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NEW-MEDIA-CURATING  July 2014

NEW-MEDIA-CURATING July 2014

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Subject:

Call for Artworks: ISEA2015//Vancouver

From:

Kate Armstrong <[log in to unmask]>

Reply-To:

Kate Armstrong <[log in to unmask]>

Date:

Mon, 21 Jul 2014 13:01:06 -0700

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (204 lines)

ISEA2015 - CALL FOR PROPOSALS - ARTWORKS

This is the ISEA2015 call for artworks and performances. Additional CFPs
for papers, notes, short papers/posters and panels, workshops and
tutorials, can be found at http://isea2015.org/.

The 21st International Symposium on Electronic Art invites proposals. We
ask that you consider the ISEA2015 theme of Disruption
http://isea2015.org/about/theme/. Submissions may take the Symposium
sub-themes into consideration or may think beyond them under the
overarching theme of disruption.

The International Symposium on Electronic Art (ISEA) will be held in
Vancouver, Canada August 14 - 18, 2015.

ISEA is one of the world’s most important international academic
arts/technology events for the interdisciplinary discussion and showcase of
creative productions applying new technologies in art for interactive,
electronic and digital media. It’s an event that annually brings together
artists, academics, scientists, and designers. The symposium consists of a
peer reviewed conference and a wide-ranging program of artistic activity
including partner events such as residencies, screenings, and performances.

SUBMISSIONS
We are looking for a broad range of works that respond to the ISEA2015
theme, including but not limited to site-specific work, interactive
projects, online works, performances, screenings, installations, visual
art, electronic literature, works that engage with public space,
photography, media art, interdisciplinary projects, music and video. There
will be a gallery exhibition as well as works that engage with other sites
in and around the downtown Woodward’s main campus and elsewhere in
Vancouver.

The ISEA2015 committee encourages individual artists and/or creative teams
to conceptualize and scale their projects with budget considerations in
mind. ISEA2015 will consult with selected artists around grants and funding
applications.

Important dates:
• Deadline for submissions: August 10, 2014
• Projected Date of Notification of Acceptance: September 15, 2014

THEME
ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics
of change, renewal, and game-changing paradigms. We look to raw bursts of
energy, reconciliation, error, and the destructive and creative forces of
the new. Disruption contains both blue sky and black smoke. When we speak
of radical emergence we must also address things left behind. Disruption is
both incremental and monumental.

In practices ranging from hacking and detournement to inversions of place,
time, and intention, creative work across disciplines constantly finds ways
to rethink or reconsider form, function, context, body, network, and
culture. Artists push, shape, break; designers reinvent and overturn;
scientists challenge, disprove and re-state; technologists hack and subvert
to rebuild.

Disruption and rupture are fundamental to digital aesthetics.
Instantiations of the digital realm continue to proliferate in contemporary
culture, allowing us to observe ever-broader consequences of these effects
and the aesthetic, functional, social and political possibilities that
arise from them.

Within this theme, we want to investigate trends in digital and internet
aesthetics and revive exchange across disciplines, We hope to broaden the
spheres in which disruptive aesthetics can be explored, crossing into the
worlds of science, technology, design, visual art, contemporary and media
art, innovation, performance, and sound.

To elaborate on this general theme we have established the following
sub-themes:

RESIDUE
Increasingly, culture operates based on a sophisticated, invisible layer of
data that may or may not relate to the physical world, and which leaves a
“worldly residue” behind as machines alter our lived experience. These
effects go to a wide variety of real world impacts. In addition there is a
growing appreciation in the mainstream for the partial, procedural
aesthetics produced by internet culture, from animated .gifs, RGB palettes,
filters, to cats, unicorns, hair smiles and ugly selfies. What are the
current effects of how the physical and the digital are entwined and what
are the implications for the future? What does this blending of spheres
mean for politics, aesthetics and the social world?

GENERATIVE ART
From strictly autonomous systems that generate complete work to tools for
computer assisted creativity, artists and designers have been exploring
generative frameworks for decades. In our increasingly computerized world,
fronting a tsunami of data, we see an ever-increasing role for generative
systems that operationalize autonomous behaviours that are algorithmically
determined. We invite work that reflects on human and machine autonomy,
aesthetics, and roles. How can we build on ideas of disruption in the
framework of generative systems, processes, art and music?

GLITCH
By definition a glitch is small: a transient, short-lived fault that
creates disturbance in a system. And yet the effects of a glitch can be
monumental: on an aesthetic level a glitch can completely elide the
readability of an image; in an airplane a glitch can cause total systems
failure leading to catastrophe. One can find glitches in anything: in
complex processes, in our images, bodies and lived experiences. A glitch is
unstable, something slippery that is hard to find and harder to fix. Glitch
is a ping from the system that makes itself visible. While glitch has a
history it continues to appear in the contemporary practices of many
artists. How can we explore glitch in the frame of cataclysmic, raw
disruption? What is the scale of glitch now?

BODY, EMBODY + PERFORM
Our own bodies form lenses of experience, perception, cognition and
disruption. How can we exploit the body itself in renegotiating physical
habit, cultural experience and embodied texts in the context of embodied
innovation, and disruptive technology through the lens of embodiment? What
are the key drivers of innovation as it is situated within and upon the
body and what are the consequences - social, political, biological,
creative, performative, in cyborgs and in fashion? How can we see movement
as a driver of knowledge and innovation? What is physical movement now?

PROTOTYPE + DIY
We are in the midst of a revolution driven by DIY culture and participatory
cultures of making. These cultures are knit together by networked
technology and driven by increasingly available and ever-smaller and more
powerful components in the internet of things. Hacking as in: DIY, physical
computing, drones, robots, sensor networks,  body-hacking, biofeedback,
responsive systems, hacking as a determinant in political and aesthetic
strategies, the critical making movement, 3D printing and  rapid
prototyping all have a place in this framework. While applied, these
technological processes fluctuate in a speculative and creative space.

NEW TEXT
Text reveals language in code, poetics and discourse. How can text, code,
and practices in electronic literature be explored in the frame of
disruptive change? How do defamiliarization and rupture cross from
literature into other spheres? Using text and code, how can we investigate
contemporary aesthetics at this moment within bookforms, narrative,
electronic, or generative literature? What are the possibilities of
creation and destruction using the medium of code and the function of the
literary in today’s culture?

SCIENCE + INTERDISCIPLINARITY
Science informs art as art problematizes science. How have disruptive
models from other fields created effects for science in areas like citizen
science, biology, social culture, fashion, mutation, performance and
ecology? How do scientific discourses and metaphors integrate and interfere
with other disciplines such as architecture, politics and urbanism?

SOCIAL SPACES: DESIGN, ARCHITECTURE + CITIES
Our social spaces are the backdrops of everyday experience in contemporary
design, urban architectures and cityscapes.  We are knit together within
the complex framework of our cities, through technological and social
networks, patterns of habit and use and by our interactions with objects
and people both near to us and half a globe away. Our lives are more
entwined than ever, but the networks that hold us together can become
fragile. When networks govern both global trade and our relationships with
our thermostats, where is the tension between innovation and disruption?

Submissions may take the Symposium sub-themes into consideration or may
think beyond them under the overarching theme of DISRUPTION.

SUBMISSIONS
We are looking for a broad range of works that respond to these themes,
including but not limited to site-specific work, interactive projects,
online works, performances, screenings, installations, visual art,
electronic literature, works that engage with public space, photography,
media art, interdisciplinary projects, and video. There will be a gallery
exhibition as well as works that engage with other sites in and around the
Woodward’s main campus and elsewhere in Vancouver.

The ISEA2015 committee encourages individual artists and/or creative teams
to conceptualize and scale their projects with budget considerations in
mind. ISEA2015 will consult with selected artists around grants and funding
applications.

To submit work, please send the following by email to [log in to unmask]
These elements must be compiled into a single PDF.
• Brief project description (200 words)
 • Thematic statement
• 1 - 2 images
 • If submitting a video, send a link to the vimeo
• Artist bio or CV
 • Proposed budget
• Technical and logistic requirements

TIMELINE:
• Deadline for submissions: August 10, 2014
• Projected Date of Notification of Acceptance: September 15, 2014

ISEA INTERNATIONAL
The series of ISEA symposia is coordinated by ISEA International. Founded
in the Netherlands in 1990, ISEA International (formerly Inter-Society for
the Electronic Arts) is an international non-profit organization fostering
interdisciplinary academic discourse and exchange among culturally diverse
organizations and individuals working with art, science and technology.
ISEA International Headquarters is supported by the University of Brighton
(UK).

-- 
Kate Armstrong
Director, Social + Interactive Media (SIM) Centre
Emily Carr University of Art and Design
http://www.simcentre.ca
http://www.katearmstrong.com
twitter: http://twitter.com/#!/kate_armstrong
mobile: (604) 788-2309

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