CFPs

 
 

Dig­i­tal Embod­i­ment: New Media and Mate­ri­al­ity in the Visual Arts

South­east­ern Col­lege Art Con­fer­ence | Octo­ber 8 – 11, 2014
NEXUS: From Hand­made to High-Tech   (Orig­i­nal CFP)
 

As part of the South­east­ern Col­lege Art Con­fer­ence, this panel inves­ti­gates the con­nec­tion between mate­ri­al­ity and dig­i­tal media in the visual arts. Con­sid­er­ing the preva­lence of dig­i­tal tech­nol­ogy and the increas­ing rise in emer­gent soft­ware, the link between visual arts and its mate­r­ial embod­i­ment is shift­ing in ways that are as unex­pected as they are seduc­tive. New media tran­scends the bound­aries of phys­i­cal embod­i­ment in the evo­lu­tion from ana­log to dig­i­tal video, audio, and pho­tog­ra­phy. Does dig­i­tal media inhabit its own sense of mate­r­ial rep­re­sen­ta­tion? What oppor­tu­ni­ties are being opened up by dig­i­tal­ity in film, for instance, and what are the con­se­quences that we should be considering?

The con­fer­ence theme for 2014 is NEXUS: From Hand­made to High-Tech, and endeav­ors to explore the cre­ative inter­sec­tion of hand­made and high-tech appli­ca­tions in the prac­tice and study of the visual arts
 

 


 

Los­ing Touch: Visual Art and Materiality

North­east Mod­ern Lan­guage Asso­ci­a­tion, 46th Annual Con­ven­tion
Toronto, Ontario | April 30-May 3, 2015
CFP

 
Desir­ing to rec­on­cile craft and crit­i­cism, this panel empha­sizes study­ing the visual arts with an atten­tion to craft, mate­ri­al­ity, and object­hood. How can crit­i­cal inquiry be edi­fied through famil­iar­ity with artis­tic process and mate­r­ial form? Are we, as aca­d­e­mics, guilty of ‘los­ing touch’ with the arts?
Papers are encour­aged to con­sider the influ­ence of form upon con­tent with respect to any visual art, includ­ing but not lim­ited to pho­tog­ra­phy, film, paint­ing, the book arts, and new media.
 

 


 

Uncer­tain Spaces: Vir­tual Con­fig­u­ra­tions in Con­tem­po­rary Art and Museums

31 Octo­ber — 1 Novem­ber 2014, Calouste Gul­benkian Foun­da­tion, Lis­bon, Por­tu­gal
Orig­i­nal CFP

 
Over the past decades, and espe­cially since the gen­er­al­iza­tion of the Inter­net, artists have been actively explor­ing the poten­tial­i­ties of new media lan­guages and com­mu­ni­ties, often blur­ring artis­tic cat­e­gories. Move­ments like Dig­i­tal Art or Inter­net Art clearly demon­strate how these tech­no­log­i­cal means came to shape chal­leng­ing new ter­ri­to­ries for con­tem­po­rary art, not only in terms of cre­ation, recep­tion and par­tic­i­pa­tion, but also regard­ing its preser­va­tion, col­lec­tion, cura­tor­ship or exhibition.

Yet, inter­est­ingly enough, while many of these vir­tual projects suc­cess­fully embrace imma­te­ri­al­ity as a pro­lific cat­e­gory, many oth­ers fail to pro­pose utterly inno­v­a­tive envi­ron­ments, as they merely seek to repro­duce con­ven­tional museum mod­els: uncrit­i­cally dig­i­tiz­ing exist­ing col­lec­tions, fol­low­ing the same clas­si­fi­ca­tion and dis­play cri­te­ria or dupli­cat­ing, online, real exhi­bi­tion spaces.

To what extent is the per­ma­nence of the ‘phys­i­cal’ deter­min­ing the shape of vir­tual art works and envi­ron­ments? What are the dif­fer­ences between dig­i­tal rep­re­sen­ta­tions of an exist­ing museum build­ing and a purely vir­tual, web-based exhi­bi­tion space? How are we to study, clas­sify, pre­serve and exhibit Inter­net art works and col­lec­tions? How is the emer­gence of the ‘intan­gi­ble’ affect­ing her­itage, exhi­bi­tions design, art prac­tices and pub­lic par­tic­i­pa­tion? Is ‘intan­gi­ble museog­ra­phy’ a new field of spe­cial­iza­tion for schol­ars, museum pro­fes­sion­als and inde­pen­dent curators?

We wel­come 20-minute pre­sen­ta­tions, in Eng­lish, (fol­lowed by 10-minute dis­cus­sion) from a wide vari­ety of dis­ci­pli­nary per­spec­tives related to con­tem­po­rary art. Encour­aged top­ics and case stud­ies may include, but are not lim­ited to:

    – Dig­i­tal and Inter­net Art
    – Vir­tual Exhi­bi­tions
    – Online Col­lec­tions, Archives and Data Bases
    – Col­lab­o­ra­tive Con­tem­po­rary Art Projects
    – Dig­i­tal Preser­va­tion / Media Obso­les­cence
    – Com­mu­ni­ties and Social Par­tic­i­pa­tion
    – Art and Piracy
    – Roman­ti­cism, Empa­thy and Affect
    – Pol­i­tics and Activism
    – Vir­tual Muse­ums as Utopian Archi­tec­ture
    – Intan­gi­ble Museography

 
 
 

4 thoughts on “CFPs

  1.  
    » Local call for art­work and cre­ative nonfiction!

    Jour­nal 2020 at CU-Boulder (spon­sored by Pro­gram for Writ­ing & Rhetoric), seek­ing stu­dent sub­mis­sions by 21-October
    More infor­ma­tion on the student-run web­site

  2. Pro­posal

    Muse­ums

    Tech­nol­ogy has influ­enced the way muse­ums por­tray art and art pro­duc­tions due to the vast need for inter­ac­tive space. The museum will need to set spe­cific space in order to present the video pro­duc­tions. Within these spaces the dig­i­tal art will be pro­jected on the walls through­out the des­ig­nated spaces. View­ers are allowed to walk within the space in order to be more con­nected to the video piece. Being able to move between video spaces allows for a freer flow­ing museum expe­ri­ence. It allows for a lit­tle more fan­tasy within real­ity. It cre­ates a dif­fer­ent world by mor­ph­ing the two together. This vir­tual exhi­bi­tion is made with the wide vari­ety of videos rang­ing from dance pro­duc­tions, music doc­u­men­taries, etc. It allows to bring wider forms of art to a wider audience.

    –Kathryn, Kendra, Kayla

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