From paul at paul-brown.com  Wed Oct  1 07:08:43 2025
From: paul at paul-brown.com (Paul Brown)
Date: Wed, 1 Oct 2025 15:08:43 +1000
Subject: [spectre] [NEW-MEDIA-CURATING] [CAS] October Talk:  Gary Hall,
 Liquidate AI Art
Message-ID: <3902D718-5357-4B0B-B200-63855F464099@paul-brown.com>

R E M I N D E R

The Computer Arts Society 2025 programme continues

Liquidate AI Art

Speaker: Gary Hall; Moderator: Sean Clark
18:00 BST, Wednesday, 15 October 2025
Other time zones here:  https://www.timeanddate.com <https://www.timeanddate.com/> 

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

This talk expands on my recent book Masked Media: What It Means to be Human in the Age of Artificial Creative Intelligence <https://www.openhumanitiespress.org/books/titles/masked-media/>. It argues for liquidating AI art, not out of a dismissal of artificial intelligence as techno-fascist <https://berlinergazette.de/resisting-the-techno-fascist-takeover-are-we-ready-for-decomputing/>, nihilist <https://davidgolumbia.medium.com/chatgpt-should-not-exist-aab0867abace> or parrot-like <https://dl.acm.org/doi/pdf/10.1145/3442188.3445922>, but an insistence that art has always been created by assemblages of humans and nonhumans. There is no pure, authentic human creativity to distinguish from works generated with technologies like Stable Diffusion. 

The talk references the International Coalition for the Liquidation of Art – whose members included Gustav Metzger, first editor of the CAS bulletin PAGE – and especially Frieder Nake’s assertion in PAGE 18 that ‘there should be no computer art <https://computer-arts-society.com/exhibitions/listen-scoundrels/listen-scoundrels.pdf>’. For Nake, art should not be divided into commodifiable styles based on the tools used, but should instead function as a radical force capable of disrupting the hierarchies of the bourgeois art world. 

Picking up on this challenge, ‘Liquidate AI Art’ shows how UK arts funding today overwhelmingly benefits upper- and middle-class, privately educated Oxbridge graduates. Efforts to promote inclusion through social mobility risk reinforcing this unjust system. What’s needed is a redistribution of resources – e.g. through the liquidation of the UK’s copyright regime – to support radically different artistic practices beyond the white, male, middle-class, liberal humanist norm. 

Gary Hall is a media philosopher experimenting with new ways of working as a non-legacy critical theorist within today's ‘techno-environmental-war complex’. He is Professor of Media <https://pureportal.coventry.ac.uk/en/persons/gary-hall> at Coventry University and founding co-director of the Centre for Postdigital Cultures <http://www.coventry.ac.uk/research/areas-of-research/postdigital-cultures/>. His books include: Masked Media: What It Means To Be Human in the Age of Artificial Creative Intelligence <http://www.openhumanitiespress.org/books/titles/masked-media/> (explicitly co-written with a radically relational assemblage of humans and nonhumans, including AI); A Stubborn Fury: How Writing Works In Elitist Britain <http://www.openhumanitiespress.org/books/titles/a-stubborn-fury/>; and Pirate Philosophy <https://mitpress.mit.edu/9780262034401/pirate-philosophy/>. He is also co-founder of the open-access journal Culture Machine <http://www.culturemachine.net/> and publisher Open Humanities Press <http://openhumanitiespress.org/>

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://ComputerArtsSociety151025.eventbrite.co.uk <https://computerartssociety151025.eventbrite.co.uk/>
___________________________________

Our next meeting will feature a talk by Anika Meier on Wednesday, 19 November 2025, via Zoom.
You can see our future programme here: https://computer-arts-society.com/events/index.html


From info at eipcp.net  Wed Oct  1 15:05:01 2025
From: info at eipcp.net (info at eipcp.net)
Date: Wed, 01 Oct 2025 15:05:01 +0200
Subject: [spectre] QUEER TOSQUELLES | TOSQUELLES transversal
Message-ID: <1759323901335946345.1.981632354901565660@07024972e83e>

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From andreas.broeckmann at leuphana.de  Thu Oct  2 11:36:10 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Thu, 2 Oct 2025 11:36:10 +0200
Subject: [spectre] CFP: Infrastructures of Selling Art in Socialism and
 Postsocialism
Message-ID: <a0bdc500-ca70-4fd2-ba9f-b4f0c6269a89@leuphana.de>

From: Kristof Nagy
Date: Sep 30, 2025
Subject: CFP: Infrastructures of Selling Art in Socialism and Postsocialism

Deadline: Nov 30, 2025

Infrastructures of Selling Modern and Contemporary Art in Socialism and 
Postsocialism.

We invite proposals for a forthcoming edited volume that critically 
examines the infrastructures of art markets in Central and Eastern 
Europe during and after the socialist era. This peer-reviewed volume 
aims to shed light on the diverse systems that enabled the production, 
distribution, and exchange of modern and contemporary art, not only 
through established institutions but also through lesser-known or 
subversive practices. By exploring both formal and informal mechanisms, 
this volume seeks to rethink the ways in which art is acquired, traded, 
and circulated within specific regimes and across borders.

Topics may include, but are not limited to:
- State involvement: Government initiatives, regulations, commissions 
(e.g., for monumental art, murals), guaranteed purchases, “soft power” 
politics, and foreign currency needs.
- State ideologies and political agendas: censorship, restrictions, 
manipulation, promotion or marginalisation of specific artists and 
movements.
- Trading platforms and networks: Museums, galleries, auction houses, 
art fairs, collectives, and unconventional venues (e.g., hotels, 
apartments) shaping art circulation and valuation.
- New art forms: Non-traditional practices (e.g., performance and 
conceptual art) resisting conventional collecting and developing 
alternative modes of exchange.
- Social Settings: Class, gender, religion, and other network and 
community aspects in the production, transfer, and circulation of 
contemporary art.
- Trade logistics: Shipping, insurance, financial infrastructures, 
export and import processes, and foreign currency considerations in art 
sales.
- Regime shifts: Strategy changes, disruptions, and adaptations in art 
markets under socialist and post-socialist conditions; comparative and 
regime-specific reflections.

We welcome proposals that offer fresh perspectives on the 
infrastructures of art markets. Submissions may be based on case 
studies, broader theoretical frameworks, or comparative approaches. - 
Whether your focus is local or transnational, historical or 
contemporary, we are particularly interested in contributions that offer 
new insights into the mechanisms enabling the exchange of art.

This call for contributions builds in part on the workshop 
Infrastructures of Trading and Transferring Art since 1900, which was 
held at KEMKI in June 2024 in Budapest. The editors of the forthcoming 
book are:

- Prof. Dr. Gregor M. Langfeld, Professor of Art History, Cultural 
Heritage and Identity at Open University, the Netherlands and Associate 
Professor of Modern and Contemporary Art History at the University of 
Amsterdam, the Netherlands.
- Kristóf Nagy, PhD, Fung Global Fellow at Princeton University, US; 
Permanent Research Fellow at the KEMKI - Central European Research 
Institute for Art History, Hungary;
- Prof. Dr. Lynn Rother, Professor for Provenance Studies at Leuphana 
University of Lüneburg, Germany and Adjunct Curator for Provenance at 
The Museum of Modern Art, New York.

Submission Guidelines:
Please send an abstract (max. 500 words) and a short biography (max. 150 
words) to kn2656 at princeton.edu

Timeline: - Submission date for the abstract: November 30, 2025.
- Feedback on abstracts: by January 15, 2026.
- Submission date for the manuscript: August 30, 2026.
- Anticipated publication date: Spring 2027.


Reference / Quellennachweis:
CFP: Infrastructures of Selling Art in Socialism and Postsocialism. In: 
ArtHist.net, Sep 30, 2025. <https://arthist.net/archive/50744>.

From ab at mikro.in-berlin.de  Fri Oct  3 07:10:35 2025
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Fri, 3 Oct 2025 07:10:35 +0200
Subject: [spectre] CONF: Digital Art History V (Zagreb/online, 16-17 Oct 25)
Message-ID: <775ae673-f33b-4f66-980f-4f712d419621@mikro.in-berlin.de>

From: Sanja Sekelj
Date: Oct 2, 2025
Subject: CONF: Digital Art History V (Zagreb/online, 16-17 Oct 25)

Zagreb, Croatia, Oct 16–17, 2025
Registration deadline: Oct 14, 2025

Digital Art History – Methods, Practices, Epistemologies V:
Critical Approaches to Sources in (Digital) Art History.

Venue and duration: University of Zagreb University Computing Centre 
(SRCE), online, October 16–17, 2025
  Organized by the Institute of Art History in Zagreb in collaboration 
with the University of Zagreb University Computing Centre (SRCE) and 
DARIAH-HR, this year’s DAH conference centers on the epistemological, 
methodological, and political assumptions that shape how we engage with 
materials through which knowledge is constructed. The theme Critical 
Approaches to Sources in (Digital) Art History brings together forty 
scholars, independent researchers, and artists from sixteen countries 
(Austria, Brazil, Croatia, Czechia, France, Germany, Hungary, India, 
Malta, the Netherlands, Romania, Serbia, Singapore, Slovenia, UK, USA). 
Over the two days of the conference, participants will examine the 
question of sources at the heart of historical and art historical 
inquiry through diverse disciplinary and methodological perspectives.
  Far from being neutral, sources are shaped by institutional, 
disciplinary, and technological contexts, and by processes of 
classification, collection, and exclusion that are historically and 
politically charged. This year’s DAH conference critically examines 
these dynamics, exploring how sources are defined, produced, and 
circulated, and how they intersect with histories of colonialism, 
gender, race, class, and labor. Alongside these debates, many 
contributions showcase digital tools—ranging from mapping and 
visualization to data mining and algorithmic critique—not just as 
technical aids but as means of rethinking the epistemological and 
political foundations of art historical research.

PROGRAM
DAY 1, October 16, 2025

9:30 – 10:00
INTRODUCTORY REMARKS
Ivan Marić, Director of the University of Zagreb University Computing 
Centre (SRCE)
Katarina Horvat-Levaj, Director of the Institute of Art History, Zagreb
Sanja Horvatinčić, Institute of Art History, Zagreb
Ljiljana Kolešnik, Institute of Art History, Zagreb
Sanja Sekelj, Institute of Art History, Zagreb

10:00 – 11:00
KEYNOTE LECTURE
Paul B. Jaskot (Duke University) From the Object to the System: Critical 
Art History in the Age of the Digital Humanities

11:00 – 11:15
Coffee Break

11:15 – 12:30
SESSION I: MODELLING SPACE AND MEANING IN DIGITAL ART HISTORY
Chair: Darka Bilić (Institute of Art History, Zagreb)

Filip Lovrić (Faculty of Humanities and Social Sciences, University of 
Zagreb; University of Pisa): From Historic Maps to Digital Landscapes: A 
Critical Look at Cartographic Sources for Longue Durée Landscape Study

Charles van den Heuvel (University of Amsterdam), Sofia Baroncini 
(Leibniz Institute of European History, Mainz): Opening Boxes: 
Contextualizing a 3D Scholarly Edition of the Restoration of the 12th 
Century Reliquary Shrine of St Servatius with Ontologies of Uncertainty

Hedren Sum (National University of Singapore), Stephen Whiteman (The 
Courtauld Institute of Art, London): Ontology as a Method to Represent 
Intertextuality and Experiential Knowledge of Cultural Landscapes (online)

12:30– 12:45
Coffee Break

12:45 – 14:00
SESSION II: QUANTIFYING PRESENCE, POSITION, AND POWER
Chair: Júlia Perczel (Hungarian University of Fine Arts; Eötvös Loránd 
University, Budapest)

Gyöngyvér Horváth (Independent researcher, Budapest): Talent versus 
Genius: a Comparative, Statistics-Based Reception History of Two 
Hungarian Graphic Artists in the Post-War Period (online)

Andrej Srakar (Institute for Economic Research, Ljubljana; School of 
Economics and Business, University of Ljubljana), Marilena Vecco 
(Burgundy Business School; Carmelle and Rémi Marcoux Chair in Arts 
Management, HEC Montréal), Petja Grafenauer (Academy of Fine Arts and 
Design, University of Ljubljana): Excavating the History of a Network: 
Finding and Modelling Patient Zero in Two Large Arts Networks

Weixuan Li (Leiden University Centre for the Arts in Society; University 
of Amsterdam): A Spatial Approach to Understanding Artistic Innovation: 
Painters’ Location Choices and the Market Development in Amsterdam

14:00 – 15:00
Lunch Break

15:00 – 16:15
SESSION III: DIGITAL INFRASTRUCTURES FOR THE HUMANITIES
Chair: Irena Šimić (Institute of Art History, Zagreb)

Draženko Celjak (University of Zagreb University Computing Centre) : 
What Does Data Say? How can Humanists Use Data Services and Infrastructures?

When Humanities Meets Supercomputing: High Performance Computing for 
Everyone
- Branimir Kolarek (Ruđer Bošković Institute, Zagreb), Ljubo Gamulin 
(Croatian Conservation Institute, Zagreb), Davor Davidović (Ruđer 
Boković Institute, Zagreb): Applying Advanced Computational 
Infrastructure in Creating High-Resolution 3D Model of the Small 
Fountain of Onofrio
- Hrvoje Stančić (Faculty of Humanities and Social Sciences, University 
of Zagreb): Computational Archival Science, or How Can Archives Use 
Supercomputers to Train AI

16:15 – 16:30
Coffee Break

16:30 – 18:10
SESSION IV: REASSEMBLING THE ART-HISTORICAL RECORD
Chair: Martina Bobinac (Institute of Art History, Zagreb)

Voica Pușcașiu (Babeș-Bolyai University, Cluj-Napoca): From Handwritten 
Ledgers to Digital Insights: The Petranu Archive

Katarina Mohar (ZRC SAZU – France Stele Institute of Art History, 
Ljubljana; University of Maribor), Rok Vrabič (Faculty of Mechanical 
Engineering, University of Ljubljana): Writing the Image: Captioning as 
a Source in Fine-Tuning Diffusion Models for Art History

Sofia Baroncini (Leibniz Institute of European History, Mainz), Weixuan 
Li (Leiden University Centre for the Arts in Society; University of 
Amsterdam): When but not Where: Considerations on the 
Underrepresentation of the Place of Creation in Art Datasets

Viktorie Vítů (Institute of Art History of the Czech Academy of 
Sciences, Prague): Scaling Photomechanical Reproductions: Images in 
Periodicals and Automated Data Collection

DAY 2, October 17, 2025

09:30 – 10:30
KEYNOTE LECTURE
Chiara Bonacchi (University of Edinburgh) Bias, Injustice, and Repairs 
in the Digital Heritage Landscape

10:30 – 10:45
Coffee Break

10:45 – 12:20
SESSION V: CRITICAL DIGITAL METHODS IN HERITAGE AND MEMORY STUDIES
Chair: Ivana Haničar Buljan (Institute of Art History, Zagreb)

Maja Kamenar, Maja Bilušić, Luka Hornung (Institute of Art History, 
Zagreb): Application of GIS in the Architectural Department of the 
Institute of Art History

Irena Šimić (Institute of Art History, Zagreb): From Dust to Open 
Access: Reflexive Epistemology and the Conscious Role of Actors in Built 
Heritage Digitization

Sanja Horvatinčić (Institute of Art History, Zagreb): Critical 
Cartography and Contested Heritage: Digital Mapping in Post-Socialist Space

Ljiljana Kolešnik (Institute of Art History, Zagreb): Mapping Social 
Dynamics of the Postwar Yugoslav Housing Practices. The Application of 
VANIS Information System at the ERC project Housing.YU

12:20 – 12:35
Coffee Break

12:35 – 13:50
SESSION VI: DIGITAL RECONSTRUCTIONS AND VISUALIZATIONS OF CULTURAL HERITAGE
Chair: Ana Plosnić Škarić (Institute of Art History, Zagreb)

Charlene Vella, Sebastiano D’Amico, Emanuele Colica, Fabio Linguanti 
(University of Malta): Reconstructing St Anne’s Church, Fort St Angelo, 
Malta: A Digital and Geophysical Approach to its Architectural Evolution

Paula Špek (Friends of Heritage Association, Croatia): Partial Sources, 
Digital Methods and the Issues of Monument Interpretation: The Study of 
the Late Gothic Church of St John the Baptist in Kloštar Ivanić

Dominik Lengyel (BTU Brandenburg University of Technology 
Cottbus-Senftenberg): Virtual Photography as a Method for Historical 
Narratives Based on Incomplete Sources

13:50 – 14:50
Lunch Break

14:50 – 16:05
SESSION VII: ETHICS, REPRESENTATION, AND HISTORICAL RESPONSIBILITY
Chair: Sanja Horvatinčić (Institute of Art History, Zagreb)

Andrew Lawler (Independent researcher, Belgrade): ‘A Prolific Author’: 
Archival Biases in Attribution of NOB Memorials to Creators in Bosnia & 
Herzegovina

selma banich (Freelance performance artist, Zagreb), Martina Bobinac 
(Institute of Art History, Zagreb), Alma Trauber (Striegl City Gallery, 
Sisak), Sven Sorić (Freelance graphic designer, Zagreb): Digital 
Cartography of the Sisak Children’s Camp as a Methodological and Ethical 
Framework for Curatorial-Research Work

Richa P. Mishra (Institute of Technology, Nirma University): Reimagining 
Sources and Retelling Narratives of Tribal Heritage in India: A Digital 
Humanities Initiative

16:05 – 16:20
Coffee Break

16:20 – 17:35
SESSION VIII: ETHICS, CONTROL, AND CURATION IN THE DIGITAL SPHERE
Chair: Sanja Sekelj (Institute of Art History, Zagreb)

Ana Avelar (University of Brasília), Tânia Sulzbacher (Academia de 
Curadoria, University of Brasília): AI-Assisted Curating: From the 
Expository Metaphor to Curatorial Metamorphosis (online)

Helena Schmidt (Academy of Fine Arts, Vienna): From Analog Archives to 
Digital Disruptions: Copyright, Transformation and the In/Justice of 
Digital Images

Sophie Lingg (Academy of Fine Arts, Vienna): Questionable Standards of a 
Community. Social Media Posts, Stories and Images, Social Media, New 
Forms of Censorship and Gender-Based Violence

17:35 – 17:50
Coffee Break

17:50 – 18:20
Closing Remarks by Júlia Perczel (Hungarian University of Fine Arts; 
Eötvös Loránd University, Budapest) and Final Discussion

The DAH conference is free and open to all, with the option to attend in 
person or online. As space is limited in both the auditorium and the 
virtual lecture room, registration is required via the Google Form 
https://docs.google.com/forms/d/e/1FAIpQLSd-rQx-SiJUDMGEGf9_gIOV24OqQHgpAKE8n0S1Db7lYvxCVw/viewform?usp=header), 
until October 14, 2025. Online participants will receive the access link 
and instructions a few days before the event.

The conference is organized within the research project of the Institute 
of Art History in Zagreb, “Digital network, spatial and (con)textual 
analysis of artistic phenomena and heritage of the 20th century” 
(DIGitART, 2023–2027), funded by the European Union – NextGenerationEU.


Reference / Quellennachweis:
CONF: Digital Art History V (Zagreb/online, 16-17 Oct 25). In: 
ArtHist.net, Oct 2, 2025. <https://arthist.net/archive/50771>.

From gabriel.menotti at gmail.com  Sun Oct  5 00:44:50 2025
From: gabriel.menotti at gmail.com (Gabriel Menotti)
Date: Sat, 4 Oct 2025 18:44:50 -0400
Subject: [spectre] Distribution of the Sensorial - VR and Acessibility -
 /rosa, Berlin, Oct 14-19
Message-ID: <CAG=4eDSLEKGhe2TVpFYqOQraS28y9TZ=PMHtNKer_5O_JAPNxw@mail.gmail.com>

Folks in Berlin and whereabouts,

In case it's of your interest:

Best!
Menotti

+ + +

** DISTRIBUTION OF THE SENSORIAL - an experiment in VR and accessibility **
14-19 Oct at the /rosa project space
Heidelberger Str. 28, 12059 Berlin

Opening Tue 14 Oct, 18:00, with a screening of the *Magic Circles* short
film series and talk..

Distribution of the Sensorial is a laboratory exhibition that explores
accessibility and new media. The show presents the outcomes of the Magic
Circles virtual worlds laboratory through forms of crip documentation,
designed to engage multiple senses and activate the audience as a
collective body.

Featuring traces of works by DC Spensley, Debbie Ding, Gabriel Menotti,
Hortense Boulais-Ifrène, Jan Berger, and Sojung Bahng.

Opening hours: 14–17 Oct,13:00–18:00; 18–19 Oct, 11:00–18:00.

Accessibility workshops on Thu 16 Oct, 16:00–18:00, and Sat 18 Oct,
11:00-13:00. Register here to participate:
https://forms.gle/7NdcoykaX8ZoKXfk7

Panel discussion on Sun 19 Oct, 11:00, with the curator and institutions
engaged with arts and disabilities.

Distribution of the Sensorial is supported by the Social Sciences and
Humanities Research Council of Canada and Connected Minds.
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From ab at mikro.in-berlin.de  Mon Oct  6 10:10:07 2025
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Mon, 6 Oct 2025 10:10:07 +0200
Subject: [spectre] CFP: Diffractions,
 Issue 12: The Many Faces of (Self-)Censorship
Message-ID: <002bee52-a6b8-4a72-abd3-2e3d3fae1cee@mikro.in-berlin.de>

From: DIFFRACTIONS
Date: Oct 4, 2025
Subject: CFP: Diffractions, Issue 12: The Many Faces of (Self-)Censorship

Deadline: Nov 15, 2025
<https://revistas.ucp.pt/index.php/diffractions/>

Diffractions | Issue 12 | Speak at Your Own Risk: The Many Faces of 
(Self-)Censorship-
Editors-in-chief: Inês Fernandes and Teresa Weinholtz

“In a society like ours, the procedures of exclusion are well known. […] 
We know quite well that we do not have the right to say everything” 
(Foucault 1980, 52). Often regarded as an instrument of repression of 
ideas and information (American Library Association 2021), censorship 
“refers to the control by public authorities (usually the Church or the 
State) of any form of publication or broadcast, usually through a 
mechanism for scrutinising all material prior to publication” (McQuail 
and Deuze 2020, 589). Most commonly associated with control that is 
visible and imposed by the State, censorship can be regarded “as a 
subject of history, which means that it has to be considered not only in 
its formal dimension, as an apparatus of State control and repression, 
but also as a social agent that permanently and complexly shapes the 
relationship between individuals and institutions” (Barros 2022, 17). 
Either through literature, with the act of burning books in Bradbury’s 
Fahrenheit 451 ([1953] 2018) and the control of thought in Orwell’s 
Nineteen Eighty-Four ([1949] 2023), or the morality or political 
restrictions in cinema (Biltereyst and Winkel 2013), or even 
contemporary China with the firewall that controls internet access 
(Stanford University n.d.; Gosztonyi 2023), censorship has gathered a 
broader definition beyond that of State control.

The study of censorship should not be limited to dictatorships or 
historically oppressive political regimes, as it can also be found as an 
institutionalised social force, based on the concept of “public 
morality” (Mathiesen 2008, 577), in cultural institutions, digital 
platforms, and academic environments. In its more formal configuration, 
censorship can be a tool of repression and strict prohibition. In its 
informal and more personal perspective, it can be viewed as socially 
imposed censorship and/or self-censorship, thereby expanding its 
definition “to the productive force that creates new forms of discourse, 
new forms of communication, and new models of communication” (Bunn 2015, 
26). As Judith Butler (2021) argues, censorship precedes speech, as it 
determines in advance what type of speech is or is not acceptable. 
Similarly, Bourdieu (1991) describes how censorship affects language, as 
what we are authorised to say becomes internalised. Censorship, in this 
light, is not only a legal or institutional force, but can also become a 
social imposition. This issue thus seeks to explore the many forms of 
censorship, self-censorship, and everything in between; past and 
present, imposed and chosen, visible and hidden.

Recent events have shed light into an ongoing reality of censorship that 
contributes to the urgency of these discussions. Most recently, in the 
United States, governmental restrictions on words such as “women,” 
“diversity,” and “disability” in academic grant applications and school 
curricula (Yourish et al. 2025) reveal the close relationship between 
language and ideological control through State censorship. In Germany, 
artists and curators have been fired or publicly blacklisted for 
expressing solidarity with Palestine on their personal social media 
(Solomon 2023), demonstrating that speech can be punished even within 
liberal democracies when it contradicts socially established narratives, 
creating environments of fear through instances of social censorship. On 
social media platforms like TikTok, users increasingly engage in 
linguistic innovation. With phrases like “unalive” instead of “kill,” 
they intentionally alter or misspell specific trigger words to avoid 
algorithmic suppression, or shadowbanning (Calhoun and Fawcett 2023). 
This form of self-censorship is strategic and creative, but also reveals 
the pressures users face to remain visible in social media spaces that 
are moderated by strict automated systems.

This issue invites contributions that critically examine how all forms 
of censorship and self-censorship operate today, as well as how they 
have operated historically. We invite interventions from different 
contemporary, historical, and geopolitical perspectives, and 
interdisciplinary approaches from all fields in the humanities. Besides 
proposals for academic papers on the topic of this issue, we also 
welcome proposals in the form of interviews, book reviews, essays, 
artistic contributions, as well as non-thematic articles. Suggested 
topics include, but are not limited to the following:

Historical and contemporary (self-)censorship Censorship and political 
regimes Self-censorship as personal, professional, and intellectual 
preservation Censorship and self-censorship… in media ecosystems in film 
and cinema in art, performance, and curatorship in image and photography 
in language, literature, and translation in knowledge and academia in 
artificial intelligence in memory: preservation and/or erasure in 
children’s media and literature in social media, online content and 
behaviour and cancel culture … For artistic submissions, we are 
interested in proposals that engage in form or content with the theme of 
censorship and/or self-censorship, such as:

Visual essays Graphic or visual storytelling Collaborations between 
text-based and image-based artists Poetry and visual poetry ...

Submissions and review process

Abstracts will be received and reviewed by the Diffractions editorial 
board who will decide on the pertinence of proposals for the upcoming 
issue. After submission, we will get in touch with the authors of 
accepted abstracts in order to invite them to submit a full article. 
However, this does not imply that these papers will be automatically 
published. Rather, they will go through a peer-review process that will 
determine whether papers are publishable with minor or major changes, or 
they do not fulfil the criteria for publication.

Please send abstracts of 150 to 250 words, and 5–8 keywords by NOVEMBER 
15, 2025, to info.diffractions at gmail.com with the subject “Diffractions 
12”, followed by your last name.

The full papers should be submitted by MARCH 15, 2026, through the 
journal’s platform: 
https://revistas.ucp.pt/index.php/diffractions/about/submissions.

Every issue of Diffractions has a thematic focus but also contains 
special sections for non-thematic articles. If you are interested in 
submitting an article that is not related to the topic of this 
particular issue, please consult the general guidelines available on the 
Diffractions website at 
https://revistas.ucp.pt/index.php/diffractions/about/submissions. The 
submission and review process for non-thematic articles is the same as 
for the general thematic issue. All research areas of the humanities are 
welcome, and we accept contributions in English or Portuguese.

References

American Library Association. 2021. “First Amendment and Censorship.” 
Accessed June 20, 2025. https://www.ala.org/advocacy/intfreedom/censorship.

Barros, Júlia Leitão de. 2022. Censura: A construção de uma arma 
política do Estado Novo. Lisbon: Tinta da China. 
https://doi.org/10400.21/14918.

Biltereyst, Daniel, and Roel Vande Winkel (eds.). 2013. Silencing 
Cinema: Film Censorship around the World. London: Palgrave Macmillan. 
https://doi.org/10.1057/9781137061980.

Bourdieu, Pierre. 1991. Language and Symbolic Power. Edited by John B. 
Thompson, and translated by Gino Raymond and Matthew Adamson. Cambridge: 
Polity Press.

Bradbury, Ray. [1953] 2018. Fahrenheit 451. New York: Simon & Schuster.

Bunn, Matthew. 2015. “Reimagining repression: new censorship theory and 
after.” History and Theory 54, no. 1 (February): 25–44. 
https://doi.org/10.1111/hith.10739.

Butler, Judith. 2021. “Implicit Censorship and Discursive Agency.” In 
Excitable Speech: A Politics of the Performative, 127–164. London: 
Routledge. https://doi.org/10.4324/9781003146759.

Calhoun, Kendra, and Alexia Fawcett. 2023. “‘They Edited Out Her Nip 
Nops’: Linguistic Innovation As Textual Censorship Avoidance on TikTok”. 
Language at Internet 21 (December): 1–30. 
https://doi.org/10.14434/li.v21.37371.

Foucault, Michel. 1981. “The Order of Discourse.” Translated by Ian 
McLeod. In Untying the Text: A Post-Structuralist Reader, edited by 
Robert Young, 48–78. Boston: Routledge & Kegan Paul.

Gosztonyi, Gergely. 2023. Censorship from Plato to Social Media: The 
Complexity of Social Media’s Content Regulation and Moderation 
Practices. New York: Springer. https://doi.org/10.1007/978-3-031-46529-1.

Mathiesen, Kay. 2008. “Censorship and Access to Information.” In 
Handbook of Information and Computer Ethics, edited by Kenneth E. Himma, 
Herman T. Tavani, 571–587. New York: John Wiley & Sons. 
https://doi.org/10.1002/9780470281819.ch24.

McQuail, Denis, and Mark Deuze. 2020. McQuail’s Media & Mass 
Communication Theory. 7th ed. Edited by Michael Ainsley. London: SAGE 
Publications.

Orwell, George. [1949] 2023. Nineteen Eighty-Four. New York: Signet 
Classics.

Solomon, Tessa. 2023. “German Museum Shutters Curator’s Contribution 
Over Pro-Palestine Instagram Activity, Igniting Censorship Outcry.” 
ARTnews, November 14, 2023. 
https://www.artnews.com/art-news/news/museum-folkwang-anais-duplan-pro-palestine-posts-1234686697/.

Stanford University. n.d. “China’s Great Firewall.” Free speech vs 
Maintaining Social Cohesion: A Closer Look at Different Policies. 
Accessed June 29, 2025. 
https://cs.stanford.edu/people/eroberts/cs181/projects/2010-11/FreeExpressionVsSocialCohesion/china_policy.html.

Yourish, Karen, Annie Daniel, Saurabh Datar, Isaac White, and Lazaro 
Gamio. 2025. “These Words Are Disappearing in the New Trump 
Administration.” The New York Times, March 7, 2025. 
https://www.nytimes.com/interactive/2025/03/07/us/trump-federal-agencies-websites-words-dei.html.


Reference / Quellennachweis:
CFP: Diffractions, Issue 12: The Many Faces of (Self-)Censorship. In: 
ArtHist.net, Oct 4, 2025. <https://arthist.net/archive/50780>.

From c.kiefer at sussex.ac.uk  Thu Oct  9 10:34:05 2025
From: c.kiefer at sussex.ac.uk (Chris Kiefer)
Date: Thu, 9 Oct 2025 09:34:05 +0100
Subject: [spectre] Call for papers: Special Issue on Feedback Musicianship
Message-ID: <31d2880a-7238-42fe-915b-44be4153a00d@sussex.ac.uk>

Call for Submissions for the Journal of New Music Research Special Issue 
on Feedback Musicianship

https://think.taylorandfrancis.com/special_issues/feedback-musicianship/ 
<https://think.taylorandfrancis.com/special_issues/feedback-musicianship/>

Guest Editors:

Chris Kiefer, University of Sussex (UK)c.kiefer at sussex.ac.uk

Dan Overholt, Aalborg University Copenhagen (DK)dano at create.aau.dk

Submission deadline:20th April 2026

Call for articles:

Feedback Musicianship is an approach to making music, characterised by a 
focus on recurrent circulation of signals. The circulation of signals 
through an instrument (be they acoustic waves, continuous values, 
discrete information or otherwise) leads to complex, nonlinear 
behaviours. A musical instrument played in this way has a complex 
response to both the external environment, and to the history of its own 
internal states. This type of behaviour can be rewarding to engage with 
as a player. It can also be challenging to play, but many feedback 
musicians would say they are happy to give up conventional levels of 
precise/repeatable control, in order to play musical instruments in 
alternative ways.

Research in this field goes back to the 1950s, but there has been plenty 
of recent activity in the form of Echo’s special issue on Feedback 
(Orpheus Institute, 2022), and the AHRC-funded Feedback Musicianship 
Network <https://feedback-musicianship.pubpub.org/>, from which this 
special issue follows. Feedback musicianship research can be both 
radical and disruptive, challenging conventional notions of composition, 
performance, sound aesthetics and instrument design.  It is also widely 
transdisciplinary, drawing on diverse fields of expertise.

Topics might include:

  *

    Feedback instrument development

  *

    Musicology of feedback musicianship

  *

    Software feedback systems, interacting with algorithms for complex
    systems, the potential role of feedback in existing software systems

  *

    Interfacing between modalities in hybrid instrument design -
    software / electronic / acoustic materials

  *

    Cybernetics, complex adaptive systems and dynamical systems
    approaches to understanding and designing feedback instruments

  *

    Composition and performance techniques for feedback instruments,
    notating and documenting feedback music

  *

    New applications of transducer technologies in feedback instruments

  *

    Embodiment and agency in feedback instrument design

  *

    Perception and cognition: understanding human experience of playing
    feedback instruments

  *

    Interaction design / HCI: uncontrol, nonlinearities, complex and
    adaptive mappings

  *

    Pedagogy, diffusion and adoption: availability of repertoire /
    improvisation, understanding culture around feedback musicianship

  *

    History of feedback musicianship, organology of feedback music

  *

    Machine learning systems in feedback musicianship

  *

    Wider applications of feedback musicianship in other fields


In this special issue of the Journal of New Music Research, we invite 
innovative articles that advance our understanding of Feedback 
Musicianship.  We invite both quantitative and qualitative research from 
both practitioner and theoretical perspectives. All papers should follow 
rigorous and systematic research methodologies.


If you have queries, please either email the editors or ask on the 
Feedback Music mailing list 
https://www.jiscmail.ac.uk/cgi-bin/wa-jisc.exe?A0=FEEDBACKMUSIC 
<https://www.jiscmail.ac.uk/cgi-bin/wa-jisc.exe?A0=FEEDBACKMUSIC>
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From tbazz at disruptiv.biz  Thu Oct  9 16:29:08 2025
From: tbazz at disruptiv.biz (Tatiana Bazzichelli)
Date: Thu, 9 Oct 2025 16:29:08 +0200
Subject: [spectre] Techno-Policing & Civic Control - 16 Oct - Berlin
Message-ID: <a85ff381-c687-43d6-9625-ff8c1b2464a9@disruptiv.biz>

Dear SPECTRE List,

I would like to announce our next event in Berlin at nGbK:
Techno-Policing & Civic Control: Talk & Q&A
Thursday, October 16, 2025
7:00pm – 9:00pm

With Sonja Peteranderl (Investigative Journalist, Founder of 
BuzzingCities Lab, DE) and Matthias Monroy (Journalist, Activist, Expert 
on Civil Rights, Policing, and Security Technologies, DE).

Free entrance with registration. Registration is open to all, with 
participation limited to 70 people.
Register: https://www.disruptionlab.org/event/techno-policing

This meetup follows the programme of the Disruption Network Lab’s 
conference TECHNOVIOLENCE: Confronting Systemic Injustice (19–21 
September 2025, https://www.disruptionlab.org/technoviolence). It will 
bring investigative journalist Sonja Peteranderl and journalist and 
activist Matthias Monroy into dialogue, with the former providing 
insight into ongoing predictive policing experiments and the latter 
tracing the history of facial recognition systems in Germany. How do 
these systems function, or fail, and how do they reinforce and 
exacerbate discrimination in Germany? The meetup will explore this 
phenomenon and discuss potential countermeasures with activists, 
artists, and the wider civil society.

The German police are increasingly focusing on digital possibilities for 
‘predicting’ and ‘preventing’ crimes and other incidents that may occur 
in the future. They have significantly increased their operational use 
of 'predictive' data analysis and algorithms in recent years, including 
geographic crime 'prediction', individual profiling, and data analysis 
to predict the risk of individuals committing violent acts in future. In 
this digital ecosystem, the police are also becoming increasingly 
dependent on commercial players such as the controversial US tech firm 
Palantir. Its “Gotham” software sifts through large volumes of data, 
identifying patterns and drawing connections to generate new grounds for 
suspicion.

Police facial recognition systems have existed in Germany since 2008. 
The number of queries and affected individuals increases every year; 
currently, the INPOL database stores the faces of 5.5 million people. 
The system is now being converted to artificial intelligence. According 
to the president of the Federal Criminal Police Office, the technology 
can be largely automated, making an entire department redundant. Only 
the EU AI Act still requires a final human review of matches. 
Retrospective facial analyses are increasingly used at the European 
level as well, with Germany pushing the networking of such systems under 
the Prüm framework. At the same time, the U.S. government is demanding 
access to these biometric databases. A legal amendment would also allow 
German police to conduct facial comparisons online. After pilot 
projects, real-time recognition is now being introduced in public 
spaces: Saxony has implemented a system that is also used in mobile 
units along the border with Poland. In Hesse, a KI-based facial 
recognition is being rolled out for the first time to issue alerts in 
the search for “Gefährder” or missing children.

Speakers

Sonja Peteranderl is an investigative journalist and the founder of 
BuzzingCities Lab – a think tank focusing on violence, crime and the 
impact of technology – and The School of Conflict & Peace. She covers 
organized crime, violence, relationship & digital violence, 
security/policing and tech trends, from predictive policing to criminal 
innovation for SWR Vollbild, SPIEGEL, Zeit or AlgorithmWatch. She 
teaches at the Hamburg Media School and is a mediator (International 
Peace Mediation).

Matthias Monroy is a journalist, activist, and expert on civil rights, 
policing, and security technologies in Europe. He works as editor for 
the civil rights journal Bürgerrechte & Polizei/CILIP and for nd.DerTag. 
His data-driven research and critical reporting published also in 
left-wing media relates to police practices, digital surveillance and 
European security policy.

More info:
https://www.disruptionlab.org/event/techno-policing

-- 
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
 From Message-ID: <5bdcd1f5-aeb6-4692-9c3b-e66d1e6d1ea0@

From andreas.broeckmann at leuphana.de  Fri Oct 10 07:22:58 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Fri, 10 Oct 2025 07:22:58 +0200
Subject: [spectre] CONF: Plant Intelligence (Basel, 31 Oct-2 Nov 25)
Message-ID: <610243e0-5a03-4eb3-b0c1-6bc5aed79da2@leuphana.de>

From: Yvonne Volkart
Date: Oct 9, 2025
Subject: CONF: Plant Intelligence (Basel, 31 Oct-2 Nov 25)

Basel Academy of Art and Design FHNW, Oct 31–Nov 2, 2025
Registration deadline: Oct 27, 2025

The SNSF-research project Plants_Intelligence. Learning Like a Plant 
(2022-25) is coming to an end. In the framework of an international 
symposium, it brings together the artistic team (Yvonne Volkart, Felipe 
Castelblanco, Julia Mensch, and Rasa Smite) with leading theorists, 
scientists, artists, curators and activists to discuss its findings with 
the audience. Theoretical, artistic, and experimental formats open up 
the discourse on plant intelligence and show how plants can be 
approached aesthetically and politically as intentional and cognizing 
beings.

Symposium language: English
Free Admission
Deadline of Registration: October 27: https://forms.gle/aLomhg4kxUr8HehPA

Against the backdrop of the current wasting of the world, we must think 
of other ways—vegetal ways—of worlding: ways that do not consume the 
world, but re/produce it. Co-Composing it with plants, we might learn to 
learn like them. Also, in the arts.

The team Plants_Intelligence approached this task by building on the 
speculative interdisciplinary discourse of plant intelligence. This 
discourse has been held since around 15 years at the fringes of botany, 
neurosciences, philosophy, and art. It is challenging and mindblowing, 
because scientific research can now prove what has been known to 
alternative plant knowledge for a long time, namely, that plants have 
capacities; that they behave and learn, cognize and process, produce and 
shape. We conceive plants as assemblages of physical and chemical 
materialities, of forces and efficacies that generate life far beyond 
human scale. They are actors in ecological concatenations and relational 
events. As such, they are situational, and responsive. They distinguish 
themselves from animal modes of making worlds, while also being 
affiliated with them and with us. Together, and including different 
perspectives and approaches, we discuss what the recognition of the 
intelligence of plants implies for artistic questions and the 
formulation of an aesthetics and politics of the vegetal that tries to 
overcome our culture of wasting the world.

Day 1: Oct 31
HGK Basel, Aula D1.04

13:00-14:30 Part I: Concepts of Plant Intelligence
This block of the symposium introduces the interdisciplinary discourse 
of plant intelligence in the framework of general definitions, and 
concepts of intelligence. Stating that plants behave creatively, 
flexibly, and physically, it asks what an aesthetics of vegetal 
intelligence must take into consideration.

13.10-13.30 Intro by Yvonne Volkart: What is Plant Intelligence?
13.30-14.30 Keynote by Birgit Schneider: Anthropomorphism in a Feedback 
Loop. On Speaking with Plants and Machines
14.30-15.00 Coffee break

15:00-18:00 Part II Ingesting-digesting: Intelligence Within
This block draws attention to fundamental modes of interaction between 
plants and humans via ingestion (as scent, nourishment, intoxication, 
etc), whereby the notion of intelligence helps
to sustain life-enabling relations along metabolic cycles, mutualistic 
and symbiotic patterns. This block opens up an experiential and even 
speculative realm, where nuanced modes of plant and human alliances come 
to the fore.

15:00 Intro by Felipe Castelblanco
15:15 Rodrigo Cámara-Leret: The Healing Forest Sensed by Indigenous People
15:45 Keynote by Jeremy Narby: Learning from Teacher Plants
16:15 Discussion with Jeremy Narby and Rodrigo Cámara-Leret, moderated 
by Felipe Castelblanco
16.45 Short Break
17.00 Input by Marcos Filardi: Museo del Hambre (Online), introduced by 
Julia Mensch
17.10 Ayënan Quinchoa and Heraldo Vallejo: The Indigenous Pan-Amazon 
Perspective (Online), introduced by Felipe Castelblanco
17.30 Screening: Ayënan Quinchoa Juajibioy
17.45 Break

18:00-21:00 Part III: Plant Companions
18.00 Lecture Performance by Julia Mensch: Kiwicha
19:00 Curated Dinner and Performative Input by KOMA Culture Studio: 
RE-ROOTED

Day 2: Nov 1
HGK Basel, Aula D1.04

9:30–12:30 Part I: Aesthetics and Politics of Plant Intelligence
Examining the behavior of plants, respecting them as living beings, and 
welcoming them as allies—whether by art, science or vernacular 
practices—is political: it‘s about opening up to other ways of being. 
Whereas the morning slot informs about both vegetal and aesthetic
strategies of overcoming challenging situations, so is the afternoon 
block fully dedicated to the artistic research of the team 
Plants_Intelligence and their partners.

9.30–10.00 Arrival and Coffee
10:00–10:10 Intro to Day 2 by Yvonne Volkart
10:10–11:00 Florianne Koechlin: Plant whispers: How Plants Communicate 
and Network
11:00–11:15 Coffee Break
11:15–12:15 Keynote by Giovanni Aloi: The Lawn Condition: Thinking with 
plants and soil
12.30–13.30 Lunch Break

13:30–16:00 Part II: Plants_Intelligence Artistic Research

13:30–13:50 Intro by Yvonne Volkart
13:50–14:20 Julia Mensch: Amaranth as Political Agent
14:20–14:30 Katja Tielbörger: Decision-making in Plants–An Experimental 
Approach
14:30–15:00 Rasa Smite: Light Sensing. Flower as Antenna and Attractor
15:00–15:30 Felipe Castelblanco: Plant Movement(s)
15:30–15:50 Kathrin Meyer: Among Plants: Intelligence and Subjectivity 
of Plants as Starting Points for Changing Relations?
15:50–16:00 Yvonne Volkart: Closing remarks
16:00 Coffee Break / Screening by Ursula Damm

16:30–20:00 Part III

16.30–17:00 Valentina Vetturi: Mimosa Pudica. Act #1: On Observation. 
Participatory plant observing at Freilager-Platz.
17.00–19.00 Guided Tour through Plants_Intelligence exhibition at CIVIC: 
Julia Mensch and Sofia Viola, Listening Session / VR showcase by Rasa 
Smite / Videos by Felipe Castelblanco and Plants_Conversations / 
Relaunch of Insert (online journal) and Unter Pflanzen Magazine
19.00–Harmonization: Synesthetic Ritual with Marilu Pacheco
19.30–Dinner (Soup + Finger food) by KOMA Culture Studio

Day 3: Nov 2
HEK Seminar Room

11:00–13:00 New and Old Cognizing Systems
In this block, we reconsider plants as protagonists and nodes of 
extended cognizing systems blurring the boundaries of plants, machines, 
bacteria, fungi etc. We discuss the new distributed intelligent systems 
effectuated by smart farming as well as the relations of plants and soil.

11:00 Welcome/Wrap up
11:10 Noelia Billi: Plant Intelligence and the Aesthetics of the 
Artefactual Sensorium (Online)
12:00–13:00 Keynote by Michael Marder. The Soil as the Unconscious: A 
Thick and Opaque Image of Plant Intelligence
13:00 Closing

Plants_Intelligence. Learning Like a Plant (2022–2025) is realized by 
Yvonne Volkart, Felipe Castelblan-co, Julia Mensch and Rasa Smite
Funded by the Swiss National Science Foundation
and hosted by the Institute Art Gender Nature, Basel
Academy of Art and Design FHNW
In cooperation with HEK House of Electronic Arts Basel

Reference / Quellennachweis:
CONF: Plant Intelligence (Basel, 31 Oct-2 Nov 25). In: ArtHist.net, Oct 
9, 2025. <https://arthist.net/archive/50840>.

From info at schoolofma.org  Fri Oct 10 11:57:33 2025
From: info at schoolofma.org (Rachel Uwa)
Date: Fri, 10 Oct 2025 11:57:33 +0200
Subject: [spectre] Open Call for Members: ***Deadline to apply is Sunday,
 12. October***
Message-ID: <CAByjt49eEbV3hHQJQXH9Zvg0gKEBhRj+bYXZBvJzarcvFSd28w@mail.gmail.com>

Hi everyone!

Apologies for cross-posting.

*We are a new collective of international artists, technologists,
designers, researchers,* and the like, with a shared space in Berlin for
play, thoughtful connection, and creative inquiry *and we are seeking new
members!*

If you're a creative human working with art and tech, looking for ways to
share your work, and interested in building community with others who are
actively paying attention to the world around us, for collaborations,
sharing knowledge and mutual support, have a look at our website and
consider joining us!

Deadline: Sunday, 12. October

Please share if you know anyone who could be interested! We are on social
media here <https://www.instagram.com/makebelievestudio.berlin/>. For more
info and to apply: https://makebelievestudio.berlin/

Warmly,
Rachel

*Creative Director | School of Machines, Making & Make-Believe
<http://schoolofma.org/>*
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From mail at garyhall.info  Mon Oct 13 13:24:53 2025
From: mail at garyhall.info (mail at garyhall.info)
Date: Mon, 13 Oct 2025 12:24:53 +0100 (BST)
Subject: [spectre] Gary Hall, 'Liquidate AI Art', October 15 ,
 Online talk for Computer Arts Society
Message-ID: <347573508.95994.1760354693343@mailbusiness.ionos.co.uk>

Just a gentle reminder...

The Computer Arts Society 2025 invites you to:

Liquidate AI Art
Speaker: Gary Hall; Moderator: Sean Clark
18:00 BST, Wednesday, 15 October 2025

Other time zones here:https://www.timeanddate.com  
This event is via Zoom only.  Book here: 

https://ComputerArtsSociety151025.eventbrite.co.uk
 
This talk expands on my recent book Masked Media: What It Means to be Human in the Age of Artificial Creative Intelligence (http://www.openhumanitiespress.org/books/titles/masked-media/). It argues for liquidating AI art, not out of a dismissal of artificial intelligence as techno-fascist, nihilist or parrot-like, but an insistence that art has always been created by assemblages of humans and nonhumans. There is no pure, authentic human creativity to distinguish from works generated with technologies like Stable Diffusion.
 
The talk references the International Coalition for the Liquidation of Art – whose members included Gustav Metzger, first editor of the CAS bulletin PAGE – and especially Frieder Nake’s assertion in PAGE 18 that ‘there should be no computer art’. For Nake, art should not be divided into commodifiable styles based on the tools used, but should instead function as a radical force capable of disrupting the hierarchies of the bourgeois art world.
 
Picking up on this challenge, ‘Liquidate AI Art’ shows how UK arts funding today overwhelmingly benefits upper- and middle-class, privately educated Oxbridge graduates. Efforts to promote inclusion through social mobility risk reinforcing this unjust system. What’s needed is a redistribution of resources – e.g. through the liquidation of the UK’s copyright regime – to support radically different artistic practices beyond the white, male, middle-class, liberal humanist norm.
 
Gary Hall is a media philosopher experimenting with new ways of working as a non-legacy critical theorist within today's ‘techno-environmental-war complex’. He is Professor of Media at Coventry University and founding co-director of the Centre for Postdigital Cultures. His books include: Masked Media: What It Means To Be Human in the Age of Artificial Creative Intelligence (explicitly co-written with a radically relational assemblage of humans and nonhumans, including AI); A Stubborn Fury: How Writing Works In Elitist Britain; and Pirate Philosophy. He is also co-founder of the open-access journal Culture Machine and publisher Open Humanities Press
   
This event is via Zoom only  and is free but you need to book a place here: https://ComputerArtsSociety151025.eventbrite.co.uk

From andreas.broeckmann at leuphana.de  Sun Oct 19 09:24:30 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Sun, 19 Oct 2025 09:24:30 +0200
Subject: [spectre] CFP: Imagining Resistance (Bergamo, 12-13 Mar 26)
Message-ID: <4d33a38f-4bfa-4a78-9216-2b1628f89204@leuphana.de>

From: Stefano Mudu
Date: Oct 17, 2025
Subject: CFP: Imagining Resistance (Bergamo, 12-13 Mar 26)

Università degli Studi di Bergamo, Mar 12–13, 2026
Deadline: Dec 14, 2025

[Italian version below]

"Imagining Resistance: Actions, Methods, and Technologies of Protest", 
University of Bergamo.

Since the nineteenth century, collective protest has been one of the 
most visible and transformative forms of political dissent. From 
workers’ strikes and anti-colonial struggles to feminist marches, 
student uprisings, and contemporary climate movements, the act of taking 
to the streets, or occupying other symbolic and material spaces, has 
profoundly shaped modern and contemporary political imagination. 
Protests not only register demands for justice, equality, or 
recognition; they also generate new expressions of collective action, 
generating original aesthetical repertoires, and mobilize technologies 
and devices that redefine how dissent is made visible, mediated, 
remembered, and historically narrated. In this sense, protest is as much 
a cultural and aesthetic phenomenon as it is a political one.

The heterogeneous quality of these various political phenomena urges us 
to nuance our understanding of uprisings, stressing continuities and 
differences between various forms of resistance. In this respect, this 
international conference aims to foster a broad reflection on the 
expressive practices of protest and the multiple forms of resistance 
they generate. Focusing on the various ways in which political agency is 
collectively thought, questioned, and performed today, Imaging 
Resistance will investigate protests as a laboratory of counter-power 
that is not necessarily linked to a revolutionary outcome, but a 
collective effort to imagine differently the aesthetic and political regime.

To imagine resistance is to explore how protest functions as a mode of 
political articulation and as a creative practice that challenges 
established orders. Specific attention will be devoted to the 
intersection between theory and practice: the conceptual frameworks that 
help us understand the specificity of protest, as well as
the study of specific cases that reveal how dissent unfolds in 
particular historical, spatial, and technological configurations.

We therefore welcome contributions that interrogate protest from 
different perspectives. On a theoretical level, the conference invites 
reflections on the relation between protest and political philosophy, 
the distinctive traits of dissent as a political act, and the ways in 
which collective resistance reshapes the grammar of politics. We also 
encourage studies inquiring into the temporalities of protest, its 
sudden eruptions, its duration, its afterlives, and its spatial 
dimensions, from the occupation of squares and streets to digital 
networks and dispersed forms of action. By bringing these approaches 
together, the conference seeks to open a conversation on protest as a 
multifaceted phenomenon in which imagination and materiality, aesthetics 
and politics, converge.

Rather than considering protest or revolt merely as a represented theme, 
the conference aims to explore how practices of resistance shape and 
transform aesthetic languages, functioning not only as content but as a 
principle of formal and stylistic experimentation. More specifically, we 
invite contributions connected with (but not limited to) the following 
topics: - Theories of protest and resistance: the role of political 
philosophy, critical theory, cultural studies and other disciplines in 
conceptualizing protests. - The temporality and memory of protests: from 
sudden eruptions and cycles of mobilization to their afterlives, 
practices of documentation, preservation, and re-activation. Particular 
attention may be devoted to the “archives of dissent” and to cultural 
forms (literary, visual, or performative) that register how present 
struggles are continuously haunted and reshaped by past conflicts, such 
as in postcolonial contexts where histories of resistance are 
transmitted and reactivated across generations. - 
Archaeologies/genealogies: in which ways old forms of protest (such as 
modern revolts or collective movements of the 20th century) predate 
contemporary phenomena and help us conceptualize what we nowadays 
recognize as a revolt? - The relationship between protests and 
spatiality: squares, streets, institutions, frontiers, digital 
platforms, and the emergence of dispersed networks. - Literature and 
protest: narrative strategies, poetic forms, and textual practices in 
which dissent becomes a principle of formal innovation, shaping genres, 
stylistic experiments, and, in Foucauldian terms, the emergence of 
alternative discourses and archives on/of resistance. - Visualizing, 
verbalizing, and performing protests: the contribution of photography, 
cinema, visual arts and art history, sound and performance, textual and 
digital media to re-imagine and make protests visible. Case studies may 
include specific artworks, artists, or cultural texts. - Global 
aesthetics of protests: the circulation of images, symbols, and 
repertoires across borders and the creation of a common language of 
gestures, also through comparative analysis of different kinds of protest.

Roundtable | Protest and Digital Technologies
As part of Imagining Resistance, a roundtable will explore the complex 
and evolving relationship between protest and digital technologies. From 
grassroots mobilizations to transnational solidarity networks, digital 
media have become crucial tools for amplifying activist voices and 
constructing alternative narratives that challenge dominant discourses. 
At the same time, they generate new dynamics of surveillance, 
commodification, and fragmentation.

The roundtable will feature five to six speakers, each asked to present 
theoretical input, followed by a collective discussion moderated by a 
chair. Those interested in this presentation format are kindly requested 
to indicate it clearly in their abstract. The selection of participants 
and final structure of the session will be at the discretion of the 
conference organizers and scientific committee.

Submission Guidelines: Twenty minutes papers may be submitted and 
presented in either Italian or English.
Contributions may take the form of a traditional paper, but we encourage 
attendees to think beyond this format and towards other generative modes 
such as interviews/in-conversation-style talks, archival explorations, 
performances, readings, screenings, and collaborative workshop activities.

Please send an abstract (max. 300 words) and a short bio (max. 150 
words) to martinaelisabetta.misia at unibg.it, stefano.mudu at unibg.it, 
andrea.pitozzi at unibg.it and giuseppe.previtali at unibg.it by December 
14th, 2025. Selected speakers will be notified by January 9th, 2026.

----

"Immaginare la resistenza: azioni, metodi e tecnologie di protesta", 
Università degli Studi di Bergamo.

Sin dal XIX secolo, la protesta collettiva è stata una delle forme più 
visibili e incisive del dissenso politico. Dagli scioperi operai alle 
marce femministe, dalle lotte anticoloniali alle rivolte studentesche e 
ai movimenti ecologisti contemporanei, l’atto di scendere in piazza – o 
di occupare altri spazi, simbolici e reali – ha plasmato in profondità 
l’immaginario politico moderno e contemporaneo. Le proteste non si 
limitano a esprimere rivendicazioni di giustizia, uguaglianza o 
riconoscimento, ma danno anche origine a nuove forme di azione 
collettiva, producendo repertori estetici inediti e mobilitando 
tecnologie e dispositivi che ridefiniscono i modi in cui il dissenso 
viene reso visibile, mediato, ricordato e inscritto nella narrazione 
storica. In questo senso, la protesta rappresenta tanto un fenomeno 
culturale ed estetico quanto intrinsecamente politico.

L’eterogeneità delle forme di dissenso ci invita a ripensare le 
categorie interpretative attraverso le quali comprendiamo le 
manifestazioni di resistenza, mettendo in luce affinità e differenze tra 
le molteplici modalità in cui esse si esprimono. In questa prospettiva, 
la conferenza internazionale Imagining Resistance intende promuovere 
un’ampia riflessione sulle pratiche espressive della protesta e sulle 
diverse forme di resistenza da essa generate. Concentrandosi sui modi in 
cui oggi l’azione politica viene pensata, discussa e performata 
collettivamente, il convegno si propone di indagare la protesta come un 
laboratorio di contro-potere, non necessariamente legato a un esito 
rivoluzionario, ovvero come uno sforzo collettivo volto a immaginare 
alternative ai regimi estetici e politici dominanti.

Immaginare la resistenza significa dunque esplorare come la protesta 
agisca in quanto forma di articolazione politica e pratica creativa 
capace di mettere in discussione l’ordine costituito. Particolare 
attenzione sarà dedicata all’intersezione tra teoria e prassi: ai quadri 
concettuali che permettono di cogliere la specificità della protesta, e 
all’analisi di casi concreti che mostrano in che modo il dissenso si 
manifesti in determinate configurazioni storiche, spaziali e tecnologiche.

Si accettano pertanto contributi che esplorino il fenomeno della 
protesta da diverse prospettive. Sul piano teorico, la conferenza 
accoglie riflessioni sul rapporto tra protesta e filosofia politica, sui 
tratti distintivi del dissenso come atto politico e sui modi in cui la 
resistenza collettiva ridefinisce la grammatica della politica. Si 
incoraggiano inoltre analisi che indaghino le temporalità della protesta 
– le sue eruzioni improvvise, la sua durata, le sue eredità – e le sue 
dimensioni spaziali, dalle occupazioni di piazze e strade alle reti 
digitali e alle forme diffuse di azione. Mettendo in dialogo questi 
approcci, la conferenza intende aprire una riflessione sulla protesta 
come fenomeno sfaccettato, in cui convergono immaginazione e 
materialità, estetica e politica. Senza ridurre proteste e rivolte a 
semplici temi della rappresentazione artistica, la conferenza intende 
esplorare in che modo tali pratiche plasmino e trasformino i linguaggi 
estetici, agendo non come contenuto, ma come principio di 
sperimentazione formale e stilistica. In particolare, si accettano 
contributi relativi (ma non limitati) ai seguenti ambiti tematici:
- Teorie della protesta e della resistenza: il ruolo della filosofia 
politica, della teoria critica, dei cultural studies e di altre 
discipline nella concettualizzazione delle pratiche di dissenso. - 
Temporalità e memoria delle proteste: dalle eruzioni improvvise e dalle 
ondate di mobilitazione alle loro eredità, alle pratiche di 
documentazione, conservazione e riattivazione. Particolare attenzione 
sarà dedicata agli archivi del dissenso e alle forme culturali – 
letterarie, visive o performative – che mostrano come le lotte del 
presente siano continuamente attraversate e rimodellate dai conflitti 
del passato, come accade, ad esempio, nei contesti postcoloniali in cui 
le storie di resistenza vengono trasmesse e riattivate attraverso le 
generazioni. - Archeologie/genealogie: in che modo le proteste del 
passato – come le rivolte moderne o i movimenti collettivi del XX secolo 
– anticipano o prefigurano i fenomeni contemporanei e ci aiutano a 
comprendere ciò che oggi riconosciamo come forma di rivolta? - Il 
rapporto tra proteste e spazialità: piazze, strade, istituzioni, 
frontiere, piattaforme digitali e l’emergere di reti diffuse. - 
Letteratura e protesta: strategie narrative, forme poetiche e pratiche 
testuali in cui il dissenso diventa un principio di innovazione formale, 
capace di ridefinire i generi e le sperimentazioni stilistiche, dando 
luogo, in senso foucaultiano, a discorsi e archivi alternativi della 
resistenza. - Visualizzare, verbalizzare e performare la protesta: il 
contributo della fotografia, del cinema, delle arti visive e della 
storia dell’arte, del suono, della performance e dei media testuali e 
digitali nel reinventare e rendere visibili le proteste. I casi di 
studio potranno riguardare opere, artisti o testi culturali specifici. - 
Estetiche globali della protesta: la circolazione di immagini, simboli e 
repertori oltre i confini nazionali e la creazione di un linguaggio 
gestuale comune, anche mediante l’analisi comparativa di diverse forme 
di protesta.

Tavola rotonda | Proteste e tecnologie digitali Nell’ambito della 
conferenza, una tavola rotonda esplorerà il rapporto complesso e in 
costante evoluzione tra protesta e tecnologie digitali. Dalle 
mobilitazioni dal basso alle reti transnazionali di solidarietà, i media 
digitali sono divenuti strumenti fondamentali per amplificare le voci 
dell’attivismo e costruire narrazioni alternative, capaci di mettere in 
discussione i discorsi dominanti, generando al contempo nuove dinamiche 
di sorveglianza, mercificazione e frammentazione.

La tavola rotonda ospiterà cinque o sei relatori, ciascuno dei quali 
presenterà un contributo teorico, seguito da una discussione collettiva 
moderata da un coordinatore. Chi fosse interessato a questo formato di 
presentazione è invitato a indicarlo chiaramente nella propria proposta. 
La selezione dei partecipanti e la struttura finale della sessione 
saranno curate dagli organizzatori e dal comitato scientifico della 
conferenza.

Invio delle proposte:
Gli interventi (della durata di 20 minuti) potranno essere presentati in 
lingua italiana o inglese.
I contributi potranno assumere la forma di relazioni tradizionali, ma si 
invitano i partecipanti a sperimentare anche altri formati – 
conversazioni o interviste, esplorazioni d’archivio, performance, 
letture, proiezioni o laboratori collaborativi. Si prega di inviare un 
abstract (max 300 parole) e una breve bio (max 150 parole) a 
martinaelisabetta.misia at unibg.it, stefano.mudu at unibg.it, 
andrea.pitozzi at unibg.it e giuseppe.previtali at unibg.it entro il 14 
dicembre 2025. L’esito della selezione verrà comunicato entro il 9 
gennaio 2026.

Reference / Quellennachweis:
CFP: Imagining Resistance (Bergamo, 12-13 Mar 26). In: ArtHist.net, Oct 
17, 2025. <https://arthist.net/archive/50890>.

_____________________________________________________________________

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 paul at paul-brown.com  Mon Oct 20 02:24:41 2025
From: paul at paul-brown.com (Paul Brown)
Date: Mon, 20 Oct 2025 11:24:41 +1100
Subject: [spectre] [CAS] November Meeting - Why Are There So Many Great
 Women Artists in the Age of AI? - Anika Meier
Message-ID: <001133DF-AFB1-4472-A237-EF744DCBBE2F@paul-brown.com>

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 mail at garyhall.info  Tue Oct 21 14:05:16 2025
From: mail at garyhall.info (mail at garyhall.info)
Date: Tue, 21 Oct 2025 13:05:16 +0100 (BST)
Subject: [spectre] Realist Magic: Objects, Ontology, Causality (2nd edition,
 with a new Preface) by Timothy Morton: new open access book
Message-ID: <1123756720.77959.1761048316198@mailbusiness.ionos.co.uk>

Open Humanities Press is pleased to announce the publication of Realist Magic: Objects, Ontology, Causality (2nd edition, with a new Preface) by Timothy Morton.

Like all Open Humanities Press books, Realist Magic is available open access (= it can be downloaded for free): 

https://www.openhumanitiespress.org/books/titles/realist-magic-2nd-ed/

 
Book description

Object-oriented ontology offers a startlingly fresh way to think about causality that takes into account developments in physics since 1900. Causality, argues Object Oriented Ontology (OOO), is aesthetic. In this book, Timothy Morton explores what it means to say that a thing has come into being, that it is persisting, and that it has ended. Drawing from examples in physics, biology, ecology, art, literature and music, Morton demonstrates the counterintuitive yet elegant explanatory power of OOO for thinking causality. 

With a new Preface by Timothy Morton.


Author Bio

Morton is the author of the libretto Time, Time, Time (opera by Jennifer Walshe, 2019), and of numerous artworks including We Are the Asteroid (with Justin Guariglia, 2019); Come Fast from the Dark (with Andrew Melchior, 2024); and This Huge Sunlit Abyss From The Future Right There Next To You (with Björk, 2015). In 2018 Morton co-wrote and appeared with Jeff Bridges in Living in the Future’s Past, directed by Susan Kucera. Morton is Rita Shea Guffey Chair of English at Rice University.

Morton has written Hell: in Search of a Christian Ecology (Columbia, 2024), All Art Is Ecological (Penguin, 2021), Spacecraft (Bloomsbury, 2021), Being Ecological (Penguin, 2018), Humankind: Solidarity with Nonhuman People (Verso, 2017), Dark Ecology: For a Logic of Future Coexistence (Columbia, 2016), Nothing: Three Inquiries in Buddhism (Chicago, 2015), Hyperobjects: Philosophy and Ecology after the End of the World (Minnesota, 2013), Realist Magic: Objects, Ontology, Causality (Open Humanities Press, 2013), The Ecological Thought (Harvard, 2010), Ecology without Nature (Harvard, 2007), 8 other books and 300+ essays on philosophy, ecology, literature, music, art, architecture, design and food. 

 
Series

The book is published as part of the New Metaphysics series: https://www.openhumanitiespress.org/books/series/new-metaphysics/


Series Design

The New Metaphysics series design is by Katherine Gillieson with cover illustrations by Tammy Lu.



-- 
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.)

Blog post: The Commons vs Creative Commons Conclusion: Commoner Is Not An Identity: https://garyhall.squarespace.com/journal/2025/10/20/the-commons-vs-creative-commons-conclusion-commoner-is-not-a.html

From andreas.broeckmann at leuphana.de  Wed Oct 22 11:06:30 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Wed, 22 Oct 2025 11:06:30 +0200
Subject: [spectre] CONF: Escape and Escapism: Art and the GDR (Cambridge,
 15 Nov 25)
Message-ID: <d68c30b2-6ccd-44c5-aa2b-2184bc6a8984@leuphana.de>

From: Matthew Shaul
Date: Oct 20, 2025
Subject: CONF: Escape and Escapism: Art and the GDR (Cambridge, 15 Nov 25)

Magdalene College, Cambridge (UK)

"Escape and Escapism: Art and the GDR".

A one-day symposium organised to coincide with the exhibition ‘Escape 
from Colditz’ by Leipzig-based artist Annette Schröter at the Robert 
Cripps Gallery, Magdalene College, University of Cambridge. An 
international array of speakers will discuss creative legacies in visual 
arts, architecture, photography, film, dance and literature from the GDR.

//
PROGRAMME:

NOVEMBER 15, 2025:
Magdalene College Auditorium, 3 Chesterton Road, Cambridge, United 
Kingdom CB4 3AD

10.00 am – Introduction and Welcome: Silke Mentchen, University of 
Cambridge & co-curator ‘Escape from Colditz’

10.15 am – Two Who Escaped: Georg Baselitz and A R Penck: Richard 
Calvocoressi, Magdalene College, University of Cambridge

10.45 am – The DDR in the Humboldt Forum: Wolfgang Mattheuer’s Painting 
'Guten Tag': Neil MacGregor, Former Director, British Museum (London) & 
Humboldt Forum (Berlin).

11.15 am – Visit to exhibition and lunch (own arrangements)

1.30 pm – Christa Wolf ’s 'Juninachmittag': Georgina Paul, University of 
Oxford

2.00 pm – ‘Escape to Rabbit Land’ – Escape and Inner Emigration in GDR 
and (post) GDR Photography: Matthew Shaul, Queen Mary University of 
London & co-curator ‘Escape from Colditz’

3.00 pm – Cybernetics and Simulacra: Remediating Halle-Neustadt Public 
Art: Stephan Ehrig, University of Glasgow

3.30 pm – Was Bleibt? The Politics of East German Dance: Marion Kant, 
University of Cambridge

4.00 pm – 5 pm – Final Discussion

--

The admission is free, however, booking is essential. Please follow this 
link to register: 
https://www.eventbrite.com/e/escape-and-escapism-art-and-the-gdr-tickets-1776955705349

For further information on the exhibition please visit: 
https://www.magd.cam.ac.uk/events/escape-colditz-papercuts-collage-and-installation.


Reference / Quellennachweis:
CONF: Escape and Escapism: Art and the GDR (Cambridge, 15 Nov 25). In: 
ArtHist.net, Oct 20, 2025. <https://arthist.net/archive/50949>.

From echinophora at gmail.com  Wed Oct 15 15:17:28 2025
From: echinophora at gmail.com (Margherita Pevere)
Date: Wed, 15 Oct 2025 15:17:28 +0200
Subject: [spectre] =?utf-8?q?Workshop_on_Soil=2C_wildfires_=26_bioremediat?=
	=?utf-8?q?ion_on_October_25th_at_the_Museum_f=C3=BCr_Naturkunde_Be?=
	=?utf-8?q?rlin?=
Message-ID: <CAPVFZe1yuGULKCJ3N2beBpkmNzjJFN2hfw0Qo=n4oS6fj_Si-w@mail.gmail.com>

Berlin folks,

I will give a workshop on Soil, wildfires & bioremediation on October 25th
at the Museum für Naturkunde Berlin. Please join and share the word ❤️

The workshop is open to artists, researchers and curious minds who wish to
know more about what happens in soil during wildfires.
https://www.museumfuernaturkunde.berlin/en/participate/events/workshop-soil-wildfires-bioremediation

Registration open until October 23rd. Small groups are welcome.
Please feel free to reach for any questions!
looking forward to welcoming you there,

best regards
___

Dr Margherita Pevere
https://margheritapevere.com <http://www.margheritapevere.com>
My new artwork Hlymia <https://margheritapevere.com/hlymia/> is a
devotional object for my immune cells and their enigmatic behaviour
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From ab at mikro.in-berlin.de  Wed Oct 22 11:25:13 2025
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Wed, 22 Oct 2025 11:25:13 +0200
Subject: [spectre] xCoAx 2026 Call for Papers, Artworks, Performances,
 and School of X
Message-ID: <b6b52ec2-504c-4313-900e-4304a8c4da4b@mikro.in-berlin.de>

xCoAx 2026 Call for X
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͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     
͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     
͏ ‌     ͏ ‌   ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ 
‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ 
‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ 
‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌   ͏ ‌     ͏ ‌ 
     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌ 
     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌ 
     ͏ ‌     ͏ ‌    ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ 
­ ­ ­ ­

xCoAx 2026, July 8-10, Torino, Italy

	

View this email in your browser 
<https://mailchi.mp/a78e0d0ced53/xcoax-2026-call-for-x?e=be2ea31570>


  xCoAx 2026
  14th International Conference on Computation, Communication,
  Aesthetics and X


    *8-10 July 2026*
    Torino, Italy


    https://xcoax.org/
    <https://xcoax.us14.list-manage.com/track/click?u=0cdac0ad3a46ed1e936aa969e&id=65cd6fd583&e=be2ea31570>



    *Submit before February 1, 2026.*

*xCoAx*explores the intersections where computational tools and media 
meet art and culture in the form of multi-disciplinary enquiries on 
aesthetics, computation, communication and the elusive X factor that 
connects and affects them all.

*xCoAx*is a great chance for international audiences to exchange ideas 
in search of interdisciplinary synergies between artists, media 
practitioners, computer scientists, and theoreticians at the thresholds 
between digital arts and culture.

*xCoAx 2026*will take place at the Palazzo Madama museum in Torino, 
Italy, under the auspices of the Department of Philosophy and Education 
Sciences of the University of Torino.



    Call for papers, artworks, performances, School of X applications.

*xCoAx 2026 *calls for papers, artworks, performances and research 
works-in-progress by scholars, artists, performers and students working 
on any of its multi-disciplinary facets.

You are invited to submit theoretical, practical or experimental 
research work in the form of papers, artworks, or performances, on a 
range of topics that includes but is not limited to the following:

Computation / Communication / Aesthetics / X / Algorithms / Systems / 
Models / Artificial Aesthetics / Artificial Intelligence & Creativity / 
Artistic explorations of digital game technologies / Audiovisuals / 
Multimodality / Design / Interaction / Generative Art & Design / History 
/ Mechatronics / Physical Computing / Music / Sound Art / Performance / 
Philosophy of Art & of Computation / Computational Photography and Image 
Technologies / Technology / Ethics / Epistemology

If you are a Master’s or PhD student you also have the opportunity to 
apply for the School of X, for which a separate call will be issued soon.



    *All information on how to submit papers, artworks, performances,
    and applications to the School of X is available at
    **https://xcoax.org*
    <https://xcoax.us14.list-manage.com/track/click?u=0cdac0ad3a46ed1e936aa969e&id=3eb1c2379f&e=be2ea31570>



    *Important dates:*

  *

    *February 1 *(end of day anywhere on Earth): Deadline for submissions.

  *

    *March 23*: Notifications to authors.

  *

    *April 20*: Registration deadline for authors.

  *

    *April 26*: Delivery of final versions of full papers and extended
    abstracts of artworks and performances for the proceedings.

  *

    *May 3*: Delivery of final versions of multimedia files for the website.

  *

    *July 6 to 7*: xCoAx exhibition set-up at Palazzo Madama.

  *

    *July 8 to 10*: xCoAx conference, exhibition, and performances.


    Contacts:

email: info at xcoax.org
instagram: @xcoaxorg 
<https://xcoax.us14.list-manage.com/track/click?u=0cdac0ad3a46ed1e936aa969e&id=bfc1a662e2&e=be2ea31570> 

bluesky: xcoax.org 
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/Copyright © 2025 xCoAx, All rights reserved./

*Our mailing address is:*
    xCoAx Avenida Rodrigues de Freitas, 265 Porto 4049-021 Portugal

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From gif at 220hex.org  Thu Oct 23 10:58:10 2025
From: gif at 220hex.org (220hex)
Date: Thu, 23 Oct 2025 10:58:10 +0200
Subject: [spectre] Open Call - Piksel25 - November 20-23 2025
Message-ID: <e1fcd2ec-055f-4a5f-aa45-287e2de57265@220hex.org>

Piksel25
November 20-23 2025
Bergen, Norway

Dear friends,

We are excited to announce the call for projects for the 23nd edition of 
the Piksel Festival!

Piksel will again go hybrid this year, so we welcome ideas for both 
online and physical collaborative activities. We are also interested in 
projects that involve the virtual gallery IDLE. If you are a 3D artist, 
live coder, or feel inspired by the virtual environment IDLE (Inclusive 
Digital Laboratory for Experimental Art), we would love to hear your 
ideas. IDLE includes a virtual gallery that mimics the physical Piksel 
Studio 207 and is connected to the IDLE IoT system, with lights, 
screens, and a sound system controlled by the internet (Internet of 
Things system). Learn more at https://idle.piksel.no/.

To make the most of our resources and create a more sustainable event, 
we are extending the exhibition period from the festival dates until 
mid-December. We encourage you to present art installations that can be 
built in Bergen to minimize international transport, aligning with our 
green strategy. Due to limited resources, we will prioritize projects 
from individual artists or artist collectives that can explore a 
specific theme through multiple artworks and workshops. We warmly 
encourage artists to apply to different open tracks, as this will help 
us better understand the full scope of your work.

Please feel free to submit your projects to any of the open tracks: 
presentations, workshops, concerts, installations, and PikselSavers.

Piksel offers travel to Norway, accommodation, and meals during the 
festival and the setup days in advance to help you realize your project.

We look forward to receiving your submissions!

!!!!!!!!!! Deadline — October 31st 2025 !!!!!!!!!!

Please use the online submit form at: https://pretalx.com/piksel25/

More info: https://piksel.no/

open CALL for PROJECTS

For the exhibition and other parts of the program we currently seek 
projects in the following categories:

1. Installations
Projects to be included in the exhibitions. The works must be realized 
by the use of free and open source technologies.
For Piksel25 we specially encourage projects in the field of DIY BIOart 
and renewable/sustainable technologies to apply.

2. Audiovisual performance
Live art realized by the use of free software and/or open/DIY hardware.
If you are a 3D artist/live coder or feel inspired by the virtual 
environment IDLE, Inclusive Digital Laboratory for Experimental Art, we 
would like to hear your ideas. IDLE consists of a virtual gallery, 
mimicking the physical Piksel Studio 207 and the IDLE IoT system, 
lights, screen and sound system controlled by internet (Internet of Things).
https://idle.piksel.no/

3. Presentations
Innovative DIY/open hardware and audiovisual software tools or software 
art released under a free/open license. (Also includes presentations of 
artistic projects realized using free/open technologies.)
For Piksel25 we specially encourage projects in the field of DIY BIOart 
and renewable/sustainable technologies to apply.

4. Workshops
Hands on workshops utilizing free software and/or open/DIY hardware for 
artistic use.
For Piksel25 we specially encourage projects in the field of DIY BIOart 
and renewable/sustainable technologies to apply.

5. PikselSavers
Video and software art based on the screensaver format – short 
audiovisual (non)narratives made for endless looping. Possible thematic 
fields includes but are not limited to: sustainable resource allocation, 
renewable technologies, energy harvesting, fair trade hardware, free 
content, open access, open data, DIY economy, shared development. The 
works must be realized by the use of free/open source technologies.

—

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.
Piksel25 is supported by the Municipality of Bergen, Arts Council 
Norway, Vestland Fylkeskommune and others.


From andreas.broeckmann at leuphana.de  Mon Oct 27 19:01:43 2025
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Mon, 27 Oct 2025 19:01:43 +0100
Subject: [spectre] ANN: Methodology Seminars for Art History in Ukraine
 (Rome, 27-31 Oct 25)
Message-ID: <c2335c4b-4635-4a96-a8ed-f84f3d239f1c@leuphana.de>

From: Oleksandra Osadcha
Date: Oct 23, 2025
Subject: ANN: Methodology Seminars for Art History in Ukraine (Rome, 
27-31 Oct 25)

Bibliotheca Hertziana, via Gregoriana 22, Rome, Oct 27–31, 2025

The Methodology Seminars for Art History in Ukraine: Epistemologies, 
Agencies, and Margins is a first edition of a two-year scholarly 
initiative committed to rethinking methodological approaches and future 
directions of art history within Ukraine. Designed for early-career 
researchers from Ukraine it encourages critical, collaborative, and 
practice-oriented reflection on art historical methodology and the 
development of own research projects.

 From August to October, 12 Ukrainian art historians participated in the 
weekly deep-reading methodological webinars and peer-to-peer 
consultations with experts, while developing their own research projects 
in art history.

In the last week of October, they will gather in Bibliotheca Hertziana 
to present their work-in-progress and take part in a series of intense 
workshops with renowned scholars.

PUBLIC PROGRAM

Monday, October 27, 18:00–19:30
Olenka Pevny. Between Theory and Practice: Studying Medieval Monuments 
of Kyiv
This talk explores the medieval visual inheritance of Ukraine and the 
coloniality of knowledge that continues to shape the study of Kyiv’s 
sacred monuments. Through close consideration of three key sites—the 
eleventh-century Cathedral of St Sofiia, the twelfth-century Church of 
St Cyril of Alexandria, and the Church of the Saviour in Berestovo, 
restored in the seventeenth century—it examines how these monuments have 
been interpreted, restored, and appropriated within imperial and 
national frameworks. Ultimately, the talk calls for an epistemic 
decolonisation of medieval and early modern Central-East European 
studies—inviting us to see Kyiv’s cultural landscape not as a reflection 
of imposed narratives, but as a vibrant nexus of multiple identities, 
transcultural connections, and historical continuities.

Tuesday, October 28, 14:30–16:00
Edit Andras. Region or not Region, that is the question
The lecture explores the shifting meanings of Central and Eastern 
Europe’s regional identity from the end of the Cold War to the present. 
It traces how post-socialist optimism and European integration gave way 
to nationalist revivals, political dissonance, and new alignments amid 
global tensions—particularly Hungary’s hinge toward illiberalism and 
Eastern alliances. Through examples from politics, art, and cultural 
diplomacy, the text reveals how unresolved historical losses, collective 
trauma, and the “fear of disappearance” continue to shape regional 
narratives and artistic expression. Ultimately, it argues that 
transnational and regional approaches in art history can serve as 
antidotes to nationalism, offering a shared framework for solidarity and 
critical reflection across the fragmented post-socialist landscape.

Thursday, October 30, 14:00–15:30
Oksana Barshynova. The Archive and the Afterlife of Images
In thе lecture we explore the archive as a dynamic site where 
preservation, erasure, and reinterpretation intersect. Rather than a 
neutral repository, the archive functions as a locus of power that 
determines which images endure and how they are framed within 
art-historical discourse. By tracing the afterlives of images—how they 
circulate, are reactivated, or suppressed in shifting cultural and 
political contexts—the theme foregrounds questions of memory, authority, 
and historiographical responsibility in transcultural art history.

Friday, October 31, 18:00–19:30
Mateusz Kapustka. Burckhardt’s Demons: Contesting Visuality in 
Transcultural Art History
The lecture explores the potential for broadening the notions of image 
and visuality within the framework of contemporary transcultural art 
history. It specifically analyzes how the image cultures of the Indian 
subcontinent were addressed in early academic art history, particularly 
by Jacob Burckhardt. The discussion will take a dialectical-historical 
approach to explore how the European canon of visuality and the 
aesthetic validation of images in art history have been overdetermined 
by alienating discursive preconceptions.

SPEAKERS

Edit András is a Hungarian art historian, an independent scholar. She 
holds a Ph.D. in art history from Eötvös Loránd University, Budapest. 
She is a senior member of the HUN-REN, Research Centre for the 
Humanities, Institute of Art History, Budapest. Her main interest 
concerns Eastern and Central European modern and contemporary art, 
gender issues, socially engaged art, public art, critical theories, 
post-socialist condition, and nationalism in the region.

Dr. Mateusz Kapustka is a Privatdozent at the Art History Institute of 
the University of Zurich (UZH) and, since 2025, the PI of a DFG research 
project at the Freie Universität Berlin (FU). His research interests 
include image conflicts, visual anachronism, idolatry and iconoclasm, 
images of protest, transcultural art history, and early modern 
intersections of knowledge and visual propaganda (focus Central and 
Eastern Europe).

Oksana Barshynova, deputy director of the National Art Museum of 
Ukraine, is an art historian, curator, and researcher studying 
contemporary art and the history of Ukrainian art in the second half of 
the twentieth century and the early twenty-first century. She is 
codeveloper of the new concept for exhibiting modern and contemporary 
art at NAMU and the author of many articles on the history of Ukrainian art.

Dr Olenka Pevny, Associate Professor in Ukrainian Studies and in 
Medieval and Early Modern Slavonic Studies, University of Cambridge. She 
studies the art and culture of Kyivan Rus’ and Ruthenia. She is 
particularly interested in the reception and acculturation of the 
Orthodox tradition in Eastern Slavic lands and in the place of visual 
culture in narratives of national, regional, religious, and gender identity.

Scientific Organization: The project is realized with the support of the 
Getty Foundation, as a part of the Connecting Art Histories program, by 
the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome 
and the Max Weber Foundation’s Research Centre Ukraine.


Reference / Quellennachweis:
ANN: Methodology Seminars for Art History in Ukraine (Rome, 27-31 Oct 
25). In: ArtHist.net, Oct 23, 2025. <https://arthist.net/archive/50973>.

From gabriel.menotti at gmail.com  Tue Oct 28 01:06:16 2025
From: gabriel.menotti at gmail.com (Gabriel Menotti)
Date: Mon, 27 Oct 2025 20:06:16 -0400
Subject: [spectre] CFP: Performative Imaging (Arts open access journal
 special issue)
In-Reply-To: <CAG=4eDR-ZwWhuqZMrHcKr0uKFaZY7+iNvEYiqpEZdVXHUfOtVw@mail.gmail.com>
References: <CAG=4eDR-ZwWhuqZMrHcKr0uKFaZY7+iNvEYiqpEZdVXHUfOtVw@mail.gmail.com>
Message-ID: <CAG=4eDQnR=iChOvpG8z4ZTbH9AvRTDs0WiCTfcM0nb2TNkJL6w@mail.gmail.com>

Hey all!

Please check below the call for abstracts for an upcoming issue of the open
access /Arts/ journal on /Performative Imaging/.

In case you are interested, please send your ideas to the guest editors by *Nov
30*. We are able to waive the processing fees for invited contributions
that fit within the scope of the issue.

Best!
Menotti

* * *

**Performative Imaging: Post-Digital Medialities in Contemporary Moving
Image Practices* *
Deadline for abstracts (250 words): Nov 30, 2025
Deadline for full manuscripts: May 31, 2026

Full call at: https://www.mdpi.com/journal/arts/special_issues/6T3L4ES1T0

The development of post-digital practices has accentuated the operational
dimensions of moving images. In their banality, media objects such as
graphic user interfaces and virtual environments invite us to look past
screens and reflect on the uses of imaging beyond a means of
representation. Images are increasingly becoming gestures to make, places
to inhabit, and tools to manipulate. This shift signals a turn toward
complex modalities of *performative imaging*, where images do not merely
depict, but actively *do stuff*, enabling cultural vocabularies that
intertwine different approaches to space, subjectivity, and experience. As
such, images constitute major socio-connective and creative devices that
reconfigure the participation of artists, audiences, and other
technological actors in legacy artforms while giving rise to new ones.

This Special Issue invites articles that explore instances of this
phenomenon from various angles, covering the use and aesthetics of
multimedia installations, online and offline performances, computer movies,
programming languages, artificial agents, immersive worlds, videogames, and
other interactive media from both artistic and curatorial angles. We
particularly welcome contributions attentive to embodied, material, and
decolonial perspectives, sensorial and epistemic diversification, data
sovereignty, and marginalized subjects.

We request that, prior to submitting a manuscript, interested authors
initially submit a proposed title and an abstract of 200 words summarizing
their intended contribution. Please send it to the guest editors (
gabriel.menotti at gmail.com) or to the *Arts* editorial office (arts at mdpi.com).
Abstracts will be reviewed by the guest editors for the purposes of
ensuring proper fit within the scope of the special issue. Full manuscripts
will undergo double-blind peer-review.
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From marc.garrett at protonmail.com  Wed Oct 29 11:45:48 2025
From: marc.garrett at protonmail.com (marc.garrett)
Date: Wed, 29 Oct 2025 10:45:48 +0000
Subject: [spectre] Cassie Thornton's foreword to Marc Garrett's new book,
 Feral Class.
Message-ID: <ZWibLhk0nawJDSlGmJwnAoMRLEjHLPy2nUcyGr_6YsWymfjnjNgRkzVznFR8JKblCaOSivYVac8H58ARAllYJ_0TUAG1R3Pvov3ablZCqkg=@protonmail.com>

Sorry for any cross posting,

Cassie Thornton's foreword to Marc Garrett's new book, Feral Class.

"Feral Class is written by and about a member of an unidentifiable group of people who are simply too upset to assimilate and smile while standing on a planet we’ve turned into a predatory war economy. The unruly combination of factors that allows you to hold this book today demonstrates the work of Marc and the feral class." Cassie Thornton.

"The book my foreword introduces is a kind of anarcho-spiritual guide for those of us who are bursting at the seams, stuck in a flat white reality that continues on as normal despite the extraordinary suffering of most beings on the planet. Feral Class (the spiritual guide) doesn’t include herbal remedies, consent protocols, or rituals in the forest. Instead, it models stories about a person (Marc Garrett) who does not have the so-called skills to remain calm and pleasant when social reality is, in fact, an unfair, unjust piece of shit. If an honest response to genocide, environmental collapse, racist capitalist ideologies, and far right extremism feels impossible, rude, but completely necessary, then the Feral Class (the book, the untraceable group of people who cannot pretend to be happy, and the idea) may be your social medicine." Cassie Thornton.

Cassie Thornton's foreword
https://marcgarrett.org/2025/10/28/im-not-a-terrorist-im-feral-class/

Feral Class, the book, is available to order now. Find it here: https://www.minorcompositions.info/?p=1561

Wishing you well

Marc

++++++++++
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