From info at metazoa.org  Thu Nov  6 10:35:51 2025
From: info at metazoa.org (metazoa.org)
Date: Thu, 6 Nov 2025 10:35:51 +0100
Subject: [spectre] CURRENT SCREENSAVER: Chaline Bang, Ren Loren Britton,
 Alice Strete & col. Cristina Cochior /Hands that hold the Networks/
Message-ID: <1ba6d7d5-0299-4d70-bb05-86c33999c6e2@metazoa.org>

Dear Spectres!

In Cyborg Manifesto, Donna J. Haraway describes the advent of 
information technology in industrial society as a shift from 
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informatics of domination”. Fortunately for all of us, however, there 
are also other, more humane networks that exist alongside these scary 
networks of domination. From queer and crip communities, Roma and Sinti 
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and collaborative learning—these are networks for existence beyond 
oppression. Networks that are more or less intertwined, networks for 
life in all its forms and preferences. Networks created by the long-term 
work of those who dream about another world and refuse to accept the 
relentlessly dehumanizing logic of patriarchal, ableist, chauvinistic, 
white-supremacist capitalism. [...] more 
athttps://screensaver.gallery/chaline-bang-ren-loren-britton-alice-strete-col-cristina-cochior-hands-that-hold-the-networks

written and curated by Andreas Gajdosik <https://gajdosik.org/>

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From paul at paul-brown.com  Thu Nov  6 19:59:51 2025
From: paul at paul-brown.com (Paul Brown)
Date: Fri, 7 Nov 2025 05:59:51 +1100
Subject: [spectre] [CAS] November Meeting - Why Are There So Many Great
 Women Artists in the Age of AI? - Anika Meier
Message-ID: <007E3775-8660-4C47-80DA-14BA4D1C260A@paul-brown.com>

R E M I N D E R

The Computer Arts Society 2025 programme continues

Why Are There So Many Great Women Artists in the Age of AI?
Speaker: Anika Meier; Moderator: Catherine Mason
18:00 GMT, Wednesday, 19 November 2025
Other time zones here:  https://www.timeanddate.com <https://www.timeanddate.com/> 

This event is via Zoom only.  Booking essential - link below.

Inverting Linda Nochlin’s famous question, the talk titled Why Are There So Many Great Women Artists in the Age of AI? by Berlin-based writer and curator Anika Meier explores how and why women artists are shaping the emerging field of art in the age of AI.  It examines how accessible technologies, such as AI and blockchain, along with the new online art world, have enabled women and non-binary artists to gain visibility and influence. At the same time, it considers whether this moment represents a lasting shift in art history or a fragile exception shaped by platform dynamics and novelty.

Anika Meier is a writer and curator specialising in digital art. She lives and works in Berlin, Germany, and teaches at the University of Applied Arts in Vienna (Class of UBERMORGEN, Department of Digital Art). She is the co-founder of The Second-Guess, a curatorial collective based in Berlin and Los Angeles that explores the relationship between humans and technology.  Among others, she wrote columns for Monopol and Kunstforum, worked with CIRCA and Tezos on Marina Abramović‘s first NFT Drop, and with Herbert W. Franke on his NFT Drop MATH ART. She was on the curation board of Art Blocks, on the advisory board of Haus der Elektronischen Künste in Basel, and built EXPANDED.ART.  She is also a conceptual artist who creates text-based works that critically reflect on identity, authorship, and value in the post-digital age, including LOST FUTURES (2023), TALE AS OLD AS TIME (2024), and TECHNOLOGY PORTRAITS (2025). In 2022, she collaborated with Operator to create UNSIGNED, a collection of 100 signatures from women and non-binary artists aimed at reversing the current negative value of signatures by transforming them into artworks themselves.  Her most recent curated exhibitions include The Second-Guess. Body Anxiety in the Age of AI at HeK Basel (Virtual), LeeMullican.PCX at FeralFile, Who Is Online? Game Art in the Age of Post-NFTism at HEK Basel (Virtual), Art NFT Linz at Francisco Carolinum in Linz, and Tribute to Herbert W. Franke (co-curated with Susanne Päch).  Her exhibitions have been written about, and her writing has been published in, among others, artnet, Hyperallergic, The Washington Post, Monopol, Kunstforum, Spiegel, Tagesschau, and Right Click Save.

Instagram: @anika <https://www.instagram.com/anika> | Twitter: @postanika <https://x.com/postanika> | Newsletter: Status Update <https://anikameierstatusupdate.substack.com/>

Catherine Mason is an arts historian specialising in the algorithmic arts and a member of the CAS Management Committee.

The event will be recorded and uploaded to the CAS YouTube Channel.

This event is via Zoom only and open to the public and is free, but you must book your place here:   https://computerartssociety191125.eventbrite.co.uk/
___________________________________

Our next meeting will be our AGM on Wednesday, 10 December at 17:00, followed by the opening of Sean Clark’s exhibition at 18:00.  Hybrid:  in-person and Zoom.

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


From andreas.broeckmann at leuphana.de  Sun Nov  9 14:36:05 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Sun, 9 Nov 2025 14:36:05 +0100
Subject: [spectre] CFP: Eastern Spiritualities and Peripheral Modernisms
 under State Socialism
Message-ID: <8f8b978e-97b6-45de-91c9-dd3e1575bb4a@leuphana.de>

From: Justyna Balisz-Schmelz
Date: Nov 8, 2025
Subject: CFP: Eastern Spiritualities and Peripheral Modernisms under 
State Socialism

Deadline: Dec 20, 2025

We are delighted to invite submissions of abstracts and full chapters 
for the forthcoming edited volume titled "Imaginary Spiritual Homes: 
Eastern Spiritualities and Peripheral Modernisms under State Socialism". 
With this volume, we aim to explore how “Eastern 
spirituality”—encompassing diverse traditions originating in Asia, such 
as Hinduism, Buddhism, Taoism, and Confucianism—shaped the artistic 
practices and visual expressions of artists working under post-1945 
socialist regimes.

In the context of state-enforced atheism, censorship, and the 
politicization of religion, spirituality often emerged as a complex 
field of negotiation—simultaneously personal and collective, private and 
political. While global interest in “Eastern spirituality” is often 
associated with the influence of New Age movements in the 1970s, the aim 
of this volume is to move beyond the diffusionist model and highlight 
that such fascinations often began much earlier. “Eastern spirituality” 
often reached the region in mediated forms, but it was not solely 
transmitted via Western intermediaries. While local and pre-war 
traditions, underground knowledge networks, circulating publications, 
and oral transmissions played a primary role, the writings of Carl Jung 
and various esoteric currents—including Theosophy, which incorporated 
elements of Eastern philosophy—also contributed to shaping how Eastern 
thought and visual and artistic vocabularies were imagined and adapted. 
As Timothy Rudbøg and Mikael Rothstein argue, Theosophy did not simply 
transmit Indian or Tibetan teachings, but rather produced a distinctly 
Western “imaginary Orient”—a symbolic geography of wisdom and authority 
blending projection, fantasy, and selective appropriation. Therefore, we 
want to ask whether a specifically Central and South Eastern European 
version of this “imaginary Orient” also emerged—one that found 
expression in distinctive visual practices and in theoretical 
reflections shaped by local philosophical / ideological debates, 
political realities, and artistic vocabularies formed under socialism.

Thus, the term "imaginary" in our title emphasizes both the creative and 
the constructed/projected dimensions of these spiritual “homes”—not as 
fixed realities, but as evolving symbolic geographies built at the 
intersection of desire, displacement, and imagination. Following 
Mandakini Dubey’s notion of “esoteric orientalism,” we also wish to 
stress that the orientalizing of spirituality in these contexts was not 
only a matter of exoticizing the East, but also of generating new 
spiritual identities through fantasy, longing, and symbolic re-mapping.

A central aim of this volume is to move beyond dominant center–periphery 
narratives in art history and instead focus on spiritual, aesthetic, and 
ideological exchanges between regions historically marginalized in 
global art discourse. Rather than tracing cultural flows from Western 
centers, we examine the entangled dialogues between different 
peripheries—particularly between Central and South Eastern Europe and 
parts of Asia—and how these exchanges, driven by engagements with 
Eastern spirituality, contributed not only to the emergence of 
distinctive “peripheral artistic modernisms” but also to innovative 
artistic practices across different media. In this context, spirituality 
functioned not merely as a subject of artistic interest, but as a 
driving force shaping new aesthetic, ideological, and symbolic 
vocabularies in the region.

We are further interested in artistic travels to Asia—especially to 
India and China—that took place within Cold War political frameworks or 
through cultural diplomacy, and how these ideologically driven movements 
contributed to long-lasting spiritual engagements. These encounters 
often created unexpected forms of identification and symbolic exchange, 
challenging colonial binaries and inviting new modes of seeing and 
being. They also raise questions about how imagination—as a mode of 
spiritual and political agency—shaped the ways artists constructed 
meaning under socialism.

We ask to what extent these appropriations were shaped by projection and 
fantasy, and to what extent they reflected genuine spiritual 
commitments. Likewise, we consider whether the 'East' in these artistic 
practices functioned as a literal source of knowledge, or rather as a 
symbolic homeland—an imaginary space of resistance, belonging, and 
spiritual transformation.

We especially welcome contributions that engage with new methodological 
perspectives—particularly those informed by postcolonial and decolonial 
thought—exploring how Eastern spiritual practices functioned not only as 
forms of inner emigration, but also as instruments of critique, healing, 
resistance, and transformation, as well as sites of cultural translation 
and appropriation, shaping artistic practices and visual experimentation.

Topics of interest include, but are not limited to:
- How did artists engage with Eastern spiritual imagery inside and 
outside official doctrine or institutional frameworks?
- In what ways did “Eastern spirituality” provide a symbolic visual 
language for dissent, introspection, or community-building?
- How were individual quests for meaning (or “spiritual homes”) shaped 
by the political, social, or aesthetic constraints of socialism?
- What iconographies, narratives, or rituals were reactivated, 
subverted, or reinterpreted in this process?
- How did pre-war and interwar traditions of esotericism and Eastern 
philosophy/spirituality influence socialist-era art?
- The role of artists from India and China in shaping local artistic 
environments.
- What role did Theosophy and other esoteric frameworks play in shaping 
visual imaginaries of “the East,” and how can these be interpreted 
through the lens of esoteric orientalism?
- Can “Eastern spirituality” in art be read as a form of “soft 
resistance,” inner exile, or cultural continuity?
- What role did artistic travels to India, China, or other non-Western 
contexts play in reshaping spiritual and visual vocabularies?
- How did Eastern spirituality shape understandings of the function of 
art and contribute to the co-creation of artistic theories and visual 
languages?
- How did transnational contacts between marginalized regions generate 
alternative models of cultural exchange?
- How did exchanges between peripheral regions (e.g., Central and South 
Eastern Europe and Asia), often driven by spiritual engagements, 
contribute to the emergence of peripheral modernisms?
- How did engagements with Eastern spirituality inform artistic 
processes, experimental approaches, and visual vocabularies across 
different media in Central and Eastern European art?
- To what extent was engagement with Eastern religions a superficial 
adaptation or stereotyping, and to what extent did it represent a 
profound, genuine commitment?
- How do postcolonial, feminist, eco-spiritual, or comparative religious 
approaches help us reread these artistic spiritual engagements today?
- In what ways did these practices anticipate or shape post-socialist 
reconfigurations of artistic spiritual life and the understanding of 
“spirituality” in post-socialist countries?

Submission Guidelines
Abstract: up to 400 words and a brief author bio (max. 250 words)
Abstract submission deadline: 20 December 2025
Notification of acceptance: 5 January 2026
Submission of full chapters in English (8,000 words, including notes and 
bibliography): 1 June 2026

Submission Emails
Please sent submission to both of the following addresses:
Maria Alina Asavei, Ph.D., Charles University, Prague, International 
Studies Institute, maria.asavei at fsv.cuni.cz Justyna Balisz-Schmelz, 
Ph.D., Warsaw University, Institute of Art History 
j.balisz-schmelz at uw.edu.pl

Reference / Quellennachweis:
CFP: Eastern Spiritualities and Peripheral Modernisms under State 
Socialism. In: ArtHist.net, Nov 8, 2025. 
<https://arthist.net/archive/51094>.

_____________________________________________________________________

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

Editorial Board Contact Address / Fragen an die Redaktion:
editors at arthist.net

Submit contributions to / Beiträge bitte an:
https://arthist.net/mailing-list/mode=contribute

Update your subscription / Abo-Verwaltung:
https://arthist.net/admin/


From andreas.broeckmann at leuphana.de  Tue Nov 11 09:35:16 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Tue, 11 Nov 2025 09:35:16 +0100
Subject: [spectre] CFP: AlterPlastics: Histories, Aesthetics,
 Ontologies [synthetic polymers / alternative modernities]
Message-ID: <7da92986-b647-43d0-a51f-04fe3eeb9c8f@leuphana.de>

From: Andrija Filipovic
Date: Nov 9, 2025
Subject: CFP: AlterPlastics: Histories, Aesthetics, Ontologies

Deadline: Feb 1, 2026

“I, I wear a plastic suit / Plastic is my food / Perhaps, I’m plastic 
too,” sang the iconic Yugoslav New Wave band Idoli in their 1981 song 
“Plastika” (“Plastics”). These lyrics captured a 1980s moment in which 
Yugoslav production, import, and consumption of plastics reached their 
peak. Yet the groundwork for it had been laid in the preceding decades, 
since plastics production had begun shortly after the Second World War 
and rapidly permeated all aspects of everyday life (see Filipović 2023). 
Importantly, Yugoslavia’s trajectory differed from that of the Eastern 
Bloc. Having broken with the USSR in 1948, adopted a system of 
self-managing socialism by 1952, and become a founding member of the 
Non-Aligned Movement in 1961, Yugoslavia occupied a unique geopolitical 
position. This enabled it both to import technologies for plastic 
production and to export plastic products to the Western Bloc. Such 
dynamics also extended into the artistic sphere, shaping the use of 
plastics in both applied and fine arts.

By contrast, the countries of the Eastern Bloc, though diverse and 
shaped by distinct socio-cultural factors, shared the general 
characteristics of Soviet-style planned economies. In these contexts, 
plastics operated at the intersection of several socio-economic 
imperatives. In the German Democratic Republic, for example, plastics 
brought together “the needs of the political economy, the aesthetic 
ideology of modernist industrial designers, and the desires of the 
population for a modern yet efficient life” (Rubin 2008: 2).

While studies of plastics in the West are still rare and tend to focus 
largely on contemporary arts – see Gabrys, Hawkins and Michael (2013), 
Boetzkes (2019), Lambert (2020), Irr (2021), Davis (2022), and Konrad 
(2023) – they are even scarcer when it comes to the (former) Eastern 
Bloc, the Non-Aligned countries, or the contemporary Global South. With 
the title AlterPlastics, we seek to capture the entanglement of 
synthetic polymers with multiple non-capitalist and non-Western 
alternative modernities that emerged in the wake of the Second World 
War, modernities shaped by postcolonial and socialist cultural and 
socio-economic transformations. These processes have given rise to a 
multiplicity of postsocialist and postcolonial planetary 
contemporaneities across what is today called the Global South and the 
former East, all finding their common denominator in what is by now 
commonly described as the Plasticene epoch: an era defined by the 
intensifying extraction of fossil fuels and the overconsumption of 
synthetic polymers.

This volume seeks to address the overlooked histories, aesthetics, and 
ontologies of plastics, with a particular focus on the countries of the 
Eastern Bloc and those belonging to the Non-Aligned Movement, as well as 
the contemporary Global South. We aim to explore how various plastics 
were understood and used across Eastern and Central Europe, Africa, 
Asia, and Latin America during the Cold War, postcolonial and 
postsocialist periods, and to examine their long-term cultural and 
environmental implications. With multiple postcolonial and postsocialist 
temporalities – and plastics themselves – becoming planetary, we also 
invite contributors to trace the entanglements of the postsocialist East 
and postcolonial Global South with the capitalist West and Global North, 
as refracted through plastics.

Material Histories of Synthetic Polymers after the Second World War

We invite chapters that examine the sources of plastics and the 
technologies used in their production. How did plastics participate in 
the establishment of oil cultures and the construction of petromodernity 
in the Eastern Bloc and the Non-Aligned countries? How did the 
technologies and everyday uses of plastics circulate across borders – 
within the Eastern Bloc, among the Non-Aligned countries, and between 
those and the West? Were there reciprocal influences, with ideas or 
practices moving from East to West? How did state institutions and party 
bodies respond to extractive technologies and plastics in general? How 
was plastic waste conceptualized and managed?

Plastics in Art, Design, and Architecture in the Eastern Bloc, 
Non-Aligned Countries and the Global South during and after the Cold War

We are interested in how plastics were used in fine and applied arts 
across different manifestations of socialism in the Eastern Bloc and 
among the Non-Aligned countries. How were plastics conceptualized in 
aesthetics, design, and architectural theory? How did artists and 
designers engage plastics as a material in their work? How did the 
Western Bloc’s use of plastics shape practices in the Eastern Bloc and 
Non-Aligned countries – and vice versa? We are also interested in the 
consequences of situating art, design, and architecture within the 
context of socialist and postcolonial petrocultures. What happens to 
these practices when we follow the material trajectory of plastic – from 
its source in crude oil to its final destination in landfills?

Ontologies of Planetary Synthetics in the Plasticene

Plastics are ubiquitous today, yet don’t seem to have given rise to 
corresponding reconceptualizations of spatial and temporal realms. We 
invite chapters that consider the ontologies of plastics in a moment 
when synthetics have become truly planetary. What kinds of 
spatiotemporalities emerge with the Plasticene calling into question 
earlier categories of thinking? Can we envision a postsocialist theory 
of plastics? What might ontologies of plastics look like from the Global 
South? What would decolonial or Indigenous ontologies of plastics 
entail? Moreover, how do the socio-economic systems producing and 
consuming plastics in the West and Global North appear when viewed from 
the former East or the contemporary Global South? And can a different 
ontopolitics of synthetics emerge from such perspectives?

Please send proposed chapter abstracts (300-500 words) together with 
short biographical notes (150-200 words) to andrija.filipovic at fmk.edu.rs 
and m.jobst at leedsbeckett.ac.uk by 1st February 2025. All authors will 
receive responses by 15th February, after which further details will be 
circulated to chapter authors whose proposals have been accepted. The 
book proposal will be placed with a highly established academic publisher.

Andrija Filipović is Associate Professor of Philosophy and Art & Media 
Theory at the Faculty of Media and Communications in Belgrade, Serbia. 
They are the author of (in Serbian) Ars ahumana: Anthropocene 
ontographies in 21st century art and culture (2022), Conditio ahumana: 
Immanence and the ahuman in the Anthropocene (2019). Their articles 
appeared in Sexualities, European Journal of Cultural Studies, Journal 
of Homosexuality, Contemporary Social Science, and a number of edited 
volumes such as Plastics, Environment, Culture and the Politics of Waste 
(Edinburgh University Press, 2023), Sound Affects: A User’s Guide 
(Bloomsbury, 2023), and The Routledge Companion to Gender and Affect 
(Routledge, 2022). Their research interests include environmental 
humanities, queer studies and philosophy.

Marko Jobst is Senior Lecturer at Leeds School of Architecture. He holds 
a Diploma in Architecture from Belgrade University and MArch, MSc and 
PhD in architectural history and theory from The Bartlett School of 
Architecture, UCL. He is the author of A Ficto-Historical Theory of the 
London Underground (2017) and co-editor of Architectural Affects After 
Deleuze and Guattari with Prof Hélène Frichot (2021), Queering 
Architecture: Methods, Practices, Spaces, Pedagogies with Prof Naomi 
Stead (2023), and Instituting Worlds: Architecture and Islands with Prof 
Catharina Gabrielsson (2024). His research interests include the 
philosophy of Gilles Deleuze, affect and queer theories, and 
performative modes of writing.

References

Boetzkes, Amanda. 2019. Plastic Capitalism: Contemporary Art and the 
Drive to Waste. Cambridge: MIT Press.

Davis, Heather. 2022. Plastic Matter. Durham: Duke University Press.

Filipović, Andrija. 2023. “Jugoplastika: Plastics and Postsocialist 
Realism.” In Plastics, Environment, Culture and the Politics of Waste, 
edited by Tatiana Konrad, 125-142. Edinburgh: Edinburgh University Press.

Gabrys, Jennifer, Gay Hawkins and Mike Michael. eds. 2013. Accumulation: 
The Material Politics of Plastic. London and New York: Routledge.

Irr, Caren. ed. 2021. Life in Plastic: Artistic Responses to 
Petromodernity. Minneapolis: University of Minnesota Press.

Konrad, Tatiana. ed. 2023. Plastics, Environment, Culture and the 
Politics of Waste. Edinburgh: Edinburgh University Press.

Lambert, Susan. ed. 2020. Provocative Plastics: Their Value in Design 
and Material Culture. Cham: Palgrave Macmillan.

Rubin, Eli. 2008. Synthetic Socialism: Plastics and Dictatorship in the 
German Democratic Republic. Chapel Hill: The University of North 
Carolina Press.


Reference / Quellennachweis:
CFP: AlterPlastics: Histories, Aesthetics, Ontologies. In: ArtHist.net, 
Nov 9, 2025. <https://arthist.net/archive/51100>.

From mail at garyhall.info  Wed Nov 12 15:43:34 2025
From: mail at garyhall.info (Gary Hall)
Date: Wed, 12 Nov 2025 14:43:34 +0000
Subject: [spectre] On Girlblogging and Giving Up: Three new reviews in the
 Robot Review of Books
Message-ID: <ab143c5f-1cf6-41ff-89c7-f481e253ddc7@garyhall.info>

Announcing three new reviews in the AI 'magazine' Robot Review of Books:

https://www.robotreviewofbooks.org/


RRB #17 I’m Like a PDF But a Girl: Girlblogging as a Nomadic Pedagogy by 
Ester Freider

I'm Like a PDF But a Girl explores girlblogging culture as a 
transformative form of cyberfeminist pedagogy. Blending literary 
analysis, digital ethnography and personal experience, Freider reframes 
Tumblr as a living research field. Girlblogging here is not a frivolous 
pastime: it’s a form of pirate feminism, a radical engagement with 
information's transformative potential.


RRB #18 On Giving Up by Adam Phillips - Part I: On Curiosity

In On Giving Up, Adam Phillips suggests that to feel alive we must 
relinquish our ‘habitual tactics and techniques’ for deadening 
ourselves. His book can be read as an invitation to notice not just what 
we give up but also what we cling to. Yet what does Phillips himself 
cling to in the very act of writing about giving up?


RRB #19 On Giving Up by Adam Phillips - Part II: On Aliveness

What alternative experiments in writing and publishing today embody what 
Phillips insists we need: ways of sustaining aliveness in writing, 
publishing, and thinking, the ‘true antidote to giving up’? 
Computational books? Processual books? Robot reviews of books?


---

Robot Review of Books:

https://www.robotreviewofbooks.org/ 
<https://archive.org/details/no-1-rrb-introduction-v-2>

The Robot Review of Books is an AI ‘magazine’ consisting of short 
computational media essays that are typically structured as book 
reviews. Think of it as a 21st century version of the London Review of 
Books - although in being presented by AI avatars it’s the first of its 
kind.

  Free: No subscriptions, no paywalls.

  Non-Surveillance Capitalist: Viewer privacy is respected with no 
collection, storage or sale of personal data.

  Quiet: No hype, no appeals for likes, shares or follows.

The RRB has a bibliodiverse editorial policy that takes in works from 
alternative, independent and open access publishers, not just legacy 
print presses, in an attempt to avoid repeating the same old 
pre-programmed ideas and patterns of behaviour. This policy extends from 
material published by ‘professional’ entities in authoritative formats, 
such as books and journal articles, through that made available more 
informally using blogs, websites and newsletters, to experiments with 
collaborative publishing platforms, so-called internet piracy and 
beyond. Both established knowledges and those that are perhaps 
considered a little strange when measured against the dominant criteria 
of the Euro-Western university are part of this bibliodiversity. Texts 
authored substantially by AI, for example.


-- 
Gary Hall
Professor of Media
Centre for Postdigital Cultures, Coventry University

Director of Open Humanities Press:http://www.openhumanitiespress.org 
Blog:http://garyhall.squarespace.com/journal/

Latest:

Book: Masked Media: What It Means to Be Human in the Age of Artificial Creative Intelligence:http://www.openhumanitiespress.org/books/titles/masked-media/

Journal issue: Ecologies of Dissemination issue of PARSE Journal #21 - Summer 2025, edited by Eva Weinmayr and Femke Snelting:https://parsejournal.com/journal/#ecologies-of-dissemination. (I'm one of the contributors to this experimental issue which emphasizes collective over individual authorship.)

Video: 'Liquidate AI Art', Computer Arts Society:https://www.bcs.org/events-calendar/2025/october/webinar-liquidate-ai-art




















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From paul at paul-brown.com  Fri Nov 14 06:59:32 2025
From: paul at paul-brown.com (Paul Brown)
Date: Fri, 14 Nov 2025 16:59:32 +1100
Subject: [spectre] =?utf-8?q?=5BCAS=5D_AGM_=26_Exhibition_Opening_?=
 =?utf-8?q?=E2=80=93_Computational_Constructs_by_Sean_Clark?=
Message-ID: <1067F45F-D3CF-48FB-9E1B-452943D1C9AB@paul-brown.com>

The Computer Arts Society 2025 programme concludes

AGM & Exhibition Opening – Computational Constructs
Speaker:  Sean Clark;  Moderator:  Nick Lambert
17:00 GMT, Wednesday, 10 December 2025, Annual General Meeting
18:00 GMT, Artists Talk and Opening Reception
Other time zones here:  https://www.timeanddate.com <https://www.timeanddate.com/> 

This hybrid event will be held In-Person and via Zoom.  Booking link below.
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/

Computer Arts Society (CAS) Chair Sean Clark discusses his latest body of artwork - Computational Constructs. In this talk to launch an exhibition of his work at BCS Moorgate, he presents the motivations behind his work, and introduces the concept of a “reconstructavist” aesthetic and how he uses systems concepts to inspire how he works. As well as the 20 prints on display, Sean will present a multi-user mobile phone version of Computational Constructs, together with early experiments in generating sound, not just images, with his generative systems. 

Sean Clark is an independent artist and curator based in Leicestershire, UK. He has a PhD in Computational Art from De Montfort University and, as well as being Chair of CAS, runs the Computer Arts Archive CIC. He is a Fellow of the BCS Chartered Institute for IT.

The presentation will be preceded by the CAS AGM and followed by a reception and an opportunity to view the exhibition.  The event will be recorded and uploaded to the CAS YouTube Channel.

This hybrid event is in-person and via Zoom, open to the public and free to attend, but you must reserve your place here: https://ComputerArtsSociety101225.eventbrite.co.uk <https://computerartssociety101225.eventbrite.co.uk/>.

If you wish to attend the AGM, please turn up before 17:00.  If you only wish to attend the talk and reception, please turn up between 17:50 and 18:00.

___________________________________

Our next meeting will be our Annual Jasia Reichardt Lecture by William Latham with moderator and discussant Bronaċ Ferran on Wednesday, 21 January 2026.  Hybrid:  in-person and Zoom.

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


From gif at 220hex.org  Thu Nov 20 15:10:05 2025
From: gif at 220hex.org (220hex)
Date: Thu, 20 Nov 2025 15:10:05 +0100
Subject: [spectre] =?utf-8?q?PIKSEL25_ro=C2=A9t=28net=29work=7E_Festival_F?=
 =?utf-8?q?ULL_program?=
Message-ID: <9ae42dc3-5bd5-4314-9927-dae3b098bc5e@220hex.org>

Piksel festival for kunst og fri teknologi!
Piksel Festival for Art and Technological Freedom!

---+++---+++---+++---+++---+++---

Welcome to the 23rd edition of the Piksel Festival for Art and 
Technological Freedom! 💫

 From November 20th to 23rd, Bergen transforms into the stage for 
cutting-edge electronic art, with 3 days of workshops, artist 
presentations, audiovisual concerts and exhibitions across the city.

This year’s venues — Alt Går Bra, Østre, Studio 207, the Natural History 
Museum, and Piksel HQ — will host a vibrant mix of experimentation, 
technology, and creativity.

We've added online and streaming activities to our Twitch channel and 
FRIKANALEN TV!

PIKSEL25 ro©t(net)work~

--

FULL PROGRAM

Exhibitions 20 – 23 NOV | Opening hours 12-18h - Piksel Studio 207 @Alt 
Går Bra

Live streaming channels:

Twitcht Pikselfest: https://www.twitch.tv/pikselfest

Frikanalen: https://frikanalen.no/

Venues: https://25.piksel.no/#venues

Piksel25 // Perma/Soils // Pikselsavers // PikselFLIX exhibitions:
https://25.piksel.no/#program:exhibition

Piksel DIY Thread by Piksel, Speculative Evolution by Marc Lee, The 
Tradwives by Malte Steiner, Signal by Paul Magee, Cube Insect by Rajat 
Mondal, KUNST KAPUTT by Senaida Ng, A Series of Tubes by Nick Montfort, 
amazin poet by visual_punk_ltd, Bouquet v1.0 by Hadaly Villasclaras, 
Caete Scope by Francisco Ortiz de Carvalho, February by Daniil Nikitin, 
Cabinet of Cognition by Derek Curry and Jennifer Gradecki, A Kinetic 
Exploration of Alzheimer’s Disease by Anna Diessner, Cannibal Slops by 
Bureau de Crise / Marta Revuelta and Laurent Weingart, _can you not drop 
this for me, plz? by Alina Bardavid, Intertwined by Vibeke Bertelsen, I 
Act Comfortably With Others by Lee Tusman, Compost Computacional by 
Marina Otero Verzier, Solar4Rain, an atmospheric PUNK symbiosis by Maite 
Cajaraville and Gisle Frøysland, Umi No Oya (ウミノヲヤ) – The Mother of the 
Sea by Maya Minder and Ewen Chardronnet, Toxins Colors System by Cecilia 
Jonsson, A feeling of longing that freezes and thaws by Taylor Alaina 
Liebenstein Smith.



/// THURSDAY NOV 20 ///
20:00 Piksel25 Exhibition Opening Night Festival - Studio 207 & Alt Går Bra



/// FRIDAY NOV 21 ///

11:30-14h Artists presentations - Studio 207 / Twitch / Frikanalen 
(Streaming activity)
https://25.piksel.no/mud_event/artists-presentations/
11:30 desintegrations, Patrick Fontana and Pierre-Yves Fave
12:00 ‘Hydra sCC’:A modular tangible user interface for live coding 
video performances with Hydra, Victor Mahech
12:30 Compost Computer: More-Than-Human Design through Critical Climate 
Computing, Mariana Marangoni
13:00 seismic2midi, Jeremy Leung

14-19h FEED ME – A Live Cooking Noise Performance, APO33 Collective - 
Studio 207
https://25.piksel.no/projects/feed-me-a-live-cooking-noise-performance/

20-23h Streaming and IRL LIVE PERFORMANCE NIGHT
Studio 207 / Twitch / Frikanalen (Streaming activity)
https://25.piksel.no/mud_event/streaming-live-performance-night/
20:00 Troubèr – Telepæsants, Michał Seta & Dirk Johan Stromberg
20:40 Crystallization – The Networked Ensemble, Andreja Andrić, 
Małgorzata Żurada, Marija Šumarac
21:20 Big Microsounds – Andreas Monopolis (MoCM)
22:00 NoNoNoMoreLessPlease, Leon Volbers (IN REAL LIFE)



/// SATURDAY NOV 22 ///

10-13h PERMA/SOILS Seminar
Museum of Natural History / Twitch / Frikanalen (Streaming activity)
https://25.piksel.no/mud_event/seminar-perma-soils/
10:05 Dr. Davina Kaur Patel
10:40 The Poetics of Permafrost in a +2°C World / Taylor Alaina 
Liebenstein Smith
11:15 More-Than-Planet: From the mountains to the sea, searching for a 
planetary peasants movement / Ewen Chardronnet
11:50 Soil Assembly -Soil Ecologies, Living Pedagogies, and 
Permacircularities /Maya Minder
12:30 Computational Compost / Marina Otero Verzier

14-16h PERMA/SOILS Screening and happening seaweed & oyster bar by Maya 
Minder & Ewen Chardronnet
Studio 207
https://25.piksel.no/mud_event/screening-perma-soils/
Compost Computacional, Marina Otero Verzier, Umi No Oya (ウミノヲヤ) – The 
Mother of the Sea by Maya Minder & Ewen Chardronnet.

21-02h PIKSEL25 AV Performances night - Østre / Twitch Pikselfest / 
Frikanalen (Streaming activity)
https://25.piksel.no/mud_event/av-performances-night/
21:30 Elektronengehirn: Hardware By Malte Steiner
22:30 Interim Dissonance By Lilu Herlambang Aka A.V.Suals & Dr. Nexus
23:30 Constructions Of Collapse And Desire By Natasha Barrett
24: 30 Amazin By Visual_Punk_Ltd



/// SUNDAY NOV 23 ///

Exhibition Opening hours 12-18h



PIKSEL25 ro©t(net)work~ festival

https://25.piksel.no

📍 Bergen, Norway
📅 November 20–23

#Piksel25 #ElectronicArt #FreeTech #Bergen #ArtFestival #AudiovisualArt 
#NewMediaArt #PikselFestival

Piksel is an international festival for electronic art and technological 
freedom. Part workshop, part festival, it is organised in Bergen, 
Norway, and involves participants from more than a dozen countries 
exchanging ideas, coding, presenting art and software projects, doing 
workshops, performances and discussions on the aesthetics and politics 
of art and free technologies.

Piksel is supported by the Municipality of Bergen, Arts Council Norway 
and others.

https://piksel.no


From mail at garyhall.info  Thu Nov 27 17:57:31 2025
From: mail at garyhall.info (Gary Hall)
Date: Thu, 27 Nov 2025 16:57:31 +0000
Subject: [spectre] THE CYBERBAROQUE: an everyone is a girl (EIAG) symposium
Message-ID: <6a808f2f-e996-4dd2-9554-12c99c010c3a@garyhall.info>

Wanted to let you know about this event in London on Monday (December 1) 
evening.

THE CYBERBAROQUE: an everyone is a girl (EIAG) symposium

Ticket link and further details here:

https://www.eventbrite.com/e/the-cyberbaroque-an-eiag-symposium-tickets-1967666666969?aff=oddtdtcreator

This symposium will explore the idea of the cyberbaroque allegory 
through presentations, a reading, a workshop, and a film screening.

WHAT IS THE CYBERBAROQUE?

In EIAG’s most self-indulgent event yet, curator Ester Freider presents 
a symposium on the neologism 𝒸𝓎𝒷𝑒𝓇𝒷𝒶𝓇𝑜𝓆𝓊𝑒 from her essay ‘I 
LOST TRACK OF WHAT WAS REAL’:

https://everyoneisagirl.substack.com/p/i-lost-track-of-what-is-real-personas

Using Belle Delphine, #deleuze and William Egginton as guiding 
influence(r)s, the essay constructs the 𝒸𝓎𝒷𝑒𝓇𝒷𝒶𝓇𝑜𝓆𝓊𝑒 as an 
allegory for control or governance through sophistry.

Some guiding questions for the symposium will be: How does the ethos of 
advertising affect the contemporary art-making process? How have baroque 
characteristics such as excess and illusion resurgere in contemporary 
media? What is the value of a trickster?

At the symposium, we’ll be tracing around this idea through 
presentations from writer Gabrielle Sicam, writer MPS Simpson, and 
Ester, a prose reading from Janice Chan, a ‘SCREENSHOT BABEL’ mini 
writing workshop from Ester and media theorist Gary Hall, a screening of 
Dana Dawud’s film MONAD, and exclusive EIAG merch.

Drinks provided by Anomalous.

Presentations start at 6:30 sharp.


-- 
Gary Hall
Professor of Media
Centre for Postdigital Cultures, Coventry University

Director of Open Humanities Press: http://www.openhumanitiespress.org
Blog: http://garyhall.squarespace.com/journal/

Latest:

Book: Masked Media: What It Means to Be Human in the Age of Artificial Creative Intelligence: http://www.openhumanitiespress.org/books/titles/masked-media/

Journal issue: Ecologies of Dissemination issue of PARSE Journal #21 - Summer 2025, edited by Eva Weinmayr and Femke Snelting: https://parsejournal.com/journal/#ecologies-of-dissemination. (I'm one of the contributors to this experimental issue which emphasizes collective over individual authorship.)

Video: 'Liquidate AI Art', Computer Arts Society: https://www.bcs.org/events-calendar/2025/october/webinar-liquidate-ai-art






















From andreas.broeckmann at leuphana.de  Sun Nov 30 07:51:47 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Sun, 30 Nov 2025 07:51:47 +0100
Subject: [spectre] CFP: Art in Society (Zagreb, 1-4 Jul 26)
Message-ID: <c3ff9eb0-865c-49c1-bd47-297fa9292aeb@leuphana.de>

From: Dragan Damjanović
Date: Nov 28, 2025
Subject: CFP: Art in Society (Zagreb, 1-4 Jul 26)

University of Zagreb, Faculty of Humanities and Social Sciences, Jul 
1–04, 2026
Deadline: Feb 10, 2026

This conference explores art as a dynamic force embedded in social and 
cultural life, shaping and reflecting the communities in which it is 
created and in which it exists and circulates. Artworks and artistic 
practices are active participants in negotiating political, religious, 
and cultural identities, challenging social hierarchies, and offering 
new ways of seeing and understanding the world. They intervene in social 
life by generating knowledge, amplifying marginalized voices, and 
fostering dialogue across diverse communities through participatory 
urban, rural, nature-based projects, public installations, 
interventions, performances, exhibitions, or digital platforms. Art’s 
symbolic and epistemic power allows it to question dominant narratives, 
create alternative perspectives, and expand collective understanding, 
while collaborative production and audience engagement further transform 
both meaning and social impact.

This conference invites contributions that examine the multiple roles of 
art in society, including its social, cultural, and epistemic 
dimensions, and its potential to engage communities, challenge 
assumptions, and foster meaningful connections.

Contributions from disciplines beyond art history—including sociology, 
anthropology, cultural studies, architecture, urban studies, media 
studies, and related fields—are also encouraged, reflecting the 
conference’s interdisciplinary focus. Also welcome are critical 
approaches that question established frameworks and methodologies, 
examine power relations, and reflect on the assumptions of art’s social, 
cultural, and epistemic roles.

The following themes, among others, are of particular interest:

1.    Shaping community identities through and by art – political, 
religious, and diverse social identities 2.    Art’s role in social 
transformation – social housing, urban planning, community engagement, 
ecological initiatives
3.    Engagement of art historians and institutions in wider social 
contexts – through educational initiatives, media, and cultural 
activities, including art in schools, television, and social media platforms
4.    Collaborative relationships in the production and communication of 
art – including architecture, public installations, participatory 
projects, and the organization and design of exhibitions, where 
interactions between experts, artists, and audiences (physical or 
digital) are central
5.    The life of artworks in society – including provenance research, 
alterations and interventions on historic art in public places, and other

Abstract submission deadline: 10 February 2026.
Notification of submission outcome: by 25 February 2026.

Paper proposals should contain author(s)’s name(s), affiliation, title 
and the body of text, written in English, which should not exceed 400 
words and a short author’s biography not longer than 250 words.
Prospective participants may also submit a session proposal; however, in 
such cases, the proposal must include the names of all presenters in the 
session, and the necessary accompanying information (abstract, bios, 
affiliation).

More info on the conference and conference fee at: 
https://artins.ffzg.unizg.hr/

The official language of the conference is English.

The conference is organised as part of the research project: 
“Representation, Development, Education, Participation – Art in Society 
in 19th – 21st Centuries", IP-2022-10-9843, funded by the Croatian 
Sciences Foundation”.

Reference / Quellennachweis:
CFP: Art in Society (Zagreb, 1-4 Jul 26). In: ArtHist.net, Nov 28, 2025. 
<https://arthist.net/archive/51244>.

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