic suggest ("Panic! The autonomous 
combat robots are coming!"). Instead, commonplace mobile phone cameras 
and toy drones are highly relevant on the battlefield. At media art 
exhibitions and technology conferences, one encounters countless 
artworks and discussions about Big Data, AI, interactions with microbes 
and virtual reality. Yet, highly relevant technologies in the realm of 
the seemingly ordinary, like washing machines, insect repellents and 
water purifiers, are rarely discussed.


DRHA 2024 will investigate the role of the seemingly banal, commonplace 
and boring in- and outside the world of high-technology.


VENUE
The main conference venue will be the Reaktorhalle at Luisenstrasse 37a, 
the former Institute of Technical Physics, a listed Bauhaus building 
located in the Munich Museum District, designed in 1957 by Joseph von 
Wiedemann and Franz Hart.


ORGANISERS
Banal Devices is convened by Prof. Dr. Dani Ploeger, and hosted by the 
Professorship for Performance and Technology at the University of Music 
and Theatre Munich. The conference will be accompanied by an exhibition 
of artworks curated by Dr. Elena Papadaki (curator and researcher, 
councillor at the Royal Society of Arts).


KEYNOTE CONTRIBUTORS
Alex Murray-Leslie (co-founder of Chicks on Speed; Professor of Digital 
Performance, Norwegian University of Science and Technology)
John Zerzan (author of Future Primitive (1994), Twilight of the Machine 
(2008) and Why Hope? The stand against civilization (2015))


DRHA: DIGITAL RESEARCH IN THE HUMANITIES AND ARTS
Since 1996, Digital Research in the Humanities and Arts (previously 
named Digital Resources for the Humanities) has organized gatherings 
across Europe to examine the technologization of cultural activity, 
resources and heritage. Through its annual conference, the organisation 
provides intellectual and physical space for cross-disciplinary exchange 
and collaboration between artists and humanities scholars, often leading 
to new research networks and publications.

https://drha.tech/

CALL FOR CONTRIBUTIONS
Call for papers
We are inviting proposals from scholars and artists who are keen to join 
a shared exploration of the conference theme. Please submit a 250-750 
abstract for a 15-minute presentation that articulates a critical 
position in relation to the theme, connected to your areas of interest 
and expertise.


Call for artworks
In parallel with the conference, a group exhibition will be presented at 
the conference venue, curated by Dr. Elena Papadaki (curator and 
researcher, councillor at the Royal Society of Arts). We are inviting 
proposals for screen-based artworks and performances that engage with 
the everyday and the banal in technologised culture. Please submit a 
description of max. 2 pages, including images and/or viewing/listening 
links.


Please submit your proposals to drha2024mun...@gmail.com by May 1st 
2024. Notifications of acceptance will be sent by June 15th. For 
questions about the conference and the process, please contact 
dani.ploe...@hmtm.de





--
Prof. Dr. Dani Ploeger

Professor für Performance und Technologie, Hochschule für Musik und 
Theater München
Professor of Performance and Technology, University of Music and Theatre 

[spectre] Women in Sonic/Electronics (WISE), Happenstance Gallery, London.

[lauraplanagracia via SPECTRE]

Women in Sonic/Electronics

@ Happenstance Gallery

334 Old Street London EC1V 9DR


TICKETS £10 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637

There is a discount code for £6 tickets - happenstancegallery.


Sunday, 24 March 2024

doors 14:30
Laura Netz 15:00
Conny Prantera 15:40
Annastasia Freygang 16:10
closing 16:50


Artists:

Laura Netz
Participant at hacking culture and noise scene has taken part in many 
international events, such as exhibitions, workshops, conferences, and 
concerts. In 2014, she released her first record at the [EdP069] Editora do 
Porto. In 2015, she launched her independent record label EAM 
Elektronische-art-and-music. She is well-known in London noise scene where she 
performs under the moniker Laura Netz / Medial Ages. Nowadays, she is promoting 
the series Sonic Electronics taking place in London, various venues, where 
inviting different artists from the community influenced by noise, 
experimental, electronics and open source music.

Anastasia Freygang
buny operates the mic. there is found sound via buttons, polyrhythmics.
it’s a quest that starts in the body, works cycles.
anastasia freygang facilitates experiments with language.
with a background in site specific interventions both short and long term ( 
soft beach, l honneur de timur, anatums abode) her practice grew into actively 
proposing to orientate on acoustic and rhythmic planes ( sonic social events)
buny came about via sampler and diy spaces- tending to improvisation on the 
spot.
drawing on ragamash, a form of sampling where rhythms and timelines collide, 
buny is attuning to places and people doing stirring.

Conny Prantera
The Seer is a multimedia live performance that combines spoken word, sound, 
theatre and video. The project is the creation of London based artist Conny 
Prantera and is constructed from a series of her poems, collages and paintings 
that narrate the life of a prophet echoing of Homeric myth, traditional 
folksong and dreamlike memories.


TICKETS 
https://www.eventbrite.com/e/women-in-sonicelectronics-tickets-822152960637

DETAILS 
http://netzzz.net/women-in-sonic-electronics-happenstance-gallery-london/

If you want to unsubscribe, please email la...@netzzz.net








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[spectre] [CAS] Event: Bronaċ Ferran - Unearthing Digital Tendencies in Post-War Texts in Print, 17 April 2024

[Paul Brown via SPECTRE]

The Computer Arts Society’s 2024 series of events continues
 
Unearthing Digital Tendencies in Post-War Texts in Print
 
Speaker: Bronaċ Ferran; Moderator: Sean Clark
19:00 BST, Wednesday, 17 April 2024
Other time zones here:  https://www.timeanddate.com 
 
 
This event will be held In Person at the BCS London HQ and via Zoom.
BCS, The Chartered Institute for IT
25 Copthall Avenue
London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/
 
Building on her recent doctoral thesis (Birkbeck, University of London, 2023 
https://eprints.bbk.ac.uk/id/eprint/51176/) and on her contribution to LACMA's 
CODED: ART ENTERS THE COMPUTER AGE catalogue (2023), Bronaċ Ferran addresses 
the emergence of digital tendencies in print and text-based practices in the 
post-war period. She will highlight connections between concrete poetry, 
typography and early computer arts practices as seen in works by Hansjörg Mayer 
and his circle of relations that included Jasia Reichardt, Max Bense, Frieder 
Nake, Dieter Rot and Emmett Williams. 
 
Bronaċ Ferran is a writer and (co) curator of exhibitions including 'Poetry, 
Language, Code' (2012); 'Brown & Son: Art That Makes Itself - Purveyors of 
digital images since 1968' (2015) & '...and the bunny goes POP!' (2018) 
https://www.thehorsehospital.com/events/and-the-bunny-goes-pop. She has also 
curated three concrete poetry exhibitions. In 2017 her monograph on Hansjörg 
Mayer was published by König books. In 2023 she wrote exhibition catalogue 
essays on Stephen Willats and Paul Brown and is currently completing a new 
essay on Waldemar Cordeiro for his Summer 2024 exhibition at The Mayor Gallery 
in London. She is a Visiting Research Fellow this year at the University of 
Hertfordshire and a regular contributor to Studio International magazine. 
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is In Person and Zoom and open to the public and is free but you 
must book your place here.  In person places are limited and early booking is 
advised: https://17april24cas.eventbrite.co.uk/
 
__
 
Our next meeting will be a talk by Lev Manovich on 15 May 2024 – Zoom only.

You can see our future programme here: 
https://computer-arts-society.com/events/index.html
 

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[spectre] transversal audio: kuda.org on their origins and current challenges – experimenting with networks, technologies and political hurdles

[info--- via SPECTRE]

 

Experimenting with Networks, Technologies and Political Hurdles:kuda.org on their Origins and Current Challenges
A Conversation with Borka Stojić and Zoran Pantelić, moderator: Lina Dokuzović
Audio to be released today, 6 March, at 18:00 CET
Novi Sad-based organization kuda.org had its origins in art production, but evolved to become a central player in influencing cultural policy making as a response to the stagnation and incapacity of their corrupt post-transition landscape. Through the building, development, and fostering of an ecosystem of translocal partnerships that traverse art production, theory, technopolitics, research, publishing, music production, performance, and experimentation across the board, self-education and care has lied at the core of their practices. In this discussion, we reflect on the complex landscape within which they are situated, the possibilities they created when confronted with impossibilities, the conditions of hopelessness and hope in their environment, recent collaborations and publications, as well as some reflections on decolonial and feminist perspectives.
https://transversal.at/audio/https://transversal.at/blog/transversal-audio-season-spring2024 
 
Next Wednesday, 13 March:
Reflections on Care and Yugofuturism:The Publishing Practices of Theater Platform Maska
A Conversation with Alja Lobnik, Aleš Mendiževec and Pia Brezavšček, moderator: Lina Dokuzović
Ljubljana-based theater platform Maska began over a century ago with a journal for critically reflecting and discussing theater practices. Today, they support the theater scene while continuing and challenging the legacy of the organization and its publishing practices. Some of their most recent publications include Bojana Kunst’s book Politics of Care at the Crossroad of Art and Life (translated and published by transversal texts as Das Leben der Kunst. Transversale Linien der Sorge). Shortly after the centennial edition of Maska’s journal, they developed both a journal issue – as well as a series of other events and debates in the months that followed – around the notion of Yugofuturism. Drawing parallels between the potentials and traumas of past and present, and linking to notions of futuring of the Global South, they propose the use of multiple temporalities to challenge the present and create hope for the future. In this discussion, we reflect on the challenges of taking over such a long-standing institution and legacy, the importance of care in cultural work, and some perspectives on Yugofuturism. 
Upcoming events
Publishing and Becoming-Public after Social MediaWorkshop, Vienna, 19 March 2024, 12:00 - open endhttps://transversal.at/event/publishing-and-becoming-public-after-social-media
Das Leben der Kunst. Transversale Linien der Sorge Book presentation with Bojana Kunst and Stefan NowotnyDepot, Vienna, 20 March 2024, 19:00https://transversal.at/event/buchprasentation-das-leben-der-kunst
 
These audios and events are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] MA Spiel und Objekt - Apply Now!

[Hannah Perner-Wilson via SPECTRE]

[for english version please see below]

Liebe Freunde und Kolleg*Innen von Spiel und Objekt,

Wir gehen in die vierte Runde und freuen uns auf Bewerbungen für unseren 
nächsten Jahrgang! Bewerbungszeitraum hierfür ist vom 11.03. bis 14.05.2024. 
Bitte bewerbt euch, und/oder leitet diese Info weiter 
 an alle, die hieran 
Interesse haben könnten.

Weitere Informationen zum Bewerbungsverfahren sind auf der Webseite des 
Studiengangs zu finden www.spielundobjekt.de  

Der Masterstudiengang Spiel und Objekt schafft Zeit und Raum für das 
Experimentieren mit neuen Ästhetiken im theatralen Erzählen. Gleichzeitig wird 
fundiertes technisches und handwerkliches Wissen über Bühnenvorgänge vermittelt.

Wir freuen uns:-)
Hannah && Clemens


x x x x x x x x x x x x english below x x x x x x x x x x x x


Dear friends and colleagues of Spiel und Objekt,

We’re entering the fourth round, and look forward to receiving applications for 
our next cohort! The application period is from 11.03. to 14.05.2024. Please 
consider applying, and/or forwarding this information 
 to anyone who could be 
interested.

Further information on applications can be found on our program’s website 
www.spielundobjekt.de  

The MA studio Spiel und Objekt provides time and space for experimenting with 
new aesthetics in theatrical storytelling, while learning the fundamental 
skills and technical knowledge for staging interactive theatrical processes.

Greetings:-)
Hannah && Clemens

_
Spiel und Objekt
Hochschule für Schauspielkunst Ernst Busch
spielundobj...@hfs-berlin.de 
https://spielundobjekt.de/ 
https://www.hfs-berlin.de/ 
https://www.instagram.com/spiel_und_objekt/ 



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[spectre] (fwd) CFP: Nanni Balestrini Study Day (New York, 12 Jun 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Nicola Lucchi
Date: Mar 4, 2024
Subject: CFP: Nanni Balestrini Study Day (New York, 12 Jun 24)

Center for Italian Modern Art, New York, Jun 12, 2024
Deadline: Apr 14, 2024

Keynote speaker: Prof. Gian Maria Annovi, University of Southern California

CIMA’s Winter-Spring 2024 exhibition, “Nanni Balestrini: Art as 
Political Action. One Thousand and one Voices”, curated by Marco 
Scotini, is the first retrospective exhibition in the United States of 
Nanni Balestrini (1935-2019), an Italian experimental visual artist, 
poet, and novelist known for his revolutionary artistic practice and 
passionate involvement in the social-political movements of the 1960s 
and 1970s.


The show focuses on two crucial decades in the career of Balestrini, the 
1960s and the 1970s. It includes over 70 works by the artist, along with 
a range of documentary material. The works from the 1960s illustrate a 
creative phase when Balestrini shared research interests with Luigi 
Nono, one of the most important 20th-century experimental composers, and 
when the neo-avant garde literary movement Gruppo 63 was also founded. 
The creative relationship between Balestrini and Nono lasted an entire 
decade, and the exhibition sheds light on the search for the 
disalienation of the word pursued by both, as well as on their use of 
technology as a way to seize and subvert the means of industrial 
production and explore their artistic potential. The final works in the 
exhibition date back to the late 1970s; some of them were conceived in 
connection with a poem dedicated to the New York City electricity 
blackout of 1977. Planned as an “action for voice” to be performed by 
Greek-Italian lyricist and vocal experimenter Demetrio Stratos in May 
1979, the work was never performed due to the premature death of Stratos 
and Balestrini’s indictment surrounding the political movement Autonomia 
Operaia. The exhibition also includes a reconstruction of Balestrini’s 
Tape Mark I (1961), one of the earliest examples of computer-generated 
art. A combinatory poem produced by an algorithm written in the Unix 
programming language on a massive IBM mainframe computer, Tape Mark I 
anticipates many of the contemporary questions surrounding Artificial 
Intelligence, and was featured in the 1962 edition of the Bompiani 
Literary Almanac, which was dedicated to “the application of computers 
to ethics and literature”, a theme of utmost relevance today. To provide 
context to Balestrini’s work, the show features a selection of early 
words-in-freedom works by Futurist artist Carlo Carrà, a form of 
avantgarde visual poetry that liberated words and letters from the 
conventions of grammar and syntax, making them part of visual and 
performative compositions. This technique was co-opted by the Italian 
Neoavanguardia in the 1960s, due to the revolutionary potential of the 
early Futurist movement.


Taking cue from the stimuli this exhibition offers and from current 
scholarship in the fields of History, Art History, Italian Studies, 
Gender Studies, and Media and Cultural Studies, the 2024 CIMA Research 
Fellows invite proposals for a conference that, departing from 
Balestrini’s example, examines the intricate relationships between art 
and activism during and beyond the Years of Lead. The all-day conference 
will take place at the Center for Italian Modern Art, on Wednesday, June 
12, 2024.


Some of the possible research subjects include (but are not limited to):
- The counterculture movements of the 1960s and 1970s in Italy and 
globally, examining their artistic, social, and political impacts.

- The role of art as a vehicle for political resistance and revolution.
- The workerist movement in Italy and its relationship to the visual 
arts and literature.
- Feminist artistic and/or theoretical approaches within the context of 
the social and cultural movements of the 1960s and 1970s.
- The early days of computer art and its evolution into contemporary 
practices and debates.
- Relationships, parallels, and differences between Futurist 
words-in-freedom poetry and other experimental poetry forms 
(calligrammes, concrete and visual poetry, collage, word painting, etc.)
- Neoavanguardia and its international counterparts: aspects and 
interpretations of verbovisual experiments.

- The landscape of experimental music in postwar Italy and beyond.
- Monographic approaches to Balestrini and Nono’s work, across all media.
- The contemporary relevance of experimental artistic and political 
practices, considering their significance and evolution in modern society.


Please send an abstract (250–300 words), title, and a short biography 
(100–150 words) in English to i...@italianmodernart.org with the subject 
line “Nanni Balestrini CFP” by Sunday, April 14, 2024. Please send the 
requested material in a single PDF document. Please do not send multiple 
attachments.



Reference / Quellennachweis:
CFP: Nanni Balestrini Study Day (New York, 12 Jun 24). In: 

[spectre] if a digital display is your interface to the world...plɹoʍ ǝɥʇ oʇ ǝɔɐɟɹǝʇuᴉ ɹnoʎ sᴉ ʎɐldsᴉp lɐʇᴉƃᴉp ɐ ɟᴉ

[Timo Kahlen via SPECTRE]

¿slɐǝɔuoɔ ʇᴉ ʇɐɥʍ ɟo ǝɹnʇɐu ǝɥʇ ʇnoqɐ pǝɹǝpuoʍ ɹǝʌǝ noʎ ǝʌɐɥ 'plɹoʍ ǝɥʇ oʇ 
ǝɔɐɟɹǝʇuᴉ ɹnoʎ sᴉ ʎɐldsᴉp lɐʇᴉƃᴉp ɐ ɟᴉ



Timo Kahlen
sound sculptor / media artist

m...@timo-kahlen.de
www.timo-kahlen.de

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[spectre] Fwd: book launch, Digital Art and Activism, London (7 March)

[Andreas Broeckmann via SPECTRE]

Betreff: [NEW-MEDIA-CURATING] INCITE BOOK LAUNCH - Photographers' 
Gallery, London, 7 March, starting at 6.30 PM

Datum: Thu, 29 Feb 2024 16:26:55 +
Von: Laura Leuzzi 

Book Launch: INCITE - Digital Art and Activism

06:30pm - 08:00pm, Thu 07 Mar 2024

Hear from editors *Joseph DeLappe* and *Laura Leuzzi*, as well as
*Emile Shemilt*, *Zoyander Street*, *Maja Zećo* & *Martin Zeilinger* who 
each contributed to the publication. It is moderated by *Dr. Alessandro 
Ludovico*.

The panel discussion will be followed by a book signing.
Tickets available here:
https://thephotographersgallery.org.uk/whats-on/book-launch-incite-digital-art-and-activism


*INCITE: Digital Art & Activism
* 
has been developed and published in collaboration with Peacock & the 
worm. It has been edited by Joseph DeLappe (Abertay University) and 
Laura Leuzzi (Robert Gordon University). It features contributions by 
B.D. Owens, Donna Holford-Lovell, Elaine Shemilt, Ellie Harrison, Emile 
Shemilt, Eve Mosher, Gair Dunlop, Giulia Casalini, Hadi Mehrpouya & 
Duncan Nicoll, Iliyana Nedkova, John Butler, Jon Blackwood, Joseph 
DeLappe, Laura Leuzzi, Maja Zećo, Malath Abbas, Martin Zeilinger, Moza 
Almatrooshi, Niya B, Tom De Majo (Biome Collective), Va-Bene Elikem 
Fiatsi, Zoyander Street.


Each contributor was asked to create a three-page visual chapter, in an 
effort to gather the disparate yet connected activism, practices and 
scholarship as represented by those involved in the network. The book 
was developed in collaboration with Peacock & the worm print workshop in 
Aberdeen, Scotland. Neil Corral adapted individual submissions for the 
Risograph print process and designed the book’s overall layout, bringing 
together the diverse contributions into a cohesive whole, while 
maintaining their distinctive identities.


This project would not have been possible without the generous support 
of The Royal Society of Edinburgh, Abertay University, DJCAD at the 
University of Dundee, Delfina Foundation, Gray's School of Art at RGU, 
SARAS, Sapienza Università di Roma, SGSAH (Scottish Graduate School for 
Arts and Humanities) and NEoN Digital Arts Festival, Dundee.


Printed and bound by Neil Corall & Enxhi Mandija at Peacock & the worm



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[spectre] Fwd: CFP: The Lost-and-Found (Riga, 6-7 Jun 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Basia Sliwinska
Date: Feb 27, 2024
Subject: CFP: The Lost-and-Found (Riga, 6-7 Jun 24)

Art Academy of Latvia, Riga, Jun 6–07, 2024
Deadline: Apr 2, 2024

International Symposium: The lost-and-found: revising art stories in 
search of potential changes. Third and final event.


First event took place in Lisbon, December 6-7, 2023; second event takes 
place in Warsaw, 21-23 March 2024; the third and final event takes place 
in Riga, 6-7 June 2024. More information can be found at: 
https://thelostandfoundlisbon.weebly.com


This is a Call for Contributions for the event in Riga, where we will 
focus on the mattering of matter with/in art (his-, her-, it-, their-) 
stories, theories and practices. While the overarching thematic focus of 
the International Symposium remains the same (the description can be 
found here: https://thelostandfoundlisbon.weebly.com), in Riga we will 
specifically address the lost and found materialities and affects that 
enable creation of safe, caring, attentive and hospitable communities, 
relations and communications. We will include artistic, curatorial, 
institutional, and academic practices and artistic research that engage 
with art objects, artworks, collectives, and exhibitions that 
investigate the third thematic constellation entitled CLAWS, FUR and 
SHELL, after Wisława Szymborska’s poem inspiring all three events, A 
Speech at the Lost-And-Found (1972). We seek individual or collaborative 
contributions and for creative panels, to imagine alternative 
presentation formats and prioritise contributions that address the 
following issues:


- The role of materiality in creating, performing and using (safe, 
hospitable and shared) refugia;

- The agency of matter in building inclusive and holistic relations;
- The ability of matter to act sensorially, affectively, the safe 
revealing of vulnerability;
- Textures and textiles, weaving communities and enabling novel and 
alternative ways of seeing and imagining in sensitive responses to 
current urgencies and crises.


We welcome contributions that imagine alternative presentation formats 
and prioritise dialogue, object-based encounters and interventions that 
occur outside of the institution. These may include, but are not limited 
to, walkshops and strolls (itineraries proposed by participants should 
reflect on the issues mobilised by their contributions); gift giving 
and/ or sharing. We are happy to discuss and support any creative ideas 
prior to proposal submissions.


We encourage activities that are dialogical and collaborative, 
responding to the above themes and, if possible, attentive to the 
specific spaces within Riga.
 Contributions must be on material that has not already been published. 
A prospective presenter must also be willing to develop the proposed 
contribution into either a book chapter or journal article, should it be 
selected for inclusion in a publication. Contributions must be in English.


The deadline for sending abstracts is 2nd April 2024.
Please send a proposal with ‘The-Lost-and-Found’ in the subject line to: 
lostandfoundr...@gmail.com.


Submit a single document with the following information:

1. a title for your contribution
2. an abstract up to 300 words in length; please specify the type of 
contribution (for example, individual or collaborative presentation, 
panel, object-based workshop, walkshop, stroll, gift giving and/ or sharing)
3. a short biography, including your current institutional affiliation 
(up to 150 words).


Applicants will be notified of decisions by mid April 2024.
Conference fee is 100EUR.

ORGANISERS
The Symposium is organised collaboratively between University of Wrocław 
(Poland), Polish Institute of World Art Studies, Instituto de História 
da Arte - NOVA University Lisbon (Portugal) and Art Academy of Latvia in 
Riga (Latvia). The general concept of this event was conceived within 
the framework of the project ‘Residua of pre-modern relations with art 
in selected contemporary convents in Lesser Poland and Lower Silesia’ 
financed by the National Centre of Science (nr 2021/41/B/HS2/03148). The 
event in Riga is funded by the Ministry of Culture, Republic of Latvia, 
project “Cultural and creative ecosystem of Latvia as a resource for 
resilience and sustainability”/CERS, project No. VPP-MM-LKRVA-2023/1-0001.


Scientific Committee:
Agnieszka Patała (University of Wrocław, Poland)
Anna Markowska (University of Wrocław, Poland)
Basia Sliwinska (NOVA University Lisbon, Portugal)
Janis Taurens (Art Academy of Latvia, Riga, Latvia)
Margarida Brito Alves (NOVA University Lisbon, Portugal)

Conferece Executive Coordinator:
Sanita Duka (Art Academy of Latvia, Riga, Latvia)

Reference / Quellennachweis:
CFP: The Lost-and-Found (Riga, 6-7 Jun 24). In: ArtHist.net, Feb 27, 
2024. .



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[spectre] Timo Kahlen & AI. "Insights" (2024), "inside ai" (2024), and the temptations of Artificial Intelligence

[Timo Kahlen via SPECTRE]

Dear curious-minded!
Dear colleages and friends!


Timo Kahlen & AI
"Insights" (2024)
from: "Pandora's Box"
AI-generated images
Visual 'aicons' prompted (in Dall.e) to /imagine the de-constructed,
hypothetical physical shell, and the inner guts and workings of AI.


As a media artist - born with natural stupidity, and from an older generation, 
I suppose - I find it quite difficult to 'visualize' my newest conceptual 
opponent, Artificial Intelligence. 

AI, being neither a physical entity nor a simple array of algorithmical 
functions, is obscure to me: not unlike Pandora's box, a lidded container with 
its contents (and temptations) hidden from my view. Out of curiosity, I have 
ventured to open the lid —  just a tiny bit, you know, but most probably: 
already a bit too far.

Thus, in my recent work "Insights" (2024), part of the "Pandora's Box" series, 
I prompted the AI to allow me a glimpse into her inner, raw complexity. 
Resulting in a series of images of a pulsating and overloaded, deconstructed 
and synthesized physical body, a 'surrogate object': an algorithmic 
'reification' of a dispersed new medium unfolding a heavy computational action 
that, of course, exists neither physically 'here' nor 'now'. An ambivalent new 
idea, a dislocated 'object of desire‘, a new obiquitous medium that is about to 
lure and tempt me as an artist — and to unfold its destructive, biased, numbing 
and 'aiconic' aesthetic potential, once released. Beware!

X

Timo Kahlen & AI: "Insights" (2024) from: "Pandora's Box“. Series of 
AI-generated images.
© Timo Kahlen / VG Bild-Kunst 2024 




2.

Timo Kahlen & AI
"inside ai" (2024)
A conversation with ChatGPT. © Timo Kahlen / VG Bild-Kunst 2024


At the beginning of January, 2024 I posed a set of liminal & urgent questions 
at the AI, that provoked interesting insights into the paradox mind of the new 
'medium': its logic and reasoning, and - if you will - emotions. 


…..
If its existence is neither here nor now, then what is the sphere of the 
AI-generated image? Write a precise and objective in-depth academic analysis, 
in a flow text of 1000 words. Use transitions instead of subtitles. Challenge 
me with your own aesthetic and technological concepts.

In contemplating the existence of AI-generated images, one is inevitably drawn 
into the intricate interplay between the virtual and the tangible, the temporal 
and the timeless. The sphere of AI- generated images, residing in the digital 
realm, transcends traditional notions of spatial and temporal constraints, 
prompting an exploration of its profound implications on aesthetics, 
technology, and the very nature of creative expression.

At the heart of the matter lies the digitized essence of AI-generated images. 
Unlike traditional art forms constrained by physical canvases or sculptures, 
these images exist as configurations of data, algorithmically crafted and 
rendered within the confines of a digital domain. This departure from the 
material constraints of traditional art introduces a novel paradigm where the 
existence of an image is neither bound by physical dimensions nor confined to a 
specific moment in time.

The digital nature of AI-generated images positions them in a realm where 
spatial limitations dissolve. In this expansive sphere, the concept of "here" 
becomes decentralized, and the image is ubiquitously accessible across a myriad 
of devices and platforms. Whether viewed on a computer screen, a smartphone, or 
a virtual reality headset, the same AI-generated image traverses diverse 
spatial contexts, defying the traditional boundaries associated with physical 
artworks.

Moreover, the temporality of AI-generated images adds another layer to their 
enigmatic existence. The algorithms responsible for their creation operate in a 
perpetual state of readiness, capable of generating images ad infinitum. This 
constant potential for creation challenges the conventional understanding of 
"now." The temporal sphere of AI-generated images is not confined to a singular 
moment of creation; instead, it extends into an ever-present state of 
generative potentiality, waiting to materialize at the behest of algorithms.

The aesthetic implications of this unique temporal and spatial positioning are 
profound. AI-generated images encompass a breadth of styles, genres, and 
influences, transcending the temporal constraints that often define artistic 
movements. They exist as a confluence of past, present, and future aesthetics, 
a manifestation of the collective knowledge embedded in the algorithms. This 
amalgamation challenges conventional notions of artistic evolution and prompts 
a reevaluation of the temporal continuum within the realm of visual expression.

The interplay between the digital and the physical, facilitated by AI-generated 
images, introduces a novel concept of aesthetic embodiment. While the images 
themselves lack a physical form, their impact is palpable in the tangible 
spaces they inhabit. 

[spectre] Fwd: Alice Miceli: Beyond the Frame / Poetic License on Thin Ice: The Deterioration of Academic and Artistic Freedom

[Andreas Broeckmann via SPECTRE]

 Weitergeleitete Nachricht 
Betreff: 	Beyond the Frame / Poetic License on Thin Ice: The 
Deterioration of Academic and Artistic Freedom

Datum:  Fri, 23 Feb 2024 15:46:46 -0300
Von:Alice Miceli 

Hi friends,

Some of you may have already received this directly from "Beyond the 
Frame", but I wanted to share again the latest edition 'Poetic License 
on Thin Ice: The Deterioration of Academic and Artistic Freedom'. It's a 
reflective manifesto on the changes happening within the halls of 
academia and the art world. The text is publicly available, open to 
everyone.


I would love for you to read it and join the conversation at
https://open.substack.com/pub/alicemiceli/p/poetic-license-on-thin-ice-the-deterioration?r=4ecz4_campaign=post_medium=web 



If you have any thoughts or ideas to share, please don't hesitate to 
reach out through Substack or to me directly.


Warmly,
Alice

-
http://www.alicemiceli.com



Poetic License on Thin Ice: The Deterioration of Academic and Artistic 
Freedom


by Alice Miceli

The sanctuaries of inquiry, academia and the art world, are undergoing a 
quiet revolution, a storm of change that threatens the very fabric of 
creativity and intellectual freedom


As an artist firmly rooted in the unfathomable yet urgent dialogue 
between human civilization and the landscapes it shapes and is shaped 
by, I see the unequivocal need to stir the hushed corridors of current 
debate with a call to arms—a rally against the constraints that bind the 
creative spirit, leaving it flayed, dispossessed, and unrecognizable.


The present state of art carries the weight of a double-edged sword. The 
evolution of global connectivity, while a boon, also shackles the artist 
to a pervasive, unceasing judgment. Art, traditionally a reflection of 
society and a crucible of its varied vibes, is now subjected to a 
ceaseless critique that shades its once flamboyant palette with caution 
and compliance. The air grows thick with the collective exhale of 
censored voices, while the dialogue diminishes into echoes of approved 
statements. To this, I declare: we stand at the crossroads of a crucial 
decision. The vanguard of the art community must reclaim its narrative 
from the monotonous hum of conformity, inciting discourse, debate, and a 
chorus of unbounded, passionate expression.


Read on:

https://open.substack.com/pub/alicemiceli/p/poetic-license-on-thin-ice-the-deterioration?r=4ecz4_campaign=post_medium=web
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[spectre] [CAS] Event: Alex May Opening and Talk - Algorithmic Photography, 2 April 2024

[Paul Brown via SPECTRE]

The Computer Arts Society’s 2024 series of events continues
 
Algorithmic Photography by Alex May
Exhibition Opening and Artist Talk 
 
Speaker: Alex May; Moderator: Sean Clark
 
This event is In Person and Zoom and open to the public and is free but you 
must book your place here:  https://computerartssociety030424.eventbrite.co.uk/
 
19:00 BST, Tuesday, 2 April 2024
Other time zones here:  https://www.timeanddate.com 
 
 
This event will be held In Person at the BCS London HQ and via Zoom.
BCS, The Chartered Institute for IT
25 Copthall Avenue
London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/
 
Internationally renowned digital artist Alex May will discuss “Algorithmic 
Photography”, a technique he created and pioneered to capture data and reveal 
hidden or unnoticed information in his own moving image artworks using bespoke 
computer vision algorithms that he has coded in C++. 
 
Through a multistage process encompassing video capture, motion detection, and 
colour space conversion, his abstracted compound compositions emerge, exploring 
subjects as diverse as ant swarms and starling murmurations, to wind farms and 
New York taxis. Central to May’s practice is an attempt to understand time and 
memory through digital processes.
 
“Algorithmic Photography” brings together twenty images for the first time that 
provide a broad contextualising overview of the techniques and subject matter 
May has been engaging with over the past eight years in his Algorithmic 
Photography practice.
 
His wider artistic practice questions how our individual and collective 
experiences of time, and formation of memories and cultural record, are 
mediated, expanded, and directed by contemporary technologies. The work forges 
creative links between art, science, and technology through a wide range of 
digital new media, including virtual and augmented reality, photogrammetry, 
photography, interactive robotic artworks, video projection mapping, generative 
works, performance, and video and sound art.
 
May has an international exhibition profile, including Tate Modern (London), 
MIT Museum (USA), Nobel Prize Museum (Sweden), ZKM (Germany), Ars Electronica 
(Austria), Milan Triennale (Italy), Beijing Art and Technology Biennale 
(China), WRO Media Art Biennale (Poland), HeK Basel (Switzerland), Kunstlerhaus 
Vienna (Austria), Victoria & Albert Museum (London), The Francis Crick 
Institute (London), Science Gallery Dublin (Ireland) and Science Gallery 
Bengaluru (India), ZHI Art Museum (China), and the Beall Center for Art + 
Technology, University of California, Irvine (USA). His work is held in the 
collections of ZKM, The Computer Arts Society, and The Amelia Scott (Tunbridge 
Wells).
 
Alex May's website is https://alexmayarts.co.uk/ and he can be found on 
Facebook, Instagram, X (Twitter), and YouTube as @alexmayarts
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is In Person and Zoom and open to the public and is free but you 
must book your place here:  https://computerartssociety030424.eventbrite.co.uk/
 
_
 
Our next meeting will be a talk by Bronaċ Ferran on 17 April 2024 – in person & 
zoom
 
You can see our future programme here: 
https://computer-arts-society.com/events/index.html

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[spectre] Negotiating Values - Neural 73

[Alessandro Ludovico via SPECTRE]

 
“Negotiating Values” (Neural #73) is still available! 

. . . . . . . . . . . . . . . . . . . . . . . . .
Print Subscription , 3 issues + 
extra
. . . . . . . . . . . . . . . . . . . . . . . . .
Digital Subscription , to access the 
last 45 issues.
. . . . . . . . . . . . . . . . . . . . . . . . .
Back Issues Pack , to get all the previous English 
issues
. . . . . . . . . . . . . . . . . . . . . . . . .
Facebook , Twitter 
, Instagram 
. . . . . . . . . . . . . . . . . . . . . . . . .
ISSN: 2037-108X
. . . . . . . . . . . . . . . . . . . . . . . . .
Neural #73, “ Negotiating Values”

Centrefold: It Could Be You. 
interviews:
. Budhaditya Chattopadhyay
. Kexin Hao
. Pei-Ying Lin
. Vivian Caccuri
articles:
. Accessing the Fiduciary Transactions of the Intellect and Imagination
. Folding the Past into the Present

reports:
. Transmediale 2023
. KIKK Festival

news:
. From Paradigm to Paradigm, into the Biomic Time, sounding deconstructing 
haiku.
. Forest Scratching, Sounding Polaroids, derivate sound ecologies.
. Blind Camera, sound representing space.
. ConeSF: A Campaign to Rein In Robotaxis, hacking unstoppable machines.
. Collectivize Facebook, a legal matter.
. Offshore Capital, unveil critical invisible data.
. Phase Shift, hunting antennas.
. Song from Plastic, sounding plastic garbage.
. hyd~, resonating ecological fears.
. Dalam Debu dan Abu, (Within the Dust and Ashes), sonifying terra preta 
bacteria.
. A.I. Interprets A.I. Interpreting ‘Against Interpretation’ (Sontag 1966), 
machine logic understanding.
. Flora Ex Machina, hidden sounds of the trees.
. Perhaps, art begins with the fireflies, ancient bioluminescence
. A Monocular Dialogue, AI idol.
. MetaTouch, tactile metaverses.

books/dvds:
. Edited by Felix Stalder, Janez Fakin Janša / From Commons to NFTs / Aksioma
. Miguel Carvalhais / Art and Computation / V2_
. Edited by Ruth Catlow, Penny Rafferty / Radical Friends – Decentralised 
Autonomous Organisations and the Arts / Torque Editions
. Edited by Rob La Frenais, Ewen Chardronnet / Space Without Rockets / UV 
Éditions
. Edited by Joanna Zylinska with Goldsmiths Media / The Future of Media / 
Goldsmiths Press
. Charlotte Klink / Electric Seeing: Positions in Contemporary Video Art / 
Transcript Verlag
. Adam Lauder / Out of School, Information Art and the Toronto School of 
Communication / McGill-Queen’s University Press
. Rachel O’Dwyer / Tokens: The Future of Money in the Age of the Platform / 
Verso
. Garnet Hertz / Art + DIY Electronics / The MIT Press
. Mark Shepard / There Are No Facts, Attentive Algorithms, Extractive Data 
Practices, and the Quantification of Everyday Life / The MIT Press
. Salomé Voegelin / Uncurating Sound, Knowledge with Voice and Hands / 
Bloomsbury Academic
. Gilles Aubry / Sawt, Bodies, Species. Sonic Pluralism in Morocco / adocs
. Nina Kraus / Of Sound Mind, How Our Brain Constructs a Meaningful Sonic World 
/ The MIT Press
. Edited by Michael Nardone / OEI #98–99: Aural Poetics / OEI
. R. Trebor Scholz / Own This! / Verso
 music reviews:
. Thomas Köner : Daikan / Banlieue Du Vide : Mille Plateaux
. AGF / Harrga / Lafawndah & Trustfall / Chino Amobi / Savvas Metaxas : Future 
Chorus : Hypermedium
. Angélica Castelló : Catorce reflexiones sobre el fin : Gruenrekorder
. Arash Akbari : Amnestic Continuum : Farpoint Recordings
. Autorhythm : Songs for the Nervous System : thanatosis produktion
. Carmen Jaci : Happy Child : Noumenal Loom
. Claudio Rocchetti : Decay Music n . 5: Labirinto verticale : Die Schachtel
. CM von Hausswolff & Chandra Shukla : Travelogue [Bali] : Touch
. Franck Vigroux : Magnetoscope : raster
. Giovanni Lami : Monumento Fiume : Kohlhaas
. Holy Similaun : Radicor al flort, espert on’ill il erb, aor Raetia : Kohlhaas
. Jens Brand : RATCHETS & MOTORS : Staalplaat
. Kjell Bjørgeengen and Chris Cogburn : Fear of the Object : True Blanking
. Langham Research Centre and John Butcher : Six Hands at an Open Door : 
Persistence Of Sound
. Luca Forcucci : Terra : Crónica
. Radio Noise Collective : Extended Stereo : FibrrRecords
. The Asocial Telepathic Ensemble : The Asocial Telepathic Ensemble : Corvo 
Records
. Andrea Borghi : Palsecam : Aposiopèse
. Vindicatrix : One or Several Tigers : Cellule 75
. VV. AA : Les Éspaces Electroacoustiques III : col legno
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[spectre] Vienna, 19 March: Publishing and Becoming-Public after Social Media

[info--- via SPECTRE]

 

Publishing and Becoming-Public after Social MediaWorkshop
Vienna, 19 March 2024, 12:00 - open end
From Facebook's dubious role in the Trump election and Brexit to the destruction of Twitter, incompatibilities with current EU legislation, the reddit blackout and beyond: the major social media platforms are in a prolonged crisis. In the short term, this will not significantly shake their position of power, but will at least cause disruption - and thus create space for new approaches and developments. For example, non-commercial social web projects such as Mastodon, which have become more widely known since the end of 2022, and the wider context of a "Fediverse" could become stable niches. There is new potential for the developments of media and technologies to reconnect with social imaginaries and emancipatory desires in order to create contexts that anticipate a time after social media.
The workshop is dedicated to an in-depth discussion of these processes, questioning the imperatives of permanent "communication" and subjectivations governed by algorithmic automatization, but also looking at tools and strategies that are conducive to distributing information in times of political unrest through examples of non-traditional or even clandestine publishing practices. It deals with historical and current feminist methods of community organizing and the history of the connections between activism and social media, so as to ask about the new structural possibilities of the Fediverse as well as the problems it has to deal with. The central practical question of content moderation will be discussed in regard to processes of agency and subjectivation, and finally the workshop will attempt to explore the potential of the social web for developing new forms of transcending the separation of production and reception, which differ from established concepts of "participation" and "user-generated content".
The format will be that of reading circles. The six speakers will each propose a focus for discussion and a short text excerpt, and the various topics will be developed and interlinked on the basis of joint reading and discussion. The open end workshop will start at noon and will take place in Vienna. It will be held in English. Participation is free, but the number of participants is limited. Please register informally by sending an e-mail to cont...@eipcp.net until 5 March. The proposed short text excerpts will be sent to registered participants and the venue will be announced.
Speakers: Lina Dokuzović, Valeria Graziano, Christoph Hubatschke, Katrin M. Kämpf, Stefan Nowotny, Felix Stalder
https://transversal.at/event/publishing-and-becoming-public-after-social-media
 
Upcoming
transversal audioArkzin, its Legacy and Contemporary Importance - Part IIA Conversation with Boris Buden, Vesna Janković, Petar Milat, and Paul Stubbs; moderator: Lina DokuzovićPart I is already online; stay tuned for the second part, which will be published on Wednesday, 28 February, 18:00 CET.https://transversal.at/audio/arkzin | https://transversal.at/blog/transversal-audio-season-spring2024
Das Leben der Kunst. Transversale Linien der Sorge Book presentation with Bojana Kunst and Stefan NowotnyDepot, Vienna, 20 March 2024, 19:00https://transversal.at/event/buchprasentation-das-leben-der-kunst
 
These events and audios are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] Reminder: Call for entries | Stipendien der Stiftung Niedersachsen für Medienkunst 2024 am Edith-Russ-Haus

[Edith-Russ-Haus via SPECTRE]

Reminder: Call for entries | Stipendien der Stiftung Niedersachsen für 
Medienkunst 2024 am Edith-Russ-Haus

 Please scroll down for English Version

 Liebe Freundinnen und Freunde des Edith-Russ-Hauses für Medienkunst, 

 sehr herzlich möchten wir Sie auf das Ende der Bewerbungsfrist aufmerksam 
machen:

 Stipendien der Stiftung Niedersachsen für Medienkunst 2024 am Edith-Russ-Haus

 BEWERBUNG: bis zum 29. Februar 2024

 Ermöglicht durch die Stiftung Niedersachsen vergibt das Edith-Russ-Haus für 
Medienkunst drei Stipendien zur Förderung einer künstlerischen Arbeit im 
Bereich der Medienkunst (je €12.500).

 Das Stipendium der Stiftung Niedersachsen am Edith-Russ-Haus für Medienkunst 
fördert ein breites Spektrum der Medienkunst, von Videokunst und netzbasierten 
Projekten bis hin zu Klang- oder audiovisuellen Installationen. Das Stipendium 
wird für die Produktion eines neuen Projekts im Bereich der Medienkunst 
vergeben.

 Eine internationale Jury entscheidet über die Vergabe der Stipendien.

 Vergaberichtlinien:

 Voraussetzung für die Förderung ist die Benutzerregistrierung und 
Online-Bewerbung über diese Website bis zum 29. Februar 2024 (MEZ). 
Bewerbungen, die nach diesem Zeitpunkt eingereicht werden, können nicht 
berücksichtigt werden.
 Das Stipendium gilt für die Dauer von 6 Monaten (Juli-Dezember 2024), es ist 
nicht verlängerbar und residenzpflichtig. Erwarteter Aufenthalt in Oldenburg: 
mindestens ein Monat.
 Das Projekt bzw. die künstlerische Arbeit sollte innerhalb der 6-monatigen 
Stipendiumsdauer abgeschlossen werden (nach Absprache auch bis Ende Februar 
2025).
 Es werden nur Anträge von Personen angenommen, nicht von Institutionen.
 Studierende die am 29. Februar 2024 in einem Erststudiengang eingeschrieben 
sind, sind von der Bewerbung ausgeschlossen. Das gilt nicht für 
Aufbaustudiengänge wie Masterstudienprogramme oder ähnliche.
 Nur ein Antrag pro Jahr/pro Person wird akzeptiert.
 Projekte, die schon einmal vom Edith-Russ-Haus abgelehnt wurden, können nicht 
erneut eingereicht werden. Künstler:innen können sich jedoch mit neuen 
Projekten immer wieder bewerben.
 Künstler:innen können sich als Gruppe bewerben. Das Fördergeld erhöht sich 
dadurch nicht und bleibt in gleicher Höhe wie für eine einzelne Person. Die 
Person, deren Name als Kontakt angegeben wird, wird als verantwortlich für das 
Projekt angesehen.
 Auf Wunsch und nach Absprache steht den Stipendiat:innen ein ausgestattetes 
Gästeappartement zur Verfügung. Es ist nach Absprache möglich, Partner oder 
Kinder mitzubringen. Ebenso können Projektmitarbeitende (zum Beispiel 
Sounddesigner, Cutter) nach Absprache kostenlos im Edith-Russ-Haus 
untergebracht werden.
 Die Stipendiat:innen sollen in die Aktivitäten des Medienkunsthauses 
eingebunden werden, zum Beispiel mit Workshops, Präsentationen oder 
Künstlergesprächen. Die Termine werden in gemeinsamer Absprache mit dem 
Edith-Russ-Haus festgelegt.
 Über das Stipendiengeld von 12.500 € und die Möglichkeit der Nutzung eines der 
Gästeappartements im Edith-Russ-Haus werden keine weiteren Kosten (wie 
technische Mittel, Produktionsmittel, Reise- und Lebensunterhaltskosten während 
des Stipendiums, etc.) übernommen.
 Die Auswahl der Stipendiat:innen nimmt eine international besetzte Fachjury 
vor.
 Nur über das Online-Bewerbungsformular eingereichte Materialien werden 
berücksichtigt. Zusätzliche Einsendungen, etwa auf dem Postweg oder per E-Mail 
werden nicht berücksichtigt. Eine Rücksendung oder Abholung unverlangt 
eingesandter Materialien ist leider nicht möglich.
 Der Antrag kann auf Englisch oder Deutsch gestellt werden (bei einem deutsch 
gestellten Antrag müssen die zentralen Informationen ins Englische übersetzt 
sein, da die Jury international besetzt wird).
 Die ausgewählten Stipendiat:innen stimmen zu, dem Edith-Russ-Haus alle Rechte 
zur Nutzung von Bildern ihres Kunstwerks für Veröffentlichung, Archivierung und 
Websiteveröffentlichung sowie jede weitere Kommunikationsform im Rahmen der 
Stipendiumsdarstellung ohne Bezahlung einzuräumen.
 Ein Antrag gilt als angenommen, wenn eine Bestätigung per E-Mail erfolgt. Wenn 
der Antrag nicht mit den vorgegebenen Bedingungen übereinstimmt, wird keine 
Bestätigung versandt. Das Edith-Russ-Haus und die Auswahljury haben das Recht, 
Anträge auszuschließen, die nicht den Bedingungen entsprechen.

 Das Edith-Russ-Haus behandelt die eingereichten Informationen mit größter 
Sorgfalt. Alle zur Verfügung gestellten Informationen werden nur für Zwecke der 
Antragsbearbeitung und Prüfung verwendet. Die Bewerbenden stimmen zu, dass das 
Edith-Russ-Haus über die zur Verfügung gestellte E-Mail-Adresse Kontakt 
aufnehmen kann. Nach Abschluss des Auswahlverfahrens wird die Entscheidung der 
Jury online bekannt gegeben. Die ausgewählten Stipendiat:innen werden unter der 
im Antrag angegebenen E-Mail-Adresse benachrichtigt. Dies wird spätestens bis 
Mitte Juni 2024 erfolgen. Eine Benachrichtigung nicht 

[spectre] Fwd: CFP: Westsplaining in Art History (online, 28 Jun 24)

[Andreas Broeckmann via SPECTRE]

 Weitergeleitete Nachricht 
Betreff: CFP: Westsplaining in Art History (online, 28 Jun 24)
Datum: Wed, 21 Feb 2024 19:52:59 +0100
Von: ArtHist 

From: Matthew Rampley
Date: Feb 21, 2024
Subject: CFP: Westsplaining in Art History (online, 28 Jun 24)

Online, Jun 28, 2024
Deadline: Apr 12, 2024

‘Westsplaining’ in Art History – An Online Workshop

Organized jointly by:

•Margaret Tali, Institute of Art History and Visual Culture, Tallinn
•Magdalena Radomska, Piotr Piotrowski Centre for Research on 
East-Central European Art, Art Sciences Department, Adam Mickiewicz 
University,  Poznań •Matthew Rampley, Centre for Modern Art and 
Theory, Masaryk University Brno

•David Crowley, National College of Art and Design, Dublin

The term ‘westsplaining’ became popularized amongst political theorists 
in Central and Eastern Europe in the wake of the Russian invasion of 
Ukraine in 2022 and was used critically to denote the ‘phenomenon of 
people from the Anglosphere loudly foisting their analytical schema and 
political prescriptions onto the [Eastern European] region’ (Smoleński 
and Dutkiewicz). As such, it was a specific example of a wider, long 
criticized, problem to do with the colonial nature of knowledge 
production and the hegemonic status of (western) European and North 
American epistemic practices.


The critique  was a response to debates in political theory, but it 
might be applied to many other domains of inquiry, including the 
humanities. It has gained increasing currency in art history, and this 
workshop aims to consider the different forms of art historical 
‘westsplaining.’ The term implies the need for an intellectual 
archaeology, a recovery of local discourses and intellectual traditions 
that have been eclipsed by hegemonic western discourses. The workshop 
thus seeks to explore such alternative models of art historical 
analysis. It asks:


•What is the ‘West’ in westsplaining and who / what does non-western 
mean? •What does it mean to the use the term in the context of art 
history? What blindspots does it reveal?


Some have argued that in Central and Eastern Europe the critique of 
western hegemony has been used to shore up xenophobic nationalistic 
narratives. Consequently, the workshop also asks:


•When might it be right to dispute accusations of ‘westsplaining’? • 
   Is there a danger that such accusations can sometimes be used as an 
avoidance strategy, as a way of not engaging with external perspectives? 
•Does the fact that certain schemas are hegemonic mean they should 
always be disputed? •Does the fact that this call for papers and the 
workshop will be in English mean that this event, too, is vulnerable to 
criticism ?


The organizers invite proposals for 20-minute presentations on the topic 
of ‘westsplaining’. We welcome proposals that discuss specific 
interpretative case studies in literature or exhibitionary practices, as 
well as broader conceptual and methodological issues.


Although the original focus of the term was Central and Eastern Europe, 
proposals are also welcome on topics with another geographical focus. 
Submissions should be sent to: westsplain...@gmail.com. The deadline for 
submissions is: 12 April 2024.



Reference / Quellennachweis:
CFP: Westsplaining in Art History (online, 28 Jun 24). In: ArtHist.net, 
Feb 21, 2024. .


__
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre

[spectre] The Nabokov Effect: Reading in the Endgame - new open access book

[Gary Hall via SPECTRE]

Open Humanities Press is pleased to announce the publication of the
first title in our new sub-series, *Critical Climate Chaos: The
Nethercene*, edited by Tom Cohen and Claire Colebrook.

*Sigi Jöttkandt's /The Nabokov Effect: Reading in the Endgame/* attends
to the ‘lettrocalamity’ that occurs when literature and cinema collide
in Vladimir Nabokov’s work. Jöttkandt suspends the long-held critical
investment in Nabokov’s authorial control to focus on another principle
of representational agency making incursions into his books. Tracing the
subterranean network of cross-lingual puns, homophonies, and technical
overflows of writing to a cinaesthetic signature system, Jöttkandt
recasts the vexed question of Nabokov’s relation to psychoanalysis. A
pioneer of too-close reading, Nabokov offers himself, Jöttkandt argues,
as the tipping point of perceptual and epistemological systems that are
in the process of devouring themselves. The ensuing ‘Nabokov effect’ is
both an assault on teleological models, and an opening onto other forms
of reading and listening, which Jöttkandt argues was always latent in
psychoanalysis. In this book, Nabokov emerges as /the/ writer for
humanity’s endgame, architect of a post- interpretive complex that opens
up broader questions concerning our ability to read him or, indeed any
writer, today.

Like all Open Humanities Press books, */The Nabokov Effect /*is
available open access (it can be downloaded for free) and from online
bookstores worldwide:

http://www.openhumanitiespress.org/books/titles/the-nabokov-effect/

Warm wishes,
Sigi, David, Gary

---


Author Bio
Sigi Jöttkandt works at the intersection of literature and
psychoanalysis. She is Associate Professor of English at the University
of New South Wales, and co-founding Director of Open Humanities Press.
The author of /Acting Beautifully: Henry James and the Ethical
Aesthetic/ (2005), and /First Love: A Phenomenology of the One/ (2010),
and /The Nabokov Effect/ (2024) she also edits /S Journal of the Circle
for Lacanian Ideology Critique./ See http://lineofbeauty.org/.

Series

The Nethercene: Ecocide and Inscription is published as a sub-series of
CCC2 Irreversibility, edited by Tom Cohen and Claire Colebrook:
http://www.openhumanitiespress.org/books/series/ccc2-irreversibility/

'Taking in the vortices and reversals of the “post” pandemic anomie, The
Nethercene sub-series responds to the exponential accelerations of the
twin spirals of climate disaggregations and its accelerating race with
A.I. to see which will outpace the other’s extinction promise - the
“singularities” of tipping points passed dueling with a
de-anthropomorphized system that refuses face... '


---

Other recent open access titles from Open Humanities Press include:

The Rubble of Culture: Debris of an Extinct Thought by David A.
Collings:
http://www.openhumanitiespress.org/books/titles/the-rubble-of-culture/

Articulating Media: Genealogy, Interface, Situation, edited by James
Gabrillo and Nathaniel Zetter:
http://www.openhumanitiespress.org/books/titles/articulating-media/

Data Farms, edited by Tsvetelina Hristova, Brett Neilson and Ned
Rossiter: http://www.openhumanitiespress.org/books/titles/data-farms/

Geological Filmmaking by Sasha Litvintseva:
http://www.openhumanitiespress.org/books/titles/geological-filmmaking/

Volumetric Regimes: Material Cultures of Quantified Presence, edited by
Jara Rocha and Femke Snelting:
http://www.openhumanitiespress.org/books/titles/volumetric-regimes/

Glitch Poetics by Nathan Allen Jones:
http://www.openhumanitiespress.org/books/titles/glitch-poetics/

Más allá del derecho de autor, editado by Alberto López Cuenca and
Renato Bermúdez Dini:

http://www.openhumanitiespress.org/books/titles/mas-alla-del-derecho-de-autor/

Bifurcate: There Is No Alternative, edited by Bernard Stiegler and the
Internation Collective:
http://www.openhumanitiespress.org/books/titles/bifurcate/

La naturaleza como acontecimiento: El señuelo de lo possible by Didier
Debaise:
http://www.openhumanitiespress.org/books/titles/la-naturaleza-como-acontecimiento/


Fabricating Publics: The Dissemination of Culture in the Post-truth Era,
edited by Bill Balaskas and Carolina Rito:
http://www.openhumanitiespress.org/books/titles/fabricating-publics/

Feminist, Queer, Anticolonial Propositions for Hacking the Anthropocene:
Archive, edited by Jennifer Mae Hamilton, Susan Reid, Pia van Gelder and
Astrida Neimanis:

http://www.openhumanitiespress.org/books/titles/feminist-queer-anticolonial-propositions-for-hacking-the-anthropocene/


The Interfact: On Structure and Compatibility in Object-Oriented
Ontology by Gabriel Yoran:
http://www.openhumanitiespress.org/books/titles/the-interfact/

La magie réaliste: objets, ontologie et causalité by Timothy Morton:
http://www.openhumanitiespress.org/books/titles/la-magie-realiste/

hyposubjects: on becoming human by Timothy Morton and Dominic Boyer:
http://www.openhumanitiespress.org/books/titles/hyposubjects/

[spectre] transversal audio back tomorrow with spring season, wednesday 18:00 CET

[info--- via SPECTRE]

 

transversal audio seasonSpring 2024
The coming transversal audio season will center around discussions on non-traditional or even clandestine publishing practices from the peripheries, as part of the Peripheral Visions project. The notion of “peripherality” is critically approached and often subverted within these discussions, but serves as a sort of central theme in understanding the challenges and commonalities between these very unique practices.
Beginning with a look at the legacy and contemporary importance of the publication Arkzin (based in Zagreb, 1991-1998) and its ability to both exist as an anti-war platform in the midst of war, while reaching audiences both across the region as well as beyond it, the discussions will expand to look at the present-day context. This will include platforms that were connected to and influenced by Arkzin, such as Novi Sad-based kuda.org, which has existed from 2001 to the present, and the creative approaches they’ve developed for facing challenges over the years. A conversation with the Ljubljana-based platform Maska looks at the role of care in the arts in their recent publications and collaborations, while discussing their use of the term “Yugofuturism” as a theoretical point of departure for thinking through multiple temporalities for reimagining the challenges of the present. This first block of talks will conclude with a discussion with Mišo Kapetanović on queer perspectives for subverting gatekeeping concepts in research on former-Yugoslavia, particularly Bosnia.
A second block of talks, starting end of March, will shift the focus to other spaces beyond the former-Yugoslav region and will look at the modes of operation, distribution, and the use of flexible technologies for existing in these landscapes of political repression.
https://transversal.at/blog/transversal-audio-season-spring2024 | https://transversal.at/audio/
New episodes will be published on Wednesdays at 18:00 CET.Default language: English, with multilingual interventions.
Moderator: Lina Dokuzović
21 FebruaryPart IArkzin, its Legacy and Contemporary Importance:A Conversation with Boris Buden, Vesna Janković, Petar Milat, and Paul Stubbs
In the first part of this discussion, we discuss both the historical and current importance of Zagreb-based journal Arkzin, from its origins in the anti-war campaign of the 1990s to its impact on the progressive scenes in Croatia and abroad. Against the backdrop of the legacy of the Non-Aligned Movement, unique approaches to solidarity were at the core of the work of Arkzin. In the discussion, we map out the challenges of the context of war, corruption, transition, and emerging new nationalisms while looking at how unconventional publishing subverted and blurred the lines between new media, experimental art and design, and radical approaches to writing, editing, and collaborating in a way that spurred numerous collaborations and actions to come.
Stay tuned for the second part of the discussion on February 28th, where we expand the talk to look at the importance of feminism in the anti-war campaign, the specter of historical revisionism, and the need for new forms of solidarity today. It will also be followed by a sampling of experimental audio snippets from the Arkzin archives...
28 FebruaryPart IIArkzin, its Legacy and Contemporary Importance:A Conversation with Boris Buden, Vesna Janković, Petar Milat, and Paul Stubbs
6 MarchExperimenting with Networks, Technologies and Political Hurdles:kuda.org on their Origins and Current Challenges
13 MarchReflections on Care and Yugofuturism:The Publishing Practices of Theater Platform Maska
20 MarchQueer Perspectives for Subverting Academic Writing on Former-Yugoslavia and Bosnia:A Conversation with Mišo Kapetanović
 
Upcoming
Publishing and Becoming-Public after Social MediaWorkshop, Vienna, 19 March 2024, 12:00 - open endhttps://transversal.at/event/publishing-and-becoming-public-after-social-media
Das Leben der Kunst. Transversale Linien der Sorge Book presentation with Bojana Kunst and Stefan NowotnyDepot, Vienna, 20 March 2024, 19:00https://transversal.at/event/buchprasentation-das-leben-der-kunst
 
These audios and events are part of the project 'Peripheral Visions', which is supported by the Creative Europe Programme (2021-27) of the European Union and co-funded by the Austrian Federal Ministry of Arts, Culture, Civil Service and Sport.The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.
                     
Funded by the European Union. Views and opinions expressed are however those of the authors only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor the granting authority can be held responsible for them.
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, 

[spectre] (fwd) CONF: Art, Activism and Ecological Extraction (online/London, 13-14 Mar 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Alice Read
Date: Feb 19, 2024
Subject: CONF: Art, Activism and Ecological Extraction (online/London, 
13-14 Mar 24)


Online / The Building Centre, London, Mar 13–14, 2024


Extractivism/Activism: Art, Activism and Ecological Extraction.  A 
collaboration between the Climate & Colonialism research project at the 
Paul Mellon Centre and Autograph ABP.


The arts have long been concerned with highlighting the ongoing 
histories of resource extraction and its repercussions. This symposium 
asks: what next? By bringing together researchers, artists, designers 
and activists from a range of backgrounds, this event will consider 
local projects in intersectional, granular detail, to collectively 
re-evaluate the relationship between the arts, extraction and activism, 
both historically and in the present.


The two days are framed around three broad themes: Colonial and 
extractive histories, Reparative and fragile ecologies, Environmental 
justice and legal rights.


Confirmed speakers and participants include: Ignacio Acosta, Mónica 
Alcázar-Duarte, Tobah Aukland-Peck, Eline Benjaminsen, Nancy Demerdash, 
Radha D'Souza, Francisco Gallardo, Hit Man Gurung, Sasha Huber, Elias 
Kimaiyo, Syowia Kyambi, Adrian Lahoud, Godofredo Pereira, Marie 
Petersmann, Julian Posada, Sheelasha Rajbhandari, Gabriela Saenger 
Silva, Sakiya, Audrey Samson, Marie Smith, Jonas Staal, Gerald 
Torres, Wilfred Ukpong, Rahul Ranjan and others.
The symposium is convened by Sria Chatterjee (Paul Mellon Centre), Mark 
Sealy (Autograph) and Bindi Vora (Autograph).


Accessibility information
The Building Centre’s accessibility information can be found here:
https://www.buildingcentre.co.uk/about/plan-your-visit

Programme

13 March 2024 
10–10.30amRegistration and coffee 
10:30–10.45amWelcome and introductions with Sria Chatterjee (Paul 
Mellon Centre)


LOCATING ENVIRONMENTAL JUSTICE 
Chair: Ravi Agarwal (artist, writer, curator and environmental campaigner) 

10.45–10.55amSheelasha Rajbhandari (artist and curator), “Untamable 
Dankini”
10.55–11.05amHitMan Gurung (artist and curator), “What Do the 
Spirits of These Lands, Rivers, Forests Whisper in Our Ears?”
11.05–11.15amSyowia Kyambi (artist and curator), “Split Bananas and 
Magical Spaces”

11.15–11.30amSahar Qawasmi (Sakiya), Title TBC 
11.30–11.50amQ
11.50am–12.15pmCoffee break (provided) 

IMAGING EXTRACTION 
Chair: Sria Chatterjee (Paul Mellon Centre) 

12.15–12.25pmTobah Aukland-Peck (CUNY Graduate Center), “‘See 
Britain First on Shell’: Modernism, Imperialism and the British 
Petroleum Industry” 
12.25–12.35pmNancy Demerdash (Albion College), “Fuelling Foment: 
(Counter)colonial Histories of Phosphate Extraction in Tunisia”
12.35–12.45pmFRAUD, Audrey Samson and Francisco Gallardo (artist 
duo), “Undergrounding the Critical Mineral”
12.45–12.55pmCrystal Bennes (visual artist), “Phosphate Mines and 
Resistance Gardens in Western Sahara”

12.55–1.15pmQ
1.15–2.30pmLunch break

REPAIR/REPARATIONS  
2.30–2.50pmGerald Torres (Yale University), Title TBC (online)
2.50–3.00pmQ
3.00–3.15pmSasha Huber (visual artist researcher), performative 
lecture, “Reparative Interventions: Renegotiating Archive, Memory and Place”

3.15–3.30pmAdrian Lahoud (Royal College of Art), “Ngurrara II”
3.30–3.45pmQ
3.45–4.15pmComfort break 

ECOLOGY POLITICS
Chair: Mark Sealy (Autograph) 

4.15–4.30pmWilfred Ukpong (interdisciplinary artist, practice-based 
researcher – Blazing Century Studios), “Blazing Century 1: Working at 
the Intersection of Extractive Capitalism/Visual Activism”

4.30–4.50pmMark Sealy and Wilfred Ukpong in conversation 
4.50–5pmClosing remarks
5–6pmDrinks reception at Building Centre 
14 March 2024
10.30–11amRegistration and coffee
11–11.10amWelcome and introductions with Bindi Vora (Autograph)

FOREST RIGHTS
Chair: Bindi Vora (Autograph)

11.10–11.25amEline Benjaminsen (artist) and Elias Kimaiyo (land 
rights activist), Title TBC 
11.25–11.35amRahul Ranjan (University of Edinburgh), “Forests of 
Memory: Rights of Indigenous Peoples and Claim Making in India”

11.35–11.45amQ
11.45am–12noonComfort break

ANCESTRAL FUTURES
Chair: Nina Kolowratnik (Ghent University)

12noon–12.20pmIgnacio Acosta (Royal College of Art / Uppsala 
University), film screening and discussion of “From Mars to Venus: 
Activism of the Future” 
12.20–12.30pmGodofredo Pereira (Royal College of Art), “The Puna Is 
Not a Triangle: Militant Research and Anti-extractivism”
12.30–12.40pmGabriela Saenger Silva (Liverpool John Moores 
University), “Art As Catalyst: Exploring the Fragility and Activism 
Through ‘We Live Like Trees Inside the Footsteps of our Ancestors’”

12.40–1pmQ
1–2.30pmLunch break

LITIGATION / CLIMATE CRIMES
Chair: Jelena Sofronijevic (producer, writer and researcher)

[spectre] CFP: The Postcolonial Sacred in East-Central Europe (online/Wroclaw, 20-21 Jun 24)

[Andreas Broeckmann LEU via SPECTRE]

From: Anna Markowska
Date: Feb 15, 2024
Subject: CFP: The Postcolonial Sacred in East-Central Europe 
(online/Wroclaw, 20-21 Jun 24)


Online / University of Wroclaw, Poland, Jun 20–21, 2024
Deadline: Apr 7, 2024

The Postcolonial Sacred in East-Central Europe after 1989: New 
Approaches to Spirituality in Old and Contemporary Art.


With the fall of the Iron Curtain and the dissolution of the USSR, 
East-Central Europe entered a period of transition. During this time, 
contemporary art faced substantial criticism from numerous politicians 
and conservative media outlets for addressing issues related to 
morality, sexuality, and religiosity. Interestingly, many young artists 
sought spirituality outside the confines of the institutional Church, 
which swiftly gained prominence in areas previously dominated by 
state-decreed atheism. A pursuit that has been largely overlooked in the 
art history literature of that era.
In the current art landscape, numerous artists are forming collectives 
by drawing upon elements of transcendence, ancient deities, intuition, 
and various phantasms or anachronisms. This is part of their journey to 
create new rituals that foster mutual bonds. Current endeavors are 
focused on promoting inclusivity and nurturing respect for a diverse 
range of individuals while acknowledging their vulnerabilities and 
insecurities. It’s noteworthy that not only do a multitude of new ideas 
gain a sacred status, but specific locations, spaces, activities, trees, 
and even stones are also revered. Imagination fuels the belief that a 
better world is within our reach.
Particularly within feminist studies, efforts are being made to utilize 
a multitude of concepts encapsulated by the umbrella term ‘rescue 
theories’ of the Anthropocene era. In times of ecological catastrophe, 
rising populism, migrant crises, and war, articulating spiritual ties 
seems crucial for fostering a sense of togetherness that is rooted in 
mutual care. Following the affirmative, affective and post-secular turns 
in the humanities, the conference is set to explore faith, the sacred, 
and the spiritual in the context of contemporary art.


We kindly request that you submit your speech proposals as a concise 
abstract (no more than 300 words) and a brief biography (up to 200 
words). Please email your submissions to Anna Markowska at 
anna.markow...@outlook.com. The deadline for submissions is the 7th of 
April 2024.



Reference / Quellennachweis:
CFP: The Postcolonial Sacred in East-Central Europe (online/Wroclaw, 
20-21 Jun 24). In: ArtHist.net, Feb 15, 2024. 
.

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SPECTRE list for media culture in Deep Europe
Info, archive and help:
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[spectre] Tactics #15: (un)real data ☁️ - (流)real effects /// February–June 2024, Ljubljana

[Marcela Okretič via SPECTRE]

Dear Spectres,
we are proud to announce our upcoming (15th!!) edition of Tactice
and we are very much looking forward to seeing you in Ljubljana!
Check out the programme below.
All the best,
Marcela



*Tactics #15:*
*(un)real data **☁️** - (**流**)real effects*

TALKS | PERFORMANCES | EXHIBITIONS | WORKSHOPS | PODCAST | PUBLICATION
*February–June 2024, Ljubljana*



For the 15th edition of Tactics, Aksioma’s discursive programme
focusing on contemporary investigative art, society and new
technologies, *!Mediengruppe
Bitnik* (Carmen Weisskopf and Domagoj Smoljo) in collaboration with Janez
Fakin Janša curates *(Un)real Data – Real Effects*, a series of events,
activities and critical reflections that explores how the ambiguous quality
of data can be used as a tool to produce real-world outcomes.

*With: *Alexandre Puttick, Cornelia Sollfrank, Felix Stalder, Gloria
Gammer, Gordan Savičić, Marta Peirano, !Mediengruppe Bitnik, Neja Berger,
Sebastian Schmieg, Selena Savić, Simon Weckert, Total Refusal, Valentina
Tanni


*Full programme:*  https://aksioma.org/unrealdata/

*Free entry, registration required*
*: *https://pretix.eu/aksioma/unrealdata/

-

*KICK-OFF EVENT*
*27 February 2024 / Kino Šiška, Ljubljana*

Katedrala Hall
CONFERENCE: *(Un)real Data - Real Effects*


16:30-18:00

   - TALK: *Intro to Unreal Data
   *
by *!Mediengruppe
   Bitnik*
   - TALK: *Unreal Is the New Real*
   
by *Felix
   Stalder*
   + conversation moderated by Neja Berger
   - LECTURE PERFORMANCE: *Data Cyborgs: A Partially Algorithmically
   Generated Embodied Conversation Between Three Different Logics*
   

   by *Cornelia Sollfrank *and *Alexandre Puttick*


18:30-20:00

   - KEYNOTE: *Gaslighting AI*
    by *Marta
   Peirano*
   + conversation moderated by Neja Berger
   - INTERACTIVE PERFORMANCE: *No Travel Agency*
    by *Simon
   Weckert *and* Gloria Gammer*


Kamera Hall / 20:00-21:00
EXHIBITION: *Google Maps Hacks*
 by *Simon
Weckert*

Komuna Hall /  21:00-22:30
PERFORMANCE: *Prompt Battle*
 by *Sebastian
Schmieg*

Lower Foyer / 22:30-00:00
Live DJ set with *DJ DVMIR*


-



*NODE #2: Simon Weckert*


*26 February 2024 / Aksioma* *Project Space*
19:00 / EXHIBITION OPENING: *The Republic of Null Island*


*28 February 2024 / ALUO, Tobačna 5*
15:00-16:00 / ARTIST TALK: *The Map Becomes the Territory – Street 3.0*

16:00-18:00 / WORKSHOP: *Dreams and Disruptions: Machine Unlearning for
Artists*



-



*NODE #2:*
* Selena Savić, Gordan Savičić & !Mediengruppe Bitnik*

*2 April 2024 / ALUO, Tobačna 5*
15:00-18:00 / WORKSHOP: *⭐** 1 Star Workshop*


*3 April 2024 / Aksioma* *Project Space*
19:00 / ARTIST TALK: *Ratings Suck!!! How Did We Even Get to This Point*

and
EXHIBITION OPENING: *One Star Review Tour*



-


*NODE #3:*
* Total Refusal*

*15 May 2024 / ALUO, Tobačna 5*
WORKSHOP: *OPEN-ENDED STORIES*


*15 May 2024 / Aksioma* *Project Space*
19:00 / EXHIBITION OPENING: *BPM*



*Valentina Tanni & Total Refusal*

*16 May 2024 / Slovenska kinoteka*
19:00-20:00 / PERFORMANCE: *Let’s play: Exit Reality*




**



CREDITS


*Tactics #15: (Un)real Data – Real Effects*

*Participants:* Alexandre Puttick, Cornelia Sollfrank, Felix Stalder,
Gloria Gammer, Gordan Savičić, Marta Peirano, !Mediengruppe Bitnik, Neja
Berger, Sebastian Schmieg, Selena Savić, Simon Weckert, Total Refusal,
Valentina Tanni
*Curators: *!Mediengruppe Bitnik (Carmen Weisskopf and Domagoj Smoljo)

*Artistic director: *Janez Fakin Janša

The programme is based on !Mediengruppe Bitnik’s research project *Latent
Spaces: Performing Ambiguous Data* at the Zürich University of the Arts.

The conference is developed in collaboration with Felix Stalder and with
the curatorial advice of the Latent Spaces research group.

Head of 

[spectre] [CAS] Report: 'Collecting, Curating, Preserving and Researching Media Arts'

[Paul Brown via SPECTRE]

Posted on behalf of  Melanie Swalwell mswalw...@swin.edu.au 


 
Dear CAS,
 
I wanted to share a publication from late last year from the team I lead that 
may be of interest to some of you.
 
The Archiving Australian Media Arts (AAMA) project have published 'Collecting, 
Curating, Preserving and Researching Media Arts: A good practice report'. In 
this report, we detail what we did to address the challenges posed by 
preserving and providing access to born-digital cultural artefacts, how we went 
about the work of locating media artworks from the 1990s, recovering content 
from obsolete media carriers, and testing Emulation-as-a-Service (EaaS). We 
consider the potential of emulation for curation, exhibition, and research with 
examples from case studies. The result of research funded by the Australian 
Research Council and undertaken in partnership with AARNet, Swinburne 
University, RMIT University, ACMI, Art Gallery of New South Wales, Griffith 
University Art Museum, State Library of South Australia, ANAT and Experimenta, 
this 'good practice report' offers insights for academics, practitioners and 
industry leaders, whist also foreshadowing the benefits of the shared digital 
infrastructure we are currently building across Australia that will ensure 
sustainable access to cultural collections.
 
Access the report http://hdl.handle.net/1959.3/476262
 
Stay updated on further research and new projects. Subscribe to the AAMA 
mailing list: http://eepurl.com/iCispE or head to www.aama.net.au 

 
Regards,
 
Melanie
 
--
Melanie Swalwell
Professor of Digital Media Heritage
Co-Chair, SIGCIS 
 
Acting Deputy Director
Centre for Transformative Media Technologies
School of Social Sciences, Media, Film and Education
Swinburne University
PO Box 218, Hawthorn Vic 3122 Australia
http://transformativemedia.swinburne.edu.au/
 
Tel +61 3 9214 3911
AS426
mswalw...@swin.edu.au 
@melswal
 
Research project websites:
https://ourdigitalheritage.org/
https://playitagainproject.com/
https://aama.net.au/
https://auseaasi.org/
 
Recent publications:
Collecting, Curating, Preserving, and Researching Digital Media Arts: A good 
practice report 

Homebrew Gaming and the Beginnings of Vernacular Digitality 

Game History and the Local 


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[spectre] Report: 'Collecting, Curating, Preserving and Researching Media Arts'

[Oliver Grau via SPECTRE]

I was working in a previous Australian Research Council (ARC) project, where
we had a linkage grant Australia-Archive for Digital Art. Here is the report
from the recent *Archiving Australian Media Arts (AAMA)* project
'Collecting, Curating, Preserving and Researching Media Arts: A good
practice report'.



Posted on behalf of  Melanie Swalwell mswalw...@swin.edu.au






I wanted to share a publication from late last year from the team I lead
that may be of interest to some of you.



The Archiving Australian Media Arts (AAMA) project have published
'Collecting, Curating, Preserving and Researching Media Arts: A good
practice report'. In this report, we detail what we did to address the
challenges posed by preserving and providing access to born-digital cultural
artefacts, how we went about the work of locating media artworks from the
1990s, recovering content from obsolete media carriers, and testing
Emulation-as-a-Service (EaaS). We consider the potential of emulation for
curation, exhibition, and research with examples from case studies. The
result of research funded by the Australian Research Council and undertaken
in partnership with AARNet, Swinburne University, RMIT University, ACMI, Art
Gallery of New South Wales, Griffith University Art Museum, State Library of
South Australia, ANAT and Experimenta, this 'good practice report' offers
insights for academics, practitioners and industry leaders, whist also
foreshadowing the benefits of the shared digital infrastructure we are
currently building across Australia that will ensure sustainable access to
cultural collections.



Access the report  
http://hdl.handle.net/1959.3/476262



Stay updated on further research and new projects. Subscribe to the AAMA
mailing list:   http://eepurl.com/iCispE or head
to   www.aama.net.au



Regards,



Melanie



--

Melanie Swalwell

Professor of Digital Media Heritage

Co-Chair,   SIGCIS



Acting Deputy Director

Centre for Transformative Media Technologies

School of Social Sciences, Media, Film and Education

Swinburne University

PO Box 218, Hawthorn Vic 3122 Australia

 
http://transformativemedia.swinburne.edu.au/



Tel +61 3 9214 3911

AS426

  mswalw...@swin.edu.au

@melswal



Research project websites:

  https://ourdigitalheritage.org/

  https://playitagainproject.com/

  https://aama.net.au/

  https://auseaasi.org/



Recent publications:


 Collecting, Curating, Preserving, and
Researching Digital Media Arts: A good practice report


 Homebrew Gaming and the Beginnings of Vernacular Digitality

  Game History and
the Local

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[spectre] YANAK UYWAÑA. The Mutual Nurturing of the Arts | War and Violence

[info--- via SPECTRE]

 

YANAK UYWAÑA. The Mutual Nurturing of the ArtsElvira Espejo Ayca 
Elvira Espejo Ayca is an artist, musician, weaver and storyteller in the oral tradition of her place of origin, the Allyu Qaqachaka in Oruro, Bolivia. In her essay YANAK UYWAÑA. The Mutual Nurturing of the Arts, she speaks of reason and aesthetics as instruments of Western philosophical domination, which functions as a form of legitimization of colonial extractivism: Extractivism of raw materials, cultural goods and forms of knowledge alike. Art galleries – Espejo writes – are part of how a hierarchized epistemic geopolitics works. In the present essay, Elvira Espejo Ayca discusses paradigm shifts in how we understand art, resulting from the linguistic terminology of the Aymara language and from life in the indigenous communities themselves, through the creation of cultural goods and information resources that contribute to the understanding of mutual education as a new vision of life and also as a means of anti-colonial resistance.
Elvira Espejo Ayca is the director of the National Museum of Ethnography and Folklore (MUSEF) in La Paz. The present translation of YANAK UYWAÑA. La crianza mutua de las artes, published by PCP – Programa Cultura Política, La Paz, was produced as part of the exhibition Potosí Principle – Archive, a project by Alice Creischer and Andreas Siekmann, as part of the Decolonial Studies Program of the Academy of the Arts of the World/Cologne (Akademie der Künste der Welt/Köln).
https://transversal.at/books/yanak-uywana-en
Translated from Bolivian Spanish by Pablo Lafuenteedited by Max Jorge Hinderer Cruztransversal texts, December 2023ISBN 978-3-903046-44-336 pages, € 10,00 
War and ViolenceMaurizio Lazzarato 
It is not sufficient to speak of violence alone: sexual violence, racial violence, the violence of exploitation. In capitalism – Maurizio Lazzarato writes – production, whether material or immaterial, affective or desiring, always presupposes the extra-economic, extra-affective, extra-cognitive production of social classes. For production, there must be class; and to produce class, there must be a war of subjugation. For a long time, war no longer seemed to be part of political debates – it seemed merely a phenomenon from the past or the fate of distant countries on the planet. In his essay War and Violence post-operaist philosopher Maurizio Lazzarato talks about the permanent continuity of warlike violence, its relation to the beginning of capitalist cycles of accumulation, and the production of subjectivity.
The present text is a translation of Maurizio Lazzarato’s lecture Guerre et Violence, which was comissioned as part of the lecture and discussion series On Violence (2022), a collaboration between Akademie der Künste der Welt, Cologne (ADKDW) and Hebbel-am-Ufer Theater, Berlin (HAU). On Violence was curated by Max Jorge Hinderer Cruz and Margarita Tsomou.
https://transversal.at/books/war-and-violence
Translated from French by Cédrine MichelEdited by Max Jorge Hinderer CruzCopy editing: Stefan Nowotnytransversal texts, December 2023ISBN 978-3-903046-42-934 pages, € 10,00 
Upcoming
21 February - transversal audio, start of Spring Season 202419 March - Vienna, Workshop: Publishing and Becoming-Public after Social Media20 March - Depot, Vienna, book presentation: Das Leben der Kunst. Transversale Linien der Sorge 
 
The annual programme of eipcp is supported by: Foundation for Arts Initiatives, City of Vienna Culture.These publications are funded by the Akademie der Künste der Welt/Köln (Academy of the Arts of the World/Cologne) as part of the Decolonial Studies Program (2022-2023)
           
-- eipcp - european institute for progressive cultural policies wien, linz, berlin, london, málaga, zürich a-1060 wien, gumpendorfer straße 63b
cont...@eipcp.net https://transversal.at | http://eipcp.net



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[spectre] CFP: CoPDA 2024 - 8th International Workshop on Cultures of Participation in the Digital Age (co-located with AVI 2024)

[Antonio Piccinno via SPECTRE]

---
Call for Papers
---
CoPDA 2024 - 8th International Workshop on Cultures of Participation in 
the Digital Age: Differentiating and Deepening the Concept of "End User" 
in the Digital Age


https://homes.di.unimi.it/cslab/copda2024/
June 3rd or 4th, 2024 - Arenzano (Genoa), Italy
In conjunction with AVI 2024 (https://avi2024.dibris.unige.it/home)


Overview

Recent developments in Artificial Intelligence (AI) and meta-design 
challenge the understanding of the concept of “end user”.
The 8th edition of this workshop aims to critically differentiate, 
dissect, and deepen the roles, experiences, and demands of end users by 
inviting contributions from different perspectives.


The workshop invites contributions to explore the following fundamental 
issues:

- Re-conceptualizing the multi-faceted roles that end users can play.
- Investigating how end users are evolving into active participants in 
the design and development through frameworks (such as meta-design) that 
encourage creation, modification, and evolution in individual and group 
activities.
- Understanding the skills and literacies (e.g., computational fluency) 
that end users need to acquire to be successful contributors (e.g., 
education, after-school clubs, etc.).
- Envisioning future scenarios and possibilities for end user roles and 
experiences in the context of emerging technologies and cultural changes.
- Understanding the design trade-offs associated with balancing the 
potential value of end-user contributions with the necessary effort to 
ensure that end users will be motivated to contribute over long periods 
of time.


Participants from academia, industry, and user communities are invited 
to share their ideas, insights, and experiences to increase our 
collective understanding and approach towards end users in the digital age.


Topics of discussion may include (but will not be limited to):
- Analysis of the use and historical development of the concept of “end 
user”
- Can meta-design frameworks facilitate and empower end users in 
becoming designers, shaping and adapting systems to their needs?
- What are the major responsibilities for end users in "end-user 
development” and/versus "end-user software engineering"?
- If computational fluency is widely achieved by humans in the digital 
age — how will this change the concept of "end user" and “learning with 
digital tools”?
- How can the division between professional developers and end users be 
designed and supported as collaborative interactions rather than a rigid 
separation?
- How do we scale up user participation from individuals to groups to 
communities?

- In which contexts are end users the drivers of the innovation?
- Which other frameworks and environments in AI exist in addition to 
Large Language Models (LLMs) for supporting end users?

- How does the role of end users change in the era of LLMs?
- Which additional learning demands occur that empower end users to 
assess LLM possibilities and limits?
- Success stories and failures (e.g., empirical studies) involving or 
analyzing end users as active participants in sociotechnical systems in 
different domains (education, workplace, at home, leisure, etc.).


-
Submissions

Authors are invited to submit a 6-page position paper using the 1-column 
CEUR template available at http://ceur-ws.org/Vol-XXX/CEURART.zip. An 
Overleaf page for LaTeX users is also available at 
https://www.overleaf.com/read/gwhxnqcghhdt
The papers can be submitted at: 
https://easychair.org/conferences/?conf=copda2024
All papers will be peer-reviewed by at least two members of the Program 
Committee.
Accepted papers will be collected and submitted for publication on 
CEUR-WS proceedings.


-
Important dates
-
- Apr 3rd, 2024: Submission deadline for position papers
- Apr 23rd, 2024: Notification of acceptance
- May 10th, 2024: Camera ready
- Jun 3rd or 4th, 2024: CoPDA 2024 workshop

--
Organizing Committee
-
Barbara Rita Barricelli (Università degli Studi di Brescia, Italy)
Gerhard Fischer (University of Colorado, Boulder, USA)
Daniela Fogli (Università degli Studi di Brescia, Italy)
Anders Mørch (University of Oslo, Norway)
Antonio Piccinno (Università degli Studi di Bari, Italy)
Stefano Valtolina (Università degli Studi di Milano, Italy)

For any further information, please contact copda2...@easychair.org
--
~~
Prof. Antonio Piccinno
/Presidente Centro Servizi Informatici (CSI)
Delegato del Rettore ai temi della digitalizzazione presso CRUI
Delegato servizi informatici del Dipartimento di Informatica
/ Dipartimento di Informatica - Università degli Studi di Bari "Aldo Moro"
via Orabona, 4 - 70125 Bari, Italy
Personal Home Page 
Tel. +39 080 5442535 / Fax. +39 080 5443300

[spectre] Call-out for exhibition in Madeira, Portugal

[Diana Ali via SPECTRE]

Hello

Please can you send the following call-out to the SPECTRE list?
Many thanks
Diana.

*Call out:* *‘Hide me, Steal Me, Be Nice to Me’*

* (Freedom to roam, overcoming barriers, confronting crossings)*

Curator: Diana Ali (UK) www.dianaali.com

*Gallery: ARTE.M, Funchal, Madeira, Portugal.*

Dates: July 2024 (exact dates TBC)



An exhibition of contemporary artwork investigating confrontational
crossings, overcoming barriers & freedom of movement.

*Concept: *

We are facing many barriers globally where our identities are being
bruised, rejected, and turned away. This leaves a tension for bodies,
thoughts and circumstances to be accepted and co-exist. Artists are invited
to contest and question what it means to face barriers. Often our artworks
have been declined from being shown and exhibited. This exhibition gives
opportunity for the art to migrate. There may not be a utopia, but there
are ways of overcoming barriers.

Imagine the artwork being personified. What would it say if it had freedom
of movement, no immigration law, finding asylum and a sense of belonging
without being displaced?

Artists are invited to submit explorative and experimental photographic
work/s that relate to the concept.

*Work accepted:* Photography

(Photography is a loose term. This can be interpreted as negatives, scans,
film stock, collaged photos, varied photographic formats, celluloid, stills
from video/ film, analogue, digital, pinhole, polaroid, vernacular
photography).

*Please send originals artworks and not photographs of work.*

*Size:*

Acceptable size: No larger than 66cm x 38cm (26” x 15”)

Ultimately, it will fit in a suitcase and be able to travel to its destined
place.

*Application:*

To apply please send up to 2/3 jpeg images of the work (include dimensions
& medium) and an approximately 50-100 word statement about how the work
links to the theme to alidi...@gmail.com




Artists will be notified of acceptance approx. 1 week after the closing
date. Further details regarding logistics will be provided to successful
artists.



Please note that the submission process is free but if artists are
selected, they are required to pay a £10 (GBP) administration fee which
covers promotion, space hire, marketing and admin costs.



*Deadline for submissions: 30th March 2024.  *

-- 
Diana Ali (MA,HFEA)

Visual Artist & International Curator.
www.dianaali.com

Professional/Creative Mentor, Workshop Leader, Lecturer, Axis board member,
NWC Board member.

Twitter 
Instagram  
LinkedIn 
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[spectre] Call for artists to AIR/HMC Budapest

[Beata Szechy via SPECTRE]

Hopes for Peace!




AIR/HMC, Artist Residencies, Budapest, Hungary 2024

https://www.facebook.com/profile.php?id=100064895013956

Subject matter 2024:  Hopes for Peace




AIR/HMC, Budapest ArtistResidency is an opportunity for a small community of 
artists to work independently for a short term in Budapest.   Our goal is to 
provide professional opportunities for individual or collaborating artists, 
writers and encourage experimentation and inquiry in all media.  In addition to 
the residency, the selected artist will have the opportunity to present their 
works in a Gallery exhibition, also at an Artist Talk and an Open Studio.




Session 1: Tuesday, June 04 - Tuesday, June 25, 2024

Session 2: Tuesday, July 09 - Tuesday, July 30, 2024




AIR/HMC, Budapest How to Apply

Concise description (1 paragraph) of the project or type of work you plan to 
pursue during the requested time frame, application form, images or sample 
writing, CV or resume.




AIR/HMC, Budapest based in Dallas, TX & Budapest, Hungary

If you have additional questions related to AIR/HMC, Budapest, or for the 
application form please contact:

Beata Szechy, HMC president at bsze...@yahoo.com













Beata Szechy, HMC__
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[spectre] mur.at Open Call AIR 2024

[Andreas Zingerle | mur.at via SPECTRE]

*mur.at - Open Call 2024 Artist in Residence Program*

*Application deadline: Feb. 15, 2024*.

All infos and submission form: https://mur.at/post/opencall-air24/

We offer a couple of *virtual* and one *onsite* Artist in Residence at 
the net art & digital culture initiative ‘mur.at' in Graz, Austria.



*About the program
Key data for on-site residency in Graz*

-Residency timeframe: May 1 to June 30, 2024 (2 months).
-A fee of €3000.- to compensate extra costs an onsite residency generates.
-Travel, accommodation and a workspace at ‘mur.at’ are provided.

*Key data virtual residencies*

-Residency timeframe: May 1, 2024 onwards
-A production fee is provided.
-Projects will be hosted at mur-servers. Projects can use the existing 
infrastructure and/or propose extensions to it.


*Expectations & Outcome*

-The invited artists will actively participate and co-curate the worklab 
in the end of June 2024.
-Process documentation, artist talk, radio interview & the creation of 
one (or several) artworks using Open Source software & hardware.

-Outcomes will be presented at the worklab.
*
Procedure*

-We pre-review applications on a rolling basis! Application deadline: 
Feb. 15, 2024.

- All infos to submit on https://mur.at/post/opencall-air24/


--
Andreas Zingerle, PhD
Geschäftsführung
mur.at - Initative Netzkultur
https://mur.at
Follow us:https://graz.social/@murpunktat
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[spectre] rec-on.org

[AGF via SPECTRE]

dear all, new work in a series of listening experiments is up!
enjoy
agee



l̊i̊s̊t̊e̊n̊ to gaps, margins, edges & the bravest  - https://rec-on.org/
index: https://rec-on.org/index-sitemap.html

#feministsonictechnologies
https://rec-on.org/feministsonictechnologies.html


⊹╰ ⊹ Keithel -  Manipur 
margins and the ones who follow the track of rain
w Ayushi Arora (Ayanka), Tedawnshim Khaling, A Bhaskar Rao 
► https://rec-on.org/keithel.html
Uipo song: https://rec-on.org/audio/TriemHaichingbawng.mp3


⟿ weassemblage {chúng ta hội đồng} 
❰ vietnamese language ↂ sound & feminisms 
with Linhhafornow with Elise Luong (undecided productions), AGF & more 
► https://rec-on.org/weassemblage.html


°o°)ᕗ Aida Touma-Suleiman 
recorded by Meira Asher 
► https://rec-on.org/aida.html
 download mp3 https://rec-on.org/audio/aida.mp3


⸝₍̗⁽ˆ⁰ˆ⁾₎͕⸍∘˚˳°✧ song & singing as technologt
https://rec-on.org/singingastechnology.html
https://etherpad.wikimedia.org/p/songastechnology


✿0✿ community sound practice on the island of Hailuoto
Kaiku: https://rec-on.org/kaiku.html


◟๑･ิټ･ eastfloc train tour 
w Mary C & AGF
► https://rec-on.org/eastfloctourdiary.html
reader: https://rec-on.org/pdf/FTTNOTES.pdf
slides: https://rec-on.org/pdf/eastflocdiary.pdf


♥(⨴ഌ⨵ԅ) 'being from the east' #fieldpoem
by andra amber nikolayi aka ambient fuccboi
► https://rec-on.org/BEINGfromtheEAST.html


彡 easterndaze: counterpoint - Marija, Olesia & Rebecca
with Lucia Udvardyova
► https://rec-on.org/easterndaze.html


~~ audio-residency with ~~
'Khamoosh collective'
collective listening
► https://rec-on.org/khamoosh.html


_ı_ partitioned listening
with Syma Tariq
► https://rec-on.org/partitionedlistening.html


±≈][| song as technology
workshop 'sonic positioning' Latvia
► https://rec-on.org/songastechnology.html
https://etherpad.wikimedia.org/p/songastechnology


~ reverie
by Katarina Gryvul
► https://rec-on.org/reverie.html


$∞§ audio essay ABOUT w AGF
► https://rec-on.org/audio/RECONwAGF_radioart106_no157_cut.mp3


↳ Khabat Abas
the 'bombshell cello'
► https://rec-on.org/KhabatAbas.html


°sabotage
by Anna Engelhardt
► https://rec-on.org/sabotage.html


?am I indigenous enough?
by Wasiq Silan
► https://rec-on.org/amIindigenousENOUGH.html


⥰ her safe space ★ with ASARA
► https://rec-on.org/hersafespace.html
 artist letter
https://rec-on.org/pdf/ASARAletter.pdf
transcript [engl]
https://rec-on.org/pdf/hersafespaceTRANSCRIPT.pdf


!!! strike/ huelga/ streik/ lakko! 
with aylu & agf  feat. Constanza Castagnet, Buenos Aires, Argentina
► https://rec-on.org/STRIKE!.html


↟ BaTonga Exist 
by Lindatumune Nyono Mudimba, rural Zimbabwe
► https://rec-on.org/BaTongaExist.html


⟳ SOIL MAtris{x} ⥰⥰⥰ 
Women defend the earth
by Aly Cabral, Manila, Philippines
► https://rec-on.org/soilmatrix.html
+ reader: https://rec-on.org/pdf/fst07_SoilMatrix__AlyCabral_reader.pdf


✦ JIZINGATIE MWENYEWE 
by Nabalayo @mamachanganya Nairobi, Kenya
► https://rec-on.org/JIZINGATIEMWENYEWE.html


✜  DALIT FEMINIST THEORY
by Sunaina Arya @Su_philos New Delhi, India
► https://rec-on.org/dalitfeministtheory.html
https://rec-on.org/audio/fst10_DalitFeministTheory__SunainaAryaTALK.mp3


♥ Colectivo LASTESIS #lastesis
Valparaiso, Chile @lastesisoficial 
► https://rec-on.org/lastesis.html
reader: https://rec-on.org/pdf/fst6_lastesisREADER.pdf


✺ ‘charged up - sandy spakes’ 
by BEARCAT @B_E_A_R_C_A_T - UK/USA
► https://rec-on.org/chargedup_sandyspeaks.html


↟ dấu chấm - verbindung - (RE)CONNECT
DDR - Vietnam: composition, performance, video, memories
by Linh Ha & AGF, Hanoi, Vietnam
► https://rec-on.org/dchm-vrbndng-cnnctn.html


∰ 'insisting to remember’ 
@poemproducer Hailuoto, Finland
► https://rec-on.org/insistingtoremember.html
https://rec-on.org/video/InsistingToRemember241020.mp4
↳ ON FEMICIDE
rec-on.org/onfemicide.html


⁂  Sea is the new land
@seaisthenewland - world
► https://rec-on.org/seaisthenewland.html


ↂ ‘phytophonic geographies of care’ 
by Elastic Fiction, UK
► https://rec-on.org/phytophonic.html


⥰ G O S S I P ∽ 
by: Anto_nie, Brno, Czech
► https://rec-on.org/gossip.html


#feministsonictechnologies
https://rec-on.org/feministsonictechnologies.html




#landbacknowledgement
https://rec-on.org/landbacknowledgment.html

↹ audeƒenze 
AGF & Porya Hatami - Sanandaj, Iran
► https://rec-on.org/audefenze.html


° the drum is the heartbeat of the community ✜
⥰ listening to belonging ✿ by Kim Tallbear

listen here ►
► https://rec-on.org/ListeningToBelonging.html





+++

↳ r1 ON OPPRESSION
https://rec-on.org/onoppression.html

↳ r2 ON FEMICIDE
“insisting to remember”
rec-on.org/onfemicide.html

↳ r3 ON FRONTEX
rec-on.org/onfrontex.html

↳ r4 ON DIRECT DEMOCRACY
https://rec-on.org/ondirectdemocracy.html

↳ r5 ON MIGRATION
https://rec-on.org/onmigration.html

↳ r6 ON INVASION
rec-on.org/oninvasion.html

↳ r7 ON PLURAL ECONOMICS
rec-on.org/onpluraleconomics.html

↳ r8 ON NEURAL NETWORKS
https://rec-on.org/onneuralnetworks.html

↳ r9 ON QUEERNESS

[spectre] [CAS] Event: AI Creative Writing & Art Anthology Second Edition, 21 Feb 2024

[Paul Brown via SPECTRE]

REMINDER

The Computer Arts Society’s 2024 series of events continues
 
AI Creative Writing & Art Anthology Second Edition
Speakers: Geoff Davis, Ana Caballero, James Bloom, Patrick Lichty and Friends
 
19:00 GMT, Wednesday, 21 February 2024 via Zoom  
Other time zones here:  https://www.timeanddate.com 
  
 
Geoff Davis will show a sample of work from his new Anthology, and give a 
general overview of the AI and art field. Contributors to the anthology will 
join Geoff to read from and discuss their work.
 
The AI Creative Writing Anthology presents an exploration of new writing 
techniques, incorporating contributions from a diverse range of artists and 
authors. This collection features short stories and poetry, along with more 
visual artworks that incorporate text, and demonstrate the capabilities of text 
generation systems.
 
The book serves as a resource for overcoming creative challenges and enhancing 
productivity. It aims to provide inspiration and practical tips for those 
interested in the evolving landscape of AI art and creative writing. The AI 
Creative Writing Anthology is a comprehensive guide for anyone eager to explore 
the intersection of creativity and artificial intelligence in writing.
 
The event will be recorded and uploaded to the CAS YouTube Channel.
 
This event is Zoom only and open to the public and is free but you must book 
your place here: https://computerartssociety210224.eventbrite.co.uk/
 
__
 
We have an upcoming Special Event in February - Exhibition by the late Peter 
Hardie - opening 16 February 2024

NOTE - we have no meeting in March due to the unavailability of our venue

Our next meeting will be an exhibition opening and talk by Alex May on 2 April 
2024

You can see our future programme here: 
https://computer-arts-society.com/events/index.html
 

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