From marc.garrett at protonmail.com  Thu Jan  1 15:43:38 2026
From: marc.garrett at protonmail.com (marc.garrett)
Date: Thu, 01 Jan 2026 14:43:38 +0000
Subject: [spectre] The Relentless Suffocation of our Community Spirit and
 Radical Selves.
Message-ID: <W9R-s1W3Y3Cs_7rZ_SRxan_R8s81MQCymYBbPoZedQOqYpMk2yjVQv-0OzjstLxJh3onOFQscbz_L4DpmqLxhOUiGGrfXo_q9hY4JI2sTyk=@protonmail.com>

New article for the new year!

The Relentless Suffocation of our Community Spirit and Radical Selves. By Marc Garrett.

This text reflects on the sacrifice of Palestine Action hunger strikers in UK prisons, who are protesting military ties with Israel. It contrasts the ideal of Christmas compassion with global injustice, arguing that societal complacency suffocates our radical spirit. Drawing on Peter Linebaugh’s “The Incomplete History of May Day,” it connects environmental (“Green”) and workers’ (“Red”) struggles as one unified fight for justice. Similarly, the DIWO essay asserts that ecological and social justice are inseparable. In 2025, we stand at a precipice: we must reclaim our history, reject oppressive systems, and choose collective, urgent resistance to avoid a future of fascism and ecological collapse.
https://diwologue.co.uk/2026/01/01/the-relentless-suffocation-of-our-community-spirit-and-radical-selves/

Wishing you well.

Marc.

Feral Class, by Marc Garrett.
Available at Minor Compositions.
https://www.minorcompositions.info/

Currently editing '30 years of Furtherfield: Art. Technology and Eco-Social Change. Eds, Marc Garrett, Regine DeBatty and Martin Zeilinger. 2026.
Furtherfield legacy Research
https://diwologue.co.uk/
Furtherfield - https://www.furtherfield.org/
Feral Class - https://marcgarrett.org/cv/@mgarrett.bsky.social‬http://decal.is/

Sent with [Proton Mail](https://proton.me/mail/home) secure email.
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From mail at garyhall.info  Fri Jan  2 14:25:05 2026
From: mail at garyhall.info (Gary Hall)
Date: Fri, 2 Jan 2026 13:25:05 +0000
Subject: [spectre] Thinking with AI and Masked Media: What It Means to Be
 Human in the Age of Artificial Creative Intelligence - two open access
 books
Message-ID: <b9be2f6a-9f6a-4709-b3c1-45115b4e267a@garyhall.info>

And to complete the look back over the  books published by Open 
Humanities Press in 2025...

April saw the publication of Thinking with AI, edited by Hannes Bajohr:

https://www.openhumanitiespress.org/books/titles/thinking-with-ai/

And March, /Masked Media: What It Means to Be Human in the Age of 
Artificial Creative Intelligence /by Gary Hall

http://www.openhumanitiespress.org/books/titles/masked-media/

---

Thinking with AI, edited by Hannes Bajohr:

https://www.openhumanitiespress.org/books/titles/thinking-with-ai/

This edited volume explores a novel approach to the intersection of 
artificial intelligence and the humanities, proposing that instead of 
merely writing about AI, scholars should think with AI. Rather than 
treating AI as an external subject of study, the essays explore how 
concepts from artificial intelligence, machine learning, and data 
science can provide ways to rethink core humanistic questions of 
meaning, representation, and culture.

Critical AI Studies typically focuses on AI’s societal implications—its 
role in surveillance, exclusion, and global capitalism. This volume 
extends that critique, but also explores how AI brings our already 
existing understanding of aesthetics, language, history, and knowledge 
into relief and stands in an often productive conflict with them. AI’s 
pattern recognition and generative capabilities, for example, provokes 
new ways to grasp aesthetic unity, reimagine language as an autonomous 
system, and reconsider the boundaries between text and image.

The essays illustrate how AI can be used as a productive metaphor and 
intellectual tool for the humanities. From formalizing concepts like 
Stimmung and vibe to challenging traditional distinctions between 
writing and thought or between history and data, the book shows how AI 
can be not just an object of study but a conceptual catalyst that 
ignites unexpected connections to long-standing humanistic concerns. By 
engaging AI in this way, scholars can not only critique it but also 
expand the horizons of their own fields.

With essays by Peli Grietzer, Leif Weatherby, Mercedes Bunz, Hannes 
Bajohr, Fabian Offert, Lev Manovich, Babette Babich, Markus Krajewski, 
Orit Halpern, Christina Vagt and Audrey Borowski.

Editor Bio

Hannes Bajohr is Assistant Professor of German at the University of 
California, Berkeley. His research focuses on the history of German 
philosophy in the 20th century, political theory, and theories of the 
digital and AI. Bajohr’s academic texts have appeared in Configurations, 
Poetics Today, and New German Critique, among others. His most recent 
books are Schreibenlassen: Texte zur Literatur im Digitalen (Berlin: 
August, 2022), Ad Judith N. Shklar: Leben, Werk, Gegenwart (with Rieke 
Trimçev, Hamburg: EVA, 2024), and Digitale Literatur zur Einführung 
(with Simon Roloff, Hamburg: Junius, 2024); in 2025, his book 
Postartifizielle Texte: Schreiben nach KI will come out with Suhrkamp. 
Bajohr is also active as a writer of digital literature. His most recent 
work is the novel (Berlin, Miami) (Berlin: Rohstoff, 2023), which was 
co-written with a self-trained large language model.


Like all Open Humanities Press books, Thinking with AI is available open 
access (and can be downloaded for free):

https://www.openhumanitiespress.org/books/titles/thinking-with-ai/


----

/Masked Media: What It Means to Be Human in the Age of Artificial 
Creative Intelligence /by Gary Hall

http://www.openhumanitiespress.org/books/titles/masked-media/

Book description

*
*

If we want a socially and environmentally just future, do we need a 
radical new theory of change – or to radically change theory? It’s this 
question Gary Hall and his collaborators have been addressing for over 
twenty years with experimental publishing projects such as Open 
Humanities Press, Liquid and Living Books, and the Culture-Led 
Re-Commoning of Cities. Unsettling received ideas of the author and the 
book, originality and copyright, real and artificial intelligence, these 
uncommon communities of theorist-mediums are testing the 
‘non-modernist-liberal’ modes of creating and sharing knowledge enabled 
by various media technologies, from writing and print, through 
photography and video, to computers and GenAI. By thinking outside the 
masked black box that renders Euro-Western knowledge-making practices 
invisible – keeping the human ontologically separate from the nonhuman, 
be it animals, the planet or algorithmic machines – they show there’s no 
such thing as the human, the nonhuman already being in(the)human.

/Masked Media/ is one such experimental project. It is not a 
‘human-authored’ work. Instead, the thinking within it has been 
generated by a radically relational assemblage that includes AI and 
more. Although the book appears under a real name – ‘Gary Hall’ – which, 
like Banksy and Karen Eliot, acts as a mask, it is not the intellectual 
property of a singular human individual, and is published under a 
Collective Conditions for Re-Use licence to reflect this. /Masked 
Media/ shows how such norm-critical experimentation is of vital 
importance to our understanding of everything, from identity politics 
and the decolonisation of knowledge, through epistemologies of the 
Global South and the possibilities of open city infrastructure, to 
extractive capitalism, planetary destruction and the Anthropocene. It 
thus constitutes a call to radically redesign theory for a time of 
multiple crises.

In /Masked Media/, a follow-up to /A Stubborn Fury/, Hall proceeds to 
show how our ways of writing and working can be reinvented to produce a 
more socially just future after the years of austerity and the 
coronavirus pandemic.

**

Author bio


Gary Hall is an experimental critical theorist working at the 
intersection of digital culture, politics and technology. He is 
Professor of Media at Coventry University, UK, where he served as 
founding director of the Centre for Postdigital Cultures from 2017 to 
2025. He is the author of a number of books, including /A Stubborn 
Fury/ (Open Humanities Press, 2021), /Pirate Philosophy/ (MIT Press, 
2016) and /The Uberfication of the University/ (University of Minnesota 
Press, 2016).




-- 
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:

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

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

Talk: 'The Independent Intellectual vs Posting Zero and the Dead Internet':http://garyhall.squarespace.com/journal/2025/12/2/the-independent-intellectual-vs-posting-zero-and-the-dead-in.html




















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From oliver.grau at mediaarthistories.org  Mon Jan  5 04:36:30 2026
From: oliver.grau at mediaarthistories.org (Oliver Grau)
Date: Mon, 5 Jan 2026 04:36:30 +0100 (CET)
Subject: [spectre] Call: Summit on New Media Art Archiving - ISEA Dubai 2026
In-Reply-To: <1843637924.84025.1767584137704@mailbusiness.ionos.de>
References: <062201dc6d29$6f1228a0$4d3679e0$@mediaarthistories.org>
 <015d01dc6dc0$04dfb370$0e9f1a50$@mediaarthistories.org>
 <1843637924.84025.1767584137704@mailbusiness.ionos.de>
Message-ID: <989872446.84042.1767584190801@mailbusiness.ionos.de>

6th Summit on New Media Art Archiving - ISEA Dubai 2026

CALL FOR PARTICIPATION

Accepting: Papers, Panels, Short Archive Presentations and Round Table Discussions

https://www.isea-symposium-archives.org/6th-summit-on-new-media-art-archiving/

 Deadline: January 15, 2026 

The Summit on New Media Archiving is a gathering of scholars, art practitioners, academics, archivists, curators, and technicians who are interested in critical issues related to media art histories. Through the exchange of knowledge, this summit hopes to facilitate the documentation, preservation, and dissemination of information related to both physical and online archiving of electronic and emerging art.

As digital and electronic arts continue to evolve, preserving artworks and archiving information requires rethinking traditional archival methods. It is necessary to continually adapt to new technologies, methodologies and practices. This summit serves as an important international platform for discussing the theoretical and practical challenges of new media art archiving.

HISTORY

The Summit on New Media Art Archiving emerged from two roundtable discussions held first at ISEA2018 in Durban, South Africa then at ISEA2019 in Gwangju, South Korea. These discussions served as a foundation for expanding connections amongst new media art institutions and archivists. Consequently, the First Summit on New Media Art Archiving took place virtually at ISEA2020 in Montreal during COVID, followed by subsequent Summits at ISEA2022 in Barcelona, ISEA2023 in Paris and ISEA2024 in Brisbane, culminating in the 5th Summit hosted at ISEA2025 in Seoul. Also, in February 2025, a workshop was held at ZKM in Germany which focused on connecting new media archives around the world. This year the 6th Summit on New Media Art Archiving will be held in conjunction with ISEA2026 in Dubai during the week of 10-19 April 2026 (most likely the first 2 days – TBD).

INTERNATIONAL PARTNERS

The Summit on New Media Art Archiving is an international, collaborative initiative involving the following archive partners: ISEA Symposium Archives, Archive of Digital Art (ADA), ZKM Archives, ACM SIGGRAPH History Archive, Electronic Language International Festival (FILE) Archives, MEMODUCT Posthuman Archive, Ars Electronica and a number of research institutions that focus on new media archiving. This dedicated group aims to connect new media art (and related) archives around the globe and enhance the archiving and preservation efforts of new media art.

UAE LOCAL PARTNERS

The Summit team is very interested in working with local partners who work with new media art and archiving.  New media art archiving in the UAE is a growing field with universities and art institutions focusing on the digital preservation of artifacts and also making previously inaccessible collections available online.

TOPICS

    * New directions in online new media art archiving
    * The challenges of physical new media art archives
    * New technologies for archiving
    * Interdisciplinary and cultural exchange of information
    * The Summit is accepting:
    * paper presentations (short and long)
    * panel discussions (4-5 participants)
    * short archive presentations (5 minutes each)
    * roundtable discussions (propose a topic)

FORMAT

Accepted submissions are encouraged to attend the Summit in person. If you are unable to attend, you may deliver your talk in-person via Zoom remotely.  Panels and papers may have speakers both in-person and remote.  Remote attendees should be able to engage with the speakers by asking questions and contributing to roundtable discussions.

SUBMISSION

The Summit on New Media Art Archiving will be accepting submissions soon via EasyChair. The link to EasyChair will be posted ASAP – check back: https://www.isea-symposium-archives.org/6th-summit-on-new-media-art-archiving/

Prof. aD Dr. habil. Dr. hc Oliver Grau, MAE

European ARCHIVE OF DIGITAL ART (ADA)http://www.archive-digitalart.eu

International Society for MediaArtHistorieshttp://www.mediaarthistories.org

 
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From ab at mikro.in-berlin.de  Sat Jan 10 14:20:50 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Sat, 10 Jan 2026 14:20:50 +0100
Subject: [spectre] =?utf-8?q?EastUnBloc=3A_Networks_of_Net_Art_=E2=80=93_S?=
 =?utf-8?q?yndicate_and_Deep_Europe=2C_13_Jan_2026=2C_Berlin_NGBK?=
Message-ID: <d77d792f-30af-4f2c-96dd-f8b8037a0e23@mikro.in-berlin.de>

EastUnBloc: Networks of Net Art – Syndicate and Deep Europe

Tue, 13.1.26, 7.00 pm

nGbK
Karl-Liebknecht-Straße 11, 10178 Berlin, 1st floor
Admission: free

with Tereza Havlíková (netzkunst.berlin) and Andreas Broeckmann (curator
and researcher)

Mailing lists played an important role in net art in the 1990s. They 
were tools for sharing open calls, organising events and circulating art 
news. But they were also public spaces for fostering connections and 
building discourse around media art. In 1996, the Syndicate mailing list 
was started as an „East-West Network“, exploring the possibilities of 
collaboration and explicitly reaching out to artists in the newly 
„reconnected“ Eastern Europe. As the name suggests, the members of the 
mailing list saw themselves as part of translocal relationships and a 
wider community.

The EastUnBloc exhibition argues that net art is shaped by storytelling. 
Therefore, Tereza Havlíková invited Andreas Broeckmann, one of the 
initiators and administrators of the Syndicate mailing list, to share 
the stories of this particular network. Together, they revisit the term 
„Deep Europe“, which was associated with the Syndicate network and 
fostered a European identity that transcended national borders, 
„enmeshed in a complex ‘felt’ of layers“. By exploring the Syndicate 
archive and viewing net artworks created in close proximity to this art 
and culture network, we hope to capture some of the spirit that drove 
net artists in Europe in the mid-1990s, a time of political and 
technological transition.

Andreas Broeckmann is an art historian and curator who lives in Berlin. 
He is a Visiting Professor in the PhD Program at Malmö Art Academy, and 
he teaches at the Academy of Fine Arts, Leipzig (HGB – Hochschule für 
Grafik und Buchkunst) where he holds an Honorary Professorship. He was a 
member of the Berlin-based media association mikro. In 1996 he 
initiated, together with Inke Arns and others, the Syndicate mailing 
list which was intended as an East-West network for artists, activists 
and journalists working in and with new media.

Tereza Havlíková is an art historian and curator based in Berlin and 
Bochum. Her research focuses on net art and digital art within the 
broader context of internet history and culture. She is a founding 
member of the Zentrum für Netzkunst (ZfN) initiative in Berlin, which 
reconstructs, archives and presents early net art, with a particular 
focus on the Berlin scene. Since 2024, she has been a research assistant 
at Ruhr University Bochum, focusing on new media art. She is currently 
working on her doctoral thesis about the localities of net art.

From paul at paul-brown.com  Sat Jan 10 20:57:27 2026
From: paul at paul-brown.com (Paul Brown)
Date: Sun, 11 Jan 2026 06:57:27 +1100
Subject: [spectre] [CAS] Annual Jasia Reichardt Lecture 2026: William Latham
 on Evolutionary Art, AI, Interaction and Immersive Organic Worlds
Message-ID: <6654658F-4DF6-4BE4-9F91-2BE3D02D0D6D@paul-brown.com>

R E M I N D E R

The Computer Arts Society 2026 programme launches

CAS Annual Jasia Reichardt Lecture 2026
Evolutionary Art, AI, Interaction and Immersive Organic Worlds

Speaker:  William Latham;  Moderator:  Bronaċ Ferran
18:00 GMT, Wednesday, 21 January 2026
Other time zones here:  https://www.timeanddate.com <https://www.timeanddate.com/> 

This hybrid event will be held In-Person and via Zoom.  Booking link below.
BCS, The Chartered Institute for IT
25 Copthall Avenue, London, EC2R 7BP, UK
Directions here: https://www.bcs.org/about-us/our-london-office-and-event-venue/

William Latham will cover the history of his work. He will start with his early work as a student in the 1980s at the Royal College of Art where he developed his FormSynth hand-drawn evolutionary systems through to his later Mutator and FormGrow software developed at the IBM UK Scientific Centre in Winchester from 1987 to ’93, where he began his long-term collaboration with mathematician Stephen Todd. Together, they produced many of the images for which he is best known today using Mutator to create strange organic forms from an alternative evolution. He went on to work in VR, creating immersive organic worlds influenced by his ten years working in Rave Music and Games. His most recent work in collaboration with Google DeepMind entitled Evolution and Foundation AI uses AI to drive and steer the evolutionary process replacing the human selector with the computer. He will share insights and anecdotes from the journey so far and the people who have influenced him and address the challenges of harnessing evolutionary and AI processes for his creative goals.   

William Latham is a pioneering UK digital artist well known for his evolutionary art created at IBM in the late eighties. After twelve years as a Creative Director in Rave Music and Computer Games, he became a Professor at Goldsmiths (University of London). His art is in the Centre Pompidou, the Henry Moore Institute, the V&A Museum and many other collections. His VR and generative work have been shown widely internationally, in recent years particularly in Germany and China. Currently, William and his long-standing collaborator, Stephen Todd are working with Google DeepMind to use AI to drive and steer the evolution of their organic art.  This work was shown for the first time in the Evolution and Foundational AI exhibition in London in late 2025, sponsored by Google DeepMind.  William is a co-founder with Prof Frederic Fol Leymarie of The Creative Machine Exhibition, now touring China.

https://www.evolutionandfoundation.com/

Dr Bronaċ Ferran is a London-based curator and writer. In 2012 she curated the first bringing together of William Latham’s print and digital works in an exhibition entitled Poetry, Language, Code, at Cambridge School of Art. She has written exhibition catalogue essays recently for several leading institutions internationally, including CAS, LACMA, the Mayor Gallery, MAC-USP in São Paulo, TATE and Victoria Miro. She is also a contributor to Right Click Save and Studio International magazine.

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

This hybrid event is In-Person and via Zoom.  It is open to the public and is free, but you must book your place here: https://ComputerArtsSociety210126.eventbrite.co.uk <https://computerartssociety210126.eventbrite.co.uk/>
___________________________________

Our next meeting will be Manna: Epigenetics, Conflict and Intergenerational Trauma and other works featuring Anna Dumitriu in discussion with Cécile Bourne-Farrell and Professor Rachel Kerr, on Wednesday, 18 February 2026.  In-Person and Zoom.

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


From andreas.broeckmann at leuphana.de  Tue Jan 13 15:24:11 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Tue, 13 Jan 2026 15:24:11 +0100
Subject: [spectre] CFP: Ruptures in European History (Oxford, 15-17 Apr 26)
Message-ID: <6ee7f23c-eaae-4438-8a64-972b4b64d2f0@leuphana.de>

From: Hannele Hellerstedt
Date: Jan 12, 2026
Subject: CFP: Ruptures in European History (Oxford, 15-17 Apr 26)

University of Oxford, UK, Apr 15–17, 2026
Deadline: Jan 18, 2026

Ruptures in European History: Individuals, Institutions, and Historical 
Practices in Times of Uncertainty.

The 20th Graduate Annual Conference in European History (GRACEH).

‘The absurd, with its rupture of rationality - of conventional ways of 
seeing the world - is in fact an accurate and a productive way of 
understanding the world.’ - William Kentridge

What do an earthquake, a war, and the abolition of serfdom have in 
common? Ruptures can be experienced individually, locally, nationally, 
or globally, calling into question what is normal, natural, or everyday. 
As a metaphor, rupture carries more emotive weight than other 
descriptors like ‘transformation’ or ‘turning point’: it suggests a 
break in the perceived historical order, a crumbling of what once felt 
solid, a shock to the system - or a long-awaited breakthrough to a 
desired future. Moments of rupture can be experienced as catastrophe, 
but they can also represent opportunities for creativity, innovation, 
and adaptation, inspiring new ideas, communities, and ways of connecting 
with people and the environment.

In a moment felt by many as one of historical rupture, the 20th Annual 
Graduate Conference in European History invites graduate students 
working on any topic or period in European history and/or Europe in the 
world to submit papers on this theme. How do we define instances of 
sudden or extreme change in history? What events culminate in the 
tearing apart of previous systems? And what comes after? How have 
narratives of rupture changed over time? How productive is rupture as a 
concept for thinking historically?

Possible topics include but are not limited to:

Crisis as Rupture

Two most common man-made forms of crisis are revolutions and wars, but 
do they always constitute rupture? Are the changes wrought by war or 
revolution always long-term? How do postwar orders imagine, build on, or 
attempt to negate a pre-war, pre-rupture past?

Environmental Rupture

How have sudden or far-reaching environmental changes impacted 
societies, cultures, as well as the movements of people? How, or to what 
extent, have humans adapted to challenging environments? What if rupture 
is constant – e.g., during prolonged periods of climate instability or 
recurring natural disasters?

Economic Rupture

How are moments of economic rupture (bankruptcy, financial crisis, 
system collapse, far-reaching state interventions) experienced at the 
individual, local, national, and global level? What is the relationship 
between severe economic disruption and social, cultural, or political 
change?

Art as Rupture and Renewal

What constitutes ‘rupture’ in the arts and culture? What role have the 
arts played in precipitating, recording, or reflecting broader social, 
cultural, or political upheavals? How do moments of rupture allow for 
artistic and intellectual creativity and innovation?

Rupture and Fragment

Does a rupture have to be a singular drastic change? Must it be 
all-encompassing or can it be partial or fragmentary? When does a 
fragmentary change become a rupture? What is the difference between a 
‘rupture’ and a ‘turning point’?

Narrating Rupture

How do we know when a rupture has taken place? Is this decided in the 
moment or after the fact? How do geopolitical disruptions impact 
methodological approaches? What new or alternative means of gathering 
information arise in times of historical rupture and how do they change 
history writing? What assumptions about historical continuity or change 
are embedded in the terms we use to describe it?

DATES AND INFORMATION

Please send abstracts up to 300 words and a brief biography (max 100 
words) to: graceh2026 at history.ox.ac.uk by 18 January 2026.

Participants will receive a notification of acceptance by 15 February 2026.

We particularly encourage submissions from those who have yet to present 
their work at conferences or are from underrepresented regions and/or 
institutions.

If you have questions, you can get in touch with the organizational team 
here: graceh2026 at history.ox.ac.uk or visit our website 
(https://2026graceh.wixsite.com/home) for more information.

ABOUT GRACEH

The Graduate Annual Conference in European History (GRACEH), launched in 
Budapest in 2007, is organised by graduate students from Central 
European University, the European University Institute, the University 
of Vienna, and the University of Oxford.

The central aim of GRACEH is to create a network of graduate students 
and early career researchers in the field of European history, covering 
topics that range from the early modern period to the recent past. 
GRACEH functions as a platform for historiographical, methodological, 
and theoretical discussion among peers and senior academics. 
Participants are encouraged to share their research within the framework 
of the conference topic.

Committee Organisers for the 20th Graduate Annual Conference in European 
History (GRACEH):
Fionnuala Ennis (Balliol College, University of Oxford), Hannele 
Hellerstedt (Lincoln College, University of Oxford), Euan Huey (Wolfson 
College, University of Oxford), Yevhen Yashchuk (Wadham College, 
University of Oxford), Ioana Zamfir (St Catherine’s College, University 
of Oxford)

Academic Advisory Board:
Dr Katherine Lebow (Christ Church, University of Oxford) and Dr Norman 
Aselmeyer (Wadham College, University of Oxford)


Reference / Quellennachweis:
CFP: Ruptures in European History (Oxford, 15-17 Apr 26). In: 
ArtHist.net, Jan 12, 2026. <https://arthist.net/archive/51465>.

From andreas.broeckmann at leuphana.de  Tue Jan 13 17:10:55 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Tue, 13 Jan 2026 17:10:55 +0100
Subject: [spectre] =?utf-8?q?Fwd=3A__Livestream_for_later_today=2C_EastUnB?=
 =?utf-8?q?loc=3A_Networks_of_Net_Art_=E2=80=93_Syndicate_and_Deep_Europe?=
 =?utf-8?q?=2C_13_Jan_2026=2C_Berlin_NGBK?=
In-Reply-To: <d77d792f-30af-4f2c-96dd-f8b8037a0e23@mikro.in-berlin.de>
References: <d77d792f-30af-4f2c-96dd-f8b8037a0e23@mikro.in-berlin.de>
Message-ID: <d53df55f-d06e-4eee-8993-89b921ed40d0@leuphana.de>

The organisers hope that the conversation can be livestreamed here:

https://kick.com/ngbkstream

Regards,
-a

-------- Weitergeleitete Nachricht --------
Betreff: [spectre] EastUnBloc: Networks of Net Art – Syndicate and Deep 
Europe, 13 Jan 2026, Berlin NGBK
Datum: Sat, 10 Jan 2026 14:20:50 +0100
Von: Andreas Broeckmann via SPECTRE <spectre at mikrolisten.de>
EastUnBloc: Networks of Net Art – Syndicate and Deep Europe

Tue, 13.1.26, 7.00 pm

nGbK
Karl-Liebknecht-Straße 11, 10178 Berlin, 1st floor
Admission: free

with Tereza Havlíková (netzkunst.berlin) and Andreas Broeckmann (curator
and researcher)

Mailing lists played an important role in net art in the 1990s. They 
were tools for sharing open calls, organising events and circulating art 
news. But they were also public spaces for fostering connections and 
building discourse around media art. In 1996, the Syndicate mailing list 
was started as an „East-West Network“, exploring the possibilities of 
collaboration and explicitly reaching out to artists in the newly 
„reconnected“ Eastern Europe. As the name suggests, the members of the 
mailing list saw themselves as part of translocal relationships and a 
wider community.

The EastUnBloc exhibition argues that net art is shaped by storytelling. 
Therefore, Tereza Havlíková invited Andreas Broeckmann, one of the 
initiators and administrators of the Syndicate mailing list, to share 
the stories of this particular network. Together, they revisit the term 
„Deep Europe“, which was associated with the Syndicate network and 
fostered a European identity that transcended national borders, 
„enmeshed in a complex ‘felt’ of layers“. By exploring the Syndicate 
archive and viewing net artworks created in close proximity to this art 
and culture network, we hope to capture some of the spirit that drove 
net artists in Europe in the mid-1990s, a time of political and 
technological transition.

Andreas Broeckmann is an art historian and curator who lives in Berlin. 
He is a Visiting Professor in the PhD Program at Malmö Art Academy, and 
he teaches at the Academy of Fine Arts, Leipzig (HGB – Hochschule für 
Grafik und Buchkunst) where he holds an Honorary Professorship. He was a 
member of the Berlin-based media association mikro. In 1996 he 
initiated, together with Inke Arns and others, the Syndicate mailing 
list which was intended as an East-West network for artists, activists 
and journalists working in and with new media.

Tereza Havlíková is an art historian and curator based in Berlin and 
Bochum. Her research focuses on net art and digital art within the 
broader context of internet history and culture. She is a founding 
member of the Zentrum für Netzkunst (ZfN) initiative in Berlin, which 
reconstructs, archives and presents early net art, with a particular 
focus on the Berlin scene. Since 2024, she has been a research assistant 
at Ruhr University Bochum, focusing on new media art. She is currently 
working on her doctoral thesis about the localities of net art.
______________________________________________
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre

From darko at darkofritz.net  Wed Jan 14 10:43:19 2026
From: darko at darkofritz.net (Darko Fritz)
Date: Wed, 14 Jan 2026 10:43:19 +0100
Subject: [spectre] =?utf-8?q?Tomislav_Mikuli=C4=87=3A_Digital_Images_and_A?=
 =?utf-8?q?nimations_1971=E2=80=932025?=
References: <81B422FE-9336-41B7-A577-2156E612A48F@darkofritz.net>
Message-ID: <407FFE49-4F51-4162-B631-C55FABE31DCD@darkofritz.net>

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From czegledy at interlog.com  Wed Jan 14 13:38:50 2026
From: czegledy at interlog.com (czegledy at interlog.com)
Date: Wed, 14 Jan 2026 07:38:50 -0500
Subject: [spectre] Thank you!
Message-ID: <20260114073850.870725elbq7or0be@webmail.ca.inter.net>

Dear Andreas,

special thanks for the EastUnBloc: Networks of Net Art, Syndicate and
Deep Europe event yesterday.

For a person like me, who had the good fortune to participate in many of the
Central- East European events in the early nineties  -your presentation
yesterday was much needed and very powerful.

As you might recall, I actively participated in the Syndicate mailing list
and related events as early as Ex Oriente Lux, Bucharest in 1993 and  
the Ostranenie Festivals in Bauhaus, Dessau (1993-1997), the  Hybrid  
Workspace
in the Orangerie at Documenta 1997 up to the Syndicate meeting in 2023,
Riga, Latvia. Also participated in the Metaforum events from 1997, Budapest
onward to 2024, Budapest.

As an example of the networked activities: Through  meeting  Edy Mukka
I worked for a number of years in Albania  (still in contact  with Eleni
Laperi, Tirana) and and among other activities I was co-teaching media  
art, art&sci workshops in the entire region.

Working as an independent  consultant for the (today much-reviled) Soros
Foundation, I participated in many of the Central- East European events
over the decades which led to the current media art/art&sci&tech
environment.

I would also like to mention here that in addition to the above mentioned
(often Soros supported) public conferences, exhibitions and events in the
early nineties there was also a considerable amount of much needed  
mundane administrative tasks such as helping (for example for me at  
Soros in
Budapest) aspiring artists to develop their biographies and applications
for international exhibitions etc.,) as this was not available in the
previous decades East of Vienna.

As you mentioned yesterday: the situation has changed: in those times
the issues of trans-locality, hybridization, collectives representing  
artists were prominent often discussed issues.

This is a personal thank you, please do not publish the content.

yours

nina czegledy


From gabriel.menotti at gmail.com  Thu Jan 15 13:24:55 2026
From: gabriel.menotti at gmail.com (Gabriel Menotti)
Date: Thu, 15 Jan 2026 07:24:55 -0500
Subject: [spectre] CFP & Videoessays: Besides the Screen Ningbo 2026 (due
 Mar 1)
Message-ID: <CAG=4eDSEtBaa0h4-X424KS7TtvNVUDDQg6XSPKQQXHtQ5mGvqA@mail.gmail.com>

*CFP: Besides the Screen Ningbo 2026: Audiences, Subjects & Agents*
University of Nottingham Ningbo China, June 4-6, 2026

- Deadline for submissions Mar 1, 2026
- Apply at https://forms.office.com/r/LCusR2E5ZU

In 2026, the Besides the Screen conference returns to the city of Ningbo to
explore the ways audiences, subjects and agents are distributed and
negotiated across borders – whether institutional, spatial, linguistic or
technological.

This year’s conference begins from the premise that the concept of
the passive media audience has always been a myth. Nowadays, it would be
difficult to find a situation where viewers are not doing anything, even if
it is just scrolling on their phones during a streaming marathon. Novel
media forms are teeming with opportunities to participate, interact, share
with our friends, and likely place a bet. Audience reactions have become a
popular genre in itself and just look at all the chaos fans make at movie
theatre sing-alongs. Can these be spaces of resistance and emancipation?
The same technologies that empower amateur filmmakers and influencers
make each user a potential promotional node to be mobilized. If most
internet traffic is automated, does it even matter if the content is
tailored for bots and search engine optimization?

We invite contributions that reflect upon the many audiences, subjects, and
agents that make the media, culture, and creative industries and associated
artforms. What has been the impact of technological advancements on
audiences, and how are they in turn impacting the creative industries? What
new subjects and agents have emerged from these developments, and how are
they transforming audiovisual practices?

Related research areas include:

   - Cultural and Creative Industries
   - Film, TV, and Screen Studies
   - Game Studies
   - Digital Humanities and Emerging Technologies
   - New media, Contemporary, and Performance Arts

The conference is open to both *short papers* and *films/video essays* (up
to 20 minutes). Submissions should be made through the online form
available at besidesthescreen.com.

*Paper proposals* require title, 3-5 keywords, abstract (300 words max),
and a short author affiliation/bio (200 words max). *Short film/video
essays* *proposals* require title, link (with password if required), 3-5
keywords, synopsis or artist statement (300 words max), and a short author
affiliation/bio (200 words max)

Submission deadline: *March 1, 2026*. We will accept submissions up to
midnight in the proponent’s time zone. Selected participants will be
notified in Mid-March.

If you experience any issues with the submission form, please email
besidesthescreen at gmail.com with the email header *NINGBO26 –Submission
issue*. Please note: *email submissions will not be accepted*.

Besides the Screen Ningbo 2026 is organized by Dr. Corey Schultz (UNNC),
Dr. Virginia Crisp (King’s College London), and Dr. Gabriel Menotti
(Queen’s University). The conference is funded by the University of
Nottingham Ningbo China’s Research and Knowledge Exchange Conference and
Event Organising Support Scheme, and supported by the Social Sciences and
Humanities Research Council of Canada.
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From andreas.broeckmann at leuphana.de  Fri Jan 16 11:34:14 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Fri, 16 Jan 2026 11:34:14 +0100
Subject: [spectre] CFP: How to do a Cultural Palace? (Frankfurt a. M.,
 17-18 Sep 26)
Message-ID: <cb3eb340-8372-4c72-84d0-31badb9bb165@leuphana.de>

From: Paula Loem
Date: Jan 15, 2026
Subject: CFP: How to do a Cultural Palace? (Frankfurt a. M., 17-18 Sep 26)

Frankfurt am Main, Sep 17–18, 2026
Deadline: Feb 8, 2026

How to do a Cultural Palace? Reflections, Practice, and Vision.

How can a democratic space function that unites diverse cultural 
offerings under one roof?
What has the idea of the cultural palace meant historically, and what 
does it mean today?

The Bolongaro Palace in Frankfurt-Höchst is currently being renovated. 
It is set to serve as a cultural center in the future and will open in 
this new function in 2027 in western Frankfurt. One of the largest 
palaces of the late Baroque period will thus not only be open to 
everyone, but will also be used for many collaborative projects in the 
future. One year prior to its opening, the Historisches Museum Frankfurt 
invites participants to a symposium that will discuss the design, use, 
and significance of the palace as a democratic cultural space. The 
two-day event will take place at two locations: At the Historical 
Museum, the focus will be on international and academic ideas 
(conference language English). In Höchst, workshop discussions and 
artistic contributions will explore ideas for the future cultural palace 
(English and German).

The symposium is part of the accompanying program for the CityLab 
exhibition "Höchst tells it’s story” (2026–2027). The Historisches 
Museum Frankfurt, together with the Junge Museum Frankfurt and the 
Porcelain Museum, forms a museum family that will be joined in 2027 by 
the Museum in Bolongaro Palace. The permanent exhibitions of this future 
museum within the cultural palace have been developed and conceived 
collaboratively with many residents of Frankfurt-Höchst.

We invite researchers, architects, curators, urban planners, cultural 
actors, and other interested contributors to submit proposals. 
Theoretical and historical perspectives on cultural palaces, third 
places, and forms of shared use are welcome. We are interested in the 
following topics and formats, which can be expanded upon:

Subject areas
• International case studies on cultural palaces and cultural centers
• Architecture and urban contexts of cultural palaces
• Historical perspectives on cultural palaces
• Transformation and adaptive use of historic representative buildings
• Third places
• Participatory design processes, collaboration, and social sustainability
• Democratic spaces for coming together and their organizational structures

Formats
• Short presentation
• Participation in a panel discussion
• Participatory and interactive formats such as workshops

Please submit an abstract (approx. 1 page) and a short biography by 
February 8, 2026, to: paula.loem at stadt-frankfurt.de

Proposals will be selected by a scientific committee. Selected 
contributors will receive travel expenses, accommodation and meals.

The symposium is organized by the Historisches Museum Frankfurt in 
cooperation with World Design Capital Frankfurt RheinMain 2026. It will 
take place on September 17 and 18 in Frankfurt am Main.


Reference / Quellennachweis:
CFP: How to do a Cultural Palace? (Frankfurt a. M., 17-18 Sep 26). In: 
ArtHist.net, Jan 15, 2026. <https://arthist.net/archive/51487>.

From paul at paul-brown.com  Sun Jan 18 23:10:34 2026
From: paul at paul-brown.com (Paul Brown)
Date: Mon, 19 Jan 2026 09:10:34 +1100
Subject: [spectre] Computer Arts Archive Crowd Funder
Message-ID: <38D12138-2983-495A-BE7B-9D6D079DDFBA@paul-brown.com>

Posted on behalf of Sean Clark seanc at interactdigitalarts.uk <mailto:seanc at interactdigitalarts.uk> via the cas at jiscmail.ac.uk <mailto:cas at jiscmail.ac.uk> list


The Computer Arts Archive Community Interest Company (CIC) has been building a significant collection of computer art since 2021, focusing on "undertold" narratives in the history of computer and digital art. From our base in Leicester, UK, we have been producing exhibitions and events, such as the recent Sue Gollifer show at Phoenix, Leicester.

We have had some funding (HLF and Paul Mellon), but much of our work is self-supported. We're now exploring alternative fundraising routes - starting with our first crowdfunding campaign on Space Hive.

We're looking for individual support for our latest "Leicester Computer Artists" exhibition and catalogue. This builds on a previous project in which we documented the work of eight significant artists with a connection to Leicester. The project is being noticed, and the Leicester City Mayor has agreed to match any contributions made, up to £1000.

Please consider supporting the project, individually or through your business. Also, please spread the word. We only have two weeks to run the campaign! If it works, we hope that this will become a model for funding some of our future work, in Leicester and beyond.

See a link to the crowdfunder, plus other recent projects here:

https://www.computer-arts-archive.com <https://www.computer-arts-archive.com/>

See the previous exhibition of Leicester digital artists here on the Computer Arts Society website:

https://computer-arts-society.com/exhibitions/leicester-pioneers.html

Please spread the word.

I will be announcing the artists featured in the new exhibition soon.

Regards,

Sean

P.S. If you want to visit our studio at Leicester's LCB Depot anytime, please let me know.

--
Dr Sean Clark FBCS
Artist, Interact Digital Arts Ltd
Curator, Computer Arts Archive CIC
Visiting Research Fellow, De Montfort University
International Professor, Guangdong University of Technology
Visiting Professor, Guangdong University of Science and Technology
Email: seanc at interactdigitalarts.uk <mailto:seanc at interactdigitalarts.uk>
Mobile: +44 (0)7595 990817
www.interactdigitalarts.uk <http://www.interactdigitalarts.uk/>
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From marcela at aksioma.org  Mon Jan 19 11:41:10 2026
From: marcela at aksioma.org (=?UTF-8?Q?Marcela_Okreti=C4=8D?=)
Date: Mon, 19 Jan 2026 11:41:10 +0100
Subject: [spectre] =?utf-8?q?Aksioma=E2=80=99s_new_editorial_series_multit?=
 =?utf-8?q?hread?=
Message-ID: <CAKt7+Ko3Z91ScGfkwQF8GZ7jBde1EAEQyY-xjGXpv0RhP9XxnA@mail.gmail.com>

Dear friends,


We are very proud to announce Aksioma’s new editorial series *multithread *and
we'd really love to see you in the upcoming presentation in Berlin, on 29
January at 7pm at panke.gallery
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=719a61f432&e=b2b01b8bf8>
!


Marcela & Janez


***


*multithread*
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=815300fc67&e=b2b01b8bf8>
is focusing primarily on artistic and creative interventions in the field
of online and algorithmic landscapes. Rather than institutional forms and
the voices of established theorists, *multithread *promotes the emerging
perspectives of critical observers who address the topic of the
contemporary socio-technological condition, moving beyond academic rigor as
the dominant framework, while remaining in dialogue with leading-edge
discourse.



The series, edited by Lea Sande and Ema Maznik Antić, is aimed at
experimental and interdisciplinary writing, embracing a heterogeneity of
approaches, languages, and registers. It allows for critical exploration
and research, encouraging contributions ranging from speculative fiction to
systematic analysis, including critical and political theory, philosophy,
art and media studies.



Conceived as a meeting ground for emerging imaginaries and new voices, the
series probes the tensions between technology, imagination, and society,
illuminating both innovative currents of thought and the authors shaping
them.

With an expected frequency of four issues per year, *multithread *is
published in a pocket format with colour images. Each issue includes an
afterword by an established author that expands on the central topic,
situates it within a broader discursive context, and delves into the
responses articulated in the main text.



*UPCOMING PRESENTATIONS*



21 January 2026 at 7 PM
*Aksioma | Project Space
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=6c07f6b646&e=b2b01b8bf8>,
Ljubljana*



29 January 2026 at 7 PM
*panke.gallery
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=719a61f432&e=b2b01b8bf8>,
Berlin*





***



*multithread** #1: *


*Benze De Ream The Blue Flower Syndrome
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=a6baffd7f4&e=b2b01b8bf8>*

With an afterword by Metahaven

Release date: 21 January 2026



T*he Blue Flower Syndrome* is a discussion on palatability, power and
computation encoded in a single rushed train _[of thought] // [commute]_ to
an interview on a Dutch iris farm. Blending autofiction, media theory and
myth, it traces the entanglements between public-facing interfaces,
machinic mathematics and the data that fuels them. The work reveals how
life as a product of purely probabilistic and statistical decisions
expresses and roots itself through both our daily essentials, such as
clothes and food, as well as historical practices and technologies that
shaped them. In the afterword, *Metahaven
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=c8f2b24fa8&e=b2b01b8bf8>
*expands
on the text by outlining influence design – a project in which computation
operates as an ideological carrier – placing The Blue Flower Syndrome
within a contemporary media landscape read through a historical-materialist
lens.



*Benze De Ream* is a designer, artist, and researcher whose practice
investigates the political and cognitive mechanics of algorithmic systems.
He has been trained at the Geo-Design department, Design Academy Eindhoven,
and is a recipient of the Gijs Bakker Award. His research unfolds through
moving image, performance, writing, and experiential installation, probing
how computation choreographs social and affective realities.



EN | 10.5 x 16.7 cm | 80 pp | COLOUR | soft cover | 2026
ISBN 978-961-7173-67-3

*PREVIEW
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=0d760073c2&e=b2b01b8bf8>*





***



*multithread*

Series edited by Lea Sande and Ema Maznik Antić
Issue 01 edited by Lea Sande, Ema Maznik Antić, Primož Krašovec, Janez
Fakin Janša
Design by Federico Antonini
Published by Aksioma – Institute for Contemporary Art, Ljubljana
Represented by Marcela Okretič
Editor in chief: Janez Fakin Janša



*MORE PUBLICATIONS
<https://aksioma.us11.list-manage.com/track/click?u=1ae755fe8a8dbe61fc37d4622&id=83cf9c3687&e=b2b01b8bf8>*







Marcela Okretič

Aksioma - Institute for Contemporary Art, Ljubljana

www.aksioma.org
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From ab at mikro.in-berlin.de  Mon Jan 19 18:47:58 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Mon, 19 Jan 2026 18:47:58 +0100
Subject: [spectre] CFP: Inclusion/Exclusion (Johannesburg, 11-13 Nov 26)
Message-ID: <53bea91e-f923-4218-8e17-47bd7a30c99b@mikro.in-berlin.de>

From: Brenda Schmahmann
Date: Jan 17, 2026
Subject: CFP: Inclusion/Exclusion (Johannesburg, 11-13 Nov 26)

University of Johannesburg, Johannesburg, South Africa, Nov 11–13, 2026
Deadline: Mar 15, 2026

Inclusion/Exclusion:: Redressing a lack of representativity in public 
art, monuments, museums and exhibitions.

This is a call for papers for a conference hosted by the SARChI Chair in 
South African Art and Visual Culture at the University of Johannesburg. 
It is envisaged that the conference will begin on the early afternoon of 
11 November and will end at lunchtime on 13 November. Selected papers 
from the conference will be developed into either a special issue of a 
journal or an edited volume.

The keynote speaker for the conference is Erika Doss, Edith O’Donnell 
Distinguished Chair at the University of Texas at Dallas, USA.

THEME

Debates about historical monuments and statuary have often centred on 
their glorification of the agendas and ideals of privileged and powerful 
individuals and groups. And as movements such as #RhodesMustFall and 
#BlackLivesMatter have made clear, they often in fact venerate 
individuals and events that have been involved to a greater or lesser 
extent in social and political wrongdoings. Much emphasis in the making 
and commissioning of contemporary public art and monuments is 
consequently directed at countering the preponderance of works 
associated with authoritarianism, injustices or biases with 
representations of leaders or events associated with resistance against 
oppression or prejudice. A similar orientation is often at play in 
museums and exhibitions. There is increased recognition that processes 
of collecting have been embroiled in acts of oppression, or how racial, 
gendered and class prejudice have historically underpinned both 
collecting and curatorial practices. As in the domains of public art or 
heritage sites, museums often reconfigure their collections to remedy 
past injustices or omissions. Curators are focused on producing 
exhibitions that challenge the biases or occlusions that may have shaped 
displays historically, instead giving focus to the perspectives of 
different groups and social sectors.

Accompanying such reckonings about injustices and exclusions that have 
shaped representation, collecting and curating, and redressing them, has 
been a focus on attracting and accommodating diverse viewers.  In the 
domain of public art, new works may be conceptualised with strategies in 
mind for actively involving viewers and recognising their potentially 
varied positionalities. Or works have been developed spontaneously or 
informally in response to popular sentiment. Likewise, heritage sites 
have been devised or reconfigured to enable viewer involvement as well 
as diversify audiences. Similar concerns often underpin contemporary 
exhibitions or the displays of collections in museums. Rather than 
viewing exhibitions as narrowly didactic, curators may devise them to be 
interactive, affective, or with open-ended meanings. There is also 
increased awareness of the varied positionalities of viewers and how 
this may inform their experiences of exhibitions. A prevalence of 
trigger warnings at recent exhibitions not only speaks to increased 
sensitivity to how viewers may respond to works: it is also underpinned 
by contemporary recognition that visitors bring diverse experiences to 
the viewing process.

In this conference, we are seeking papers that critique exclusionary 
tropes or practices in public art, monuments, heritage sites or museums, 
and which explore initiatives to remedy or challenge these omissions or 
marginalisations. Discussion may be focused on who or what is afforded 
recognition and exposure, and who or what may be omitted or obscured, 
and how these scenarios are challenged. Or the emphasis might be on 
viewer involvement and on how recent initiatives endeavour to be more 
inclusive in their approach and to offer ways of experiencing public 
art, monuments or museums that take cognisance of diversity.

We are especially interested in proposals that identify and consider 
complexities involved in enabling inclusion. For example, are there some 
kinds of monuments, heritage sites and museums that cannot readily be 
recuperated/reworked towards progressive ends and, if so, how have they 
been managed? What are the challenges posed by groups with vested 
interests in monuments and museums who resist reinterpretations of their 
narratives?  Are there thus instances in which corrective steps towards 
inclusion necessarily generate new forms of exclusion within public art, 
museums or heritage spaces, and what are the consequences? Also, what 
happens when redress becomes mainstream? Are decolonial, reparative or 
participatory strategies able to retain their critical force once they 
are absorbed into institutional policy, curatorial programming, 
collecting or public art commissioning? Or (an antithetical question): 
what happens when decolonial, reparative or participatory strategies are 
no longer officially sanctioned? Papers that address difficult questions 
– whether these or others – are especially welcome.

PROPOSAL

A prospective presenter is invited to offer a 30-minute paper focused on 
any geographical setting worldwide. We encourage focused engagement with 
issues through specific case studies rather than broad surveys. 
Presenters may in fact want to focus on just one monument, public 
artwork, heritage site, museum or exhibition.

Papers must be in English.

Papers must be on material that has not already been published. A 
prospective presenter must also be willing to develop the proposed paper 
into an article or chapter of a book emanating from the conference, 
should it be selected for potential inclusion in this publication.

Please submit your proposal with “Inclusion/Exclusion” in the subject 
line, and send it to , Brenda Schmahmann (brendas at uj.ac.za) and Irene 
Bronner (ireneb at uj.ac.za), also copying it to the administrator at the 
offices of the SARChI Chair of South African Art and Visual Culture, 
Neelofir Nagdee (nnagdee at uj.ac.za), by 15 March 2026. Please submit a 
single WORD document with the following information:
1.    a title for your paper
2.    an abstract between 350 and 500 words in length for a 30-minute paper
3.    a short biography, including your current institutional 
affiliation (up to 200 words)
4.    your contact details, i.e. e-mail address, postal address, mobile 
phone number
5.    a statement confirming that your paper has not been previously 
published and that, should it be selected, you would be willing to 
develop it into an article or book chapter emanating from the conference.

Applicants will be notified of decisions by the end of March.

FUNDING

Presenters will need to organise and pay for their own travel costs to 
the University of Johannesburg. However, international presenters and 
those from out of town will be provided with bed & breakfast 
accommodation sponsored by the host on the evenings of 11 and 12 
November 2026. Additionally, there will be no conference fee, and meals 
and transport within Johannesburg during the conference will be provided 
by the host. A post-conference outing to an exhibition or museum, paid 
for by the host, will be organised for the afternoon of 13 November.


Reference / Quellennachweis:
CFP: Inclusion/Exclusion (Johannesburg, 11-13 Nov 26). In: ArtHist.net, 
Jan 17, 2026. <https://arthist.net/archive/51420>.

From andreas.broeckmann at leuphana.de  Mon Jan 19 22:14:43 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Mon, 19 Jan 2026 22:14:43 +0100
Subject: [spectre] CFP: Edited Volume: Radical Media Art and Techno-Community
Message-ID: <6ca116b9-2e34-4fab-b309-5240a6fc09ec@leuphana.de>

From: Erin Gordon
Date: Jan 18, 2026
Subject: CFP: Edited Volume: Radical Media Art and Techno-Community

Deadline: Apr 30, 2026

Reconstructing the Electronic Superhighway:
Radical Media Art and Techno-Community at the Margins of the Global Village.

Edited Volume, Abstracts Due April 30, 2026, Editors: Kelly Donahey and 
Erin Gordon, Submissions Portal: 
https://submit.kellydonahey.com/index.php/cfp/index.

In 1974, Nam June Paik proposed a new “Electronic Super Highway” to the 
Rockefeller Foundation, envisioning the construction of a 
technologically advanced, non-commercial television infrastructure to 
serve as both a public commons and a “springboard of unexpected new 
human activities.” Writing nearly a quarter century before the turn of 
the 21st century, he emphasized the need for artists to build hardware, 
physically intervene in network architectures, and challenge commercial 
interests—insisting on a dialectic of information and material 
infrastructure as a means to activate the utopian potentials of a 
technologically mediated community. Now, nearly a quarter into the 21st 
century, amid intensifying ecological crises, persistent digital 
divides, expanding systems of misinformation and surveillance, and a 
growing reliance on conflict minerals, Paik’s call resonates with 
renewed urgency. It reminds us of the enduring significance of artistic 
interventions in technology as a practice capable of reconstructing 
communities beyond the imaginary.

This edited volume seeks proposals for original, unpublished scholarly 
essays and artists’ texts exploring how artists have used 
telecommunications, broadcast and computing technologies, as well as 
other electronic media to build community—whether local or global—and 
challenge patterns of marginalization and exclusion from the mid-20th 
century onward. Echoing Ramesh Srinivasan’s vital question, “Whose 
global village?,” Reconstructing the Electronic Superhighway examines 
media art practices emerging from contexts in which “universal access” 
to technological media is bounded, uneven, or constrained, and considers 
the forms of community generated from these margins. The volume aims to 
recover artistic interventions in both emergent and legacy media, 
rethink the logics of critical infrastructures, and expand frameworks 
for studying artistic production and community formation.

How might artists construct or reconstruct the electronic superhighway 
for the digital age through tactical engagements with social media 
platforms, large language models, and cellular technologies—subverting 
and repurposing commercial mechanisms while refiguring community forms? 
How might art spaces and artists’ collectives support the creation and 
maintenance of decentralized mesh networks, LANs, or ISPs? How might new 
scholarly perspectives help us better understand and appreciate the 
technological, aesthetic, and social impact of artists whose work is 
marginalized, whether by present theoretical or geographical frameworks, 
failures of translation, the oversight of recent history, or narratives 
overdetermined by militarism and the global tech market?

Contributions may be speculative, theoretical, or historical and written 
from artistic, scholarly, or critical perspectives. We especially 
welcome interdisciplinary work informed by visual studies, science and 
technology studies, critical and aesthetic theory, or infrastructure 
studies, and transnational, national, or regionally grounded approaches 
that broaden the scope of media art studies.

Possible Themes:

- Globalization and the “global village,” including reassessments of 
Marshall McLuhan from the peripheries of the capitalist world system, 
for example within the contexts of imperialism, uneven development, 
transnational practices, and diasporic networks
- Artists’ work emerging from infrastructural inequities, including the 
use of alternative and appropriated technologies and networks, and 
strategies confronting resource extraction, energy consumption, and e-waste
- Histories of telematic, satellite-based, hybrid, televisual, and 
internet art practices in relation to the development of global media 
ecologies, community media networks, and technologically mediated 
communities
- Interventions in and alternatives to surveillance capitalism, 
platformization, and digital nationalism
- Social movements as techno-communities, including feminist, queer, 
Black, indigenous, and working-class approaches to media infrastructure, 
and the co-option, inversion, obfuscation, or refusal of institutional 
systems
- Latency, rupture, glitch, and other technological strategies for 
engaging with mediated presence

We are seeking proposals for scholarly essays (5,000–8,000 words) and 
artist statements (1,500-8,000 words) presenting new ideas, developments 
in media art, or contributions to art history and theory. We also 
welcome short-form interviews, oral histories, or conversations (1-3 
pages). Proposals should include a 350-500 word abstract, a brief 
biography (150 words), and any relevant institutional affiliations.

Please contact Kelly Donahey (kdonahey at uci.edu) or Erin Gordon 
(erin.gordon at utexas.edu) if you have further questions.


Reference / Quellennachweis:
CFP: Edited Volume: Radical Media Art and Techno-Community. In: 
ArtHist.net, Jan 18, 2026. <https://arthist.net/archive/51511>.

From andreas.broeckmann at leuphana.de  Tue Jan 20 22:36:04 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Tue, 20 Jan 2026 22:36:04 +0100
Subject: [spectre] =?utf-8?b?Q0ZQOiBBcnQg4oCTIEV4aGliaXRpb24g4oCTIERpc2Nv?=
 =?utf-8?q?urse_=28Kassel=2C_25-27_Jun_26=29?=
Message-ID: <3fffd513-7581-4171-bd18-f6685bd9344a@leuphana.de>

From: Marius Kemper
Date: Jan 19, 2026
Subject: CFP: Kunst - Ausstellung - Diskurs (Kassel, 25-27 Jun 26)


Kassel, 25–27 June 2026
Deadline: 15 March 2026

[deutsche Version unten]

Art – Exhibition – Discourse.

About a year before the opening of documenta 16 (2027), the conference 
will examine the relevance, functions, and uses of theoretical discourse 
at contemporary art exhibitions. Naomi Beckwith, director of the 
upcoming documenta, most recently curated the exhibition "ECHO DELAY 
REVERB" at the Palais de Tokyo in Paris, which traced the far-reaching 
influence of so-called "French theory" on American art. She argues that 
this theory was not only received linearly, but also changed and 
productively misunderstood in the course of its artistic translation.

The documenta had already made the "discursive turn" 30 years earlier, 
when French curator Catherine David conceived documenta 10 (1997) as a 
book in the form of an exhibition, bringing theoretical discourse to the 
center of the world art exhibition for the first time. With the lecture 
series "100 Days – 100 Guests" and the more than 800-page accompanying 
book "Politics / Poetics", which also contained numerous texts by French 
authors, this edition of documenta was transformed into a long summer of 
theory.

While David found unused tools for her curatorial practice in 
theoretical discourse, especially in poststructuralist and postcolonial 
approaches, Beckwith recognizes these same theories as already deeply 
embedded in the contemporary (US) art world. As a result, theories often 
only unconsciously accompany activist art practice today. The explicit 
recourse to theories consists in part of a permissive combination of 
different figures of thought and the loose and sometimes erratic-seeming 
adoption of buzzwords that seem to serve primarily to legitimize oneself.

No documenta today can do without theoretical discourse. Bruno Latour, 
for example, was a key inspiration for documenta 13 (2012), and 
documenta 15 (2022) would be inconceivable without the decolonial 
impulses of Edward Said, Gayatri Chakravorty Spivak, and Walter Mignolo. 
Since the 1990s, exhibitions of contemporary art have not only become 
platforms for discourse, but have themselves become part of the 
theoretical discourse. Conversely, since the late 1970s, an 
aestheticization of theory has been observable, exemplified by the 
journal Traverses published by the Centre Pompidou, in which theoretical 
texts were combined with photographs and archival materials to create an 
art object. The affinity of art for theory corresponds, in a sense, to 
the affinity of theory for art.

 From June 25 to 27, 2026, the conference "Art – Exhibition – Discourse" 
will therefore examine the mutual intertwining of art and theoretical 
discourse, as well as the associated attractions, inspirations, and 
appropriations. The aspect of the exhibition functions here as a hub, as 
a mediating instance between art and discourse, between aesthetics and 
theory, between performance and reflection. The conference is thus 
dedicated to this interlocking of art and theoretical discourse, taking 
documenta and other central stages of contemporary art in particular as 
examples of the tension between aesthetic forms and theoretical discourse.

The thematic focus of the conference is:

Theory in the field of contemporary art: influences, functions, and 
appropriations

To what extent do theoretical approaches shape contemporary art? How are 
these theories adapted, transformed, or questioned in different regional 
and institutional contexts, such as documenta?

Aestheticization of theory

To what extent can we observe an aestheticization of theoretical 
discourse, in which theory is no longer conveyed exclusively in 
text-based, monographic formats, but in visual, spatial, or 
exhibition-related media? How do the form, reception, and authorization 
of theory change when it is combined with images, archival materials, or 
creative processes and takes on an art-like form? And how does this 
transformation of theoretical discourses relate to the simultaneous 
theorization of art?

The production and circulation of discourses at and through art exhibitions

To what extent can art itself generate theoretical discourse, and what 
aesthetic, curatorial, or participatory strategies do artists use to 
achieve this? How do exhibitions of contemporary art function as magnets 
and disseminators of discourse?

The documenta Institut and the DGS Section „Cultural Sociology“ invite 
researchers, artists, and interested parties to submit short abstracts 
dealing with these and other questions concerning the relationship 
between theoretical discourse and art, the theorization of art and 
discourse production through art, the aestheticization of theory, and 
the exhibition as a mediating instance. The conference is aimed at 
scholars from various disciplines, such as sociology, philosophy, art 
history, cultural studies, history, communication and media studies, as 
well as artists and designers. This call is also aimed at emerging 
scholars, such as doctoral students. Cross-disciplinary and 
theory-focused contributions are just as welcome as empirical case 
studies. Presentations should not exceed 20 minutes. Travel and 
accommodation costs are subsidised.

Organization: documenta Institut (Prof. Dr. Heinz Bude, Michael 
Flörchinger, Marius Kemper), Section „Cultural Sociology“ in the DGS 
(Prof. Dr. Lars Gertenbach)
Deadline for abstracts (+ short CV): March 15, 2026
Abstract length: max. 300 words (excluding bibliography)
Submission: kemper at documenta-institut.de
Venue: Kassel, Fridericianum
Event dates: June 25–27, 2026
Conference languages: German, English

----------

Kunst - Ausstellung - Diskurs. Kunst und theoretischer Diskurs auf der 
documenta und anderen Bühnen der Gegenwartskunst.

Rund ein Jahr vor der Eröffnung der documenta 16 (2027) stellt die 
Tagung die Frage nach der Relevanz, den Funktionen und Verwendungsweisen 
theoretischer Diskurse auf Ausstellungen für Gegenwartskunst. Naomi 
Beckwith, die Leiterin der kommenden documenta, kuratierte zuletzt im 
Palais de Tokyo in Paris die Ausstellung "ECHO DELAY REVERB", die dem 
weitreichenden Einfluss der sogenannten „French theory“ auf die 
US-amerikanische Kunst nachspürte. Diese sei nicht nur linear rezipiert, 
sondern im Zuge ihrer künstlerischen Übersetzung auch verändert und 
produktiv missverstanden worden.

Den „discursive turn“ vollzog die documenta bereits 30 Jahre zuvor, als 
die französische Kuratorin Catherine David die von ihr verantwortete 
documenta 10 (1997) als Buch in Form einer Ausstellung konzipierte, 
wodurch der theoretische Diskurs erstmals ins Zentrum der 
Weltkunstausstellung rückte. Mit der Vortragsreihe "100 Tage – 100 
Gäste" und dem mehr als 800 Seiten starken Begleitbuch "Politics / 
Poetics", in dem ebenfalls zahlreiche Texte französischer Autor:innen 
enthalten waren, verwandelte sich diese Ausgabe der documenta in einen 
langen Sommer der Theorie.

Während David im theoretischen Diskurs und insbesondere in 
poststrukturalistischen und postkolonialen Ansätzen noch unverbrauchte 
Werkzeuge für ihre kuratorische Praxis fand, erkennt Beckwith dieselben 
Theorien bereits tief im zeitgenössischen (US-amerikanischen) 
Kunstbetrieb verankert. Das hat zur Folge, dass Theorien eine 
aktivistische Kunstpraxis heute oftmals nur noch unbewusst begleiten. 
Der explizite Rekurs auf Theorien besteht teilweise aus einer 
freizügigen Kombination unterschiedlicher Denkfiguren sowie der losen 
und zuweilen erratisch anmutenden Aufnahme von Schlagworten, die vor 
allem der Selbstlegitimation zu dienen scheinen.

Keine documenta kommt heute ohne theoretischen Diskurs aus. So stand 
beispielsweise Bruno Latour für die documenta 13 (2012) Pate, und die 
documenta 15 (2022) wäre ohne die dekolonialen Impulse von Edward Said, 
Gayatri Chakravorty Spivak oder Walter Mignolo kaum denkbar. Seit den 
1990er Jahren wurden Ausstellungen zur Gegenwartskunst nicht nur 
Diskursplattformen, sondern selbst Teil des theoretischen Diskurses. 
Umgekehrt lässt sich seit den späten 1970er Jahren eine Ästhetisierung 
von Theorie beobachten, die sich beispielhaft in der vom Centre Pompidou 
publizierten Zeitschrift Traverses zeigte, in der theoretische Texte mit 
Fotografien und Archivalien zu einem Kunstobjekt kombiniert wurden. Der 
Theorieaffinität der Kunst entspricht gewissermaßen die Kunstaffinität 
der Theorie.

Vom 25. bis 27. Juni 2026 möchte sich die Tagung "Kunst – Ausstellung – 
Diskurs" daher mit der wechselseitigen Verschränkung von Kunst und 
Theoriediskurs sowie den damit verbundenen Attraktionen, Anregungen und 
Aneignungen auseinandersetzen. Der Aspekt der Ausstellung fungiert hier 
als Drehscheibe, als Vermittlungsinstanz zwischen Kunst und Diskurs, 
zwischen Ästhetik und Theorie, zwischen Performance und Reflexion. Die 
Tagung widmet sich also dieser Verzahnung von Kunst und theoretischem 
Diskurs und nimmt insbesondere die documenta sowie andere zentrale 
Bühnen der Gegenwartskunst als Beispiele für das Spannungsverhältnis 
zwischen ästhetischen Formen und theoretischem Diskurs.

Thematische Schwerpunkte der Tagung sind:

Theorie im Feld der Gegenwartskunst: Einflüsse, Funktionen und Aneignungen

Inwiefern prägen theoretische Ansätze die zeitgenössische Kunst? Auf 
welche Weise werden diese Theorien in unterschiedlichen regionalen und 
institutionellen Kontexten – wie beispielsweise der documenta – 
adaptiert, transformiert oder hinterfragt?

Ästhetisierung der Theorie

Inwiefern lässt sich eine Ästhetisierung theoretischer Diskurse 
beobachten, in deren Zuge Theorie nicht mehr ausschließlich in 
textbasierten, monographischen Formaten, sondern in visuellen, 
räumlichen oder ausstellungsnahen Medien vermittelt wird? Wie verändern 
sich Form, Rezeption und Autorisierung von Theorie, wenn sie mit 
Bildern, Archivalien oder gestalterischen Verfahren verbunden wird und 
eine kunstförmige Gestalt annimmt? Und wie verhält sich diese 
Transformation theoretischer Diskurse zur gleichzeitigen Theoretisierung 
der Kunst?

Die Produktion und Zirkulation von Diskursen auf und durch Ausstellungen 
von Kunst

In welchem Umfang kann Kunst selbst theoretischen Diskurs erzeugen, und 
welche ästhetischen, kuratorischen oder partizipativen Strategien nutzen 
Künstler:innen hierfür? Wie fungieren Ausstellungen der Gegenwartskunst 
als Diskursmagneten und Diskursverbreiter?

Das documenta Institut und die DGS-Sektion Kultursoziologie laden 
Forschende, Künstler:innen und Interessierte ein, kurze Abstracts 
einzureichen, die sich mit diesen und anderen Fragen des Verhältnisses 
von theoretischem Diskurs und Kunst, der Theoretisierung der Kunst und 
Diskursproduktion durch Kunst, der Ästhetisierung von Theorie und der 
Ausstellung als Vermittlungsinstanz beschäftigen. Die Tagung richtet 
sich an Wissenschaftler:innen unterschiedlicher Disziplinen, 
beispielsweise aus den Bereichen Soziologie, Philosophie, Kunst-, 
Kultur-, Geschichts-, Kommunikations- und Medienwissenschaft, sowie an 
Künstler:innen und Gestalter:innen. Mit diesem Call wenden wir uns auch 
an Nachwuchswissenschaftler:innen, beispielsweise Doktorand:innen. 
Übergreifende und theoriefokussierte Beiträge sind ebenso willkommen wie 
empirische Fallstudien. Die Vorträge sollen einen Zeitraum von 20 
Minuten nicht überschreiten. Reise- und Übernachtungskosten können 
bezuschusst werden.

Organisation: documenta Institut (Prof. Dr. Heinz Bude, Michael 
Flörchinger, Marius Kemper), Sektion Kultursoziologie in der DGS (Prof. 
Dr. Lars Gertenbach)
Einsendeschluss für Abstracts (+ Kurz-CV): 15.3.2026
Umfang des Abstracts: max. 300 Wörter (exkl. Literaturverzeichnis)
Einreichung: kemper at documenta-institut.de
Veranstaltungsort: Kassel, Fridericianum
Veranstaltungszeitraum: 25. – 27.6.2026
Tagungssprache: Deutsch, Englisch

---

Reference / Quellennachweis:
CFP: Kunst - Ausstellung - Diskurs (Kassel, 25-27 Jun 26). In: 
ArtHist.net, Jan 19, 2026. <https://arthist.net/archive/51520>.

From andreas.broeckmann at leuphana.de  Wed Jan 21 20:01:54 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Wed, 21 Jan 2026 20:01:54 +0100
Subject: [spectre] CFP: Revisionist turn in Post-socialist Feminist Art
 History (Warsaw, 4 Sep 26)
Message-ID: <fe0a216e-fc4b-414b-98c7-eeb900b011bc@leuphana.de>

From: Karolina Majewska-Güde
Date: Jan 20, 2026
Subject: CFP: Revisionist turn in Post-socialist Feminist Art History 
(Warsaw, 4 Sep 26)

Institute of Art History, University of Warsaw, Sep 04, 2026
Deadline: Mar 1, 2026

To keep one's ear to the ground: Revisionist turn in Post-socialist 
Feminist Art History. International workshop focused on Emerging 
Methodologies, Agendas, and Knowledges.
Organized by Dr. Karolina Majewska-Güde, in collaboration with Prof. 
Agata Jakubowska and Dr. Wiktoria Szczupacka.

In recent years, post-socialist feminist art history has been shaped by 
several converging trends in historical research: the social-historical 
scholarship on emancipation under state socialism; the decolonial turn, 
which has opened important pathways for rethinking East-Central Europe 
semi-periphery—both through engagement with the histories of global 
socialism and through a critical reassessment of regional feminist 
research agendas; and, finally, contemporary critiques of the capitalist 
art institution from a reproductive feminist perspective. As a result, a 
growing body of scholarship has emerged that can be described as 
revisionist in its approach to state socialism. This research neither 
follows Western-centred narratives nor relies on nostalgia for 
socialism; instead, it is grounded in a more analytical understanding of 
women’s emancipation that considers women’s agency in socialism,  and 
rethinks the role of culture within state socialist societies. During 
the first two decades following 1989, feminist art historical discourse 
predominantly aligned with the agendas of Second Wave feminism as 
articulated in the United States and Western Europe. This process 
involved both the active forgetting of socialist scholarship on gender 
and training by proponents of what Françoise Vergès terms in a 
completely different context 'civilizational feminism'—into the gender 
studies methodologies developed at metropolitan universities. Today, 
researchers of the socialist past are beginning to 'discover' the 
richness of feminist-oriented research from state socialism, including 
women-led sociological studies on unpaid feminized domestic labour that 
demonstrated the significant contribution of women’s work to the 
centralized socialist economy. Moreover, new approaches to studying the 
socialist past reveal the specificities of socialist art institutions, 
which integrated diverse artistic practices and knowledges across both 
mainstream and marginalized countercultural spheres.

While earlier feminist scholarship emphasized the recovery of 
marginalized histories and forgotten artists, more recent research 
sustains this essential work while also developing new critical 
frameworks that re-theorize art and its infrastructures as integral to 
the modernizing and transformative project of state socialism. The 
workshop aims to bring together feminist researchers working with these 
new agendas and methodologies, and those who are exploring forms of 
knowledge production beyond established paradigms. It seeks to connect 
feminist art historians for a collective discussion about emerging 
theoretical frameworks, methodological tools, and research directions in 
post-socialist feminist art history. The workshop will also offer an 
opportunity to discuss concrete needs and potential models for 
establishing a more permanent network among colleagues specializing in 
post-socialist feminist art history.  One of the aims of the meeting is 
to develop a publication with the potential to evolve into an academic 
periodical devoted to research on post-socialist feminist art history.

We invite papers that problematize, but are not limited to, the 
following topics:
- Critical reassessments of the first wave of post-socialist feminist 
art history, particularly debates surrounding the category of “feminist art”
- Reflections on methodological challenges involved in studying state 
socialist emancipation
- New archival sources and approaches to the study of art in the context 
of state socialist emancipation
- New perspectives on emancipatory artistic practices in socialist Europe
- Gendered analyses of artistic working conditions under socialism and 
problematizations of art as a form of labour
- Transnational narratives of feminist art in socialist Europe
- Methodological approaches capable of incorporating vernacular 
realities and cultural productions, accounting for plural voices, and 
embracing embodied as well as affective modes of knowing

We welcome scholars to share their recent research (published or 
unpublished), discuss their questions, and engage with colleagues 
exploring art under state socialism from feminist perspectives.
Please submit an abstract for a 20-minute presentation, along with a 
short biographical note, to Karolina Majewska-Güde at 
k.majewska-gude at uw.edu.pl by 1 March 2026. We look forward to reading 
your proposals and will notify applicants of acceptance on 15 March 2026.


Reference / Quellennachweis:
CFP: Revisionist turn in Post-socialist Feminist Art History (Warsaw, 4 
Sep 26). In: ArtHist.net, Jan 20, 2026. <https://arthist.net/archive/51529>.

From mail at garyhall.info  Thu Jan 22 13:34:56 2026
From: mail at garyhall.info (Gary Hall)
Date: Thu, 22 Jan 2026 12:34:56 +0000
Subject: [spectre] Defund Culture: A Radical Proposal - new open access book
Message-ID: <a26e0148-c77e-4efe-ad1f-d52449dc5f3b@garyhall.info>

/Defund Culture/ is now out, published by mediastudies.press:

https://www.mediastudies.press/defund-culture-a-radical-proposal

It's available open access, under the CC4r: Collective Conditions for 
Re-Use commitment, so please feel free to share widely.

The abstract and contents are provided below.

Best wishes as always, Gary

---

Gary Hall,/Defund Culture: A Radical Proposal 
<https://www.mediastudies.press/defund-culture-a-radical-proposal> - Why 
the Arts Are So White, Male and Middle-Class and What We Can Do About It/

https://www.mediastudies.press/defund-culture-a-radical-proposal

Calls to expand public investment in the arts often treat the existing 
cultural and institutional landscape as a given. /Defund Culture/ 
challenges this assumption, asking instead what kinds of culture are 
being supported, through which institutions, and to whose benefit.

In pursuing these questions, the book turns attention to the structural 
inequalities that shape Britain’s creative and intellectual life. 
Drawing on critical theory, political philosophy, and cultural policy, 
Hall shows how the dominance of white, male, middle- and upper-class 
voices in the arts, media, and academy is sustained through longstanding 
funding arrangements and institutional hierarchies. Expanding access 
within this system (e.g. through social mobility initiatives)—however 
well intentioned—will not, on its own, produce structural change.

Rather than offering a programme of reform, /Defund Culture/ explores 
what it might mean to disinvest from cultural institutions as they 
currently operate. Taking cues from abolitionist calls to defund the 
police, Hall proposes redistributing resources away from elite 
institutions and toward more collective, commons-oriented, and radically 
relational alternatives grounded in redistribution, institutional 
transformation, and epistemic pluriversality.

The book is published by mediastudies.press, and is available online and 
as a free download in PDF and ePub, on a CC4r: Collective Conditions for 
Re-Use basis. A paperback version is also available.

https://www.mediastudies.press/defund-culture-a-radical-proposal

A response to /Defund Culture/ by Roger Malina is also available as:

Roger Malina, 'Defunding, Activating, and the Afterlives of Culture: On 
Gary Hall’s /Defund Culture/ and /Activating Fluxus, Expanding 
Conservation/, eds Hanna Hölling, Aga Wielocha, and Josephine Ellis': 
http://garyhall.squarespace.com/journal/2026/1/22/defunding-activating-and-the-afterlives-of-culture-roger-mal.html

---

Contents

Preamble

PART 1: WHY THE ARTS ARE SO WHITE, MALE, AND MIDDLE-CLASS

Chapter One: The Culture Wars and Attack on the Arts
Chapter Two: Culture Must Be Defunded
Chapter Three: Culture in Ruins: "Are We the Bad Guys?"

PART 2: AND HERE’S SOME OF THE THINGS WE CAN DO ABOUT IT

Chapter Four: Culture and the University as White, Male, Public Space
Chapter Five: De-Liberalizing Culture and Theory
Chapter Six: Coda

--

About mediastudies.press

mediastudies.press <https://www.mediastudies.press/> is a scholar-led, 
nonprofit, diamond open access publisher in the media, film, and 
communication studies fields.

You can learn more about mediastudies.press, including their operations 
and OA principles, on their site:

https://www.mediastudies.press/about <https://www.mediastudies.press/about>

The press is a member of the Open Book Collective 
<https://openbookcollective.org/packages/2/info/> and the ScholarLed 
<https://scholarled.org/> consortium, and also publishes the History of 
Media Studies journal. Please contact them at press at mediastudies.press.



-- 
Gary Hall
Professor of Media
Coventry University

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

Latest:

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

Recommended: Robot Review of Books #17 I’m Like a PDF But a Girl: Girlblogging as a Nomadic Pedagogy by Ester Freider; #18 & #19 On Giving Up by Adam Phillips:https://www.robotreviewofbooks.org/



    




















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From wellmer at xs4all.nl  Sat Jan 24 14:50:12 2026
From: wellmer at xs4all.nl (Anne Wellmer)
Date: Sat, 24 Jan 2026 14:50:12 +0100
Subject: [spectre] Petition zum Erhalt von Sound Studies an der UdK in Berlin
In-Reply-To: <504fbb4b-8d5f-4c40-82cb-b78c11c6e5dd@mikro.in-berlin.de>
References: <504fbb4b-8d5f-4c40-82cb-b78c11c6e5dd@mikro.in-berlin.de>
Message-ID: <546ED340-F38C-4B6F-A041-8D8162A57CD7@xs4all.nl>

Der Studiengang Sound Studies an der Udk in Berlin soll geschlossen werden.

Zum offenen Brief gegen die Schließung und 
zur Petition zum Erhalt des Studiengang geht es hier:

https://forms.gle/hkKoqL2NBvJgSFSr8

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From andreas.broeckmann at leuphana.de  Sun Jan 25 17:03:22 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Sun, 25 Jan 2026 17:03:22 +0100
Subject: [spectre] CONF: [circulation of visual arts ... during the Cold
 War] (Zacheta, Warsaw, 5 Feb 26)
Message-ID: <fd0c2d83-32c4-489c-9ba6-ec2347639912@leuphana.de>

From: Wiktoria Szczupacka
Date: Jan 23, 2026
Subject: CONF: Global and Forgotten Connections (Zachęta, 5 Feb 26)

Zachęta – National Gallery of Art, Feb 05, 2026

Global and forgotten connections: the circulation of visual arts between 
socialist European countries and Asia, Latin America and Africa during 
the Cold War.

International Conference
Zachęta – National Gallery of Art
Pl. Małachowskiego 3, 00–916 Warsaw

Thursday, 5 February 2026

9:30 a.m. Event opening and welcome by Agnieszka Pindera, director of 
the Zachęta – National Gallery of Art
Introduction by Wiktoria Szczupacka
10:00–11:30 a.m. Panel 1 Institutions [chair: Wiktoria Szczupacka]
Gabriela Świtek, CBWA
Terezie Nekvindová, A Distributed Exhibition State: Institutional 
Conditions of Organising Exhibitions Abroad in Czechoslovakia
Dorota Jarecka, Art Institution as Quilt: Global Transfers at the 
Galeria Studio in Warsaw
discussion

11:30 a.m.–12:00 p.m. Coffee break

12:00–1:30 p.m. Panel 2 Geographies: Asia [chair: Zsuzsa László]
Thục Linh Nguyễn Vũ, The Socialist Postcolonial Moment: Vietnamese Art 
in Zachęta in the 1950s
Maija Koskinen, Formal and Informal Artistic Exchanges. Finnish Art in 
the Soviet Union and China in 1958: An Unorthodox Journey Across Planned 
and Improvised Venues
Hatice Özdogan Türkyilmaz, Participation of Artists from Socialist 
European Countries in the First Two International Istanbul Biennials
discussion

1:30–3:00 p.m. Lunch break

3:00–4:30 p.m. Panel 3 Geographies: Asia [chair: Gabriela Świtek]
Simone Wille, South Asian Art and Artists in Central Europe: 1947–1989
Wiktoria Szczupacka, Between the People’s Republic of Poland and India: 
Women Artists, Feminism, and the Exhibition at the BWA Gallery in 
Bydgoszcz in 1988
Justyna Balisz-Schmelz, India as an Imaginary Spiritual Home: Jerzy 
Ćwiertnia’s Work as an Early Example of the “Eastward Turn” in Postwar 
Polish Artistic Theory and Practice
discussion

4:30–5:00 p.m. Coffee break

5:00–6:30 p.m. Panel 4 Geographies: Africa [chair: Pavlína Morganová]
Maja and Reuben Fowkes, Monumental Alignments with Revolutionary 
Ethiopia: Collaborative, Decolonial and Ecological Practices of 
Socialist Memorialisation
Katarzyna Falecka, On Artistic Exchanges between Algeria and the former 
Eastern Bloc
Paulina Banas, Publishing Living Egypt on Both Sides of the Cold War: 
Paul Strand’s Photography and the Networks of 1960s Art Publishing
Discussion

7:00–8:00 p.m. Curators’ tour of the What Are Our Collective Dreams? 
Global connections – abandoned friendships exhibition [curators: Taras 
Gembik, Joanna Kordjak, Antonina Stebur]

Friday, 6 February 2026

10:00–11:30 a.m. Panel 5 Geographies: Latin America [chair: Daniel Grúň]
Agata Jakubowska, Exhibitions of Mexican Women Artists in Europe: 
Feminism and Cultural Diplomacy
Karolina Zychowicz, Mexican Art as a Catalyst for Change: Exhibitions in 
Warsaw (1955) and Beijing (1956)
Jorge M Sanguino, The Legacy of Marcos Kurtycz: Three Decades of 
Contemporary Mexican Art
discussion

11:30 a.m. –12:00 p.m. Coffee break

12:00–1:30 p.m. Panel 6 Geographies: Latin America [chair: Zsuzsa László]
Heloisa Espada, From Bioromanticism to Concrete Art: Kázmér Fejér and 
the Connections Between Abstractionism in Brazil and Central Europe
Rado Ištok, Czechoslovakia at the 10th Bienial de São Paulo
Rada Georgieva, Beyond Alignment: Liuba Wolf at the São Paulo Biennial
discussion

1:30–3:00 p.m. Lunch break

3:00–4:30 p.m. Panel 7 Geographies: Latin America [chair: Pavlína Morganová]
Juliane Debeusscher, Multidirectional Realisms: Antonio Berni in 
Socialist Europe (1956–1966)
Katarzyna Cytlak, Cultural Antropophagy: Angelo de Aquino’s Decolonial 
Dialogue with the Polish Artist Jarosław Kozłowski
Katerina Valdivia Bruch, Third World Solidarity: Transnational Cultural 
Encounters in 1970s Peru
discussion

4:30–5:00 p.m. Coffee break

5:00–6:50 p.m. Panel 8 Geographies: Latin America [chair: Wiktoria 
Szczupacka]

Zsuzsa László, Divergent Attempts Towards a Transregional Profile of Art
Daniel Grúň, Cosmic Utopia as a Critique of Cold War Ideology? Július 
Koller and his Participation in International Mail Art Networks
Diego Renart González, A Dominican Artist in Poland: Silvano Lora and 
His Forbidden Exhibition in Warsaw
Dorota Jagoda Michalska, The Open Veins of The Earth: Władysław Hasior 
(1928–1999), Post-War Marxism and Decoloniality Between Poland and Uruguay
discussion

7:00–7:30 p.m. Closing remarks: New research directions
Zsuzsa László, Daniel Grúň, Pavlína Morganová; [chair: Gabriela Świtek]


Reference / Quellennachweis:
CONF: Global and Forgotten Connections (Zachęta, 5 Feb 26). In: 
ArtHist.net, Jan 23, 2026. <https://arthist.net/archive/51559>.

From ab at mikro.in-berlin.de  Tue Jan 27 07:52:40 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Tue, 27 Jan 2026 07:52:40 +0100
Subject: [spectre] Symposium: In Medias Rest - Media Art Archive Access and
 Activation (Berlin, 29 Jan)
Message-ID: <20a8a598-b6e3-46ef-a4a4-5035bde4bc88@mikro.in-berlin.de>

Betreff: 	Symposium: In Medias Rest - Sharing Approaches to Media Art 
Archive Access and Activation: Audience Outreach, Rights and Technical 
Issues/Janury 29, 3pm to 7pm/Neue Gesellschaft für bildende Kunst
Datum: 	Sun, 25 Jan 2026 23:05:13 +0100
Von: 	Nat Gravenor <natgravenor at gmail.com>


In Medias Rest - Sharing Approaches to Archive Access and Activation: 
Audience Outreach, Rights and Technical Issues

Berlin, Neue Gesellschaft für bildende Kunst, Karl-Liebknecht-Str. 
11/13, 10178 Berlin

Thursday, January 29, 2026, 3 pm to 7 pm

Session 1 - Spaces of (Informal) Education, Visibility of Marginalized 
Communities and Artistic Research

This session highlights initiatives which are making experimental, 
subversive and "marginalized" audiovisual practices of the past visible 
and accessible while engaging new audiences or inspiring artistic creation.

Sinema Transtopia (Berlin) by the bi'bak collective (guest: artistic 
co-director Malve Lippmann) redefines the cinema as a transnational 
space for social discourse, exchange and solidarity. "Please Rewind", an 
early project, explored German-Turkish film and video culture in Berlin 
and the role it played in shaping diasporic, post-migrant identities. 
Through workshops and symposia, Sinema Transtopia investigates 
transnational archival politics through the lens of post-colonialism and 
how to make archiving inclusive of migrant and marginalized viewpoints 
(such as feminist or queer). Sinema also offers a variety of educational 
activities for school children, students and adults and has launched a 
fellowship for film educators from diverse backgrounds.

With the collection of pioneering video artists Steina & Woody Vasulka 
as a point of departure, Vašulka Kitchen Brno (guest: Jennifer Helia 
DeFelice) is dedicated to presenting (new) media art. VKB has developed 
educational programs for children and families, kindergartens and 
schools, universities and adults which promote media literacy and 
self-creation using current and vintage technologies. Vašulka Kitchen 
Brno also supports scholarly and artistic research as well as the 
creation of new media art works with a residency program.

The performance collective D'epog (Brno) is a platform for contemporary 
experimental stage work. The company’s activities are of laboratory 
nature and their work often transcends artistic disciplines. Their 
commissioned intervention into the EastUnBloc exhibition, BYE BYE MY 
EYE: Confirmed. Understood. Over and out, was developed in collaboration 
with experimental filmmakers Marie and Petr Šprincl and sound designer, 
producer, DJ, and composer Mojmír Měchura. Lucia Repašská of D'epog will 
discuss how this live cinema experience explores the principles of 
chance, unrepeatability, and radical expressivity, with retrofuturist 
and media archaeological elements.

Flóra Barkóczi (Central European Research Institute for Art History) 
examines the MetaForum conferences in Budapest (1994–1996, 2024) as a 
key site of cultural transfer in the post-socialist context, where 
emerging digital technologies and media theory met local artistic 
practices. She will investigate how far MetaForum enabled meaningful 
knowledge exchange and whether it succeeded in integrating regional 
voices into the international discourse.


Session 2 - Sustainable Access to Media Art in Physical and Online 
Archives: Technical and Legal Challenges

30+ year-old moving image works have seen conversion from film to tape 
and then digitization as various formats: DVD, mp4 and DCP. Similarly, 
conserving interactive, browser-native digital works has posed 
challenges in terms of transferring and migrating code and its 
dependencies. Furthermore, the disppearance of online platforms and 
finite server hosting has stranded some works in the realm of 404, 
unless the Wayback Machine crawl or initiatives like Rhizome have 
salvaged at least some screenshots if not the full functionalty. Another 
issue is copyright.

Paul Klimpel of the digital rights NGO iRights.info will provide an 
overview of rights models. How can rights claims of artists, estates, 
galleries, commercial and non-commercial distributors, collections etc. 
be untangled so works can be sustainably accessible on site and also 
online? What solutions could copyleft models like Creative Commons or 
CC2r provide?

As a case study, Jennifer Helia DeFelice of Vašulka Kitchen Brno will 
discuss the presentation of Steina Vašulka's evolving and multi 
iteration work Violin Power within a rights framework that was conceived 
for static intellectual property.

Anna Schäffler will present Art Doc Archive, a prototype for distributed 
self-documentation of Berlin’s cultural scene, addressing the largely 
unarchived web-based traces produced by artists and cultural workers 
since the 1990s. Developed in 2022/23 with support from the Berlin 
Senate, the project brings together web archiving, data parsing, and 
visualization to explore new ways of collectively preserving and 
reclaiming cultural memory.


From doma at bitnik.org  Fri Jan 30 19:26:44 2026
From: doma at bitnik.org (doma)
Date: Fri, 30 Jan 2026 19:26:44 +0100
Subject: [spectre] =?utf-8?b?8J+MkCDwn5K7IPCflqUg8J+ToSDwn5SX8J+UpeKcig==?=
 =?utf-8?b?8J+aq/CfqpPwn5Kl8J+RvuKbkyDwn5Kl?=
Message-ID: <ed012d7d-35e8-4fe8-aea6-69bb5153596c@bitnik.org>

Dear friends from the interwebs.

For the past year, we have been looking at contemporary
Techfascisms (what a ride). We focused our energies on
sculpting two approaches from the ruins and the weirdness
of the research - our open call for projects "Error 406
[Tech Fascism] Not Acceptable" launched through the foundation
Error 417 Expectation Failed. And a large-scale exhibition
at Kunsthalle Osnabrück which opened in November 2025.

The open call received a (nearly) overwhelming number of clever
and beautiful proposals for resistance from which the jury
chose 13 projects that received work grants between 1'500
and 7'000€.


⛓️‍💥🪓🔥🌐💻 13 SCORES AGAINST TECHFASCISM

Together with the artists, Error 417 Expectation Failed
launched the online exhibition «13 Scores Against Techfascism»
two weeks ago.

The artists' projects explore very immediate, poetic, and
humorous forms of resistance, refusal, and subversion which
push back against techfascism.

Condensed into scores, manuals and how-tos, the 13 works
create a frameworks for action. They address everyday shifts
or propose strategies meant to be shared, repeated, and adapted
by others.

Projects range from DIY hardware that bypasses corporate
infrastructure (protest audio tennis balls, mesh network kits)
to data poisoning techniques that make your traces unusable
for AI training. Some turn existing systems against themselves
— like forwarding spam calls to ICE tip lines — while others
use Trojan horse tactics, infiltrating far-right ecosystems
by slipping theory texts inside Jordan Peterson book covers.
There are guides for building alternative infrastructure through
permacomputing collectives, and projects reclaiming embodied
resistance: collective dance events, local networks built
through shared meals. One project even combines ancient Sumerian
mythology with open-source defense research to create fog-based
anti-drone systems.

Works by Jiawen Uffline, 868labs, Alexey Boriskin,
Kunsf.xyz, The Rojava Center for Democratic Technologies,
El Proyecto Sonidero, Enkaryon Ang, Signals Rising, NotToday,
Annika Santhanam, David Huerta, Permacomputing.net,
and Gabe Nascimento.

Online exhibition «13 Scores Against Techfascism»
↗ https://error417.expectation.fail/13scoresagainsttechfascism

More about the open call
↗ https://error417.expectation.fail/406/tech-fascism-not-acceptable


✊✊🏼✊🏿🏴🚩 ANTIFASCISM. NOW — Munich

The online exhibition is also part of the group exhibition
«Antifascism. Now» at Lothringer 13 in Munich, which is
opening tonight!

30 January 2026
↗ https://www.lothringer13.com/events/antifascism-now


💬🔧📡🗣️ SYMPOSIUM — Munich

And on Sunday, 01 February 2026, we have the great pleasure
of talking with some of the artists from the online show. We
will be browsing the online exhibition and have the chance
to talk with Mariana Delgado (El Proyecto Sonidero),
Marloes de Valk (permacomputing.net), Sara Martinez &
Nicolas Henano Bonnet (NotToday).

01 Feb 2026, 17:00, Lothringer 13 Halle, Munich
↗ https://www.lothringer13.com/events/symposium-antifaschimus-jetzt


🚫🖥️⛔💻 COMPUTER SAYS NO — Kunsthalle Osnabrück

The solo show «Computer Says No» is a multi-part installation
which immerses visitors in an environment of artificial light,
LED-neon signage, sound, and various video works, all set in
contrast to the striking Gothic hall church architecture of
the exhibition space. Inspired by the former use of the
exhibition space as a place of worship, we look at the
problematic popularization of prayer apps through pop-cultural
clout and how data and AI driven environments are concentrating
power and resources in the hands of a few.

Inspired by the Simple Sabotage Field Manual, a declassified
World War II document, Computer Says No develops a contemporary
handbook of resistance in response to the growing tech-authoritarian
infrastructures that condition our everyday lives.

Until 22 February 2026, Kunsthalle Osnabrück
↗ https://bitnik.org/q
↗ 
https://kunsthalle.osnabrueck.de/de/programm/ausstellungen/computer-says-no


⭐🗺️⛸️🤮🚶‍♂️ 1 ⭐️ REVIEW TOUR: U8 GIRL! — Berlin

AAAAAAAnd don't miss the 1 ⭐️ Review Tour happening in
Kreuzberg, Berlin tomorrow! The amazing Ingrid Hideki,
Caesaria Mastropos and The Vallien are back for another
round of visits to the worst rated public spaces in Berlin.

Join us for an afternoon and evening of severe criticism
performed in the best way possible. Don't miss it!

The tour will end at /rosa (Heidelberger Str. 28) for a
special opening. Get ready for the most disgusting tour EVER! 🤭

Tomorrow, 31 Jan 2026, 15:30
Start: Engelbecken Park, Berlin
↗ https://vorspiel.berlin/events/1-%EF%B8%8F-review-tour-u8-girl


Love,
!Mediengruppe Bitnik
https://www.bitnik.org


🌐💻🖥️📡🔗🔥✊🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗
💻🖥️📡🔗🔥✊🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥
🖥️📡🔗🔥✊🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥✊
📡🔗🔥✊🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫
🔗🔥✊🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫🪓
🔥✊🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫🪓💥
✊🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫🪓💥👾
🚫🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫🪓💥👾⛓️
🪓💥👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫🪓💥👾⛓️💥
💥👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫🪓💥👾⛓️💥🌐
👾⛓️💥🌐💻🖥️📡🔗🔥✊🚫🪓💥👾⛓️💥🌐💻




-- 

📍🌐 STILL ON

GLITCH, BUG, HALLUCINATIONS
until 18 Jul 2026, Le Cube, Garges, Paris
↗ https://www.lecubegarges.fr/programme/glitch-bug-hallucinations/

MEHR LICHT. VIDEO IN DER KUNST
until 17 May 2026, Kunstmuseum Solothurn
↗ 
https://www.kunstmuseum-so.ch/de/ausstellungen/3274-mehr-licht-video-in-der-kunst

UNSEEN USERS
until 14 Mar 2026, Super Dakota, Brussels
↗ https://www.superdakota.com/exhibitions/unseen-users

COMPUTER SAYS NO
until 22 Feb 2026, Kunsthalle Osnabrück
↗ 
https://kunsthalle.osnabrueck.de/de/programm/ausstellungen/computer-says-no

