Deadline: 31 August 2025
Call for Entries

The Ammerman Center for Arts and Technology 18th Triennial Symposium
March 26–28, 2026

Keynote Speaker: Katerina Cizek

Commissioned artists:
Kate Ladenheim, Gestural Publics
Mathieu Pradat, Giants and Susuwataris
Tansy Xiao, LUCA

Proposal deadline for general submissions: August 31, 2025

The Ammerman Center at Connecticut College seeks submissions for its 2026 Symposium on Arts and Technology being held March 26–28, 2026, at Connecticut College. The aim of the Symposium, celebrating its 40th anniversary, is to create an inclusive forum for multidisciplinary dialogues, exhibitions and performances at the intersection of arts, technology, and contemporary culture.

What is the Arts and Technology symposium, and what makes it unique?

As much a media-arts festival as it is an academic symposium, the event functions as a creative, interdisciplinary retreat, mixing up to 100 outside participants of wildly different backgrounds with our own faculty and students at our beautiful campus-arboretum, halfway between Boston and NYC. We strongly emphasize having no passive observers: all participants tend to also present in some venue throughout the weekend, and we work to create multiple formal and informal spaces for conversation, creative exchange and interaction.

Participants, selected via an open call, come from all backgrounds, with a mix of those fully based in academia as well as emerging, independent and local artists, supported via our participation grants. They come from across the region and the country as well as internationally.

Our keynote speaker will be Katerina Cizek, Artistic Director, Co-Founder and Executive Producer of the Co-Creation Studio at MIT Open Documentary Lab. The Symposium will feature presentations from several multi-disciplinary works commissioned by the Ammerman Center over the past year, alongside panel discussions and paper presentations, workshops, artist talks, gallery exhibitions, music and sound concerts, installations, screenings, public interventions and live performances.

Symposium 2026 Site
Symposium 2026 Submission Form

SYMPOSIUM THEME: ALL TOO HUMAN

What does it mean at this particular moment and place to be human, more-than-human, or within the spectrum between? What is the state of humanistic ideals in our precarious techno-political landscape? Scientific and technological advances affect bodies–as extensions, prostheses, knowledge producers, resistance, and beyond. This year’s theme seeks to read the human with and against the grain using arts and technology as potent vectors of inquiry.

“All Too Human” centers the Human and troubles its boundaries: it seeks definition into what is essential to the human, how humanness unites communities, yet also divides through xenophobia. It engages with the state of Humanism as a philosophy, and the challenges to it. How do technology and techno-optimism collide or collaborate with Humanism? How do we remain humanistic in the face of extreme strife, from authoritarian rule, to climate crisis, war, and automation? Who gets to decide what or who is human, and how are technological and representational systems implicated in this process?

“All Too Human” considers the Non-Human: it expresses the aspirations, anxieties and critical thought over the non-human as it becomes more powerful, autonomous, and generative. Is there a point at which technological agents could be considered human? What would other forms be that these agents could take that stretch or disrupt our understanding of what humanity is? As we grow more aware, through old and new ways of knowing, of the agency of non-humans from plants to animals to fungi, where are the lines drawn? And what is the role of art and technology in catalyzing and criticizing all of the above?

“All Too Human” is simultaneously strength and precarity; it gets at the heart of collective knowledge and collaboration as much as it considers radical individualism. To be human, all too human, is to be creative, generative, and in conversation with those around you and a larger, globalized experience.

We seek:

Papers: 15 minute presentations of scholarly work, theory, artist talks, and more.
Panels: set of 3-4 presenters together; otherwise we will curate panels out of submitted talks
Workshops: technology focused crash-courses, work-in-process feedback or participation, or art/social practice based activities
Music and sound performances
Artwork in all old and new media for the symposium exhibition: including site-specific interventions and performances and experimental design.
Performing arts: Dance, Theater, and Performance Art
Single channel screen-based work: Video, Film, and Animation (for exhibition or evening screenings)
Demo/poster tables: works in progress or completed
Lightning talks: brief, 5-8 artist talks, works in progress or completed

See below for details on each of these areas, and the Resources page on our website for the available support and spaces for each.

In our continuing efforts toward equity, diversity, and collaboration in the field, and how the fields of arts and technology are shifting in the 21st century, scholars and artists from underrepresented communities and early career practitioners from the northeast region are especially encouraged to apply, including independent artists, scholars, and adjuncts. Available funding will be prioritized to support such applicants. Registration will be available on a sliding scale, with several full participation and travel grants available (see below).
SUBMISSIONS

For information on venue specifications and technical capabilities, see our Resource and Venue Information Page.

All submissions must be completed on our website. If you cannot use a Google account, please email requisite material described below to cat@conncoll.edu with subject line “Symposium Submission.” Some submissions may be recommended for alternative forms of presentation depending upon material and curatorial necessity, to be communicated and discussed between those who submit and the conference committee.
All submissions must include: the submitter’s contact information, CV, a basic title and up to 150 word description of the submission and any additional information and supporting materials as required by the submission category: see below for details.

All submissions are limited to 2 per person, with the exception of panel organizers.

PANELS

Proposals for special sessions and panel discussions of 3-4 participants and a moderator are encouraged. To apply for such a session, a panel proposal must be submitted, alongside individual submissions for each of the speakers. These may be submitted by the speakers themselves or by the organizer of the panel on their behalf. Each individual submission must indicate that it is aiming to be part of a panel. Panels are expected to last for about an hour.

Additional required information: 1-2 page abstract, including title, presenters, and presentation topics.

PAPERS

This category includes scholarly work and reports on research, theory, or artwork, artist talks, and position papers raising original and provocative theoretical or practical discourses and questions. The default duration of all paper presentations and talks is 15 minutes. Papers may be submitted independently or as a group submitting a full panel (see above).

Additional required information: two-page extended abstract or complete paper, upon acceptance, a revised 4-8 page paper must be submitted as a PDF in provided format for publication in the Symposium Proceedings. All rights will remain with the author. Paper authors will give 15 minute oral presentations during the paper sessions.
WORKSHOPS
Technology, Project-based and Participatory, or Work-in-progress sharing

Technology demonstrations and hands-on workshop submissions in all forms of media are welcome. For demonstrations or workshops we assume that the presenters will provide the necessary equipment and materials. The Ammerman Center will be able to provide classroom space and a limited selection of tools and hardware. Duration of the workshop is flexible and can be negotiated with the Symposium coordinators.

Technology workshops: These could include presentation of approaches to creative and experimental uses of technology or skill shares.

Project-based / Participatory workshops: Opportunities for demonstrations of work and collaborative / participatory project development.

Work-in-Progress sharing: Demonstrations can be part of specific projects and could be formatted to solicit feedback from the audience. Multiple presentations in a single session serve to connect practitioners and encourage engagement and collaboration at all stages of development.

Some submissions may be recommended for this type of presentation depending upon material and curatorial necessity, to be communicated and discussed between those who submit and the conference committee.

Additional required information: optional extended description including goals and duration (pdf); a technical rider (pdf) as needed to include: materials and tools supplied by the presenter, complete technical needs from the Ammerman Center including workspace, seating, tools, software/hardware, lighting, power, and all other requirements.

DEMO / POSTER TABLES

We invite display tables of creative and/or research praxis as part of a session with a number of other presenters. Presenters will be able to engage with questions and feedback in a designated session, and engagement throughout the Symposium is also possible. This is a useful opportunity to develop new work, work in progress, or as a conclusion/demonstration of a past work. It is expected that materials and tools are supplied by the presenter. Some submissions may be recommended for this type of presentation depending upon material and curatorial necessity, to be communicated and discussed between those who submit and the conference committee.

Additional required information: none, optional extended description / tech requirements may be included
.
LIGHTNING TALKS

This set of brief (5-8 minute) presentations is for feedback and discussion of work. All types of presentations are welcome. This is a useful opportunity to develop new work, work in progress, or as a conclusion/demonstration of a past work. Several talks will be groups as one event.

Some submissions may be recommended for this type of presentation depending upon material and curatorial necessity, to be communicated and discussed between those who submit and the conference committee.

Additional required information: supporting media based on the proposed presentation (images / audio / video etc).
MUSIC AND SOUND PERFORMANCES
Music and sound submissions could take many forms including: work for live instruments with electronic sounds and/or digital media, voice, interactive performances, live laptop improvisations, customized or hand-made electronics, or electronic sounds alone (fixed media). All works representative of any of the rich array of approaches, styles, and media possible within electroacoustic musics are welcome.
Works under 12 minutes will receive preference.
Pianist available to perform submitted pieces.

Additional required information: sample audio / video materials, optional extended (1 page or less) description, technical rider with: complete technical, equipment and performance needs, what the artist will provide (i.e. laptop with customized software, hand-made electronics), indication of who will be performing (artist, additional musician/performer, fixed media playback), and accompanying scores/recordings as appropriate.

EXHIBITION and INTERVENTIONS

Potential media includes: 2D and 3D objects, responsive environments, bio-art, kinetics, audio, video, net.art, AR/VR and hybrid installations, Performance Art, Social-Practice Art, as well as socio-eco design including experimental architecture and environmental interventions. Works that challenge disciplinary boundaries are specifically encouraged. A series of smaller works may be considered as one submission.

Single channel screen-based work should be submitted through its own category, and may be shown either in one of the exhibition venues or in one of our evening programs. See below.

Sound work: may be submitted either to the exhibition or to the listening program in one of our concert events.

Selected works will be presented in a group exhibition or as pop-up installations / interventions / performances at any of the following venues (artists may indicate their interest in these in their application):

Main venue–the Arts and Technology Gallery at Cummings: large (roughly 100 x 100 foot) open shared “pop-up” exhibition space in the first floor of the Cummings Art Center (see photos). Duration: 1 month.
Pop-up installations / exhibits – JTC Atrium Gallery at Cummings and additional spaces throughout the Art Center (the main venue for the symposium). Duration: 3 days (the symposium weekend) or longer based on availability and viability.
Outdoors location / elsewhere on campus (including our arboretum) maybe possible for site specific proposals pending approval of relevant entities, as long as installation is undertaken by the artist.
Projection mapping: We’re interested in proposals for site-specific projection mapping work, for which we can provide a 7000 Lumens laser projector and a PA system. The work should engage with particular surfaces on campus – in particular those of Cummings Art Center or Palmer Auditorium.

Complex projects may be presented in a paper and/or panel presentation, with a smaller accompanying work in the exhibition.

Installation of selected work is the artist’s responsibility. We will provide technical assistance for primarily safety or heavy equipment related issues, and may provide some additional installation help as available.

Shipping is the artists’ responsibility, although a small budget is available for return shipping of small items.

Additional required information: dimensions and/or duration, media details, technical rider if needed, sample digital materials, shipping needed.

PERFORMING ARTS: DANCE, THEATER, AND PERFORMANCE ART

Dance compositions, theater works, and performance art pieces that incorporate technologies in meaningful ways are being solicited for performances, live demonstrations, or digitally recorded presentations.

Also of interest are proposals for workshops, demonstrations of software for dance or theater notation, choreographic analysis, interactive studies and/or multimedia studies of performance in dance and theater–see the appropriate submission categories for each (i.e Papers, Workshops and Demos, etc). Acceptance of performances will depend on financial considerations as well as technical and space needs.

Works under 15 minutes will receive preference.

Additional required information: optional extended description/abstract, technical rider, complete technical, performance and spatial needs, plus digital media that show the work under consideration.

SCREEN BASED WORK:
VIDEO, FILM, AND ANIMATION

Submissions of short single-channel, screen-based video or digital film are being solicited. Submissions may span a range of formats, from experimental to documentary, video-essay, narrative short, or other emerging forms intended for onscreen viewing. For other types of moving-image presentation such as live cinema or installation see previous categories.

Selected work may be screened as part of an evening event and/or as part of the exhibition at the symposium.

Guidelines: for review, please submit samples no longer than 5 minutes, alongside 3 representative images and a short description.

Additional required information: duration, preferred screening format, credits and link (or uploaded file) to view the submission online.

FORMATTING GUIDELINES FOR YOUR MATERIALS:

Images: .jpg (not to exceed 1920×1080), maximum 10 images, compressed in a ZIP file or edited into a pdf.

Documents: .pdf, .doc, .docx ; one page maximum, except in the case of extended abstracts for papers that are limited to two pages.

Maximum combined duration for audio and video media samples is 5 minutes. We may only view or listen to the first 5 minutes of your piece; however, you may indicate a different 5-minute segment of your piece, if you feel that would be more representative of your work for our consideration.

Audio: .mp3 encoded at 320 kbps.

Video: share your video via a video sharing or cloud storage service with a minimum resolution of 1920×1080. Please include the full link plus password, if password protected.

AMMERMAN INDEPENDENT SCHOLAR / ARTIST FUNDING

The Ammerman Center seeks to support artists/scholars who demonstrate excellence in their work and a commitment to their careers and artistic communities. There is limited funding for early career, graduate student, adjunct, and independent scholars and artists for the Friday-night dinner, travel, and accommodations for the Symposium. After completing the submission form, applicants need to submit a statement of engagement and budget to cat@conncoll.edu with the subject line “Independent Scholar/Artist Funding.” All questions regarding this program may be directed to the same address.

IMPORTANT DATES

August 31, 2025: General Submission Deadline

October 1: General Acceptance Notification

February 1, 2026: Final Paper and Other Texts (pdf) Submission Deadline

March 23-26: Installation Period for Group Exhibition

March 26, 27, and 28, 2026: Symposium at Connecticut College

APPLY NOW

THE 2026 SYMPOSIUM IS SUPPORTED BY the Connecticut College community including the Arts departments, OnStage, The Office of the President, and The New Media Caucus, an international non-profit association formed to promote the development and understanding of new media art, an official affiliate of the College Art Association.

Symposium 2026 Site

Symposium 2026 Submission Form

Torna a settembre Ars Electronica, festival dal 1979 dedicato all’intreccio tra arte, tecnologia e società, che esplora lo status quo del nostro tempo, oggi un’epoca piena di contraddizioni e incertezze e quest’anno dedicato al tema del Panico e delle sue conseguenze politiche. 

Panico, sì o no? Non dovremmo essere già da tempo in uno stato di panico assoluto? Perché non lo siamo? Sembrano esserci innumerevoli motivi per farsi prendere dal panico. O è solo allarmismo? Quanto può durare la speranza e cosa succederà dopo?

Quando non riusciamo più a capire il mondo che ci circonda, quando le cose cambiano più velocemente di quanto riusciamo a comprenderle, noi esseri umani tendiamo apparentemente a diventare irrazionali, prestando più attenzione al volume di una voce che al suo contenuto, e preferendo credere che ciò che vogliamo sentire sia la verità. Ci ritroviamo nella caverna di Platone, adorando gli interpreti delle ombre.

Niente sembra più inquietante del cambiamento, eppure niente è più urgente del cambiamento. Ma siamo sempre meno capaci di concordare su cosa o chi debba cambiare e su come farlo….

e cosa intendiamo quando parliamo di cambiamenti radicali?

Venite, radunatevi, gente

Ovunque voi siate

E ammettete che le acque

Intorno a voi sono cresciute

E accettate che presto

Sarete bagnati fino alle ossa

Se il vostro tempo vi è caro

E fareste meglio a cominciare a nuotare

O affonderete come un sasso

Perché i tempi stanno cambiando

Quando Bob Dylan scrisse queste righe nel 1963, così attuali ai nostri giorni, non da ultimo in considerazione del fatto che il livello delle acque sta letteralmente salendo, il movimento per i diritti civili negli Stati Uniti aveva raggiunto il suo apice: la Marcia su Washington e il discorso di Martin Luther King “I have a dream” di Martin Luther King sono diventati iconici nella storia – ed era chiaro a tutti di quale tipo di sconvolgimento si parlasse: nuovi inizi, progresso, libertà, codificati come ideali del mondo occidentale, sembravano così irresistibilmente convincenti e inarrestabili che sarebbe stata solo una questione di tempo prima che prevalessero a livello globale.

 

Era anche il momento in cui gli Stati Uniti erano finalmente riusciti a posizionarsi come potenza egemonica globale: militarmente, economicamente e forse soprattutto culturalmente, l’“American Way of Life” prevaleva nel mondo libero. A livello politico, il “Ich bin ein Berliner” (Io sono un berlinese) di John F. Kennedy, pronunciato pochi mesi prima del suo assassinio, divenne il simbolo leggendario di una concezione egemonica di un sovrano protettivo che non soggioga, ma motiva la fedeltà volontaria attraverso i vantaggi e le promesse del suo stile di vita. Almeno così veniva interpretato, poiché altrove non si facevano scrupoli a ricorrere alla forza militare e alla deterrenza nucleare come strumenti di potere. (La guerra del Vietnam, durata vent’anni, dal 1955 al 1975, non fu combattuta per conquistare il Paese, ma piuttosto per affermare la propria leadership).

Mancava solo il crollo dell’URSS dopo la caduta del muro di Berlino nel 1989 e l’accordo sembrava concluso. Tuttavia, si era trascurato il fatto che le interdipendenze e le dipendenze economiche derivanti dalla globalizzazione e dalla liberalizzazione dei mercati, insieme all’infrastruttura digitale globale, avrebbero portato anche a un decentramento delle strutture di potere. Non una dissoluzione, ma una frammentazione in cui il potere non è più esercitato esclusivamente attraverso il controllo diretto o strutture gerarchiche, ma dipende sempre più dalla costruzione di consensi e dal bilanciamento degli interessi.

Nel conseguente interregno egemonico, non solo si sono posizionati gli attori geopolitici emergenti, in particolare la Cina, ma si è anche assistito a un massiccio spostamento verso le società tecnologiche che, con le loro sfere di potere feudali, eludono la regolamentazione statale in molti settori. Sebbene gli Stati Uniti rimangano il sistema nervoso centrale dei mercati finanziari globali, questo simbolo di potere ha anche subito segni visibili di erosione a causa delle dinamiche della globalizzazione e, più recentemente, dell’ascesa delle criptovalute.

Il panico non nasce dalla semplice paura del pericolo, ma dalla consapevolezza della sua inevitabilità, dalla sensazione di essere esposti ad esso senza alcuna possibilità di fuga o controllo.

In questo contesto, il ricorso irrazionale (perché non basato su fatti e strategie realistiche) a ideologie fasciste oligarchiche, come quello che vediamo attualmente negli Stati Uniti, può certamente essere visto come una reazione di panico di una potenza globale che deve affrontare il fatto di aver perso, o di stare per perdere, la propria egemonia. La frustrazione per il “declino americano” è quindi una delle motivazioni più forti alla base della narrativa MAGA. Cercare di spiegare l’ampio sostegno solo con l’insoddisfazione per i prezzi elevati delle uova è riduttivo e trascura la psicologia più profonda che sta dietro.

Il comportamento aggressivo e irregolare di Trump, dei suoi seguaci e dei suoi agitatori – questi castelli in aria di rabbia e presunzione – nella loro forza e tenacia recano chiari tratti di una ribellione finale, un rifiuto provocatorio della realtà. Sappiamo quanto siano pericolosi e distruttivi questi sintomi di agonia, non solo da molti esempi storici, ma anche dall’attuale restaurazione bellicosa di Vladimir Putin e dall’ampio consenso di cui godono le sue politiche in Russia.

Lo stesso si può dire del nuovo estremismo di destra in Europa, dove l’unica novità è la sua preoccupante espansione e la noiosa insensibilità con cui affrontiamo questi eccessi.

In un mondo senza precedenti, interconnesso e senza confini digitali, le persone cercano improvvisamente di nuovo confini e limiti territoriali; i problemi dei flussi migratori sono solo una parte della ragione di questo fenomeno. L’improvviso risveglio dell’interesse per la proprietà della terra e il territorio fisico, che si riflette nella retorica di coloro che lasciano l’UE e nelle fantasie di Trump di annettere la Groenlandia e il Canada, è una reazione alla perdita di controllo che si prova nelle alleanze internazionali e globali. Chi non riesce ad affermarsi nell’ampio spazio della negoziazione e della costruzione del consenso preferisce tornare al tavolo piccolo e batterci i pugni.

Cosa dovremmo temere.

Si sta diffondendo un clima di paura, che va dal rifiuto vago all’odio profondo, diretto contro tutto ciò che sa di cambiamento.

Contro l’immigrazione, contro gli attivisti per il clima, contro la diversità, contro le persone transgender, contro la consapevolezza che il mondo è molto più complesso di quanto vorremmo che fosse. Il buon senso viene dichiarato superiore alla scienza e alla conoscenza, e la verità non è più definita come la concordanza di un’affermazione con il suo oggetto, ma piuttosto come il minimo comune denominatore delle affermazioni che corrispondono più da vicino a ciò che desideriamo piuttosto che a ciò che sta realmente accadendo. 

Indipendentemente dal fatto che il 2024 sia stato l’anno più caldo mai registrato, indipendentemente dal fatto che la vaccinazione contro il coronavirus abbia salvato innumerevoli persone da malattie gravi, dal COVID a lungo termine e persino dalla morte… ecc. ecc.

Questa erosione della verità, guidata dagli algoritmi dei social media orientati al profitto, è seguita dall’erosione della fiducia, forse l’elemento più importante per la coesione di una società.

Ciò che sta trasformando la paura in panico, ancora più dell’imprevedibilità e dell’incoscienza dell’amministrazione Trump, è il disorientamento emergente ora che Trump ha rinunciato alla lealtà e alla solidarietà – pietre miliari dell’ordine egemonico dalla fine della seconda guerra mondiale 80 anni fa – all’interno dell’intero mondo libero (compresi gli Stati Uniti). Un disorientamento a seguito del quale l’Europa si sta ora impegnando, a una velocità vertiginosa, in un’economia di guerra e si sta armando con armi che saranno in gran parte inutili nella battaglia davvero decisiva dei prossimi decenni: la lotta contro gli effetti del cambiamento climatico.

Quando la paura non può più essere attribuita a pericoli e rischi specifici, si trasforma in panico; viene rilasciato l’ormone dello stress, l’adrenalina, il battito cardiaco accelera, più sangue viene pompato nelle vene e i muscoli si irrigidiscono.

Reagiamo in modo sconsiderato o concentriamo le nostre forze?

La paura ci rende piccoli e scoraggiati. Come possiamo mantenere e rafforzare il nostro slancio per il futuro?

Come evitare di rimanere bloccati nella paura dell’incertezza e dimenticare che solo attraverso il cambiamento costante possiamo andare avanti? Insistendo sullo status quo, ci priviamo del potere dell’immaginazione e del coraggio di vedere il futuro come una prospettiva realizzabile che dobbiamo plasmare.

Ed è proprio questo il compito dell’opera artistica e del suo impatto in questo periodo di profondi sconvolgimenti.

Ars Electronica 2025. Panico si, panico no?, 03-07.09.2025, Linz, Austria

immagini: (cover 1) Ars Electronica (2) Deep Space 8K – Ars Electronica Center, Photo- Ars Electronica _ Magdalena Sick-Leitner (3) Neural Latency / Elena Pedroche-Sánchez (ES) artist, Pablo Galindo Serrano (ES) artist, Rosa Blanca Anguita (ES) engineer; Inspiring scientist- Jorge Tirado Caballero (ES) neurosurgeon and researcher, Photo- Miguel Mendonza-Malpartida (4) Prix Ars Electronica Award Ceremony, Photo- tom mesic (5) ars_electronica2 (6) Dystopia Land _ Etsuko Ichihara (JP), Civic Creative Base Tokyo [CCBT] (JP), Photo- Ayami Kawashima (7) Bacteria cloud of clouds _ Natalia Rivera (CO), Photo- Natalia Rivera (8) Organism + Excitable Chaos, Navid Navab, Garnet Willis, Photo- vog.photo

 

 

L'articolo Ars Electronica 2025 proviene da Arshake.

Movement and new media artists are invited to apply to the Bucharest Dance Hack that takes place the upcoming spring. Where: Bucharest, Romania When: 7-11 April 2025 Deadline for applications: 31st Dec 2024 Developing Art (Romania), Taika Box, (Finland), and Central Europe Dance Theatre (Hungary), are calling for applications from artists, coders, designers, musicians, dancers, new […]

The post Open Call Bucharest Dance Hack – Dance Meets Technology first appeared on Dancing Opportunities.

The Digital Heritage strand of the 2025 London Heritage(s) conference Critical Questions – Contemporary Practice is intended to highlight work being done at the intersection of heritage and technology studies: whether that be cases studies of innovative projects, surveys of critical questions in the field, examples of recent or completed research projects, or discussions on teaching and learning in the sector.

This conference call aims to delve into the transformative capabilities of interactive media, multi-channel design, eXtended Reality (XR), spatial computing, Human Computer Interaction (HCI), and strategically staged historic forms of media that shape interactive geographies. This exploration focuses on redefining urban and rural narratives, encouraging inclusive participatory development, and confronting emerging societal challenges.

Deadline: 4 November 2024
Call for entries

CURRENTS 2025 Art & Technology Festival + 3 Separate Exhibitions
Festival date June 13 – 22, 2025, 3 exhibition dates TBD, 2025; Location TBD, New Mexico

CURRENTS New Media is now accepting submissions for our annual 2025 Art and Technology Festival in Santa Fe, New Mexico, as well as for three separate exhibitions throughout 2025. These exhibitions will focus on the following modalities of art and technology: Sound Environments/Installations, Artist/AI Collaborations, and Virtual/Augmented/Mixed Reality Environments. This open call allows for submissions to either the festival, the exhibitions, or both.

Every summer since 2010, CURRENTS New Media presents one of the leading art and technology festivals in the United States. Based in Santa Fe, New Mexico, CURRENTS brings together diverse, boundary-pushing works of established and emerging new media artists from the USA and around the world.

Submission Deadline: November 4, 2024
Festival Dates: June 13 – 22, 2025
Exhibitions Dates: TBD

This year’s submission categories include:

Installations (interactive and non-interactive)
Sound Environments/Installations
Virtual/Augmented/Mixed Reality Environments
Artist/AI Collaborations
Robotics/Kinetic/Electro-Mechanical Objects and Installations
Multimedia Performance
Digitally Generated or Fabricated Objects
Wearables
Outdoor Installations and Projections
Experimental Single Channel Video/Experimental Documentaries/Animation

5. entry fee $25/single, $20 each/multiple
6. Contact adresses/URL: connect@currentsnewmedia.org
application link: https://currentsnewmedia.org/submission-guidelines-2025/

From CAC.8, we propose a meeting to approach Generative AI from its multiple aspects, undoubtedly from a myriad of points of view, which will allow its inclusion in Art, Design, and Culture. We would like to create a symbolic capsule of space and time to reflect on the challenges, impacts, and scope of this new tool of knowledge, which is already modifying the processes of various human activities.

The event provides a unique opportunity for discussion and debate among scientists, engineers, educators, students and allows them to connect with fellow entrepreneurs and companies operating in the same sector, thus experiencing applications of these emerging technologies.

Deadline: 9 giugno 2024 

Quando: 28 ottobre – 3 novembre, 2024 (Contemporary Art Week)

Dove: Torino, Share Festival

Link website

L’Associazione The Sharing annuncia la XVI edizione di Share Prize, il concorso dedicato all’arte contemporanea declinata alle tecnologie e alle scienze. Le opere candidate al premio dovranno seguire il tema: ‘ALL-NATURAL’, curato dal direttore artistico di Share Festival Bruce Sterling e della curatrice Jasmina Tešanović.

La Giuria Internazionale del concorso assegnerà un premio di euro 2.500,00* all’opera (edita o inedita) che meglio rappresenta la sperimentazione tra arti e nuove tecnologie.

I candidati al premio (short list di 6 concorrenti) saranno invitati a partecipare alla XVIII edizione di Share Festival. Le sei nomination dei candidati al premio saranno annunciate a Luglio 2024 sul sito web: www.toshareproject.it

Il vincitore sarà annunciato durante l’Opening di Share Festival in programma a Torino
dal 28 ottobre al 3 Novembre 2024, durante la Torino Contemporary Art Week.

Link bando

 

 

 

 

L'articolo Call for submissions > Share Prize XVI proviene da Arshake.

The theme for the 60th-anniversary meeting of the American Society for Cybernetics considers language at play in the connections of pasts, presents, and futures. living cybernetics | playing language further suggests that cybernetic languaging, in all forms and media, shares a logic that is informed by understandings of processes of living as they exist and may exist. Playing is a means to reach out into possible futures, to initiate the not-yet-existent.

Following the conferences of the past years promoted by SIe-L and SIREM, ISYDE2024 aim to strengthen and broaden the focus on both digital and media education through innovative teaching and learning experiences.

The mission of the FedCSIS Conference Series is to provide a presentation, discussion and a reputable publication forum in computer science and intelligence systems. The forum invites researchers and practitioners from around the world to contribute their research results focused on their scientific and professional interests in a chosen area of computer science.

To the artists-in-residence, mur.at offers its infrastructure and possible assistance by the mur.at admin team and the wider mur-community. Artists can involve the community in the research process, develop ideas together, collaborate with others and produce digital artworks. For the onsite residency in Graz (Austria), an appropriate accommodation in the ‘Künstlerinnenwohnung’ located in the same building as the mur.at headquarter will be provided.

The Prix Ars Electronica is entering its 38th round: From tomorrow, January 12, 2024, artists can once again submit entries to the world’s most traditional media art competition. There are three categories to choose from. The “AI in Art” award is new.

The Technarte International Conference on Art and Technology will be held in Bilbao, Basque Country, Spain on May 17, 2024. We are currently looking for artists and technologists from around the world who want to join this exciting event as a speaker and share their vision of the fusion between art, science and technology.

Our conference is asking: “What would Science, Technology and Innovation look like in a world not driven by the endless pursuit of economic growth? What exciting futures would begin to take shape if we harnessed technological and scientific advances for something other than growth alone? What new worlds might we be able to conceive if human wellbeing and the natural environment were the primary focus of innovation?"

With the support of the European Union’s Creative Europe programme, the European Media Art Platform continues its residency program for artists, artist duos, collectives or other artistic collaborations working in the fields of digital art, media art, robotic art and bio art.

ISEA2024 sets out to explore human perception of timescales and challenge our understanding of past, present and future in the days of singularity and climate change – the Everywhen. The Everywhen is the concept of all time simultaneously present in a place and describes the notion that past, present and future are co-habiting any given location. Where many western cultures believe time is the constant and travels in a linear progression from now to then, First Nations Australians describe the before then, then, now and the future then existing in the constant presence of place: The Everywhen.

S+T+ARTS AIR launches a new S+T+ARTS residencies programme focused on two main themes: Resilient interspecies urban ecosystems and Human AI Ecosystems, presenting a unique opportunity for artists to collaborate at the intersection of art, science, and technology.

ACT (Arts & Creative Technology) Festival of the Asia Culture Center (ACC) aims to integrate artistic creativity and technology in a transdisciplinary festival that showcases future-oriented projects and ideas through various programs including exhibitions, academic forums, performances, and workshops, promoting the exchange of knowledge, skills, and experiences among local and international artists, cultural producers, and the general public.