From andreas.broeckmann at leuphana.de  Wed Mar  4 06:56:22 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Wed, 4 Mar 2026 06:56:22 +0100
Subject: [spectre] Fwd: JOB: Executive Director,
 Ukraine Cultural Heritage Fund Brussels
Message-ID: <9362e77d-026c-4ec0-924d-b5db621f49ba@leuphana.de>

From: Johannes Nathan
Date: Mar 3, 2026
Subject: JOB: Executive Director, Ukraine Cultural Heritage Fund Brussels

Application deadline: Mar 5, 2026

The Ukraine Cultural Heritage Fund (UCHF) announces an open competition 
for the position of Executive Director.

Applications are invited from candidates with at least 10 years of 
senior leadership experience, including in foundations, cultural 
institutions, or international organizations. Essential qualifications 
include a proven track record in strategic and operational management, 
experience working with donor-funded programs, partnership development, 
and a strong understanding of governance and accountability principles 
in the non-profit sector.

The Executive Director will be responsible for the Fund’s day-to-day 
operations, overall operational management, and the proper 
implementation of the Fund’s programs and projects under the supervision 
of the Board of Directors. Key responsibilities include implementing 
strategic decisions, managing the General Secretariat, preparing and 
executing the operational budget, coordinating financial, 
administrative, and legal processes, as well as representing the Fund 
internationally and fostering partnerships.

In addition, the Executive Director will oversee the organization and 
monitoring of grant programs, contribute to the institutional 
development of the Fund, strengthen international cooperation, advance 
advocacy efforts, and enhance UCHF’s public visibility.

Fluency in English is required; proficiency in Ukrainian, French, or 
other languages will be considered an asset.

This is a full-time position based in Brussels, Belgium. The selected 
candidate must reside in Brussels or be willing to relocate. 
Compensation will be determined based on the candidate’s experience and 
in accordance with Belgian labor law.

To apply, candidates must submit a motivation letter, a detailed CV, and 
letters of reference (if available) in English to uchf at mcsc.gov.ua by 5 
March 2026 (inclusive).

Shortlisted candidates will be invited for interviews during the week 
commencing 9 March 2026.

The Ukraine Cultural Heritage Fund is committed to equal opportunity in 
its recruitment process.

Detailed information on the candidacy for the position of Executive 
Director of the Ukraine Cultural Heritage Fund is available at the link.

Background

The Fund is a non-profit association (association sans but lucratif – 
ASBL) registered in Brussels, Belgium, and operates as a multi-donor 
platform for international support.

The mission of UCHF is to attract, mobilize, manage, and invest 
resources to implement programs and projects aimed at the preservation, 
protection, and restoration of cultural heritage, as well as the 
development and promotion of Ukrainian culture.

Deputy Prime Minister for Humanitarian Policy and Minister of Culture of 
Ukraine Tetyana Berezhna presented the Ukraine Cultural Heritage Fund in 
France and Denmark and recently introduced the composition of the Fund’s 
Board of Directors.


Reference / Quellennachweis:
JOB: Executive Director, Ukraine Cultural Heritage Fund Brussels. In: 
ArtHist.net, Mar 3, 2026. <https://arthist.net/archive/51878>.

From andreas.broeckmann at leuphana.de  Fri Mar  6 09:36:09 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Fri, 6 Mar 2026 09:36:09 +0100
Subject: [spectre] Fwd: CFP: AFRAUHN,
 African Architectural and Urban History Network (Nairobi, 8-10 Sep 26)
Message-ID: <9adb40ad-b1a4-4673-80df-ed7a765b9107@leuphana.de>

From: Eva Branscome
Date: Mar 5, 2026
Subject: CFP: AFRAUHN Nairobi (Nairobi, 8-10 Sep 26)

Kenya, University of Nairobi, Sep 8–10, 2026
Deadline: Apr 3, 2026

The African Architectural and Urban History Network (AFRAUHN), in 
collaboration with the Department of Architecture at the University of 
Nairobi, invites proposals for papers about emerging discourses and 
themes in African architectural and urban practices for a major 
international conference being held at the University of Nairobi from 
8th September – 10th September 2026.

It will be the second AFRAUHN bi-annual conference, the first having 
taken place at the Wits School of Architecture and Planning in South 
Africa in July 2024. Recognizing that discourses about African 
architecture and urban planning are more complex than the bifurcated 
‘traditional’/‘colonial’ or ‘African’/‘Western’ models which still tend 
to dominate the research, writing, environmental design and spatial 
design practices in the continent, this conference instead welcomes 
contributions that critically examine the status quo(s) of these models 
and disciplines – be that in terms of academic, practice, national 
institutions or regulatory bodies, or as are imagined by policy-makers 
in forms of urban development which are then disseminated to the public.

AFRAUHN NAIROBI is organized to coincide with the inaugural Pan-African 
Biennale of Architecture, curated by Omar Degan and team, and which is 
also being held in September 2026 in Nairobi, Kenya: 
https://www.panafricanbiennale.org

AFRAUHN NAIROBI conference sessions include:

SESSION 1: Reclaiming Regional Identity in Kenyan Architecture
SESSION 2: Architectural Education in Africa: When the Curriculum Leans 
Towards a Eurocentric Body of Knowledge
SESSION 3: Writing African Architectural History?
SESSION 4: Shifting the Ground for Thinking the Historiographies of 
African Architecture and Urbanism
SESSION 5: What happened to Tropical Architecture?
SESSION 6: Constructing Coloniality: Nodes of Imperialism and the East 
African Built Environment
SESSION 7: Design Research in African Architectural and Urban History

We invite abstracts of a minimum of 300 words and maximum of 500 words 
for this groundbreaking international conference to be hosted at the 
University of Nairobi, Kenya. Please submit your details and abstracts 
by Friday 3rd April 2026.

For further information on the AFRAUHN NAIROBI conference and how to 
submit proposals, please visit this weblink:
https://www.afrauhn.org/items/call-for-papers-afrauhn-nairobi


Reference / Quellennachweis:
CFP: AFRAUHN Nairobi (Nairobi, 8-10 Sep 26). In: ArtHist.net, Mar 5, 
2026. <https://arthist.net/archive/51887>.

From ab at mikro.in-berlin.de  Fri Mar  6 10:00:26 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Fri, 6 Mar 2026 10:00:26 +0100
Subject: [spectre] =?utf-8?b?RndkOiBOb3bDqSB2w71zdGF2eSAvIFZhxaF1bGthIEtp?=
 =?utf-8?q?tchen_Brno_/_10=2E_3=2E_2026_/_Orbis_Fictus_Revisited?=
In-Reply-To: <72.8A.08766.CB759A96@i-08bd913eec71af698.mta1vrest.sd.prd.sparkpost>
References: <72.8A.08766.CB759A96@i-08bd913eec71af698.mta1vrest.sd.prd.sparkpost>
Message-ID: <4d276f54-b607-43d3-82ad-2d8944a8568d@mikro.in-berlin.de>


Betreff: 	Nové výstavy / Vašulka Kitchen Brno / 10. 3. 2026
Datum: 	Thu, 05 Mar 2026 10:15:20 +0000
Von: 	Vašulka Kitchen Brno <vasulkakitchen at mailing.vasulkakitchen.org>
Antwort an: 	vasulkakitchen at gmail.com



*ORBIS FICTUS RE-VISITED*

*VERNISÁŽ*

*10. 3. 2026, 18:00*

/*Srdečně Vás zveme do Vašulka Kitchen Brno na vernisáž výstavy ORBIS 
FICTUS RE-VISITED*//*, *//*která se uskuteční *//*v úterý 10. března 
2026 v 18:00 v Domě pánů z Kunštátu. */

Expozice připomíná mezník lokální historie digitálního umění – výstavu 
Orbis Fictus: Nová média v současném umění (1995–1996; Národní galerie, 
Praha; kurátoři: Ludvík Hlaváček, Marta Smolíková). Jedná se o 
vzpomínající výstavu založenou na inscenování výsledků 
historiografického výzkumu formou databáze a opakní instalace vybraných 
archiválií, dokumentace a záznamů rozhovorů s pamětníky.

kurátorky: Jana Horáková, Monika Murgu
11. 3. – 24. 5. 2026
vernisáž: 10. 3. 2026, 18:00
Foto: Ukázka díla Sblížení (Elen Řádová)

Vašulka Kitchen Brno

Více informací o výstavě na webu: vasulkakitchen.org / 
orbisfictusrevisited 
<https://go.sparkpostmail.com/f/a/PU3y3sZowkVrYLAepG26HA~~/AAA-fBA~/WzTrLmIQxnGoBoYsuFvDTHVpYpPhG8xi5wcJGN0BucXd2ZJdgBzuBHGnul9GfRKCOdngRlfsb1X3IfGNKfH1Y28Xi2ANjQ1IMpdPDYlYOLRQG2ObKXFZArSp_RiyLzyAXV2djdeuy5ayqzcBspIFqyOP7ao7I_ANlp16NGH05_Q~>

*FB EVENT:* https://fb.me/e/6x8H4Av4n 
<https://go.sparkpostmail.com/f/a/JzTYY0coH4DKcprt_WsIDw~~/AAA-fBA~/ZTwXpqyPKkxYiD2a4VySPxBVtRlMEHiygjcISu3u4BFOwMfgKDMePpA3xPI9vUPPGByb3bVpHCTWjTXyVp3UXgbqVYs_s_Z_ZrpO8fT80sJhmxuoiacUP3osU1B4FI2M> 


///

*ORBIS FICTUS RE-VISITED*

*OPENING*

*March 10, 6 PM*

/*We cordially invite you to the opening of the exhibition ORBIS FICTUS 
RE-VISITED, which will take place on Tuesday, March 10, 2026, at 6 PM at 
the House of the Lords of Kunštát. */

The exhibition recalls a milestone in the local history of digital 
art—the show Orbis Fictus: New Media in Contemporary Art (1995–1996; 
National Gallery Prague and the Municipal Museum and Gallery Polička). 
It is a remembering exhibition based on staging the results of 
historiographic research in the form of a database and an opaque 
installation of selected archival materials, documentation, and 
recordings of interviews with eyewitnesses.

curators: Jana Horáková, Monika Murgu
11 March – 24 May 2026
opening: 10 March, 2026, 6PM
Photo: Sblížení (Elen Řádová)

Vašulka Kitchen Brno

For more information about the exhibition visit: vasulkakitchen.org / 
orbisfictusrevisited 
<https://go.sparkpostmail.com/f/a/O8qEzvSKm_yTydgaShS5Sg~~/AAA-fBA~/9CgpFKaByWFwKQaFuBA2peHX5dhN6GnYWlzeZtouzmLnZWoA5Cb5Knm_D2bMdlHH8xxyTjVcuE6xY_5mPWEeSbyOqiZvGB_qwJ2rfjhkKRSuvh-Pl5p0_erHLTnYvpijh-HC-Y_KZ2nB2V7ZkYy71cxbMAqKvzs8bQP_F1rdAG0~>

*FB EVENT: *https://fb.me/e/6x8H4Av4n 
<https://go.sparkpostmail.com/f/a/JzTYY0coH4DKcprt_WsIDw~~/AAA-fBA~/ZTwXpqyPKkxYiD2a4VySPxBVtRlMEHiygjcISu3u4BFOwMfgKDMePpA3xPI9vUPPGByb3bVpHCTWjTXyVp3UXgbqVYs_s_Z_ZrpO8fT80sJhmxuoiacUP3osU1B4FI2M> 


*PROSTŘEDKY PERFORMANCE*

*VERNISÁŽ*

*10. 3. 2026, 18:00*

/*Srdečně vás zveme na zahájení výstavní intervence PROSTŘEDKY 
PERFORMANCE, která se uskuteční v úterý 10. 3. 2026 ve Vašulka Kitchen 
Brno. Akce bude součástí vernisáže výstavy ORBIS FICTUS RE-VISITED a 
dalších výstav v Domě pánů z Kunštátu. */

PERFORMANCE – VIDEO z ARCHIVU VIDEO-MULTIMEDIA-PERFORMANCE


Kurátorský výběr Tomáše Rullera a Jennifer Helia De Felice je pilotní 
prezentace ze vznikající databáze oboru VMP ve VKB, která je výsledkem 
výzkumu realizovaného z grantů v letech 2024 /2025 v koordinaci s 
výstavou Distorted Image v Domě umění.
Cílem je reprezentativní přehled různorodých video děl jednotlivců i 
tvůrčích uskupení z dostupného materiálu z období 20. leté existence 
Ateliéru performance (2000 – 2020) včetně ukázek z performativní 
video-tvorby z období oborového Ateliéru video-multimédia-performance z 
let 1993 – 2000.
Ze shromážděných cca 200 videí letos plánujeme zveřejnit cca 120 video 
děl cca 70 autorů a autorek, spolu s výběrem video-záznamů cca 15 
kolektivních akcí.

11. 3. – 24. 5. 2026
vernisáž: 10. 3. 2026, 18:00
Kurátoři: Jennifer Helia De Felice, Tomáš Ruller

Vašulka Kitchen Brno

Více informací o výstavě na webu: vasulkakitchen.org / 
prostredkyperformance 
<https://go.sparkpostmail.com/f/a/0eKqo00iCwUm2fMqoGPBkA~~/AAA-fBA~/eEPvkV13WHprDMIO1P9jLc9y9Ql73EYK9zmH6xN9kMq0jhuEgxHPOyWV9cbi_tJsG4DFMvMb0sFbj-Ap5clx-GBiVKnDTgUvFemM16pjG93MvUCwGSmM_KGk-ggPlUArWAabiL72CYHCWn0780-339mZfe_bwqsqkiZh0WwRfeA~>

*FB EVENT:* https://fb.me/e/9UlJahI8E 
<https://go.sparkpostmail.com/f/a/6UVqR9jl3iLOrgXLaAVerg~~/AAA-fBA~/ZTwXpqyPKkxYiD2a4VySPw73PiQpH768Iw4Bqr7Qgm7xeozuBEaR38XZVOBT81Yi2dcAPrqNnFLzl_Boknz1dx6wUwummYXAWZFduVp47fF83cEF3pD2ULEc2YUyygt8> 


///

*BY MEANS OF PERFORMANCE*

*OPENING*

*March 10, 6 PM*

/*We cordially invite you to the opening of the exhibition BY MEANS OF 
PERFORMANCE, which will take place on Tuesday, March 10, 2026, at 6 PM 
at the House of the Lords of Kunštát. */

PERFORMANCE – VIDEO from the VIDEO–MULTIMEDIA–PERFORMANCE ARCHIVE


The curatorial selection by Tomáš Ruller and Jennifer Helia De Felice 
presents a pilot showcase drawn from the emerging VMP field database at 
VKB. This database is the outcome of research conducted through grants 
in 2024/2025, coordinated in parallel with the exhibition Distorted 
Image at the House of Arts.
The aim is to offer a representative overview of diverse video works by 
individual artists as well as creative collectives, based on available 
materials from the twenty-year existence of the Performance Studio 
(2000–2020), including examples of performative video production from 
the earlier period of the Video–Multimedia–Performance Studio (1993–2000).

11 March – 24 May 2026
opening: 10 March, 2026, 6PM
Curators: Jennifer Helia De Felice, Tomáš Ruller
Vašulka Kitchen Brno

For more information about the exhibition visit: vasulkakitchen.org / 
bymeansofperformance 
<https://go.sparkpostmail.com/f/a/3F3SxGDnHOc7rHywPMc1SQ~~/AAA-fBA~/k-IPmT3FTeYg4KOEgb99KVOGgzSUDEq54ycfVr2XI_V0G8t_eQ1Dd7U5ZQxQYye74yo8_WLey-rIJk4UDsvr8enhXlQLUIV2DqqDChaTWQRja6iVAQfhYpprbYyLxvCL0tMoEtcZZtREAw8Kj2BpyrfzPf1vxgff86k_PnMIF8Q~>

*FB EVENT: *https://fb.me/e/9UlJahI8E 
<https://go.sparkpostmail.com/f/a/6UVqR9jl3iLOrgXLaAVerg~~/AAA-fBA~/ZTwXpqyPKkxYiD2a4VySPw73PiQpH768Iw4Bqr7Qgm7xeozuBEaR38XZVOBT81Yi2dcAPrqNnFLzl_Boknz1dx6wUwummYXAWZFduVp47fF83cEF3pD2ULEc2YUyygt8> 


<https://go.sparkpostmail.com/f/a/Fj_fDpAlfzoDEg78FAqfDw~~/AAA-fBA~/CdAzBMseina5mJWz6SVGEQLL7wMqGn99MoQcyPJEZyt5_7duhaR8UcmZKxjqAmm0SqYPlYkjB5ITrmV8lMoV8-EJKKvdHYlgaH-CjEphQDVHtVVZoh8koxJzehAl19sUjkQ7WSuE1dfTtSh9-R4-ZA~~> 


<https://go.sparkpostmail.com/f/a/8irtZt0PvwotqfO0bqJQng~~/AAA-fBA~/6t_nARQjrbbDyhI7fClraTC4Wneu2tQK_TgOqsNe-axs2hYVfaa9typHtnPFANmz9m7aN_RnhZkEURrf7fuCajLIz6GbN36TjjNb0uqsLtwMe8uaoWDLpcXeM6-M-ym2RUwrBbW155Ve7d4_geEyxg~~> 


Program Vašulka Kitchen Brno je finančně podpořen Statutárním městem 
Brno a Ministerstvem kultury
České republiky. / The Vašulka Kitchen Brno program is financially 
supported by the Statutory City of Brno and the Ministry of Culture of 
the Czech Republic.



odhlásit z odběru těchto e-mailů 
<https://go.sparkpostmail.com/f/a/eNCrGga_TDInQqJmarcz8A~~/AAA-fBA~/GBi5X7rNWU0MfiNQ7kYw14IKEfbx1RVsvwUjiB0Q_PKOazUtl_VcbS79c7aK873SfOSwvC-NIW1z5O_f71cbwlg37ui5SWGzzCJY4-2ReCkXxv5H5A_zWTqwQL2oXZOJECh9fshCd7KVpthJEsaJEnhmW-eBOOle7wxThS-sTgs0Gu8iAyRHEwu08KPb_PJMq9sNtWEgQ3MD27iZ2-f4kw~~> 
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260306/e5ebeb57/attachment-0001.html>

From oliver.grau at mediaarthistories.org  Fri Mar  6 15:20:04 2026
From: oliver.grau at mediaarthistories.org (Oliver Grau)
Date: Fri, 6 Mar 2026 15:20:04 +0100 (CET)
Subject: [spectre] CFProposals to HOST the next MediaArtHistories Conf 2029
In-Reply-To: <699979808.278779.1772806457430@mailbusiness.ionos.de>
References: <01a001dca707$fe8c27c0$fba47740$@mediaarthistories.org>
 <1490901702.276112.1772805697591@mailbusiness.ionos.de>
 <2028775316.277029.1772806006255@mailbusiness.ionos.de>
 <115269578.278528.1772806395772@mailbusiness.ionos.de>
 <699979808.278779.1772806457430@mailbusiness.ionos.de>
Message-ID: <567152141.279828.1772806804575@mailbusiness.ionos.de>

CALL FOR PROPOSALS TO HOST the 13th International Conference 

on the Histories of Media Art, Science and Technology: Re: 2029 

The Media Art Histories Executive Board invites applications to host the 13th International Conference on the Histories of Media Art, Science and Technology. Organizations interested in hosting the 2029 conference are encouraged to consult the "Guidelines" on the MAH International website, prior to making the bid (see link below).

The international conference series, developed in 2003 in BERLIN and 2004 in MENAGGIO/Italy, has been held in several international venues around the globe including BANFF 2005, BERLIN 2007, MELBOURNE 2009, LIVERPOOL 2011, RIGA 2013, MONTREAL 2015, KREMS/VIENNA 2017, AALBORG 2019, VENICE 2023, MANIZALES/BOGOTA 2025 and will continue next spring in HELSINKI 2027. The call for proposals to host the 13th international conference is now open until June 1st. The conference series aims to engage the growing community of scholars from a range of disciplines including art history, contemporary art practice, art theory, history of science, history of technology, media studies, image science, visual studies, philosophy, cultural studies, anthropology, architecture theory, sound studies, computer science among others to develop and share new research and scholarship in the intersecting fields of the histories of media art, science and technology. The host of the conference in 2029 will have the opportunity to continue to build on the impressive history of the conference series. Proposals with engaging digital participation, inventive conference topics and quality presence from the Global South & North are highly encouraged. 

GUIDELINES, SELECTION CRITERIA AND DEADLINES Proposals to host the conference will include the following information:

1. Proposed Dates 

2. Proposed Venues (including information on number, capacity and AV and network capabilities of spaces) 

3. Rationale for hosting the conference 

4. Host Local Organizing Committee 

5. Relevant previous experience (e.g., committee members, experience in hosting conferences) 

6. Publicity Plan 

7. Funding / Sponsorship plan 

8. Preliminary Budget 

Those interested in making a bid to host the conference can download GUIDELINES here: 

https://www.mediaarthistory.org/?page_id=1674

Deadline for final submission of proposals: June 15th, 2026

MAH Executive Board’s decision for the 2029 Host will be announced in late Fall 2026. 

***********************************

Media Art Histories EXECUTIVE BOARD: Najam ASSAR (PK, DK), Andres BURBANO (CO/ES), Sean CUBITT (AU), Oliver GRAU (DE/AT) (Conference Founder, Chair Soc. for MediaArtHistories), Yael Eylat VAN ESSEN (Il), Laura LEUZZI (UK), Gunalan NADARAJAN (SG/US), Yu-Chuan TSENG (TW)

Media Art Histories HONORARY BOARD: Rudolf ARNHEIM, Linda HENDERSON (served in the Board from 2005-2018), Douglas KAHN (2005–2018), Martin KEMP (2005 – 2018), Tim LENOIR (2005-2016), Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE (2005-2023), Peter WEIBEL (2005-2023), Erkki HUHTAMO (2005-2023), Machiko KUSAHARA (2005-2023) 

MAH Headquarters Director: Wendy COONES (US/AUT)

Please do not hesitate to contact MAH HQ at coordination(at)mediaarthistory.org if you have any questions.

MEDIA ART HISTORIES PLATTFORM http://www.mediaarthistory.org

LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration

-------------

Prof. aD Dr. habil. Oliver Grau, MAE

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

International Society for MediaArtHistories (MAST) Vienna/Berlin http://www.mediaarthistories.org

Academia.edu https://ae-eu.academia.edu/OliverGrau

 
 
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260306/10a26d86/attachment.html>

From tbazz at disruptiv.biz  Wed Mar 11 18:36:29 2026
From: tbazz at disruptiv.biz (Tatiana Bazzichelli)
Date: Wed, 11 Mar 2026 18:36:29 +0100
Subject: [spectre] Exposing Crimes is Not a Crime: The Real-World
 Consequences of WikiLeaks, March 19-22
Message-ID: <10e21ca4-0a17-4440-a6d4-29b39af16916@disruptiv.biz>

Dear all,

In just over a week, our conference 'Exposing Crimes Is Not A Crime: The 
Real-World Consequences of WikiLeaks' will take place at HAU Hebbel am 
Ufer (HAU 1) in Berlin and Stadtwerkstatt (Berlin-Mitte).

The year 2026 marks the 20th anniversary of the foundation of WikiLeaks. 
This symposium explores its legacy, why its work mattered, and how 
society and politics shifted as its global releases exposed systems of 
power. WikiLeaks members, journalists, lawyers, experts, artists, 
activists, and major whistleblowers will come together for four days in 
Berlin.

In light of the current global political conflicts, it is now more 
important than ever that we discuss topics such as war, surveillance, 
secrecy, and new paths for action and resistance. You will find details 
of the speakers and panels below and here:
https://www.disruptionlab.org/exposing-crimes-is-not-a-crime

As usual, there will be an opportunity to ask questions remotely, and 
the panels will also be streamed /for free on our website and HAU4.
Tickets for the symposium are available here or on site at HAU1:
https://www.disruptionlab.org/exposing-crimes-is-not-a-crime#tickets

## Schedule

## Thursday, March 19 2026
HAU Hebbel am Ufer (HAU1), Berlin

17:00 · Opening Words
Margarita Tsomou (Curator Theory & Discourse, HAU Hebbel am Ufer, 
GR/DE). Tatiana Bazzichelli (Founder and Artistic Director, Disruption 
Network Lab, IT/DE).

17:10–19:10 · The Reasons Behind
Stella Assange (Human Rights Lawyer, ZA/UK/AU), Sunna Ævarsdóttir 
(Global Director of Courage International, IS), Renata Ávila Pinto 
(Lawyer, CEO, Open Knowledge Foundation, GT/UK), Chip Gibbons 
(Journalist, Researcher, US).
Moderation: Tatiana Bazzichelli (Director, Disruption Network Lab, IT/DE).

20:00–22:00 · War & Military
Lisa Ling (Whistleblower, Former Technical Sergeant, US Air Force Drone 
Surveillance Programme, US), John Kiriakou (Former CIA Counter-Terrorism 
Officer, Anti-Torture Whistleblower, US), John Goetz (Investigative 
Journalist, US/DE), Jesselyn Radack (Director, Whistleblower & Source 
Protection at ExposeFacts, US/FR).
Moderation: Michael Sontheimer (Historian and Journalist, DE).

## Friday, March 20 2026
HAU Hebbel am Ufer (HAU1), Berlin

17:00-19:00 · Government & Diplomatic Cables
Kristinn Hrafnsson (Editor-in-chief of WikiLeaks, IS), Stefania Maurizi 
(Investigative Journalist, Regular Contributor, Il Fatto Quotidiano, 
IT), Jack Poulson, Executive Director, Tech Inquiry, US, Ewen MacAskill 
(Reporter, Former Guardian's Defence and Intelligence Correspondent, UK).
Moderation: Joseph Farrell (WikiLeaks Ambassador, UK).

20:00-22:00 · Intelligence & Cybersurveillance
Terry Albury (Former FBI Agent, Whistleblower, US), Thomas Drake 
(Whistleblower, former Senior Executive at the National Security Agency, 
US), Katharine Gun (Iraq War Whistleblower, former GCHQ Linguist and 
Analyst, UK/TR), Andy Müller-Maguhn (Wau Holland Foundation, DE).
Moderation: Chip Gibbons (Journalist, Researcher, US).

## Saturday, March 21 2026
HAU Hebbel am Ufer (HAU1), Berlin
17:00-19:00 Global Economy & Corporate Secrets

Matthew Kennard (Author, Investigative Journalist, UK), Scott Ludlam 
(Designer, Researcher, Former Senator for Western Australia, AU), 
Esteban Servat (Climate Activist, Founder, EcoLeaks AR/DE), Clara López 
Rubio  (Filmmaker, ES/DE).
Moderation: Deepa Govindarajan Driver (Lecturer in Governance, 
Regulation and Risk, Henley Business School, UK).

20:00-22:00 · Art as Evidence & Resistance
Robert Trafford  (Deputy Director, Forensis; Assistant Director, 
Forensic Architecture, UK/DE), Institute for Dissent and Datalove 
(Collective of Hackers, Artists, Activists and Tinkerers, DE, FR, US), 
Davide Dormino (Visual Artist, Activist, IT), Manja McCade (Artist, 
Co-Founder, Julian Assange Archive e.V., DE).
Moderation: Becky Haghpanah-Shirwan (Director, A/POLITICAL, UK).

## Sunday, March 22 2026 · Activation Day · Register
Stadtwerkstatt, Berlin
Free with Registration here: https://www.disruptionlab.org/activation-day

13:00–15:30 · Tactics & Actions for the Future
With tactical input by: Andrei Molodkin (Conceptual Artist, RU/FR), Raja 
Stutz & Claudia Daseking (Assange Support Berlin, DE), Mauro Forte 
(Activist, Free Assange Napoli, IT). With the active participation of 
the conference speakers and the audience. Facilitators: Tatiana 
Bazzichelli (Founder and Artistic Director, Disruption Network Lab, 
IT/DE), Institute for Dissent and Datalove (Collective of Hackers, 
Artists, Activists and Tinkerers, DE, FR, US).

16:00–18:00 · WEKILL//LEAKS: A Card Game
With: Institute for Dissent and Datalove (Collective of Hackers, 
Artists, Activists and Tinkerers, DE, FR, US).
WEKILL//LEAKS is a two-player card game in which players take on 
opposing roles: The Empire or The Leak.

## Collaboration Events: Film Screenings

16.3 · XY Chelsea · Screening + Q&A · Sputnik Kino
with Tatiana Bazzichelli (Founder and Artistic Director, Disruption 
Network Lab) & Anna Ramskogler-Witt (Artistic Director, Doxumentale).
https://www.sputnik-kino.com/program/movie/3670

23.3 · Hacking Justice · Screening + Q&A · ACUD Kino
With Clara López Rubio, Film Director, ES/DE (speaker in Global Economy 
& Corporate Secrets)
https://acudkino.de/Programm/hacking_justice_-_film_screening/20070

I hope to see many of you!

All the best,

Tatiana

-- 
Tatiana Bazzichelli // Artistic Director
Disruption Network Lab
https://www.disruptionlab.org/
E-mail for personal messages: tbazz(at)disruptionlab.org
Twitter: @disruptberlin // @t_bazz
Fingerprint: A87C 3637 03ED 1D1C E6FE E828 1F55 2B2F F5A5 C9A0

From lists at asquare.org  Fri Mar 13 13:56:52 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Fri, 13 Mar 2026 12:56:52 +0000
Subject: [spectre] Call for papers on Post-Disciplinary Creative Practices,
 EAI ArtsIT 2026
In-Reply-To: <CAJ_C8aWMX3AB+DCf-kPq23vO=smFfDk7o+=UCcA6Aaq49Pvo_g@mail.gmail.com>
References: <CAJ_C8aUvxeBDHfsXN5djanBMvxwS-F=AUZMvhoYM3QMGxX3+cA@mail.gmail.com>
 <CAJ_C8aXrwqnGy+b63Q6iH8xbEoeBn=ER0DCUZuJj0NRaussOSQ@mail.gmail.com>
 <CAJ_C8aWMX3AB+DCf-kPq23vO=smFfDk7o+=UCcA6Aaq49Pvo_g@mail.gmail.com>
Message-ID: <CAJ_C8aWmhsTEcqVMRxh37x+dxtGsdnjzMmx9MsKncV4uL+aYJg@mail.gmail.com>

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

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

-----

Post-Disciplinary Creative Practices

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

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


Special Track Topics

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

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

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

-- 
regards
Dr. Lynch IRL
_________________
Garrett at asquare.org
http://www.asquare.org/
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260313/6ca95d54/attachment.html>

From andreas.broeckmann at leuphana.de  Wed Mar 18 07:06:00 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Wed, 18 Mar 2026 07:06:00 +0100
Subject: [spectre] Fwd: CONF: Perspectives on Art Histories in the Balkans
 (Paris, 18-20 Mar 26)
Message-ID: <c256079c-1ce3-4294-a00f-119e56e6bffc@leuphana.de>

From: Chiara Pittaluga
Date: Mar 17, 2026
Subject: CONF: Perspectives on Art Histories in the Balkans (Paris, 
18-20 Mar 26)

INHA, Paris, Mar 18–20, 2026

Perspectives on Art Histories in the Balkans.
Actors, Networks and Practices from the Early Modern to the Contemporary.
Institut national d’histoire de l’art - INHA

This symposium aims to bring together innovative research devoted to the 
visual arts of the Balkans, from the modern era to the contemporary 
period. Researchers and actors from the French and international 
cultural world will discuss circulation, identity construction, and 
memory issues, as well as the different ways in which art is produced, 
opening up a new comparative space for reflection in French art history 
research.

THURSDAY
19.03.2026
09:00 Welcome / Registration
09:15 Opening remarks
Anne-Solène Rolland (INHA)
09:30 Panel 1
Architectures and Circulations in the Early Modern Period
12:30 Lunch
14:00 Panel 2
Movements, Transfers & Exchanges (1960s–1990s)
16:15 Panel 3
Institutions, Networks & Sites

FRIDAY
20.03.2026
09:00 Welcome
09:30 Panel 4 Identity, Nation & Politics (20th–21st c.)
12:30 Lunch
14:00 Panel 5
Formal & Prosopographic Approaches
16:00 Panel 6
New Patterns of Commitment
17:30 Closing remarks  18:30 Opening of the exhibition of Bojan Stojčić 
at the Institut d’études slaves (9, rue Michelet, 75006 Paris) followed 
by a cocktail
 
Panel 1
Architectures and Circulations in the Early Modern Period
 From cartographic gazes to architectural idioms and confessional 
border-zones, this panel analyses visual and spatial recompositions in 
the Balkans between the 16th and 19th centuries
Moderation: Vincent Thérouin (Ghent University) & Nathalie Clayer (EHESS)

Nicole Kançal Ferrari (Marmara University)
Fluid Visualities in a “Border Region”: Renegotiating Artistic Dialogue 
and Patronage between the Eastern Balkans and the Ottoman Empire through 
the Monastery Church of Curtea de Argeş

Thaleia Mantopoulou Panagiotopoulou (University of Thessaloniki)
The Emergence of a New Basilica Type in the Aegean Islands in the 19th 
Century and Its Subsequent Spread to the Southern Balkans and Asia Minor

Iván Szántó (Eötvös Loránd University)
Water Sanctuaries along the Drava and Sava between Islam and Baroque

Ana Marija Grbanović (University of Bamberg)
Artistic Knowledge Exchange and Transfer via Craftspeople’s Mobility in 
South-Eastern Europe, as told by Mosques, Churches and Mansions with 
Wall Painting Decorative Programmes from the Ottoman Baroque Period

Panel 2
Movements, Transfers & Exchanges
Genealogies and circulations of practice: transnational fiber art, 
postal networks, Franco Yugoslav relational geographies, and Yugoslav 
counter genealogies
Moderation: Philippe Gelez (Sorbonne Université)

Seraina Renz (Leiden University)
A Genealogy of “New Artistic Practices” in Yugoslavia: Raša Todosijević 
– Ad Reinhardt – Kazimir Malevich

Monica Seiceanu (Université Paris 1 Panthéon-Sorbonne)
Textile as Threshold: Jagoda Buić and the Transnational Circulation of 
Yugoslav Fiber Art during the Cold War

Sanja Sekelj (Institute of Art History in Zagreb)
Intersecting Networks: Mapping French–Yugoslav Cultural Relations at the 
End of the 1980s

Panel 3
Institutions, Networks & Sites
 From production and mediation venues to micro editorial cultures: how 
institutional infrastructures configure Balkan art histories?
Moderation: Ina Belcheva (Université Sorbonne Nouvelle)

Emilie Blanchard (Sorbonne Université)
Ljudmila (Ljubljana Digital Media Lab) as a Nodal Point in a Trans 
Balkan History of Digital Art

Adriana Sotropa (Université Bordeaux Montaigne)
Romanian Art History from the Post War to the Early Years of Democracy: 
Beyond Erudition and Ideology

Darko Aleksovski (artist)
A Small Handbook for Daydreaming: Self Publishing as an Artistic Practice

Alina Popescu (University of Bucharest)
Film Production Units in Communist Romania: From Creative Promises to 
Political Constraints

Panel 4
Identity, Nation & Politics (20th–21st c.)
How artistic practices and trajectories participate in shaping identity 
and political constructions: landscapes and rurality, poetics of 
(un)belonging, cross border film heritage, and arts & crafts genealogies
Moderation: Alessandro Gallicchio (Académie de France à Rome – Villa 
Médicis) & Falma Fshazi (CETOBaC, EHESS)

Jérôme Bazin (Université Paris-Est-Créteil-Val-de-Marne)
Терен и конструкции (1979–1981) – Installations, Landscapes, Rurality

Lora Sariaslan (Utrecht University)
The Poetics of (Un)Belonging: The Art of Driton Selmani

Mélisande Leventopoulos (Université Paris 8 Vincennes-Saint-Denis)
Film Heritage at the Confines of Macedonia: The Mirroring Histories of 
Florina and Bitola

Dimitra Douskos (EHESS)
Determining Artistic Authenticity in the Balkans: Angeliki Hadjimichali, 
Eva Palmer, and the Interlacing of the “Arts and Crafts” Movement with 
“Folklore Studies”

Gabriela Manda Seith (independent researcher)
Artistic Concepts in Transformation During the Austro-Hungarian 
Occupation of Bosnia and Herzegovina

Panel 5 Formal & Prosopographic Approaches
Biographies, corpora and styles: re readings of artists and bodies in 
Balkan contexts, from modernist choreography to women artists’ 
biographical archives
Moderation: Naïma Berkane (Sorbonne Université)

Rada Georgieva (The Courtauld Institute of Art) Local Beginnings, 
Translocal Dialogues: Vesselin Sariev, Guillermo Deisler and the Origins 
of Mail Art in Bulgaria

Eva Maria Ivanova (New Bulgarian University)
Material Presence and Phantom Archives: The Cases of Carol Rama and Lika 
Yanko

Jelena Sekulović (Ethnographic Museum in Belgrade)
Between Studio and Nation: Nadežda Petrović’s Paris Atelier as a 
Vernacular Display

Sandra Uskoković (University of Dubrovnik)
Crossroads and Cartographies: Geoaesthetics and Hybridity in 
Post-Yugoslav Art

Panel 6
New Patterns of Commitment
Artistic and curatorial practices that reconfigure national narratives: 
socialist feminisms, post Yugoslav activisms, and exhibitions as 
symbolic battlegrounds
Moderation: Melody Robine (CETOBaC, EHESS)

Sasha Dimitrova (University of Vienna)
Textile as Political: A Feminist Perspective on Textile Art, Cases on 
Bulgaria and Macedonia (1970s-1990s)

Ana Dević (Aix-Marseille Université) & Peter Vermeersch (KU Leuven)
Art Activism as Resistance to Nationalism in the Post Yugoslav Space

Ahmet Furkan Inan (University of Oxford)
Contemporary in the Margins: Cultural Difference at the Third Istanbul 
Biennial (1992) 8

In the context of the symposium, are organized

18 March 2026, 18:00
Screening of the movie Notre endroit silencieux by Elitza Gueorguieva at 
the Jacqueline Lichtenstein Auditorium of the Institut National 
d’Histoire de l’Art (INHA), followed by a discussion with Ina Belcheva, 
Alessandro Gallicchio and Melody Robine.
Elitza Gueorguieva films the creation of the novel that her Belarusian 
alter ego Aliona is writing about her father, a maritime adventurer, 
physicist, and dreamer who disappeared off the Turkish coast in 1995. 
Accompanying this process of mourning and emancipation through writing, 
the Bulgarian filmmaker invents her own visual language that amplifies 
the tension between dream and reality, poetry and memory

19 March 2026, 18:30
Opening of the exhibition of Bojan Stojčić curated by Melody Robine
at the Institut d’études slaves (9, rue Michelet, 75006 Paris) followed 
by a cocktail. In his exhibition Bureau fantôme, Bojan Stojčić chases 
the spectres of an agreement signed in Paris more then thirtyyears ago. 
Expressing himselfbetween poetics and geopolitics, Stojčić explores the 
traces and transformations of the present.
  Institut national d’histoire de l’art (INHA)
2, rue Vivienne
75002 Paris

Pour plus d’information, écrire à
patrizia.celli at villamedici.it
histoiredelart at villamedici.it

Perspectives on Art Histories in the Balkans: Actors, Networks and 
Practices from the Early Modern to the Contemporary
18-20.03.2026
Auditorium Jacqueline Lichtenstein, INHA
2, rue Vivienne - 75002 Paris

Organizing Committee Daniel Baric (Sorbonne Université) Ina Belcheva 
(Université Sorbonne Nouvelle, LIRA) Naïma Berkane (Sorbonne Université 
)Falma Fshazi (CETOBaC, EHESS) Alessandro Gallicchio (Académie de France 
à Rome – Villa Médicis) Melody Robine (CETOBaC, EHESS)Vincent Thérouin 
(Ghent University)
Academic Committee
Eloïse Brac de la Perrière (INHA) Victor Claass (Musée d’Orsay)Nathalie 
Clayer (EHESS) Milena Dragićević-Šešić (University of Arts in Belgrade) 
Irina Genova (New Bulgarian University) Maximilian Hartmuth (Austrian 
Academy of Science) Jean-Baptiste Minnaert (Sorbonne Université) Zef 
Paci (University of Arts in Tirana) Gilles de Rapper (École française 
d’Athènes) Clara Royer (Sorbonne Université) Pierre Sintès 
(Aix-Marseille Université)4


Reference / Quellennachweis:
CONF: Perspectives on Art Histories in the Balkans (Paris, 18-20 Mar 
26). In: ArtHist.net, Mar 17, 2026. <https://arthist.net/archive/52000>.

From camilamangueira19 at gmail.com  Mon Mar 23 18:55:53 2026
From: camilamangueira19 at gmail.com (Camila Mangueira)
Date: Mon, 23 Mar 2026 17:55:53 +0000
Subject: [spectre] =?utf-8?q?Call_for_extended_abstracts_=E2=80=94_UNLOOP?=
	=?utf-8?q?=3A_Symposium_on_Interaction_and_Computational_Media_Des?=
	=?utf-8?q?ign?=
Message-ID: <CAK2Gszrg+HiqjXS0uyTaGZFAe13Csw9SWtXg3cdmszbNQ98k-w@mail.gmail.com>

Dear colleagues,



The *UNLOOP – Symposium on Interaction and Computational Media Design*, to
be held at FBAUP (Porto + online), is currently accepting extended abstract
submissions. The symposium welcomes contributions from scholars, designers,
artists, and students working within the broader field of interaction
design and computational media.


Submissions may present theoretical, practice-based, or experimental
research, including (but not limited to) topics such as:


* User-Centred, Human-Centred, and More-Than-Human Design

* Playful, Gameful, and Emotional Design

* Critical, Speculative, and Activist Design

* Pervasive, Persuasive, Deceptive, Seamless, and Smooth Design

* Friction, Slow, and (Dis)Engagement Design



The deadline for extended abstract submissions is *March 29, 2026*.


Further information about the symposium and submission guidelines is
available at:

>>> https://frictiondesign.fba.up.pt/unloop/
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260323/e6e273bd/attachment.html>

From mail at garyhall.info  Wed Mar 25 14:12:11 2026
From: mail at garyhall.info (Gary Hall)
Date: Wed, 25 Mar 2026 13:12:11 +0000
Subject: [spectre] =?utf-8?b?4oCYRGVmdW5kIEN1bHR1cmUgYnkgQW55IE1lYW5z4oCZ?=
 =?utf-8?q?_Necessary=27_Minor_Compositions_Podcast?=
Message-ID: <fcca4cde-eab9-4f4e-8c97-ce72d3f0baed@garyhall.info>

That was quick. My discussion on Monday evening about /Defund Culture: A 
Radical Proposal/ with the independent artist and researcher Seth 
Wheeler for the Minor Compositions podcast, hosted by Stevphen 
Shukaitis, is online.

*Minor Compositions Podcast - Season 2, Episode 5: ‘Defund Culture by 
Any Means’ Necessary'
*https://www.minorcompositions.info/?p=1885
YouTube: https://youtu.be/mk-j2uh9cdk

Available on all the usual podcast platforms.

‘In this episode owe are joined by Gary Hall and Seth Wheeler for a 
wide-ranging conversation on cultural funding, radical publishing, and 
the changing conditions of collective knowledge production. The 
discussion begins with Hall’s recent book Defund Culture, which 
challenges conventional calls to increase arts funding by asking a more 
fundamental question: what – and who – is cultural funding actually for? 
Rather than defending existing institutions, Hall proposes that the 
current crisis in arts funding might be an opportunity to rethink the 
entire landscape, redistributing resources away from entrenched, 
upper-middle-class infrastructures toward more collective, plural, and 
relational forms of cultural production.

 From there, the conversation moves into the practical and political 
challenges of radical publishing today. Reflecting on projects such as 
Open Humanities Press and Agit Press, Hall and Wheeler discuss the 
tensions between openness and enclosure in contemporary publishing, the 
uneven realities of open access, and the difficulty of sustaining 
collective, non-commercial forms of intellectual work. Wheeler draws on 
experiences from worker movements to highlight the historical role of 
print media – newsletters, pamphlets, and leaflets – as machines to 
produce consciousness, capable of expanding political dialogue beyond 
academic and activist enclaves.How do these earlier forms resonate with, 
and diverge from, today’s digital platforms? What happens when knowledge 
production becomes entangled with the logics of content creation, 
personal branding, and algorithmic visibility? The conversation explores 
how financial precarity and platform economies shape what can be said, 
by whom, and under what conditions: raising questions about whether 
genuinely collective and autonomous forms of media can exist within, or 
beyond, these systems.

Ultimately this is a question of infrastructure: how to build 
alternative networks for producing and distributing knowledge that do 
not simply replicate existing hierarchies. From decentralized publishing 
models and cooperative platforms to the enduring importance of print as 
a social and organizational process, the episode maps out both the 
challenges and the possibilities of creating new cultural forms grounded 
in collaboration, redistribution, and shared intellectual life. Rather 
than offering definitive solutions, this conversation opens up a space 
for thinking through what it might mean to defend/defund culture by 
transforming it – experimenting with new modes of publishing, new 
institutional arrangements, and new ways of working together.’

/Defund Culture: A Radical Proposal/ (open access): 
https://www.mediastudies.press/pub/nb-hall-defund/release/4
Open Humanities Press: https://openhumanitiespress.org
Agit Press: https://www.agitpress.net

Intro / outro music – Mischief Brew, The Reinvention of the Printing Press


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

Latest:

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

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

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






    




















-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260325/fe405c97/attachment.html>

From marc.garrett at protonmail.com  Wed Mar 25 14:54:02 2026
From: marc.garrett at protonmail.com (marc.garrett)
Date: Wed, 25 Mar 2026 13:54:02 +0000
Subject: [spectre] Feral Class, book launch at Broadside, in Glasgow.
Message-ID: <2N4YLgoQ1gMw_9f09fCi6kIS7ufyPWvSfDQFeeje9DNDTrIkZxk6rvM6LJrLlhx1zBdoUZgAZeNHt180KYYHAjxlzYdBYSRqz18_Dy1qctU=@protonmail.com>

Hi all,
I'm in Glasgow this coming weekend, 28th March doing a book reading at the Broadside Space 'For free you’d never be' an afternoon dedicated to writing and its intersections with politics and publicness. So come and say hello if you're free -https://broadside.space/event/for-free-youd-never-be/

"Feral Classis Marc Garrett’s deeply personal and thought-provoking exploration of his early years, chronicling his journey as a working-class artist navigating a world that often rejects them. Through humorous, vivid storytelling and incisive critique, Garrett explores how his upbringing shaped his identity, forging a path that defied societal expectations. How can one survive, let alone thrive, as part of what Garrett describes as the feral class: a group of individuals who, like him, exist outside traditional institutions and thrive in the margins, using resourcefulness and rebellion to carve out their own artistic spaces?" Minor Compositions, 2025..

“The great art-institutional swindle is the tacit consensus that conformity is a necessity. Marc Garrett’s Feral Class, a rough-and-tumble memoir of the artist and Furtherfield Gallery co-director’s trajectory from childhood to not-quite-germ-free adolescence, is a defiant two-finger salute to the sanctity of such staid professional orthodoxy.” Quaintance, 2026.

Feral Class. Reviewed by Morgan Quaintance.

Art Monthly. March 2026 | No 494.

The Foreword by Cassie Thornton - I'm not a terrorist, I'm feral class

https://feministecondept.substack.com/p/im-not-a-terrorist-im-feral-class

Other reviews:

https://marcgarrett.org/2025/12/19/two-new-reviews-of-feral-class/

https://marcgarrett.org/2025/10/13/mytho-massively-recommends-feral-class/

Minor Compositions and more info about the book:
https://www.minorcompositions.info/?p=1561

Wishing all 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.

Frankenstein Reanimated: Creation & Technology in the 21st Century.
Marc Garrett & Yiannis Colakides, 2022.https://torquetorque.net/publications/frankenstein-reanimated/

Dr Marc Garrett.
Furtherfield - https://www.furtherfield.org/
Furtherfield Legacy - https://diwologue.co.uk/Feral Class - https://marcgarrett.org/

Sent with [Proton Mail](https://proton.me/mail/home) secure email.
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260325/a69d4fa0/attachment-0001.html>

From tanja at stwst.at  Tue Mar 31 08:28:57 2026
From: tanja at stwst.at (Tanja Brandmayr)
Date: Tue, 31 Mar 2026 08:28:57 +0200
Subject: [spectre] Open Call STWST84x12 HAUNTED
Message-ID: <20260331082857.Horde.LJ_Tyh31xavRFuzOFpunIET@webmail.servus.at>

liebe spectries,

die stadtwerkstatt scheint heuer den passenden call für "there' a  
spectre haunting ..." zu haben -

english version also below.

wir freuen uns über einreichungen.

liebe grüße,
tanja / stadtwerkstatt



++++++++++++++++++++++++
STWST Open Call: HAUNTED
++++++++++++++++++++++++

Die Stadtwerkstatt schreibt einen OPEN CALL für das Format STWST84x12  
HAUNTED aus, das als jährliche Showcase-Extravaganza der  
Stadtwerkstatt im Zeitraum 7.-13. September in Kooperation mit der Ars  
Electronica in Linz/A abgehalten wird.

Mit HAUNTED ruft die Stadtwerkstatt Hauntologien zwischen Medialität,  
Technologien, spukhaften Manifestationen, Wiedergängertum und  
Liminalität aus. Mit Heimsuchungen sprechen wir auch von Krieg, dem  
Niedergang demokratischer Sphären, der strukturellen Gewalt des  
Technokapitalismus, vom ökologischen Desaster. Und vielleicht fällt  
wem auch tatsächlich noch was Positives dazu ein. Wir wären ganz  
gierig drauf.

***************************************
Wir suchen für 2026 zum Thema HAUNTED –
Kunst, Kontext, Reflexion und erweiterte Konzepte einer „Kunst nach  
den neuen Medien“:
***************************************

++ Projekte, Arbeiten, Installationen und Konstellationen zwischen  
Kunst und Medienkunst, Projekte zwischen Hardware, Software und  
geisterhafter Wetware, die in der STWST EXHIBITION innerhalb einer  
Gesamtkonzeption von „genre-freier Kunst im Anti-White-Cube des  
Hauses“ im Rahmen von STWST84x12 HAUNTED gezeigt werden können.
++ Soundprojekte, Musikacts, Performances, Noise, strukturierten Lärm  
und ähnliches zwischen Kunst und Medienkunst, die im Rahmen der  
Nightline von STWST84x12 HAUNTED gezeigt werden können.
++ Hauntologische Texte oder auch Hörspiele zwischen Kunst und  
Theorie, die jenseits der Grenzziehung von digital und analog im  
Gesamtkontext der Präsentation oder auch in der STWST-Zeitung  
Versorgerin publiziert werden können.
++ Besonderer Hinweis: Die Passage im Kurztext: „Und vielleicht fällt  
tatsächlich jemandem noch etwas Positives dazu sein. Wir wären ganz  
gierig drauf“ ruft im hauntologischen Zusammenhang explizit zu  
Strategien und Gegenentwürfe auf, die immer schon von subversiven  
Szenen entwickelt wurden. Um es kurz zu fassen: Wir sind an Sun Ra am  
Saturn interessiert, nicht an Elon am Mars.

***************************************
Die Stadtwerkstatt freut sich über Einreichungen:
***************************************
1 Seite Projektdarstellung, 1/2 Seite Selbstdarstellung
Bis 20. April an haunted at stwst.at
Mehr Infos unter https://newcontext.stwst.at/projects/stwst_2026_haunted


+++++++++++++++
ENGLISH VERSION
+++++++++++++++

++++++++++++++++++++++++
STWST Open Call: HAUNTED
++++++++++++++++++++++++

Stadtwerkstatt is issuing an OPEN CALL for the STWST84x12 HAUNTED  
format, which will be held as Stadtwerkstatt’s annual showcase  
extravaganza from 7–13 September in cooperation with Ars Electronica  
in Linz/A.
With HAUNTED, Stadtwerkstatt explores hauntologies at the intersection  
of mediality, technologies, ghostly manifestations, revenancy and  
liminality.
When we speak of hauntings, we are also referring to war, the decline  
of democratic spheres, the structural violence of techno-capitalism,  
and ecological disaster. And perhaps someone might actually think of  
something positive to add. We’d be absolutely keen to hear it.


***************************************
For 2026, we are looking for projects on the theme of HAUNTED –
art, context, reflection, and expanded concepts of “art after new media”:
***************************************

++ Projects, works, installations, and constellations between art and  
media art, projects between hardware, software, and ghostly wetware  
that can be shown in the STWST EXHIBITION within an overall concept of  
“genre-free art in the anti-white cube of the house” as part of  
STWST84x12 HAUNTED.
++ Sound projects, music acts, performances, noise, structured noise,  
and similar works between art and media art that can be shown as part  
of the Nightline of STWST84x12 HAUNTED.
++ Hauntological texts or radio plays between art and theory that  
transcend the boundaries between digital and analog and can be  
published in the overall context of the presentation or in the STWST  
newspaper Versorgerin.
++ Special note: The passage “And maybe someone will actually come up  
with something positive to say about it. We would be very eager to  
hear it” explicitly calls for strategies and counter-designs in the  
hauntological context that have always been developed by subversive  
scenes. To put it briefly: We are interested in Sun Ra on Saturn, not  
Elon on Mars.

***************************************
Stadtwerkstatt looks forward to receiving submissions:
***************************************
1 page project description, 1/2 page personal statement
By 20 April to haunted at stwst.at
More infos https://newcontext.stwst.at/en/projects/stwst_2026_haunted




-- 
--
--
Tanja Brandmayr, Mag.
STWST – Stadtwerkstatt Leitung
tanja at stwst.at

STWST - Stadtwerkstatt
Kulturvereinigung F6
ZVR 029147978
Kirchengasse 4, 4040 Linz, Austria
Tel: 43 732/731209-205
Mailto: office at stwst.at

STWST all: stwst.at

Kunst: newcontext.stwst.at
Instagram: https://www.instagram.com/newcontexts/
Facebook: https://www.facebook.com/newcontexts

Club: club.stwst.at
Instagram: https://www.instagram.com/stwst_linz/
Facebook: https://www.facebook.com/stadtwerkstatt.stwst
Twitter: https://twitter.com/stwst_linz

Zeitung: versorgerin.stwst.at
Mastodon: @versorgerin at social.servus.at

Cafe Strom: strom.stwst.at
Instagram: https://www.instagram.com/cafestrom/
Facebook: https://www.facebook.com/cafestrom




From info at hausmedienkunst.de  Mon Mar  9 16:56:58 2026
From: info at hausmedienkunst.de (=?utf-8?Q?Haus_f=C3=BCr_Medienkunst_Oldenburg?=)
Date: Mon, 09 Mar 2026 15:56:58 -0000
Subject: [spectre] =?utf-8?q?Newsletter_=7C_Ausstellungser=C3=B6ffnung=3A_?=
	=?utf-8?q?Noah_Berrie_=E2=80=93_ANTIPHON?=
Message-ID: <1.f2e108ffe2174ca2a2a8@K2001-0085>

Newsletter | Ausstellungseröffnung: Noah Berrie – ANTIPHON 
  
 ++++++++++++++++++++Please scroll down for English version++++++++++++++++++++ 
  
 Liebe Freundinnen und Freunde des Hauses für Medienkunst, 
  
 sehr herzlich möchten wir Sie zur Eröffnung unserer nächsten Ausstellung einladen. 
  
 Noah Berrie – ANTIPHON 
  
 Künstlergespräch 
  
 Mittwoch, 18. März 2026, 17.30 Uhr 
  
 mit Noah Berrie (in englischer Sprache) 
  
 Eröffnung 
  
 Mittwoch, 18. März 2026, 19 Uhr 
  
 ANTIPHON ist eine Klanginstallation in fünf Teilen, die das gesamte Ausstellungshaus in einen einzigen schwingenden Körper verwandelt. 
  
 In seinen Arbeiten untersucht der New Yorker Künstler Noah Berrie Klang als etwas von Natur aus Relationales und Materielles, das zwischen vibrierenden Objekten, architektonischem Raum und den Zuhörern gemeinsam erzeugt wird. Er nutzt Rückkopplung, Transduktion und Stimmung als Kompositionsmethoden, um Systeme und Umgebungen auf ihre eigene Weise sprechen lassen. 
  
 In der Haupthalle des Hauses hängen neun Klaviersaiten von der Decke. Sie werden durch Bleigewichte gespannt und durch elektromagnetische Rückkopplung in Schwingung versetzt. Je nach der Situation im Raum schwingen sie mit Obertönen oder verstummen. Ein Gewicht entspricht der Masse des Körpers des Künstlers, die anderen Gewichte werden entsprechend gestimmt. 
  
 Im Untergeschoss werden mehr als fünfhundert Stahlsaiten von Motoren gezupft, die aufgenommene Daten einer Nordseeboje transponieren. Gewundene Basssaiten säumen die Wände zwischen den Räumen und erklingen wie Glocken leise durch das Gebäude. Subwoofer spielen rekursive Aufnahmen der Resonanz des Gebäudes in Frequenzen, die eher in der Brust und den Füßen zu spüren als zu hören sind. In einem dunklen Raum mit sechzehn Lautsprechern werden Aufnahmen eines Streichquintetts abgespielt, die durch Stahl, Messing und Papier übertragen und gebrochen werden. Oft hält das Stück eine einzelne Note, manchmal löst es sich in eine reichhaltige Tonalität auf und verlangsamt die Zeit, um das Innenleben einer schwingenden Saite sorgfältig zu untersuchen. 
  
 Ein Antiphon (aus dem Griechischen, „entgegentönend“) ist ein vorbereitender Vers, ein kurzer Refrain, der den Geist darauf einstimmt, das Folgende aufzunehmen. Diese Ausstellung bereitet eine ähnliche Aufmerksamkeit vor, indem sie die Grenzen zwischen Selbst und Umgebung, Instrument und Material, Musik und Klang aufhebt. 
  
 Anstatt eine Botschaft oder ein Spektakel zu vermitteln, zielt ANTIPHON darauf ab, eine bestimmte Qualität der Aufmerksamkeit zu wecken: eine Neuausrichtung der Wahrnehmung auf das Immanente und Unwahrnehmbare. 
  
 Noah Berrie war 2025 Stipendiat des Stipendiums der Stiftung Niedersachsen im Haus für Medienkunst Oldenburg. 
  
 ++++++++++++++++++++English Version++++++++++++++++++++ 
  
 Dear friends of the Haus for Media Art, 
  
 You are cordially invited to the opening of our next exhibition. 
  
 Noah Berrie – ANTIPHON 
  
 Artist talk: 
  
 Wednesday, 18 March 2026, 5.30 p.m. 
  
 with Noah Berrie (in English language) 
  
 Opening: 
  
 Wednesday, 18 March 2026, 7 p.m. 
  
 ANTIPHON is a five-part sound installation that transforms the Haus for Media Art into a single vibrating body. 
  
 The US-American artist Noah Berrie’s work explores sound as inherently relational and material: co-produced between vibrating objects, architectural space, and the listener, and drawing on feedback, transduction, and tuning as compositional methods that let systems and environments speak on their own terms. 
  
 In the main hall nine piano wires hang from the ceiling, held taut by lead weights and sustained through electromagnetic feedback, sifting through harmonics or falling silent with the conditions of the room. One weight corresponds to the mass of the artist's body; the others are tuned around it. 
  
 Downstairs, more than five hundred steel strings are plucked by motors transposing a gyroscopic recording of the North Sea. Wound bass strings line the walls between rooms, sounding softly through the building like bells. Subwoofers play recursive recordings of the building's own resonance at frequencies felt in the chest and feet rather than heard. A dark room with sixteen speakers plays recordings of a string quintet transduced and refracted through steel, brass, and paper. Often holding a single note, other times dissolving into rich tonality, the piece slows time to carefully examine the inner life of a vibrating string. 
  
 An antiphon (from the Greek, "sounding against") is a preparatory verse, a brief refrain that attunes the mind to receive what follows. This exhibition prepares a similar attention, sounding against the boundaries between self and surroundings, instrument and material, music and sound. 
  
 Rather than delivering a message or spectacle, ANTIPHON aims to evoke a specific quality of attention: a retuning of perception toward the immanent and imperceptible. 
  
 Noah Berrie was the 2025 grantee of the Media Art Grant from the Stiftung Niedersachsen at the Haus for Media Art Oldenburg. 
  
 **************************************************************************************************** 
  
 Haus für Medienkunst 
  
 Haus for Media Art 
  
 Katharinenstr. 23 
  
 D-26121 Oldenburg 
  
 t. +49 (0) 441 - 235 3208 
  
 f. +49 (0) 441 - 235 2161 
  
 www.hausmedienkunst.de 
  
 Sollten Sie keine Informationen mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer Email-Adresse: 
  
 info at hausmedienkunst.de 
  
 Informationen zur Verarbeitung Ihrer Daten erhalten Sie unter www.oldenburg.de/datenschutz oder unter 0441 235-4444 
  
 If you don't want to receive our newsletter anymore, please contact us by email: 
  
 info at hausmedienkunst.de 
  
 Information about storage and processing of your data is available at www.oldenburg.de/datenschutz or +49 (0)441 235-4444 
  
 
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260309/978853e1/attachment-0001.html>
-------------- next part --------------
A non-text attachment was scrubbed...
Name: 7d9d4e25-9d65-4063-9140-4b83955eb08d.jpg
Type: image/jpeg
Size: 71043 bytes
Desc: not available
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260309/978853e1/attachment-0002.jpg>
-------------- next part --------------
A non-text attachment was scrubbed...
Name: a1e70f75-08fc-4016-a690-cf4f6ec0c0ea.jpg
Type: image/jpeg
Size: 62964 bytes
Desc: not available
URL: <http://post.in-mind.de/pipermail/spectre/attachments/20260309/978853e1/attachment-0003.jpg>

