From lists at asquare.org  Sun Apr  5 16:33:24 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Sun, 5 Apr 2026 15:33:24 +0100
Subject: [spectre] Call for papers on Post-Disciplinary Creative Practices,
 EAI ArtsIT 2026
In-Reply-To: <CAJ_C8aWmhsTEcqVMRxh37x+dxtGsdnjzMmx9MsKncV4uL+aYJg@mail.gmail.com>
References: <CAJ_C8aUvxeBDHfsXN5djanBMvxwS-F=AUZMvhoYM3QMGxX3+cA@mail.gmail.com>
 <CAJ_C8aXrwqnGy+b63Q6iH8xbEoeBn=ER0DCUZuJj0NRaussOSQ@mail.gmail.com>
 <CAJ_C8aWMX3AB+DCf-kPq23vO=smFfDk7o+=UCcA6Aaq49Pvo_g@mail.gmail.com>
 <CAJ_C8aWmhsTEcqVMRxh37x+dxtGsdnjzMmx9MsKncV4uL+aYJg@mail.gmail.com>
Message-ID: <CAJ_C8aXS9JWXVPDQR84GwRMMu49QJwK2LJ5=Dr3gChzOeyMFkQ@mail.gmail.com>

Open call for special track papers on Post-Disciplinary Creative Practices
for the 15th EAI International Conference: ArtsIT, Interactivity & Game
Creation. This will be a Hybrid Conference and occurs 2nd - 4th December,
2026 in Bratislava, Slovakia. Full paper submission deadline is 1st June
2026.

Full details are available here:
https://artsit.eai-conferences.org/2026/call-for-special-track-papers-on-post-disciplinary-creative-practices/

-----

Post-Disciplinary Creative Practices

In the twentieth-century artistic practices repeatedly sought to move
beyond the specificity of medium, technique, process, style and form. This
yielded practices that were ahead of their time, evaded traditional
classifications and consequently became known as the avant-garde. As the
century progressed theories formulating the working practices of the
avant-garde were developed. Artworks were, for example, conceived as open
forms (Eco, 1962) or as an expanded medium (Youngblood, 1970) and practice
transitioned through a number of stages of disciplinarity, moving from
intradisciplinarity to multidisciplinarity, crossdisciplinarity,
interdisciplinarity and transdisciplinarity (ARJ, 2012; ARJ, 2022). While
these developments in art of moving beyond, opening or expanding outwards,
seem to contradict the ‘modern project’ of the division of labour and
increasing specialization (De Langhe, 2010) evident in the fields of
science and technology they in fact echo desires present in mid-century
innovative fields, such as Cybernetics and Systems Theory, to reappraise
working practices.

For this EAI ArtsIT Special Track it is proposed that contemporary creative
practices that employ technology continue the tradition of the avant-garde
by adopting mediums, techniques, processes, styles and forms from beyond
the specificity of artistic practice. In doing so they form part of a new
emerging stage of disciplinarity, post-disciplinarity, where practitioners
not only practice in/across/between/beyond disciples but do so from outside
or post the context of disciplinarity itself.


Special Track Topics

This track will seek papers that explore and discuss how digital and
electronic technologies form a key component in post-disciplinary creative
practices, under the following (but not limited to) themes:

• Disciplinarity and creative practice;
• Technology as medium, technique, process, style and form in creative
practice;
• Post-disciplinary creative practices and authorship;
• Creative identity;
• AI art;
• Open Source, Creative Commons, shared and distributed media in creative
practice;
• Participative, interactive and collaborative forms;
• Technology and post-humanism;
• Post-disciplinary creative practices and audiences;
• Post-disciplinary creative practices’ relationship with broader
‘postness’ in culture e.g. post-art, post-internet, post-digital,
post-modern, post-anthropocene etc.;
• Post-disciplinary creative practice and ‘the academy’;
• Disciplinary knowledge and Do-It-Yourself knowledge e.g. maker and hacker
culture;

The track will welcome papers where post-disciplinary working practices and
methods are foregrounded.

-- 
regards
Dr. Lynch IRL
_________________
Garrett at asquare.org
http://www.asquare.org/
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From mail at garyhall.info  Tue Apr  7 11:32:15 2026
From: mail at garyhall.info (Gary Hall)
Date: Tue, 7 Apr 2026 10:32:15 +0100
Subject: [spectre] Discussion of Defund Culture tomorrow on Breaking Culture
 Live
Message-ID: <6dc48036-e35f-4dec-a22e-a6c675b93e5f@garyhall.info>

I’ll be taking part in the next episode of Breaking Culture Live 
tomorrow, broadcasting on their YouTube channel at noon NYC time on 
April 8, 2026 (https://www.youtube.com/@BreakingCultureLive/streams).

We’ll be discussing my new book, Defund Culture: A Radical Proposal – 
available open access on a CC4r basis in a variety of formats 
(https://www.mediastudies.press/defund-culture-a-radical-proposal) - 
addressing what serves as its sub-subtitle: “Why the arts are so white, 
male, and middle-class, and what we can do about it.”

‘Breaking Culture Live is a Cultural Studies Association affiliated 
program hosted by Past President Sean Johnson Andrews. Every Wednesday 
we spend our lunch hour breaking down the breaking news with cultural 
studies scholars and activists, discussing their work and how it helps 
us understand a contemporary event or emergent trend and intervene in 
making the world a better place. ‘

Subscribe to the Breaking Culture Live YouTube channel and tune in at 
11:00 am Chicago, noon NYC time this Wednesday. 
https://www.youtube.com/@BreakingCultureLive/streams

-- 
Gary Hall
Professor Emeritus of Media @ Coventry University
Founding co-director of Open Humanities Press: http://www.openhumanitiespress.org
Blog: http://garyhall.squarespace.com/journal/

Latest:

Books: Defund Culture: A Radical Proposal: https://www.mediastudies.press/defund-culture-a-radical-proposal

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

Blogpost: ‘"The Most Spoiled Generation": Boomer Theory, Algorithmic Hustle and the Drive Toward Something Else': http://garyhall.squarespace.com/journal/2026/2/10/the-most-spoiled-generation-boomer-theory-algorithmic-hustle.html





    






















From info at galeriecharlot.com  Wed Apr  1 10:03:52 2026
From: info at galeriecharlot.com (Galerie Charlot)
Date: Wed,  1 Apr 2026 08:03:52 +0000 (UTC)
Subject: [spectre] =?utf-8?q?Vernissage/_Opening_16/04_-_=C3=8ATRE_MACHINE?=
 =?utf-8?q?_by_Antoine_Schmitt?=
Message-ID: <c5e1758c.AU8AAJPk3SoAAc4dRJwAAF0UNrIAADepa2EAJMvAAABPFwBpzNFo@mailjet.com>

Voir la version en ligne http://kz8.mj.am/nl3/lZg4DGYWiArg4qJU8Cf-yA?m=AU8AAJPk3SoAAc4dRJwAAF0UNrIAADepa2EAJMvAAABPFwBpzNFofgsi8fOTQtabm-uVXjINmgAAVGs&b=c5e1758c&e=7279fd5e&x=PtxQOGWJkFzJ-JCipCKOe6aLP8eQ5ZJ5KPhj8V0S9ns



 

Prochain rendez-vous à la Galerie Charlot

solo show Antoine Schmitt

 Être Machine

Vernissage le jeudi 16 Avril, de 18h à 21h

Opening Thursday April 16th, from 6 PM to 9 PM

 

Cette exposition rassemble une selection d'œuvres, à la fois historiques et récentes. 

À travers des installations, des sculptures automates et des dessins assistés par ordinateur, Antoine Schmitt explore le processus qui anime humains et machines, ouvrant un dialogue singulier entre le vivant et l’artificiel.

Une table traçante vous invitera à expérimenter les mécanismes créatifs des dessins générés par ordinateur, imaginés par l'artiste, offrant une immersion au coeur de son processus de création. 

Au plaisir de vous accueillir pour cette expérience, à la croisée de la sculpture, du mouvement robotique et du dessin.

 

À bientôt,

L’équipe Charlot



[https://kz8.mj.am/img2/kz8/7b0d60ab-813e-4877-81c5-03770617a734/content]
Antoine Schmitt & Hortense Gauthier, Caput Curiosus Machinimale, 2025, Sculpture animée

[https://kz8.mj.am/img2/kz8/5836b350-e9db-4d3a-8857-685489b5265a/content]
Antoine Schmitt, Ballet Quantique, 2011, Programme spécifique sur ordinateur



This exhibition brings together a selection of both historical and recent works.

Through installations, kinetic sculptures, and computer-assisted drawings, Antoine Schmitt explores the processes that drive both humans and machines, opening a singular dialogue between the living and the artificial.

A plotter table will invite you to see experience the creative mechanisms behind computer-generated drawings conceived by the artist, offering an immersion into the heart of his creative process.

We look forward to welcoming you to this immersive experience, at the intersection of sculpture, robotic movement, and drawing.

 

See you soon,

The Charlot Team

 

Galerie Charlot

47 rue Charlot, 75003 Paris



<<Ajouter à l'agenda
Save the date>> [https://calendar.google.com/calendar/event?action=TEMPLATE&tmeid=NGhic2pnazR2aWtnYWNrM2dyM29xaTRvODQgYmVmYmUyOWQzZWIyNGUyMjVjNTZlMWI1NGM3Y2Y5ODVhZDE5ZTEyODNmYjRlM2YyYzdkMGQ2Y2I2ZmFjMWM4N0Bn&tmsrc=befbe29d3eb24e225c56e1b54c7cf985ad19e1283fb4e3f2c7d0d6cb6fac1c87%40group.calendar.google.com]


<<En savoir plus
Learn More>> [https://fisheyeimmersive.com/evenement/antoine-schmitt-etre-machine/]




Antoine Schmitt, exp. Centre Pompidou (Paris), Sonar (Barcelone), CIAC de Sienne (Italie), coll. Espace Gantner (Bourogne, FR), Cube (Issy-les-Mx, FR), FMAC (Paris)





Follow Galerie Charlot on Artsy [https://files.artsy.net/images/artsy-follow-us-186x64_0.png]
https://www.artsy.net/partner/galerie-charlot?utm_campaign=artsy-embedded-widget&utm_source=volt&utm_medium=embedded-widget


[https://www.galeriecharlot.com]

[]



Cet email a été envoyé aux visiteurs de la galerie. Cliquez ici pour vous désabonner http://kz8.mj.am/unsub2?m=AU8AAJPk3SoAAc4dRJwAAF0UNrIAADepa2EAJMvAAABPFwBpzNFofgsi8fOTQtabm-uVXjINmgAAVGs&b=c5e1758c&e=7279fd5e&x=PtxQOGWJkFzJ-JCipCKOe6aLP8eQ5ZJ5KPhj8V0S9ns&hl=fr_fr.
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From chiarapassa at gmail.com  Wed Apr  8 11:18:57 2026
From: chiarapassa at gmail.com (Chiara Passa)
Date: Wed, 8 Apr 2026 11:18:57 +0200
Subject: [spectre] Upload/Download by Federico Tidei, April 8 - June 10 2026.
In-Reply-To: <CADgVW-N1gqw0bAknPB1OPRC5abFtMaKbG_Wdwv83LufSammwbQ@mail.gmail.com>
References: <CADgVW-N1gqw0bAknPB1OPRC5abFtMaKbG_Wdwv83LufSammwbQ@mail.gmail.com>
Message-ID: <CADgVW-MM3CF6WsgHYOi5-nLmKbtajM1PZeBNoNJ2fzGxuPTyKQ@mail.gmail.com>

Dear friends & colleagues,

I hope this message finds you well.

The Widget Art Gallery is proud to present a new GIF artwork:
"Upload/Download" by Federico Tidei, April 8 - June 10 2026.
https://www.chiarapassa.it/wag/

The WAG is a web-app cross-device gallery, just save the icon to your
mobile home screen!
You can still download the original widget version for Mac OSX Dashboard here:
https://www.chiarapassa.it/wag.zip

About the show "Upload/Download"

Art is no longer something that exists exclusively in physical
reality. Upload/Download invites us to reflect on the digital medium
as a means of transcending the limits of the real world and giving
form to what could never exist in the material world. In digital
space, materials lose their intrinsic properties and become pure
image, visually evocative entities that echo the real while
simultaneously betraying it. Thus, stones can float, and sculptures
can appear and vanish, dissolving into data.
Federico Tidei is a student in Multimedia Arts and Technology at the
Fine Arts Academy of Rome. Federico's IG
https://www.instagram.com/3f__trashpanda?igsh=MTVuanM5eGNuNWo3bw==

About the WAG

Founded in 2008 by Chiara Passa, the Widget Art Gallery is a
single-room virtual gallery that fits in your pocket. Designed as both
a kunsthalle for temporary exhibitions and a growing permanent
archive, the WAG presents site-specific solo shows viewable across all
devices.

Thanks for reading and enjoy the show!

Kindest regards,
Chiara Passa

From ab at mikro.in-berlin.de  Fri Apr 10 10:48:02 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Fri, 10 Apr 2026 10:48:02 +0200
Subject: [spectre] Fwd: JSTA Thematic Issue: Counteract: Practices of
 Artistic Resistance, Dissidence, and Furtivity
In-Reply-To: <1F25D415-5B1B-430A-94A4-B5FCD8CC8FF4@3kta.net>
References: <1F25D415-5B1B-430A-94A4-B5FCD8CC8FF4@3kta.net>
Message-ID: <9ed6383f-3a91-4c16-8b6f-51babd144595@mikro.in-berlin.de>

-------- Weitergeleitete Nachricht --------
Betreff: 	Counteract: Practices of Artistic Resistance, Dissidence, and 
Furtivity
Datum: 	Mon, 30 Mar 2026 17:32:26 +0100
Von: 	Andre Rangel <a at 3kta.net>



CounterAct.jpg

[EN]
/Counteract: Practices of Artistic Resistance, Dissidence, and 
Furtivity/, the current Issue – Vol. 17 No. 2 (2025) – of the Journal of 
Science and Technology of the Arts is now free for reading and spreading 
away –
Vol. 17 No. 2 (2025): Counteract: Practices of Artistic Resistance, 
Dissidence, and Furtivity | Journal of Science and Technology of the 
Arts <https://revistas.ucp.pt/index.php/jsta/issue/view/1002>
revistas.ucp.pt <https://revistas.ucp.pt/index.php/jsta/issue/view/1002>
	favicon.ico <https://revistas.ucp.pt/index.php/jsta/issue/view/1002>

<https://revistas.ucp.pt/index.php/jsta/issue/view/1002>


Edited In-between André Rangel and Verónica Metelo with words, thoughts 
and practices from the editors and the authors César Escudero Andaluz, 
Jakob Margit Wirth, Mihai Băcăran, Jörg Sternagel, Jan Hendrik 
Brueggemeier, Carmen Guarino and Ana Anselmo Davies. This thematic 
dossier highlights the magmatic and political power of counteracting, 
bringing to the discussion and making visible exploratory, dissident, 
furtive and resistant theoretical and artistic practices in the scope of 
performance art, new media and autonomous alternative media.

[PT]
/Counteract: Practices of Artistic Resistance, Dissidence, and 
Furtivity/, a edição atual – Vol. 17 N.º 2 (2025) – do Journal of 
Science and Technology of the Arts, já se encontra disponível 
gratuitamente para leitura e divulgação –
Vol. 17 No. 2 (2025): Counteract: Practices of Artistic Resistance, 
Dissidence, and Furtivity | Journal of Science and Technology of the 
Arts <https://revistas.ucp.pt/index.php/jsta/issue/view/1002>
revistas.ucp.pt <https://revistas.ucp.pt/index.php/jsta/issue/view/1002>
	favicon.ico <https://revistas.ucp.pt/index.php/jsta/issue/view/1002>

<https://revistas.ucp.pt/index.php/jsta/issue/view/1002>


Editado entre André Rangel e Verónica Metelo, com palavras, reflexões e 
práticas dos editores e dos autores César Escudero Andaluz, Jakob Margit 
Wirth, Mihai Băcăran, Jörg Sternagel, Jan Hendrik Brueggemeier, Carmen 
Guarino e Ana Anselmo Davies. Este dossier temático destaca o poder 
magmático e político da contra-efectuação, trazendo à discussão e 
tornando visíveis práticas e teorias artísticas exploratórias, 
dissidentes, furtivas e de resistência no âmbito da performance, dos 
novos media e dos media alternativos autónomos.


#Artivism #BeliefInTheEvent #Control #Dissidence #InBetween #Performance 
#Technology #www #InternetColonialism  #InternetWarfare 
#ArtisticCounterTactics; #InternetWeaponization #ParasiteArt 
#SubversiveTactics #ParasiticAesthetic #AgonisticIrritation #AIDataWork 
#AudioTranscription #Sense #Aisthesis #Imagination #Ethics #Cyborgs 
#Feminism #CreoleHistory #Uncanny #ColonialLibrary #Mudimbe #Flusser 
#Gestures #Writing #DecolonialFutures #CriticalAttentionStudies 
#Distractibility #Senseablerie #Mediartivism #PerceptualShifts 
#Abjection #BodyWithoutOrgans #Cybernetics #Information 
#TransfeminineIdentity

Happy spring / Primavera feliz,

André
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From lists at asquare.org  Wed Apr 15 13:48:07 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Wed, 15 Apr 2026 12:48:07 +0100
Subject: [spectre] =?utf-8?q?peripheral_forms_-_Open_Call_=E2=80=94_Spring?=
 =?utf-8?q?_2026?=
In-Reply-To: <CAJ_C8aX2kHuNNy_=NF8rLjfNEKHnh8t-y_eSWeWEPP-6+OvEkw@mail.gmail.com>
References: <CAJ_C8aUx=p1mj8mQN4GW_debCVORsFiRJqAYNsteniSewcXb7g@mail.gmail.com>
 <CAJ_C8aVz2Azmeq1HTrcZm6KviKg0=BNPGeaWzi8R_CRLsMutnw@mail.gmail.com>
 <CAJ_C8aWxKLyayRorGZNytUbwGc0PY_R1qJCJ2-jaEkkZT8W2kQ@mail.gmail.com>
 <CAJ_C8aXmE8852sVv23ukk5EW-7Astduk=c++9z8MuC=1nChTcA@mail.gmail.com>
 <CAJ_C8aX2kHuNNy_=NF8rLjfNEKHnh8t-y_eSWeWEPP-6+OvEkw@mail.gmail.com>
Message-ID: <CAJ_C8aVSuaV1d62J32+ta2iprkiu2c9N_ChHz82+VzXJb=PqkQ@mail.gmail.com>

peripheral forms - This is a call. From all of us to all of us.
Open Call — Spring 2026
Deadline: April 21, 2026

https://peripheralforms.com/

What is slopulism? peripheral forms is calling it the politics of affect
without praxis. Endless circulation as policy. Humans were producing slop
before generative AI made it cheap, but now slop is scaling. When affect
becomes the site of politics rather than a resource for it, quality stops
mattering. Everything flattens into content.

peripheral forms is a collective experiment in making things that create
dimples across the flatness. A swarm. A score for actions that haven't been
written yet.

peripheral forms is looking for people who make work across mediums, across
networks, across physical space. People who think about governance as a
creative problem. People who can hold the tension between tool and market,
between speed and attention, between individual practice and collective
form. People who are building something that resists the flattening by
making things that are too dense to circulate without friction.

Bring a project, a question, a provocation, and become a part of a
collective that exists to realize work that works better together.

We want you in the conversation.

More details at the link provided.

-- 
regards
Dr. Lynch IRL
_________________
Garrett at asquare.org
http://www.asquare.org/
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From andreas.broeckmann at leuphana.de  Thu Apr 16 13:04:51 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Thu, 16 Apr 2026 13:04:51 +0200
Subject: [spectre] CFP: Making Futures Flash: Arts, media,
 and technologies: from digitopias to counter-narratives (Madrid, 17 Jun 26)
Message-ID: <0c16bb93-9522-4ab1-8e08-3f58feb6403d@leuphana.de>

From: Simona Maria Pagano
Date: Apr 15, 2026
Subject: CFP: Making Futures Flash (Madrid, 17 Jun 26)

Universidad Complutense de Madrid, Departamento de Historia del Arte, 
Jun 17, 2026
Deadline: May 14, 2026

Making Futures Flash. Hacer refulgir el futuro.
Artes, medios y tecnologías de las digitopías a las contranarrativas.

[English version below]

"Se está creando una sutil oscilación entre la predicción y el control, 
en la que las descripciones acertadas o poderosas del futuro tienen una 
capacidad cada vez mayor para atraernos hacia ellas, para forzarnos a 
hacerlas refulgir"
-Kodwo Eshun, “Further Considerations on Afrofuturism” 2003

A principios del siglo XXI, el cineasta y teórico Kodwo Eshun argumentó 
que los sistemas capitalistas producen y difunden su idea de futuro 
liberal y aceleracionista a través de imaginarios virtuales y digitales. 
Diseñados para generar deseo, estos sistemas obligan a los individuos a 
una continua actualización. Más de dos décadas después de que Eshun 
publicara sus reflexiones, se plantea la siguiente pregunta: ¿ha 
cambiado nuestra relación con esta condición cultural definida por la 
tecnología digital? ¿En el contexto del arte, los creadores reaccionan 
ante ella, o se limitan a reproducirla?

Las infraestructuras tecnológicas contemporáneas, surgidas del entorno 
de la Web 2.0 —entre ellas la inteligencia artificial, las plataformas 
de redes sociales y las economías basadas en datos— difieren 
profundamente de las concepciones previas de la tecnología. A medida que 
se integran de manera creciente en sistemas de vigilancia, economías 
extractivistas y políticas autoritarias, las herramientas tecnológicas 
pierden progresivamente su función como instrumentos de imaginación 
creativa y se convierten en instrumentos de vigilancia y control. En 
este marco, John Akomfrah exploró esta dinámica al analizar la relación 
entre los medios digitales y la representación de la diáspora (2010), 
abriendo así la posibilidad de pensar la creación de digitopías: escenas 
de imaginación radical y reapropiación digital. A su vez, estas pueden 
vincularse con un conjunto más amplio de estrategias propias de la 
cultura temprana de internet, como los laboratorios DIY, los espacios 
ciberfeministas, las comunas hacker y espacios de juego futuristas. Sin 
embargo, el capitalismo de plataformas (Srnicek, 2016) ha transformado 
estas redes en espacios cerrados y mercantilizados. La retícula 
universal e infinita se ha convertido en una infraestructura de 
vigilancia opaca hecha de cajas negras (Latour, 1999) conformada por la 
inteligencia artificial y los modelos de lenguaje, que opera agotando y 
fragmentando la imaginación colectiva (Lovink, 2022, 2026; Bratton, 
2015; Bridle, 2018).

Así pues, si lxs usuarixs de internet habitan una Nueva Edad Oscura 
(Bridle, 2018), la solución no puede ser únicamente escapar. McLuhan 
afirmaba que "el medio es el mensaje" (1964). Sin embargo, se nos 
plantea la pregunta de si es posible desarrollar nuevos lenguajes e 
imaginarios que puedan interactuar con estas herramientas y recuperar el 
control sobre nuestra capacidad de crear contranarrativas dentro de 
ellas. Esta es la pregunta central de este seminario: ¿pueden las 
herramientas y prácticas artísticas que trabajan con tecnologías 
avanzadas avanzar hacia una recuperación de un internet democrático?

El seminario “Hacer refulgir el futuro” propone un desplazamiento 
epistemológico hacia prácticas de resistencia que han sido 
sistemáticamente excluidas del paradigma de Silicon Valley — blanco, 
occidental y masculino—. Desde el concepto de ficción sónica 
afrofuturista de Eshun (2003) hasta las intervenciones ciber- y 
xenofeministas y las cosmotécnicas indígenas (Hui, 2016; 2020), artistas 
y comunidades demuestran que la recuperación y la resistencia dentro de 
estas redes no solo pueden funcionar como una alternativa teórica, sino 
que pueden llevarse a la práctica. Al componer contranarrativas, estas 
prácticas emplean estrategias específicas — como la apropiación de 
herramientas de vigilancia o el hackeo de plataformas privadas — para 
crear espacios autónomos en los que se alienta a la imaginación de una 
tecnodiversidad que tome el lugar del tecnosolucionismo liberal. Lejos 
de abandonar la tecnología o de refugiarse en una nostalgia pastoral, 
estas prácticas se comprometen con el presente para construir 
alternativas habitables al sistema y la cultura dominantes. El seminario 
pretende poner en primer plano estos marcos alternativos dentro de la 
práctica artística contemporánea, explorando cómo las tecnologías y sus 
imaginarios culturales pueden ser empleados como instrumentos de 
libertad creativa en lugar de control, dentro del contexto de la 
dominación tecnocrática y la crisis planetaria.

El seminario “Hacer refulgir el futuro” se desarrollará en inglés y 
español. Invitamos a la presentación de propuestas en cualquiera de los 
dos idiomas, y a la participación de ponentes de un amplio abanico de 
disciplinas y prácticas. Estamos especialmente interesados en propuestas 
que aborden – ya sea desde una perspectiva práctica, teórica o 
especulativa – la recuperación de tecnologías y redes digitales, así 
como estudios que interroguen críticamente o amplíen los debates 
planteados anteriormente. La participación puede ser en persona, u online.

Las presentaciones durarán 20 minutos, y se aceptan tanto el análisis 
teórico, de casos de estudio como las ponencias performativas o de 
sentido experimental. El ámbito de interés incluye las siguientes 
cuestiones, aunque no se limita a ellas:

-Arte contemporáneo;
-Estudios visuales y arqueología de medios;
-Estética y filosofía de la tecnología;
-Teoría crítica y estudios culturales;
-Imaginarios utópicos y distópicos;
-Estudios de ciencia ficción y ficción especulativa;
-Futurismos alternativos;
-Ciencias sociales sobre el capitalismo de plataformas, la vigilancia y 
el trabajo digital.

Detalles de la convocatoria

Cada propuesta debe incluir:
-Título provisional;
-Nombre del autor e institución de afiliación;
-Resumen (máx. 250 palabras, bibliografía incluida);
-Breve biografía del autor (máx. 150 palabras).

Las propuestas pueden enviarse en inglés o en español, los idiomas en 
los que se tendrá el seminario. Por favor, envíe las propuestas a: 
simopaga at ucm.es

Fecha límite de envío: 14 de mayo de 2026 Notificación de aceptación: 21 
de mayo de 2026

Los gastos de viaje y alojamiento no podrán ser cubiertos por la 
organización. El seminario tendrá lugar en la Universidad Complutense de 
Madrid, Departamento de Historia del Arte.

---

"A subtle oscillation between prediction and control is being engineered 
in which successful or powerful descriptions of the future have an 
increasing ability to draw us towards them, to command us to make them 
flash"
-Kodwo Eshun, “Further Considerations on Afrofuturism” 2003

At the turn of the 21st century, filmmaker and theorist Kodwo Eshun 
argued that capitalist systems produce and circulate their idea of a 
liberal and accelerationist future through virtual and digital 
imaginaries. Designed to generate desire, these systems compel subjects 
to continuously actualise themselves. More than two decades after Eshun 
published his reflections, the following question arises: has our 
relationship with this cultural condition defined by digital technology 
shifted? Within the context of art, do creators react to it, or do they 
simply reproduce it?

Contemporary technological infrastructures, shaped by Web 2.0 and 
including AI, social media platforms, and data-driven economies, differ 
profoundly from earlier conceptions of technology. As they become 
increasingly embedded in systems of surveillance, extraction, and 
authoritarian politics, technological tools progressively lose their 
function as instruments of creative imagination and become instruments 
of control instead. John Akomfrah explored this dynamic by examining the 
relation between digital media and the representation of diaspora 
(2010). In this framework, the possibility of building digitopias — 
scenes of radical imagination and digital reappropriation — emerges as a 
critical response to the present. Such spaces can also be linked to a 
broader set of strategies characteristic of early internet culture, like 
DIY laboratories, cyberfeminist spaces, hacker commons, and futuristic 
playgrounds. Yet the rise of platform capitalism (Srnicek, 2016) has 
since enclosed these networks within commodified and opaque systems. The 
universal, endless grid has become a surveillance infrastructure of 
black boxes (Latour, 1999), shaped by AI and large language models and 
marked by the exhaustion and fragmentation of collective imagination 
(Lovink, 2022, 2026; Bratton, 2015; Bridle, 2018).

Thus, if internet users inhabit a New Dark Age (Bridle, 2018), the 
solution cannot be escapism alone. McLuhan argued that 'the medium is 
the message' (1964). Yet the question arises: is it possible to develop 
new languages and imaginaries that can engage with these tools and 
reclaim control over our ability to produce counter-narratives within 
them? This is the central question of this seminar: can artistic tools 
and practices working with advanced technologies move towards the 
reclamation of a democratic internet?

The seminar "Making Futures Flash" proposes an epistemological shift 
towards practices of resistance that have been systematically excluded 
from the Silicon Valley paradigm — white, Western, and male. From 
Eshun's concept of Afrofuturistic sonic fiction (2003) to cyber- and 
xenofeminist interventions and indigenous cosmotechnics (Hui, 2016; 
2020), artists and communities demonstrate that reclamation and 
resistance within these networks can function not only as a theoretical 
alternative but can be put into practice. By composing 
counter-narratives, these practices employ specific strategies — such as 
the appropriation of surveillance tools or the hacking of proprietary 
platforms — to create autonomous spaces in which the imagination of a 
technodiversity is encouraged to take the place of liberal 
techno-solutionism. Rather than abandoning technology or retreating into 
pastoral nostalgia, these practices engage with the present to construct 
liveable alternatives to the dominant system and culture. The seminar 
thus aims to foreground these alternative framings within contemporary 
artistic practice, exploring how technologies and their cultural 
imaginaries can be employed as instruments of creative freedom rather 
than control, within the context of technocratic domination and 
planetary crisis.

The seminar "Making Futures Flash" will be held in English and Spanish. 
We invite proposals in either language and welcome speakers from a wide 
range of disciplines and practices. We are particularly interested in 
proposals that engage – whether practically, theoretically, or 
speculatively – with the reclamation of digital tools and networks, as 
well as studies that critically interrogate or expand upon the debates 
outlined above. Participation can be in person or online.

Presentations will be 20 minutes long; both theoretical and case study 
analyses, as well as performative or experimental contributions, are 
welcome.
The field of interest is open but not restricted to the following areas:
-Contemporary art;
-Visual studies and media archaeology;
-Aesthetics and philosophy of technology;
-Critical theory and cultural studies;
-Utopian and dystopian imaginaries;
-Speculative and science fiction studies;
-Alternative futurisms;
-Social sciences approaches to platform capitalism, surveillance and 
digital labour.

Application details
Each proposal must include:
-Provisional title;
-Author's name and Institute of affiliation;
-Abstract (max 250 words including bibliography);
-Short author's biography (max 150 words).

Proposals may be submitted in English or Spanish, the languages in which 
the seminar will be held. Please send proposals to: simopaga at ucm.es

Submission deadline: 14 May 2026 Notification of acceptance: 21 May 2026

Travel and accommodation expenses cannot be covered by the organisation. 
The seminar will take place at the Complutense University of Madrid, 
Department of Art History.

---

Bibliografía / Bibliography
Akomfrah, J. (2010). Digitopia and the spectres of diaspora. Journal of 
Media Practice, 11(1), 21–29.
Bratton, B. H. (2015). The stack: On software and sovereignty. MIT Press.
Bridle, J. (2018). New dark age: Technology and the end of the future. 
Verso.
Eshun, K. (2003). Further considerations on Afrofuturism. CR: The New 
Centennial Review, 3(2), 287–302.
Hui, Y. (2016). On the existence of digital objects. University of 
Minnesota Press.
Hui, Y. (2020). Cosmotechnics: Technology in China and the West. MIT Press.
Latour, B. (1999). Pandora's hope: Essays on the reality of science 
studies. Harvard University Press.
Lovink, G. (2022). Stuck on the platform: Reclaiming the internet. Valiz.
Lovink, G. (2026). Platform brutality: Closing down internet toxicity. 
Valiz.
McLuhan, M. (1964). Understanding media: The extensions of Man. McGraw-Hill.
Srnicek, N. (2016). Platform capitalism. Polity Press.


Reference / Quellennachweis:
CFP: Making Futures Flash (Madrid, 17 Jun 26). In: ArtHist.net, Apr 15, 
2026. <https://arthist.net/archive/52217>.

From alisonpowell.curator at gmail.com  Mon Apr 20 17:31:19 2026
From: alisonpowell.curator at gmail.com (Alison Powell)
Date: Mon, 20 Apr 2026 16:31:19 +0100
Subject: [spectre] Phylum Artist Talks Vol. II: Architecture for People and
 the Planet - Join Us May 28
Message-ID: <CAMR5hAVWVPS18S78TjWpKCFWWRWeTU-8+sDU3Ndpydngmna+nA@mail.gmail.com>

[image: Phylum Artist Talks: Emmanuella Blake Morsi and Ellie Shipman.
Thursday, March 26, 2026. Doors: 7:30 PM. Start: 8 PM. Tickets: Headfirst.]
Phylum Vol. II: Architecture for People and the PlanetThursday, May
28 at Trinity Arts Centre, BristolDoors: 19:00 / Start: 19:30


Discover the work of Dr Fidel Meraz and Canadian artist Jonathan Luckhurst,
two artist-researchers pushing architecture beyond functionality and
aesthetics towards a built environment that actually serves people and the
planet.

Jonathan Luckhurst will present his project *Proposals for Reimagined
Futures* which looks to the Earth's distant past to understand how to
survive its future.

Dr Fidel Meraz explores how cultural identity, history and sensory
perception shape the way we experience buildings — and what that means for
the spaces we share. He'll explore his current work at the historic Jacob
Wells Baths, soon to become Trinity Arts Centre's additional new home.

*Format:*

Two 20-minute artist presentations, followed by a live Q&A.

The evening concludes with an opportunity for networking.


*Click below to learn more about our featured artists and to purchase
tickets. *
More Information
<https://www.alisonpowell.info/events/phylum-vol-ii>
Tickets
<https://www.headfirstbristol.co.uk/whats-on/the-trinity-centre/thu-28-may-phylum-artist-talks-vol-ii-152323#e152323>
Phylum Artist Talks

Alison Powell, Curator and Founder MA, CUNY
United Kingdom
[image: instagram]
<https://https//www.instagram.com/alisonpowell.curator/?hl=en> [image:
linkedin] <https://www.linkedin.com/in/alison-powell-125054176>
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