From lists at asquare.org  Fri May  1 14:52:09 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Fri, 1 May 2026 13:52:09 +0100
Subject: [spectre] Call for papers on Post-Disciplinary Creative Practices,
 EAI ArtsIT 2026 - one month to deadline
Message-ID: <CAJ_C8aXQyMsyjrRaL247pgmwOjbT4PC_Bt3+zGauBsqxNd7=Ug@mail.gmail.com>

Final month to submit a paper (full paper submission deadline is June 1st
2026) 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 details are available here:
https://artsit.eai-conferences.org/2026/call-for-special-track-papers-on-post-disciplinary-creative-practices/

-----

Post-Disciplinary Creative Practices

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

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


Special Track Topics

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

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

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

-- 
regards
Dr. Lynch IRL
_________________
Garrett at asquare.org
http://www.asquare.org/
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From wellmer at xs4all.nl  Sun May  3 11:41:30 2026
From: wellmer at xs4all.nl (Anne Wellmer)
Date: Sun, 3 May 2026 11:41:30 +0200
Subject: [spectre] Curtis Roads and Brian O'Reilly in Berlin on May 7th
References: <1C7D9595-B867-4B8F-BF44-2A6E708B3DD3@xs4all.nl>
Message-ID: <3023B63C-9EA4-4080-8233-A0939A602B39@xs4all.nl>

From: alberto-de-campo-udk <decampo at udk-berlin.de>
Curtis Roads and Brian O'Reilly 

Artist talk and evening concert

UdK Medienhaus, Galerie 
Grunewaldstrasse 2-5, Kleistpark

Thu, 07.05.2026
15h talk
19h concert

 https://www.udk-berlin.de/studium/kunst-und-medien/generative-kunst/events/

We are delighted to welcome Curtis Roads and Brian O'Reilly to UdK Berlin for an artist talk and evening concert. 
The visit marks a rare European appearance of a collaboration now more than two decades in the making — one that has produced the audio-visual albums Point Line Cloud (Asphodel 2004; reissued by Presto!? 2019) and Flicker Tone Pulse (Wergo 2019), alongside Brian's videos for individual works such as Touche pas, Always, and the recent Modulude.

For the concert, Curtis Roads plays a one-hour set drawn primarily from his recent album Electronic Music 1994–2021 (Elli Records, 2025). Roads spatialises the stereo material live across the space; O'Reilly projects video in counterpoint. The programme moves through the composer's signature concerns — sound particles, micromontage, multi-temporal scale form — from the early Half-life and Tenth Vortex through to more recent pieces. 

In the talk, Brian O'Reilly opens the discussion by outlining his working methods as a video artist, situating his collaboration with Curtis within a wider practice that includes his long engagement with Woody Vasulka and a body of mixed-media drawings. The conversation extends to Curtis's own compositional thinking — granular and pulsar synthesis, multiscale composition, and the question of how sound and image meet without one illustrating the other. The session is intended as an open discussion with students and colleagues around process, collaboration, and the porous boundary between music, moving image, and graphic notation.

Curtis Roads is a composer, author, and Professor Emeritus of Media Arts and Technology at the University of California, Santa Barbara. A pioneer of granular and pulsar synthesis, he has shaped the field of microsound through both his compositional practice and his books The Computer Music Tutorial (MIT Press, 1996), Microsound (MIT Press, 2001), and Composing Electronic Music (OUP, 2015). He served as editor of Computer Music Journal for many years and has worked at MIT, IRCAM, Université Paris 8, and CREATE/UCSB. Recent releases include Electronic Music 1994–2021 (Elli Records, 2025). 
 

Brian O'Reilly is a video artist whose practice spans moving image, collaborative performance, and mixed-media drawing. Alongside his long collaboration with Curtis Roads — including the Point Line Cloud and Flicker Tone Pulse albums and videos for numerous individual compositions — he has worked closely with Woody Vasulka, whose pioneering electronic image work informs O'Reilly's own approach to the moving image as a material to be sculpted in time.

In collaboration with Sonic Talks, Bauhaus University Weimar; texts courtesy of Marcin Pietruszewski.




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From mail at garyhall.info  Thu May  7 14:45:57 2026
From: mail at garyhall.info (Gary Hall)
Date: Thu, 7 May 2026 13:45:57 +0100
Subject: [spectre] 2nd edition of The Chernobyl Herbarium: Fragments of an
 Exploded Consciousness - or, two books and a podcast
Message-ID: <494636aa-5432-4b29-980d-603d1b1a1714@garyhall.info>

1) Together with Michael Marder and Anaïs Tondeur, we invite you to mark 
the 40th anniversary of the Chernobyl nuclear disaster with the second 
edition of /The Chernobyl Herbarium: Fragments of an Exploded 
Consciousness/.

The book is available as a free download via Open Humanities Press:

https://www.openhumanitiespress.org/books/titles/the-chernobyl-herbarium-2nd-ed/ 
<https://www.openhumanitiespress.org/books/titles/the-chernobyl-herbarium-2nd-ed/>

“We entrust readers with forty fragments of reflections, meditations, 
recollections, and images — one for each year that has passed since the 
explosion… Through words and images, we wish to contribute our humble 
share to a collaborative grappling with the event of Chernobyl… taking 
stock of the consciousness it fragmented and, perhaps, cultivating 
another, more environmentally attuned way of living.”

Unthinkable and, in many ways, unrepresentable, Chernobyl continues to 
shape how we understand technology, ecology and responsibility. This 
edition offers a collective space for reflection - through text and 
images - on what it means to live with its aftermath.


2) Also, don't forget to check out our earlier Ecological Rewriting: 
Situated Engagements With The Chernobyl Herbarium, edited by Gabriela 
Méndez Cota

https://www.openhumanitiespress.org/books/titles/ecological-rewriting/

Ecological Rewriting: Situated Engagements with The Chernobyl Herbarium 
(2023) was the first book in OHP's Combinatorial Books: Gathering 
Flowers series. Supported by the COPIM project, it was the creation of a 
collective of researchers, students and technologists from the 
Universidad Iberoamericana in Mexico City. Led by Gabriela Méndez Cota, 
this group of nine (re)writers annotated and remixed The Chernobyl 
Herbarium: Fragments of an Exploded Consciousness (2015) by the 
philosopher Michael Marder and the artist Anaïs Tondeur (originally 
published in OHP’s Critical Climate Change series) to produce what is a 
new book in its own right – albeit one that comments upon and engages 
with the original.

The online version of Ecological Rewriting is an experimental 
publication with links to the original annotations that the group of 
authors made on The Chernobyl Herbarium, so that the reader can follow 
an associative trail between the two publications.


3) Lastly, a podcast featuring Sigi Jöttkandt, Joanna Zylinska and Gary 
Hall from Open Humanities Press, titled 'Friendship, and Other Ways of 
Producing Knowledge', is now available on the Scholē IRL website.

https://www.scholeirl.org/

And on YouTube here:

https://www.youtube.com/watch?v=qPuu4XjOkK0&t=4s

‘This week, we are joined with Sigi Jöttkandt, Joanna Zylinska, and Gary 
Hall, the Directors of the Open Humanities Press,  an international 
community of scholars, editors and readers with a focus on critical and 
cultural theory and a mission to make leading works of contemporary 
critical thought available worldwide. OHP has operated as an independent 
initiative since 2006, promoting open access scholarship in journals, 
books and exploring new forms of scholarly communication. OHP’s 
organization is a community-interest company headquartered in London. 
The OHP Editorial Board is at the heart of all their activities: 
participating in journal assessments, reviewing and approving book 
series proposals, performing and managing peer review, and editing the 
OHP book series. They act on the principles of access, scholarship, 
diversity and transparency. They have also partnered with a number of 
groups and institutions to explore grass-roots solutions to the crisis 
in Humanities publishing.’

With our best wishes,
Sigi, Gary, Joanna, David (Open Humanities Press)



-- 
Gary Hall
Professor Emeritus of Media @ Coventry University
Blog:http://garyhall.squarespace.com/journal/

Latest:

Podcasts: Defund Culture by Any Means Necessary: Minor Compositions Podcast - Season 2, Episode 5, with Gary Hall and Seth Wheeler, hosted by Stevphen Shukaitishttp://garyhall.squarespace.com/journal/?SSScrollPosition=0

YouTube: 'Gary Hall: Defund Culture', Breaking Culture Live:https://www.youtube.com/watch?v=_QbYJ2JwSn4

Blog: 'Nothing is "100% Human Authored"' [introducing the 100% Inhuman Made badges project], LSE Impact blog:https://blogs.lse.ac.uk/impactofsocialsciences/2026/04/27/nothing-is-100-human-authored/
    




















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From ab at mikro.in-berlin.de  Sat May 16 17:38:26 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Sat, 16 May 2026 17:38:26 +0200
Subject: [spectre] Fwd: The 2026 Venice Biennale Implodes: Diplomatic
 Collapse, Historic Strike, and the Privatisation of Art
In-Reply-To: <CAHbKRFCQ4X16Cwn7uoRDWQEy6ShQLez5bF_J_QUkQBgm7y69Rg@mail.gmail.com>
References: <CAHbKRFCQ4X16Cwn7uoRDWQEy6ShQLez5bF_J_QUkQBgm7y69Rg@mail.gmail.com>
Message-ID: <aec612ff-8f9d-4c6c-957a-161c261fb431@mikro.in-berlin.de>

interesting take on the biennial... (crossposted from Nettime)


-------- Weitergeleitete Nachricht --------
Betreff: <nettime> The 2026 Venice Biennale Implodes: Diplomatic 
Collapse, Historic Strike, and the Privatisation of Art
Datum: Wed, 13 May 2026 16:16:56 +0200
Von: Technologies To The People <info at danielandujar.org>


The 61st Venice Art Biennale has just opened its doors, and it is already
operating as an institution in a state of emergency. Before the public had
even begun to stroll through the Giardini and the Arsenale as usual the
2026 edition was already rife with resignations, boycotts, shuttered
pavilions, artists sacked and reinstated, absent countries, European
funding under threat, mass protests, and the first strike in its 131-year
history. What had long presented itself as the great Olympics of art has
become the stage of its own decomposition.

The 2026 Venice Biennale demonstrates that the model of national
representation born in the nineteenth century has come to an end. It isn't
broken: it is functioning exactly as it was designed, but in a world that
no longer tolerates the fiction. What is collapsing is not a difficult
edition of the biennial. It is the model itself: the old diplomatic
architecture of national pavilions, the fiction of institutional
neutrality, the idea that art can operate as a zone of truce while the very
states that finance, name and represent it wage wars, carry out ethnic
cleansing, censor at home and run cultural propaganda campiagns The
Biennale does not reflect a world in crisis. It administers it and puts it
on display as a symptom.

The central exhibition, *In Minor Keys*, arrives marked by an absence that
runs through the entire reading of the show. Its artistic director, Koyo
Kouoh, died in May 2025. Her team has brought to completion a posthumous
vision oriented towards listening, healing, physical and spiritual rest,
low frequencies, oases of care. A Biennale that avoids overtly political
art and seeks other forms of symbolic repair. On the threshold of the
Arsenale, the curatorial team inscribes *If I Must Die*, the poem by Refaat
Alareer, the Palestinian writer killed in Gaza in 2023. The gesture set an
ethical frame before the exhibition had even begun. But the institutional
apparatus that surrounds that threshold swallows it.

The Biennale calls for silence while everything around it is screaming. It
speaks of pause while Gaza, Ukraine, Lebanon, Iran, Sudan and the far-right
international run through every conversation in the corridors. It proposes
minor keys at a moment of deafening historical noise. The question is not
whether rest is necessary. It is. The question is who gets to rest, under
what conditions, inside which institution, and at whose expense. In a
Biennale sustained by states, elite tourism, luxury brands and precarious
cultural labor, the language of care risks becoming an anesthetic, no
matter how long Alareer's verse remains on the wall.

The controversy broke open when the international jury resigned en masse
just days before the opening. Its position is unambiguous: it will not
evaluate or award prizes to representatives of states whose leaders have
been charged or are being prosecuted by the International Criminal Court
for war crimes or crimes against humanity. The reference points directly at
Russia and Israel. The institution, unable to hold that conflict, responded
by cancelling the traditional prize system and improvising a public-vote
award, the so-called Visitor Lion. It then postponed the Golden Lion
ceremony to 22 November, the closing day of the Biennale. In other words,
it relocated critical judgement to the end of the event, when it would no
longer have any political effect. The manoeuvre resolved nothing. It turned
an ethical crisis into a mechanism of tourist participation.

The artists' response was immediate. Dozens withdrew their works from the
competition. The prize was left symbolically empty. When an institution no
longer knows how to decide, it delegates to an interface. When critical
judgement becomes dangerous, it is replaced by a poll. The problem does not
go away. It becomes more visible.

 From that point on, the Biennale stopped being a map of countries and
became a map of conflicts. Russia is not only Russia: it is the war in
Ukraine and the normalisation of imperial aggression. And its return to
Venice, far from being an administrative formality, was negotiated in
secret from June 2025 by commissioner Anastasia Karneeva, daughter of a
senior Rostec executive and FSB general. Internal correspondence leaked 
by *La
Repubblica* revealed strategies for getting around European sanctions
through pre-recorded performances, along with active logistical support
from the Biennale's own management in securing Italian visas for the
Russian pavilion's curator. The European Commission has threatened to
withdraw two million euros in funding and described the Russian
participation as a "propaganda mechanism" incompatible with the sanctions
regime. The Biennale claims it is the UN of art, open to any state
recognized by Italy. The documents suggest something else: a parallel,
anticipatory, discreet diplomacy. Israel is not only Israel: it is Gaza,
the accusation of genocide, the Western diplomatic shield, and the dispute
over the limits of cultural boycott; it becomes the epicenter of the
mobilizations against *artwashing*. Iran is not only an absence: it
withdraws quietly, leaving a gap that signals the impossibility of
separating culture from the military escalation in the Middle East. Lebanon
is not only a place of origin: it is a zone of suspicion projected onto
artists' bodies and biographies, as shown by the case of Khaled Sabsabi,
selected to represent Australia, dismissed and later reinstated after a
controversy over earlier works featuring images of Hezbollah. The work
stops being read as work and starts operating as a file.

The United States did not escape the discomfort either, but its case has
its own texture. The National Endowment for the Arts has seen its funding
cut under the new Trump administration. The University of South Florida,
originally tasked with coordinating the country's representation, collapsed
bureaucratically. The handover went to an opaque body, the American Arts
Conservancy, headed by a businesswoman from the pet food sector. The
selected artist, Alma Allen, is exhibiting under conditions that have less
to do with a national pavilion than with a privatized emergency commission.
Beyond the individual case, the detail sketches an architecture: a
far-right cultural offensive that no longer limits itself to attacking
museums from the outside but hollows institutions out from within and
repopulates them with figures from the corporate field. Culture is another
front in the identity war. Trumpism understands the value of these spaces
very well. It does not want to abandon them. It wants to occupy them. It
wants to discipline institutions, turn artistic freedom into propaganda for
national values, and reinstate an authoritarian idea of cultural prestige.
What we are watching in Venice is the international rehearsal of that
operation.

The protest did not emerge spontaneously or in disarray. It had logistics,
political memory, infrastructure. The organizing work of ANGA, Sale Docks,
Morion, Biennalocene and Taring Padi proved decisive in turning unease into
coordinated action. ANGA denounced *artwashing* and demanded the exclusion
of the Israeli pavilion. Sale Docks and Morion brought an accumulated
Venetian experience of self-management, cultural trade unionism, political
occupation and territorial organizing. Biennalocene introduced the
ecological concerns and the critique of the event's own extractive model.
Taring Padi added a genealogy of militant graphic work, collective art and
international solidarity. Thanks to this network, the protest was not
reduced to gesture. It became a viable structure.

The 8 May strike marked a turning point. It was not a protest against a
single pavilion. It was a challenge to the Biennale's entire
infrastructure. Pavilions were shut down, openings were delayed,
performances were suspended, installations were intervened in. Palestinian
flags appeared, posters, pickets, bodies blocked the normal stroll through
the event. A substantial share of the national pavilions was affected. For
the first time in 131 years, the Biennale faced a strike on this scale.

And then something decisive happened. The strike shifted the gaze. It was
no longer only about the artist as authorial figure or the curator as
intellectual mediator. The workers who hold the machinery up came into
view: mediators, installers, security staff, technicians, assistants,
gallery attendants, translators, producers, cleaners, transporters. The
great global exhibition revealed itself for what it always was and is
almost never named: a fragile, precarious, outsourced labor infrastructure.
The glamour of the opening week rests on a material base that normally
remains invisible. The strike made it visible.

While the state model sinks into its own contradictions, another power
moves forward with considerably greater stability. Private capital does not
wait. And it deserves to be named precisely, because confusion serves the
apparatus itself. When national pavilions close due to pickets or boycotts,
the corporate foundations do not suffer. They program. While the state
loses legitimacy, they gain ground, budget and agenda. The public crisis is
their private opportunity.

The Fondation Pinault now operates as a power parallel to the Biennale: two
permanent venues in Venice, Palazzo Grassi and Punta della Dogana,
year-round programming, a budget that doubles that of many pavilions, and a
curatorial line that sets international agenda without going through any
public decision. Bulgari has negotiated its appointment as Exclusive
Partner of the International Art Exhibition into the next decade, locking
in the rights for the 2026, 2028 and 2030 editions. This is not
sponsorship: it is institutional integration. Corporate capital becomes
inscribed in the Biennale's machinery, funding restorations, prizes and
events that embed themselves in the official calendar until they become
indistinguishable from the program itself. Prada produces, through its
Fondazione, a sophisticated curatorial discourse that quickly metabolizes
the critical languages of the moment, from ecology to decolonization.
Patrizia Sandretto has gone one step further: in 2026 she inaugurated her
third permanent site by buying and rehabilitating an entire island in the
northern lagoon. This is no longer about renting palaces. It is about
privatizing ecosystem. And all of it under the language of the climate
emergency, which private capital uses to rewrite the cultural geography of
the city. TBA21 does something equivalent on the symbolic plane: through
Ocean Space, in the church of San Lorenzo, it is presenting a project this
year on the repatriation and restitution of objects looted from Indigenous
communities. It thereby captures, in philanthropic key, one of the debates
currently fracturing Europe's state museums, and hands it back framed as a
benevolent initiative of corporate capital. They are not patrons. They are
the new cultural sovereigns, with their own diplomacy, institutional access
and palaces. And the state, far from containing them, opens the doors wide:
the recent concession of a pavilion to Qatar for ninety years in exchange
for forty million euros confirms that sovereignty in the lagoon is now
traded on a market.

The success of this operation lies not in its economic volume, which also
counts, but in its tone. Privatization does not arrive in reactionary
aesthetics. It arrives with progressive vocabulary, impeccable lighting and
sophisticated mediation. That is where its power lies. Where the state
appears clumsy, violent, censorious or paralysed, private capital presents
itself as flexible, cosmopolitan and sensitive. It does not need to raise a
flag. Producing atmosphere is enough. It does not censor: it metabolizes.
It turns conflict into programming, criticism into reputation, historical
injury into symbolic capital. And it does so, moreover, with the signatures
of some of the most prestigious curators in the field, which shields the
operation from any suspicion of opportunism.

The Biennale is thus split between two forces that no longer admit
synthesis. On one side, an artistic, labor and militant base demanding
material accountability from institutions, refusing to share a platform
with states accused of atrocities, and understanding culture as a real
field of conflict. On the other, a corporate machinery that absorbs crises
and returns them as high-end aesthetic experience. Between the two, the old
cultural diplomacy is crumbling without anyone really defending it.

Venice 2026 is not failing because politics has invaded art. It fails
because institutional art spent far too long pretending it could administer
politics without getting its hands dirty. The national pavilion, the
international prize, the luxury patronage, the VIP week, cultural tourism
and the rhetoric of neutrality are all part of the same apparatus. This
edition did not destroy it. It made it visible.

That is why the 61st Biennale will be remembered less for its works than
for its interruptions. The jury that walked out. The secret diplomacy with
Moscow. The Golden Lion postponed to the last day. Iran disappearing from
the map. Israel turned into the epicenter of the boycott. Lebanon read
under suspicion. The United States hollowed out and reoccupied by the
Trumpist offensive. Qatar buying sovereignty for ninety years. The artists
who withdrew their names. The workers who stopped work. The collectives
that organized. The flags that broke into the white cube.

The Biennale is not over. It has barely begun. But something essential has
already been laid bare. The institution can no longer claim legitimacy on
the basis of a political and legal design from the past. Neutrality has run
its course as an alibi. What we will see in the coming weeks is not a
debate about contemporary art. It is the dispute over who defines what
global culture is: the organized pressure of those who interrupt the
machinery, or the capacity of capital to absorb everything without breaking
a sweat.

Meanwhile, Alareer's poem remains on the threshold of the Arsenale, a
reminder that minor keys are no longer enough.

In Venice, that conflict is no longer outside the exhibition. It is the
exhibition.



-- 
# distributed via <nettime>: no commercial use without permission
# <nettime> is a moderated mailing list for net criticism,
# collaborative text filtering and cultural politics of the nets
# more info: https://www.nettime.org
# contact: nettime-l-owner at lists.nettime.org

From info at hausmedienkunst.de  Fri May  8 10:23:53 2026
From: info at hausmedienkunst.de (=?utf-8?Q?Haus_f=C3=BCr_Medienkunst_Oldenburg?=)
Date: Fri, 8 May 2026 10:23:53 +0200
Subject: [spectre] =?utf-8?q?Newsletter_=7C_Vergabe_der_Stipendien_der_Sti?=
	=?utf-8?q?ftung_Niedersachsen_f=C3=BCr_Medienkunst_am_Haus_f=C3=BC?=
	=?utf-8?q?r_Medienkunst_2026?=
Message-ID: <1.b38f145638e67f8a6db5@K2001-0085>

Newsletter | Vergabe der Stipendien der Stiftung Niedersachsen für Medienkunst am Haus für Medienkunst 2026 
  
 ++++++++++++++++++++Please scroll down for English Version++++++++++++++++++++ 
  
 Die Stipendien der Stiftung Niedersachsen am Haus für Medienkunst 2025 gehen an: Basir Mahmood, Syaura Qotrunadha, Romana Schmalisch & Robert Schlicht 
  
 Für den diesjährigen Preis gingen insgesamt 359 Bewerbungen aus der ganzen Welt ein, die ein sehr hohes Maß an Professionalität aufwiesen. Wir möchten allen Künstlerinnen und Künstlern für ihre Bewerbung danken und den damit einhergehenden Aufwand würdigen. 
  
 Viele der eingereichten Bewerbungen versuchten, auf eine Welt zu reagieren, die sowohl von vergangenen als auch gegenwärtigen Konflikten geprägt ist und gleichzeitig zunehmend durch künstliche Intelligenz und algorithmische Kräfte gefiltert wird, die unsere Wahrnehmung von Gesellschaft und Umwelt umgestalten. Die Auseinandersetzung mit autobiografischen, lokalen und ortsbezogenen Geschichten im Rahmen langfristiger, forschungsorientierter Ansätze war ebenfalls ein roter Faden in den eingereichten Arbeiten. 
  
 Die von der Jury ausgewählten Stipendiatinnen und Stipendiaten sind: 
  
 Basir Mahmood 
  
 Basir Mahmood ist ein Künstler, der zwischen Lahore und Amsterdam lebt und mit Video, Film und Fotografie arbeitet. 
  
 Basir Mahmood setzt sich mit den Hinterlassenschaften der Geschichten auseinander, die nach dem Niedergang der „Lollywood“-Filmindustrie in Lahore, Pakistan, zurückgeblieben sind. Er wird eine Mehrkanal-Installation entwickeln, in deren Mittelpunkt Filmkostüme stehen, die vom Designer Abbas Dress Master entworfen wurden, der über 45 Jahre lang in dieser Branche tätig war. Diese Kostüme – einst getragen von Helden, Schurken, Liebenden, Statisten und Nebendarstellern – tragen die physische Erinnerung an Figuren, Geschichten und Arbeit in sich, die durch Jahrzehnte des Filmemachens geprägt wurden. Die Multimedia-Installation betrachtet die Kostüme als aktive Akteure des Werks und bildet die Grundlage für einen kollaborativen Schreibprozess mit Lollywood-Drehbuchautoren. 
  
 Mahmood schreibt dazu: „Das Projekt hinterfragt, ob Lollywood durch seine eigene Ästhetik, seine Arbeitsstrukturen und Erzählweisen sein Ende nicht als Verschwinden, sondern als Transformation artikulieren kann, die die sich wandelnden sozialen, politischen und kulturellen Bedingungen der Gegenwart widerspiegelt.“ 
  
 Die Jury war beeindruckt von der Fokussierung auf spezifische Ausschnitte der Kulturgeschichte innerhalb der Filmindustrie in Lahore; im weiteren Sinne thematisiert das Projekt das Erbe vernachlässigter Räume kultureller Produktion und der dort geleisteten Arbeit, die als Ausgangsmaterial für Sozialgeschichten neu interpretiert werden. 
  
 Syaura Qotrunadha 
  
 Syaura Qotrunadha ist eine Künstlerin aus Indonesien, die mit historischen und digitalen Archiven in verschiedenen Medien arbeitet. 
  
 Qotrunadhas Projekt ist eine ausstellungsbezogene Weiterentwicklung einer Reihe von Videoarbeiten, die sich mit dem indonesischen Bildungssystem und gesellschaftlichen Überzeugungen auseinandersetzen, die durch die Kolonialgeschichte, Landenteignungen und Zukunftsvisionen geprägt sind. Jedes Video erzählt eine Geschichte des Widerstands gegen den Kolonialismus und der anhaltenden Komplexität der postkolonialen Situation. Dieses ambitionierte Projekt, das natürliche Elemente und generationenübergreifend denkt, lässt lokales und traditionelles Wissen in die Neugestaltung der Zukunft einfließen. 
  
 Laut der Künstlerin „versucht dieses Projekt, die Geschichte neu zu beleuchten und untersucht, wie postkoloniale Nationen zeitgenössische Wissenschaft und Technologie anders nutzen können“. 
  
 Die abschließende Präsentation wird als aufwendige Videocollage mit Elementen einer skulpturalen Installation entwickelt, die auf eine Erforschung zukünftiger Mensch-Technologie-Beziehungen reagiert. 
  
 Romana Schmalisch & Robert Schlicht 
  
 Dieses Projekt ist eine Zusammenarbeit des in Berlin lebenden Künstlerduos Romana Schmalisch & Robert Schlicht, die an der Schnittstelle von Film und Theorie untersuchen, wie historische Prozesse und gesellschaftliche Strukturen im Film dargestellt werden können. 
  
 Anhand des historischen Briefwechsels zwischen studentischen kommunistischen Gruppen in Albanien und Westdeutschland in den 1970er Jahren beleuchtet das Projekt, wie Gesellschaft und soziale Ideale aus der Distanz imaginär konstruiert und dargestellt werden. 
  
 Die geplante Dreikanal-Filminstallation kombiniert Dokumentarmaterial aus dem Filmarchiv von Tirana und Amateuraufnahmen von Touristenbesuchen im sozialistischen Albanien der 1970er und 80er Jahre sowie Aufnahmen der Villa und ehemaligen Residenz des albanischen Staatschefs Enver Hoxha, die bis vor kurzem für die Öffentlichkeit gesperrt war und seit dem Fall des kommunistischen Regimes ungenutzt blieb. Heute ist die Villa Standort einer Künstlerresidenz und von Hochhäusern und anderen städtischen Bauprojekten umgeben; sie steht damit als Symbol für sozialen und ideologischen Wandel. Die Arbeit reflektiert die Herausforderungen bei der Bildkonstruktion und Darstellbarkeit sozialer Transformationen. 
  
 Die Jury: Hajra Haider Karrar (SAVVY Contemporary Berlin), Matt Packer (EVA International Ireland), Edit Molnár (HMK), Marcel Schwierin (HMK). 
  
 Das Stipendienprogramm 
  
 Ermöglicht durch die Stiftung Niedersachsen hat das Haus für Medienkunst für das Jahr 2026 drei sechsmonatige und mit 12.500 Euro dotierte Arbeitsstipendien vergeben. Insgesamt hatten sich 359 Künstlerinnen und Künstler aus aller Welt für die Stipendien beworben. Die Stiftung Niedersachsen fördert das Stipendienprogramm des Hauses für Medienkunst kontinuierlich seit 2001. Viele der in Oldenburg entstandenen Arbeiten wurden nach ihrer Realisierung in internationalen Ausstellungen präsentiert und mit Preisen ausgezeichnet. Mit ihrer Förderung will die Stiftung Niedersachsen eines der führenden Häuser für Medienkunst in Deutschland nachhaltig stärken, seine an Qualität orientierte Profilierung unterstützen, um so die Schaffung von Kunst zu ermöglichen und internationale Vernetzungen und lokale Anknüpfungspunkte zu schaffen. 
  
 ++++++++++++++++++++English Version++++++++++++++++++++ 
  
 Grants for Media Art of the Stiftung Niedersachsen at the Haus for Media Art 2026 go to: Basir Mahmood, Syaura Qotrunadha, Romana Schmalisch & Robert Schlicht 
  
 For this year’s prize, we received a total of 359 applications in total, with a very high standard of professionalism overall. We’d like to thank all artists for their application and acknowledge the labour entailed in this process. 
  
 Many of the applications sought to respond to a world that is both haunted by past and present conflicts, while at the same time increasingly filtered by artificial intelligence and algorithmic powers that reconfigure our social and environmental perceptions. The revisitation of autobiographical, local and place-based stories, through long term, research driven, approaches were also common threads of practice. 
  
 This years’ grantees selected and announced by the jury: 
  
 Basir Mahmood 
  
 Basir Mahmood is an artist based between Lahore and Amsterdam, working with video, film, and photography. 
  
 Addressing the embodied histories that remain in the aftermath of the ‘Lollywood’ film industry in Lahore, Pakistan, Basir Mahmood will develop a multi-channel installation that centres on film costumes produced by designer, Abbas Dress Master, who worked in the industry for over 45 years. These costumes – once worn by heroes, villains, lovers, extras, and bystanders – carry the physical memory of characters, stories, and labour shaped by decades of filmmaking. The multi-media installation sees the costumes as active agents in the work, forming the basis of a collaborative writing process with Lollywood screenwriters. 
  
 As Mahmood writes: ‘the project asks whether Lollywood, through its own aesthetics, labour structures, and modes of storytelling, can articulate its ending not as disappearance, but as transformation, reflecting the changing social, political, and cultural conditions of the present.’ 
  
 The jury were compelled by the focus on the specific vignettes of cultural history within the film industry in Lahore, the project more broadly speaks to the legacies of discarded spaces of cultural production and its labour; reimagined as source material of social histories. 
  
 Syaura Qotrunadha 
  
 Syaura Qotrunadha is an artist from Indonesia working with historical and digital archives across various media. 
  
 Qotrunadha’s project is an exhibitionary development of a series of video works that explore Indonesia's education system and societal beliefs shaped by colonial history, land acquisition, and visions of the future. Each video tells a story of resistance to colonialism and the lingering complexities of the postcolonial condition. Thinking through natural elements and across generations this ambitious project imbues local and traditional knowledge in reimagining the future. According to the artist ‘this project tries to reexamine history and explores how postcolonial nations can repurpose contemporary science and technology.’ 
  
 The final presentation will be developed as an elaborate video collage with elements of sculptural installation that respond to an exploration of future human-technology relationships. 
  
 Romana Schmalisch & Robert Schlicht 
  
 A collaboration between Berlin-based artists Romana Schmalisch and Robert Schlicht, working at the interface of film and theory to examine how historical processes and societal structures can be represented in film. 
  
 Using the historical correspondence of student-led communist groups between Albania and West-Germany in the 1970s, the project looks at how society and social ideals are imaginatively constructed and represented at a distance. 
  
 The proposed three-channel film installation will combine documentary materials from the Tirana Film Archive and amateur footage from tourist visits to Socialist Albania in the 1970s and 80s, as well as views of the villa and former residence of Albanian Head of State Enver Hoxha, until recently closed off from public view and dormant since the fall of the communist regime. Now the site of an artist residency and newly surrounded by skyscrapers and other urban developments, the villa comes to represent a cipher of social and ideological change. The work reflects on the challenges in the image construction and representability of social transformations. 
  
 The jury: Hajra Haider Karrar (SAVVY Contemporary Berlin), Matt Packer (EVA International Ireland), Edit Molnár (HMK), Marcel Schwierin (HMK). 
  
 The grant programme 
  
 The Haus for Media Art has awarded three six-months work grants for 2026. 359 artists from all over the world have applied for the grants. The grants of 12.500 Euro are sponsored by Stiftung Niedersachsen. Stiftung Niedersachsen sponsors the grants at Haus für Medienkunst continually since 2001. Many of the works developed in Oldenburg have been shown in international exhibitions and have been awarded various prizes. With their support Stiftung Niedersachsen intends to encourage one of the leading sites for media art in Germany, in its highly qualitative profiling to make art creation possible and to create international networks as well as local cooperations. 
  
 ***************************************************************************************************** 
  
 Haus für Medienkunst 
  
 Katharinenstr. 23 
  
 D-26121 Oldenburg 
  
 t. +49 (0) 441 - 235 3208 
  
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 Sollten Sie keine Informationen mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer Email-Adresse: 
  
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From geoffdavis5 at gmail.com  Thu May 14 18:55:04 2026
From: geoffdavis5 at gmail.com (Geoff Davis)
Date: Thu, 14 May 2026 17:55:04 +0100
Subject: [spectre] An Unexpected Story - computers and text 18:00 BST 6pm
 Wed. 20 May
Message-ID: <CAEeWk-2mWA7N-Wy5n=den3g1xxpyYuDG9moYvH=Njm33gJU6vA@mail.gmail.com>

Computer Arts Society ONLINE Talk “An Unexpected Story: AI and the Writer”
-  host Geoff Davis with David Link (art and also music with F.M.
Einheit ex Einstürzende
Neubauten).

BOOK NOW ON EVENTBRITE

https://computerartssociety200526.eventbrite.co.uk/

Computer-generated text is not new. From the first procedural poems of 1952
through hypertext fiction, net art, and early neural text experiments,
artists and programmers have been exploring what machines can do with
language long before ChatGPT turned it into a mainstream source of
fascination and anxiety.

Today, the concerns are real: ownership, authorship, payment, and what
still counts as human work. This talk traces the hidden history behind
those questions through the work of David Link and Geoff Davis, and asks
what it means to build your own tools in a culture where most people are
using someone else’s.

Online only - Wednesday 20th May 2026 - 18:00 BST 6pm UK

Other time zones here:  https://www.timeanddate.com

SPEAKERS

Geoff Davis, Dr David Link

Geoff Davis is an artist, PEN-published writer and CAS Committee member
with a practice spanning four decades, from early text generation and
computer art in the 1980s to contemporary AI-assisted works, along with
novels and music. He is the editor of the AI Creative Anthology series
(2023, 2024, 2026) and has hosted a series of AI and the Arts panel talks
for the Computer Arts Society.

Davis is a researcher at UAL examining AI and text generation, the
practical use and emotional dimensions of both the user response and the
tool itself, including sycophancy and what he terms 'mood bias'. His first
Story Generator, written and released by Micro Arts in 1985 and distributed
via the Prestel network, has been exhibited internationally from 1985 to
2025, and was described by curator Georg Bak as 'an early precursor of
ChatGPT'. Davis also created pioneering Pixel art and Glitch art in 1984,
and a code generated animation from Valerie Solanas's SCUM Manifesto,
exploring themes of Universal Basic Income, which he returns to in Pattern
City, a novel incorporating art, due 2026. His work is in many
international collections.

More information at linktr.ee/GeoffDavis

David Link, born in Düsseldorf in 1971. Artist, media theorist and
programmer. Lives and works in Cologne, Germany.

Music - Radar Angels with F.M. Einheit (ex Einstürzende Neubauten).

His artistic works are shown at festivals and in museums worldwide.
Exhibitions (selection): Arnolfini, Bristol, UK (2010); dOCUMENTA 13,
Kassel (2012); Microwave Festival, Hong Kong (2012); YCAM, Yamaguchi, Japan
(2013); ZKM, Karlsruhe (2015, 2018, 2019-2022); CCCB, Barcelona, Spain
(2016); Manchester Art Gallery, UK (2016); MAK, Vienna, Austria (2019);
Crone Gallery Wien Berlin (2021, 2022); Shenzhen Museum of Contemporary
Art, China (2023).

His theoretical work can be found in: David Link, Archaeology of
Algorithmic Artefacts (Minneapolis: Univocal, 2016). In 2024, he published
Pandaemonium, a 300-page poem, entirely computer-generated (Berlin: Matthes
and Seitz, 2024, in German). In 2009 he coded and exhibited Strachey’s
famous ‘Love Poems’ from 1952.

 More information: Dr. David Link

https://alpha60.de

 We will discuss other writers such as Richard Beard and his ‘Universal
Turing Machine’.

 More information

https://computer-arts-society.com/events/aiartgeoffdavismay2026.html

 BOOK NOW - ONLINE ONLY via Zoom.

https://computerartssociety200526.eventbrite.co.uk/

 Next talk is Genetic Moo – “Interactive Art Is Best” – details here:

https://computer-arts-society.com/events/genetic-moo-2026.html

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

BCS, The Chartered Institute for IT

25 Copthall Avenue, London, EC2R 7BP, UK
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From ab at mikro.in-berlin.de  Mon May 18 18:48:12 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Mon, 18 May 2026 18:48:12 +0200
Subject: [spectre] Fwd: Artpool Events in May (Budapest)
Message-ID: <a85fa705-c44c-4521-98e7-6913aad334c2@mikro.in-berlin.de>

POOL WINDOW | NEWSLETTER OF THE ARTPOOL ART RESEARCH CENTER | 18.05.2026

Dear Friends, Colleagues, and Those Interested!


On May 21, 2026, we invite you to two exciting events at Artpool:

➮ At 6 p.m., an opening event for “archivuminternetwork” — a 
media-archaeological journey through time and installation celebrating 
the 30th anniversary of artpool.hu — will begin

But it’s worth arriving two hours earlier, because

➮ From 4–6 p.m.: an English-language lecture—also available 
online—leading from the “garden of communication” to the “dark forest of 
the internet,” as well as a performance leading up to the opening, will 
be available to watch and listen to

archivuminternetwork – 30 Years of artpool.hu
Installation / Event


Opening Remarks: János Sugár
Performance: Roddy Hunter: a u t o m a t i n g {a r t p o o l . h u}
Curators: Judit Bodor and Roddy Hunter

Date: May 21, 2026, 6:00 PM
Venue: Artpool Art Research Center (1135 Budapest, Szabolcs Street 
33–35, Building D, 1st floor)

➮ Facebook event 
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  HISTORY/REALITY #4: From the Garden of Communication to the Dark
  Forest of the Internet

Archiving Network Art in the Age of Automation
➮ lectures · performance · platform launch

Hybrid event held in English

Speakers: Flóra Barkóczi, Judit Bodor, Elly Clarke, Roddy Hunter
Performance: Viktória Monhor: Navigation

Date: May 21, 2026, 4:00–6:00 PM
Venue: Artpool Art Research Center (1135 Budapest, Szabolcs Street 
33–35, Building D, 1st floor)

➮ Facebook event 
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Study of György Galántai’s lifework – a research fellowship program 
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Arts 
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From mail at garyhall.info  Tue May 19 11:12:22 2026
From: mail at garyhall.info (Gary Hall)
Date: Tue, 19 May 2026 10:12:22 +0100
Subject: [spectre] '100% Inhuman Made' badges project
Message-ID: <9a209e56-bb28-4c7e-9296-3064ffc8f2d4@garyhall.info>

The design-art collective COPODE and I are pleased to announce the 
launch of the '100% Inhuman Made' badges project.

We’ve marked the launch with a post on the LSE Impact Blog titled 
‘Nothing is “100% human authored”’:

https://blogs.lse.ac.uk/impactofsocialsciences/2026/04/27/nothing-is-100-human-authored/

There is also a project webpage here: 
http://garyhall.squarespace.com/100-inhuman-made-badges/


The project starts from a simple observation: generative AI is 
unsettling long-standing conventions of authorship, ownership and credit 
across academia and the cultural industries.

Much of the response so far has focused on reaffirming the role of the 
authentic individual human as author or artist. But what if that 
starting point is itself part of the problem?

The 100% Inhuman Made project explores an alternative: challenging the 
idea that any work is ever purely 100% human-made, and instead 
foregrounding the distributed, collaborative and infrastructural 
elements - human and nonhuman, including often hidden forms of labour - 
involved in creating knowledge and culture.

 From this perspective, a 100% Inhuman Made badge is less a label than 
an invitation: to think again about what we mean by creativity, 
authorship and even the human in a world shaped by climate breakdown and 
the rapid take-up of AI.

The 100% Inhuman Made badges (and their underlying code) are released on 
a CC2r: Collective Commitment to Reuse basis. If this invitation 
resonates, feel free to generate a badge using the 100% Inhuman Badge 
Generator: 
https://inhumanmade.github.io/100-Percent-Inhuman-Badge-Generator/

Regards, Gary


-- 
Gary Hall
Founding co-director of Open Humanities Press:http://www.openhumanitiespress.org 
Blog:http://garyhall.squarespace.com/journal/

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

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From ab at mikro.in-berlin.de  Fri May 22 12:57:17 2026
From: ab at mikro.in-berlin.de (Andreas Broeckmann)
Date: Fri, 22 May 2026 12:57:17 +0200
Subject: [spectre] =?utf-8?q?Fwd=3A_Kyiv_Biennial_=E2=80=93_A_Bird_That_Ca?=
 =?utf-8?b?bm5vdCBMYW5kICgxMS4wNi7igJMxMy4wOS4yNiwgS1csIEJlcmxpbik=?=
In-Reply-To: <19891323188332641@s09i28.newslettertogo.com>
References: <19891323188332641@s09i28.newslettertogo.com>
Message-ID: <c4fa08ea-c74c-4b16-8b31-5f7172889e0d@mikro.in-berlin.de>




-------- Weitergeleitete Nachricht --------
Betreff: 	Kyiv Biennial – A Bird That Cannot Land
Datum: 	Tue, 19 May 2026 17:00:26 +0200
Von: 	KW Institute for Contemporary Art <newsletter at kw-berlin.de>



11.06.–13.09.26 at KW Institute for Contemporary Art
  ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌

­

­
­

­
Kyiv Biennial at KW

­
On Wed, 10.06.26 from 19:00, KW will open a chapter of the Kyiv 
Biennial, an expansive exhibition, live and discursive program that 
takes place across all floors of the building and throughout the summer 
months.

This chapter is curated by KW's curatorial team and organised in close 
collaboration with the Visual Culture Research Center, the founders of 
the Kyiv Biennial.

We look forward to welcoming you to the opening!
­

­
11.06.–13.09.26
Kyiv Biennial
A Bird That Cannot Land
­

­
Lesia Vasylchenko, Night Without Shadows and Light Without Rippling of 
Waves, 2025. Courtesy the artist © the artist.
­

­
The sense by which we take our bearings in the
real world […] is being destroyed.
– Hannah Arendt, Truth and Politics
­

­
The Kyiv Biennial is a nomadic, international project that interweaves 
artistic, political, and social issues. A Bird That Cannot Land, its 
chapter at KW, takes shape as an extensive live and discursive program 
and a large-scale exhibition spanning the entire building, contributing 
to the biennial’s reflections through contemporary art, sound, and exchange.

Situated in shifting political realities, A Bird That Cannot Land 
centers on the notion of a “Middle-East-Europe” and its histories of 
dispute, coloniality, and imperialism. Recurring conflicts reopen the 
wounds of those preceding them and challenge our sense of shared 
experience, language, and imagination. By linking post-Soviet Eastern 
Europe with Central and Southwest Asia, and the Mediterranean, the 
exhibition and its live and discursive events turn to questions on how 
we make meaning and experience belonging in times marked by war, 
uncertainty, and estrangement. Moving through realities where the 
continuity of meaning is broken, the biennial understands exile in and 
from the world as a central condition of contemporary life.

Amid this landscape, A Bird That Cannot Land aims to open spaces for 
listening to interconnected pasts and presents, and for rethinking how 
geographies, histories, and realities are told and perceived. The 
biennial features over 40 intergenerational and international voices 
from Berlin and beyond. The works featured are shaped by lived 
experiences echoing rupture, migrant memories, their affective 
architectures, and the historical traces that persist both in bodies and 
in the spaces we inhabit.

The biennial’s live program foregrounds embodied, collective, and 
process-based practices that engage Berlin’s diasporic communities. 
Across performances, concerts, and listening sessions, sound is used to 
explore political and geographic relationships while polyphonic voices 
act as carriers of history, affect, and resilience. The discursive 
program further invites academic debates on matters of migration, 
exclusion, and co-existence, as well as extractivism and petrocapitalism.

Participants:Abdullah Miniawy, Adam Hanieh, Alona Karavai, Anna 
Ehrenstein and Yara Mekawei, Anna Zvyagintseva, Anton Kats and the 
Grounded Outer Space People, Assaf Gruber, Aykan Safoğlu, Bulgarian 
Voices Berlin, Dana Kavelina, Eda Aslan, Farahnaz Sharifi, Fehras 
Publishing Practices, Flaka Haliti, Geta Brătescu, Gulnur Mukazhanova, 
Heinali and Andriana-Yaroslava Saienko, Hito Steyerl, Hiwa K, Ihor 
Tsymbrovsky, Ivan Krastev, Joyce Joumaa, Julia Cimafiejeva, Katarina 
Gryvul, Lesia Vasylchenko, Lida Abdul, Lucia Kagramanyan, Madina 
Tlostanova, Majd Abdel Hamid, Mona Hatoum, Nazanin Noori, Neda Saeedi, 
Nikima Jagudajev, Nour Sokhon, Oleksiy Radynski, Philipp Goll, Samia 
Halaby, Saodat Ismailova, Sattar Stas Shärifullá and Ziliä Qansurá, 
Seyyare – Anatolian Women’s Choir, Stefaniia Bodnia and Jack Dove, Tjan 
Zaotschnaja, Tolia Astakhishvili, Ulrike Herrmann, Wafaa Saied

In 2025, the Kyiv Biennial took place across Europe through a series of 
exhibitions and events, including at the Museum of Modern Art in Warsaw, 
M HKA in Antwerp, the Dnipro Center for Contemporary Culture, the 
Dovzhenko Centre in Kyiv, and Lentos Kunstmuseum Linz. A Bird That 
Cannot Land expands on the themes from the biennial’s various 2025 
iterations.
­

­ 	­

	
­ 	Discover the Live Program

­ 	­
­ 	Read more <https://newslettertogo.com/rimnoamr-bmftxbnb-cb4cucs2-ezg>

	­
­ 	­

­ 	­

	
­ 	Discover the Discursive Program

­ 	­
­ 	Read more <https://newslettertogo.com/rimnoamr-bmftxbnb-h9xqvgo7-b11>

	­
­ 	­

KW Curatorial Team:
Curator: Sofie Krogh Christensen
Assistant Curator: Linda Franken
Exhibition Assistant: Radia Soukni
Live Curator: Lorena Juan
Live Assistant Curator: Nikolas Brummer
Live Program Assistant : Saba Bagheri
Discursive Program Curator: Vasyl Cherepanyn
Discursive Program Assistant: Triin Metsla

Expanded Curatorial Team:
Vasyl Cherepanyn, Visual Culture Research Center (VCRC), Kyiv
Emma Enderby, KW Institute for Contemporary Art, Berlin
Nav Haq, M HKA – Museum of Contemporary Art Antwerp
Sarah Jonas, Lentos Kunstmuseum, Linz
Serge Klymko, Visual Culture Research Center (VCRC), Kyiv
Magda Lipska, Museum of Modern Art in Warsaw
­

­
In collaboration with
­

­
Funded by the Kulturstiftung des Bundes (German Federal Cultural 
Foundation). Kulturstiftung des Bundes (German Federal Cultural 
Foundation) is funded by the Beauftragter der Bundesregierung für Kultur 
und Medien (German Federal Commissioner for Culture and the Media).
­

­
The discursive program is funded by the Bundeszentrale für politische 
Bildung (German Federal Agency for Civic Education)
­

­
Additional support by the DAAD’s Berlin Artists’ Programme, funded by 
the Federal Foreign Office (AA)
­

­
Mediapartner
­

­
KW Institute for Contemporary Art is institutionally supported by the 
Berlin Senate Department for Culture and Social Cohesion.

Support the program of KW and Berlin Biennale and become a member of the 
Friends <https://newslettertogo.com/rimnoamr-bmftxbnb-kx4m1h6q-1949>!

No longer want to receive these emails? Unsubscribe 
<https://newslettertogo.com/rimnoamr-bmftxbnb-oicfqrz7-11nc>
­

­ 	­ 	­
­ 	KW Institute for Contemporary Art, Berlin 	­
­ 	­ 	­

­ 	­ 	­
­ 	
+49 30 243 459–69 
E-mail <mailto:info at kw-berlin.de>
Instagram <https://newslettertogo.com/rimnoamr-bmftxbnb-pmkpwjev-33t>

	
Auguststraße 69
10117 Berlin
kw-berlin.de <https://newslettertogo.com/rimnoamr-bmftxbnb-sf7pj3ue-cfz>

	
Wed – Mon, 11:00–19:00
Tue closed

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From jg at monochrom.at  Fri May 22 13:26:21 2026
From: jg at monochrom.at (J. Grenzfurthner [Das Ende der Nahrungskette])
Date: Fri, 22 May 2026 13:26:21 +0200
Subject: [spectre] Open Call for Arse Elektronika 2026: EXCESS DENIED
Message-ID: <20260522112711.03AD03386509@mail.monochrom.at>

Arse Elektronika 2026: EXCESS DENIED

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

Open call for talks, machines, workshops, films, and performances.
October 1518, 2026 in Athens, Greece.

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

monochroms conference on sex, technology, 
refusal, and the policing of desire.

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

The history of technology is also a history of 
access control. Doors, passwords, borders, age 
gates, payment processors, app stores, biometric 
scans, content warnings, community guidelines, 
safety protocols, porn filters, copyright 
filters, gender filters, and the ancient human 
filter known as shame. The internet promised 
unlimited access to all imaginable forms of 
desire. Instead, we got platforms, policies, 
compliance departments, and a new erotic 
bureaucracy. Access granted? Access denied? Or 
something stranger: excess denied.


What happens when sexual expression becomes a 
moderation problem? Who decides what counts as 
obscene, abusive, dangerous, educational, 
artistic, therapeutic, commercial, illegal, 
queer-coded, extremist, fetishistic, medically 
useful, politically inconvenient, or simply bad 
for advertisers? How do platform rules shape the 
sexual imagination before anyone even has a 
fantasy? What kinds of bodies, practices, images, 
words, kinks, fluids, identities, and jokes are quietly removed from the menu?

Are we witnessing a new puritanism or just a new 
infrastructure? Is the problem censorship, 
safety, liability, financial risk, child 
protection, image-based abuse, fascist moral 
panic, liberal risk management, conservative 
panic theater, feminist anti-exploitation 
politics, corporate brand hygiene, or all of them 
at once? When a sex worker loses access to 
banking, when a queer archive disappears from a 
platform, when an AI image generator refuses to 
render a body, when a porn site demands proof of 
age, who exactly is governing sexuality?

What is the difference between protecting people 
from harm and protecting institutions from sex? 
Can a content policy understand consent? Can a 
classifier understand kink? Can an algorithm tell 
the difference between abuse and role-play, 
trafficking and sex work, education and 
pornography, nudity and identity, a trans body 
and an adult content violation? What happens 
when the most intimate parts of human life are 
sorted by automated systems trained on fear, liability, and advertising logic?

Age verification promises to protect minors. But 
what does it do to anonymity, queer exploration, 
sex education, survival strategies, porn 
consumption, and political dissidence? Who gets 
excluded when sexual access requires documents, 
credit cards, facial scans, national IDs, 
smartphones, stable housing, or a legally 
recognized identity? Is privacy-preserving age 
verification a genuine solution, a regulatory 
fantasy, or a polite name for erotic border 
control? What happens when masturbation requires paperwork?

Why are violence, war, fascist aesthetics, 
financial speculation, and gambling often easier 
to distribute than explicit sexuality? Why can a 
platform sell loneliness but not show nipples? 
Why can an AI companion simulate emotional 
dependency but not erotic agency? Why can the 
tech industry monetize desire while pretending to 
be shocked that bodies are involved?

How do sex workers, porn performers, cam workers, 
erotic artists, kink educators, queer 
communities, trans people, disabled people, 
migrants, prisoners, teenagers, old people, 
lonely people, horny people, and technically 
inconvenient people navigate these systems of 
denial? What tactics of evasion, camouflage, 
coding, humor, mutual aid, archiving, piracy, 
encryption, and DIY infrastructure are emerging? 
What can we learn from people who have always had 
to route desire through hostile systems?

What does consent mean when intimacy is 
mediated by platforms? Can one consent to terms 
of service? Can one consent to being scraped into 
a training set? Can one consent to a deepfake? 
Can one revoke consent from a model that has 
already learned your face, your voice, your body, 
your style, your affect, your kink? What happens 
when non-consensual sexual images are generated 
instead of recorded? Is simulation a loophole, a 
weapon, a fantasy, or a new form of social reality?

How does generative AI change pornography, 
romance, dating, fantasy, sex work, and 
loneliness? Who owns synthetic desire? Who 
profits from automated intimacy? What happens 
when erotic labor is transformed into prompts, 
datasets, avatars, chat logs, synthetic 
girlfriends, virtual boyfriends, training 
material, and content moderation tickets? Is AI 
porn a democratization of fantasy, an extraction 
machine for bodies, a new frontier of abuse, or 
just the latest way to make lonely people pay rent to the cloud?

What is refused by machines that pretend to be 
neutral? What is refused by states that pretend 
to be moral? What is refused by companies that 
pretend to be safe? What forms of sexuality are 
being disappeared not by police raids, but by 
interface design, banking infrastructure, 
app-store policy, insurance categories, school 
networks, search ranking, legal uncertainty, and 
we have detected a violation of our community standards?

Can there be a right to sexual excess? Should 
there be? What is excess anyway? Too much sex? 
Too much visibility? Too much ambiguity? Too much 
pleasure? Too much disgust? Too much autonomy? 
Too much gender? Too much non-reproductive joy? 
Too much fantasy? Too much body? Who gets to be 
excessive, and who is expected to be respectable? 
Is respectability just another form of access control?

How have older regimes of sexual control returned 
in technical form? Is the confessional now a 
cloud service? Is the censor now a classifier? Is 
the moral guardian now a trust-and-safety 
dashboard? Is the vice squad now a payment 
processor? Is the border guard now an 
age-verification API? Is the priest now a content 
moderator in Manila reviewing fetish clips for 
policy compliance? Is the panopticon now horny?

What would sexual technology look like if it were 
built from the perspective of those most often 
denied access? What are the tools for erotic 
autonomy rather than erotic compliance? What 
would decentralized porn infrastructure look 
like? What would sex-positive safety design look 
like? What would anti-carceral moderation look 
like? Can we imagine systems that protect against 
exploitation without destroying sexual freedom?

Arse Elektronika 2026 invites talks, 
performances, machines, workshops, interventions, 
provocations, demonstrations, failed products, 
illegal memories, bad interfaces, critical 
fantasies, horny bureaucracies, broken filters, 
excessive archives, anti-puritan protocols, 
speculative sex toys, erotic compliance forms, 
deepfake autopsies, age-gate bypass rituals, 
pornographic infrastructure studies, feminist 
counter-forensics, queer platform sabotage, 
teledildonic civil disobedience, and anything 
else that asks why the future of sex so often arrives as a denial message.


Access denied. Excess denied. Desire pending review.

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

Send your submission (1,500 characters max.), 
plus a short biography (1,000 characters max.), to arse2026 AT monochrom.at

Deadline: July 20, 2026.

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

https://monochrom.at/arse-elektronika/
https://en.wikipedia.org/wiki/Arse_Elektronika 


From lists at asquare.org  Fri May 22 13:45:39 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Fri, 22 May 2026 12:45:39 +0100
Subject: [spectre] Final call for papers on Post-Disciplinary Creative
 Practices, EAI ArtsIT 2026 - deadline June 1st
In-Reply-To: <CAJ_C8aWBmDPXUBxU0_kEyq0WQ0xmFwxi+NihnQfYMSRfjn8itw@mail.gmail.com>
References: <CAJ_C8aVedgsQ_YvMy9_iOf7NSbGEtz4kgbOFsRFz3vztX+XqCw@mail.gmail.com>
 <CAJ_C8aV3jNHPqwOjVs90z8WEooja6H+NHfUmAd=L-mb93rc3WQ@mail.gmail.com>
 <CAJ_C8aWR7DLv3_NOCkn5K3y38AKyn7Wavk8Jq1xY854q1DKoQQ@mail.gmail.com>
 <CAJ_C8aV3C9nZcJaetcO4TRBAErN=fz8Uiw8U1uBgoynkqd3=cg@mail.gmail.com>
 <CAJ_C8aU3pK6XDUUjA-qk1O+WrXmMn3z4NYH8obDfgOVD9309_g@mail.gmail.com>
 <CAJ_C8aVDz5YD8o63vJoBGiKoQ9LGo=cjk1oNGV-Y7BFQZ8hy-g@mail.gmail.com>
 <CAJ_C8aVCFbj8N2a+SM47NF2BiMUV+y98HyCxStzrQTxrEmyg6w@mail.gmail.com>
 <CAJ_C8aW92xnHRq+o_s+498drQhUu8JyA4VP9NP50sZXmWxRonw@mail.gmail.com>
 <CAJ_C8aXo7MAcAhzkoHJO0B6W0ZYRdjsqfDDzVZNrLGHSOuyeJA@mail.gmail.com>
 <CAJ_C8aV3dOocyjEv3anMbp5CRUot+=3UAgTepPN+M3NLmjV4DQ@mail.gmail.com>
 <CAJ_C8aUKsQffK1yo_x2b=vP7vEUBJ0j5sDO_vwccGftwCPYUQQ@mail.gmail.com>
 <CAJ_C8aWF9otbniOWcAx4iHjtmmquwA_xvQZYi=UJWM+u-N=Gsw@mail.gmail.com>
 <CAJ_C8aW7kMEW2KzCG3FbAgVV6CQVbvZRnxJsc_Q_xxUY-+hcdQ@mail.gmail.com>
 <CAJ_C8aUa8O1O4aijdOh3OHrZjMyFthkf7BmdSjfMA1+1rh0YFQ@mail.gmail.com>
 <CAJ_C8aUCDU34v1eowH-xvynJEOZAsGSPPK9FQ000wwLwWXLZpw@mail.gmail.com>
 <CAJ_C8aWYY3K-JH9aeM1usEHjDYpj4i8Y5P0o2cqXrFK1WpTHag@mail.gmail.com>
 <CAJ_C8aW7iT2EMdAnbNDW8Hg3JOsJRjVc0uO=W14e8AXk1ZRZmg@mail.gmail.com>
 <CAJ_C8aVTRu-z2y0W7g4xKsU3hceFk8ze8V=x+4sKKVm7gs7q7w@mail.gmail.com>
 <CAJ_C8aWSPXLu4eenbiDXoM2E0hPwoUF+rSsGTRf4wOuAH_e_MQ@mail.gmail.com>
 <CAJ_C8aVTYaTR_dXCXcJVFj5d-PQFpT6YnZzLBJSH5fdt4CWYvw@mail.gmail.com>
 <CAJ_C8aW00LmvhA2p4f_D8QV05txVVCjLJU=FL3bAKPN+ge7WaA@mail.gmail.com>
 <CAJ_C8aUHjnFJeAmxj=KD2=cOZo07XSO4V=3DxmcNPJ0rSETnwQ@mail.gmail.com>
 <CAJ_C8aWBmDPXUBxU0_kEyq0WQ0xmFwxi+NihnQfYMSRfjn8itw@mail.gmail.com>
Message-ID: <CAJ_C8aV327JQ9WxCWXt6fh6ppFbrM0C7+R8ziKYXAn-8r4AkxQ@mail.gmail.com>

Final call to submit a paper (full paper submission deadline is June 1st
2026) 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 details are available here:
https://artsit.eai-conferences.org/2026/call-for-special-track-papers-on-post-disciplinary-creative-practices/

-----

Post-Disciplinary Creative Practices

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

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


Special Track Topics

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

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

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

-- 
regards
Dr. Lynch IRL
_________________
Garrett at asquare.org
http://www.asquare.org/
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From info at metazoa.org  Mon May 25 12:03:21 2026
From: info at metazoa.org (metazoa.org)
Date: Mon, 25 May 2026 12:03:21 +0200
Subject: [spectre] =?utf-8?q?OPEN_CALL_/Rien_faire_comme_une_b=C3=AAte/?=
Message-ID: <2d59fa80-75dd-4ec9-940b-24f1a56e1daa@metazoa.org>

Dear Spectres!

We’ve quietly and gradually put together an interesting open call for 
new screensavers.

Check it out here: 
https://screensaver.gallery/open-call-rien-faire-comme-une-bete

## Timeline

Open Call launch: May 13, 2026
Submission deadline: July 14, 2026
Results announced: end of July 2026
Exhibition period: October 2026–January 2027


-- 
Save Your Screen!
Get ScreenSaverGallery https://screensaver.gallery/get
Follow ScreenSaverGallery on Fediverse, Telegram, Instagram, GitHub, RSS, Newsletter
🌸 Sponsor https://opencollective.com/screensavergallery, https://screensaver.gallery/donate, https://github.com/sponsors/ScreenSaverGallery


From info at madatac.es  Tue May 26 11:10:23 2026
From: info at madatac.es (info at madatac.es)
Date: Tue, 26 May 2026 11:10:23 +0200
Subject: [spectre] MADATAC EXPANDED NEW MEDIA DIGITAL ART INTERNATIONAL
 BIENNIAL CALL
In-Reply-To: <1b8b4f9d2743602e8cd66fb977c61d3e@madatac.es>
References: <1687173143345851780.1.5722359580709061487@07024972e83e>
 <d8531422f6ea4069d6e46c82081bdd2e@madatac.es>
 <e447e61df1642dc06bddb5407a41e343@madatac.es>
 <615786471455b41bd676cf5eca2e0eec@madatac.es>
 <1b8b4f9d2743602e8cd66fb977c61d3e@madatac.es>
Message-ID: <90dc8a2cad4eda9cdd5b19634c6aafbc@madatac.es>

Dear Spectre artist colleages and friends!

The international open call for MADATAC 13 is now open -- the Expanded 
New Media Digital Art Biennial, taking place in Madrid in Winter 2027.

We invite artists, creators and researchers working in new media art, 
audiovisual art, video art, AI-based works, installations, XR/VR, dome 
art and AV performance to submit their works and projects.

A space for radical visions, hybrid languages and forms that challenge 
the limits of contemporary perception.

Download open call now live: 
https://madatac.es/bases-bienal-madatac-13-biennial-call/ [1]

For information and submissions: media at madatac.es

#MADATAC13 [2] #OpenCall [3] #NewMediaArt [4] #DigitalArt [5] 
#ExpandedArt [6] #VideoArt [7] #AIArt [8] #XRArt [9]

-- 
MADATAC Staff

media at madatac.es

www.madatac.es

-- 
MADATAC Media

media at madatac.es

www.madatac.es

Links:
------
[1] 
https://madatac.es/bases-bienal-madatac-13-biennial-call/?fbclid=IwZXh0bgNhZW0CMTAAc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHtKsDXKkkHdHy4mPBqdl0GeorOjGLdqrG1lziUtFPnkQcDz4r08sGBKjmBAB_aem_gt20U1hvE1ESzTqEbSHunw
[2] 
https://www.facebook.com/watch/hashtag/madatac13/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
[3] 
https://www.facebook.com/watch/hashtag/opencall/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
[4] 
https://www.facebook.com/watch/hashtag/newmediaart/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
[5] 
https://www.facebook.com/watch/hashtag/digitalart/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
[6] 
https://www.facebook.com/watch/hashtag/expandedart/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
[7] 
https://www.facebook.com/watch/hashtag/videoart/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
[8] 
https://www.facebook.com/watch/hashtag/aiart/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
[9] 
https://www.facebook.com/watch/hashtag/xrart/?__cft__[0]=AZZcvT7FnL2W9FsnxioQYpGjrXlXDyPNxV64iV8uxvy9CRCX5Fo2D04bxkM1F_iec9Sh_CQHMoPsFr03oGRg2Ok5M03DNiqDZKD4Q17XiN10HGRNBW4spPhrxR2MEKO1Syj8z2Gxew9fCEC96VUZacj1vKGOm-gyr1gBpyaeGNT0OEXNPF2avPme_bj1xN7Wjl8UOYyXarSn9uYjDpr_Wgu6&__tn__=*NK-R
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From lists at asquare.org  Sun May 31 14:42:30 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Sun, 31 May 2026 13:42:30 +0100
Subject: [spectre] Extended deadline July 1st for papers on
 Post-Disciplinary Creative Practices, EAI ArtsIT 2026
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The deadline to submit a paper on Post-Disciplinary Creative Practices for
the 15th EAI International Conference: ArtsIT, Interactivity & Game
Creation has been extended to July 1st 2026. This will be a Hybrid
Conference and occurs 2nd - 4th December, 2026 in Bratislava, Slovakia.

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

-----

Post-Disciplinary Creative Practices

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

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


Special Track Topics

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

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

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

-- 
regards
Dr. Lynch IRL
_________________
Garrett at asquare.org
http://www.asquare.org/
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