Call for Papers, ZfM Nr. 8 (1/2013)
Special issue: Media Aesthetics

Guest Editors: Erich Hörl (Ruhr-Universität Bochum), Mark B. N. Hansen (Duke University)

“The aesthetic power of feeling”, wrote the late Félix Guattari, seems to be “on the verge of
occupying a privileged position within the collective assemblages of enunciation of our era.” In
discerning a “new aesthetic paradigm” he was not anticipating something along the lines of the
primacy of the institutionalised arts within the social field, but rather a kind of “proto-aesthetic
paradigm”, traversing all universes of value and existential territories, from the arenas of science
and the ethico-political, to the modalities and practices of subjectivation. This general
aestheticisation which Guattari had in mind at the end of the 1980s may be regarded as one of the
first descriptions of a fundamental upheaval in the history of technology and sensation, a change
taking place during the second half of the twentieth century, but especially since the 1990s, and one
which potentially shifts the meaning of aesthetics as such: under the new media-technological
conditions we observe a proto-aesthetic dressing of the present. This means a fundamental
prioritising of the problem of perception and ultimately of all the sensations and affects which
underpin the faculty of perception – such that media aesthetics may well become a fundamental
problem of media studies. At the same time, the aesthetic question thereby proves increasingly to be
a techno-ecological question of the networked and sensory environments in which sensation occurs.

The possible sensorial and sensational facts which characterise the new aesthetic – or more
precisely, media-aesthetic – regime, range from streams of time-objects, as they spread hyperindustrialised
and technologised audiovisual objects on the basis of numerical transfer standards, to
the rise of sensory milieus (e.g. RFID), to the algorithmic environments of the software agencies of
ubiquitous media, ubiquitous computing, ambient intelligence and calm technologies. We are
witnessing the transformation of the “technological unconscious” (Nigel Thrift), and with it the
transformation of the aesthetic conditions and means by which the world appears – the general
backgrounds of existence and experience, and thus the meaning of the world.
This special issue of ZfM sets out to clarify the historical-systematic contours as well as the
political implications of the new aesthetic paradigm. This necessitates focusing on the key
technical-medial scenes of the current sensorial caesura, outlining the associated conceptual
challenges and issues of politics of terminology, in order thereby to contribute to the redescription
of media-aesthetics under technological conditions, in particular those of the new era of social and
mobile media in the network age.

The following central questions are to be addressed: What are the core problems of media aesthetics
that are associated with the technical-medial transformation of the present, and what are the
corresponding media-aesthetic perspectives? What is the meaning of experience, perception,
sensation, subjectivity under these new media-aesthetic conditions? Does the outline of an original
media-aesthetic question emerge, on the ground of the new facts of perception emergent in digital,
networked media systems and algorithmic milieus, which would contrast with the now traditional
philosophical aesthetics? What scenes should be considered, and which semantic frames are
required, in order to seize the media-aesthetic question in its specificity and its urgency? How does
the new conceptual politics relate to traditional aesthetic conceptual regimes – where are the
possible connections, and where do we find a need for other conceptual strategies? What
genealogical scenes for the new media-aesthetic paradigm can be discerned in the twentieth
century? What are the political challenges of the new aesthetic condition? How should we assess
previous attempts to redefine aesthetics under these radical media-technological conditions?

Text submissions (around 25,000 characters, notes and spaces included), by the end of August 2012,
to: erich.hoerl@ruhr-uni-bochum.de

This special issue of ZfM will be published in April 2013.

Language of the publication is German. Papers are accepted in German, English and French; papers
will be translated after peer-review and acceptance.

Deadline: Friday 31st, August, 2012

Typical range is based on educational case-studies, interpersonal or social communication paradigms and interactive multimedia art, interactive multimedia applications, sensor-based multimedia systems, interactive interfaces and interactive sense-enhancing art systems.

To find out more about the journal and the submission page, please visit:

http://www.intechopen.com/journals/show/international_journal_of_interactive_multimedia

These are some of our previously published books related to Multimedia. Like our journal, all our books are free to read, share and download:

Interactive Multimedia: http://www.intechopen.com/books/interactive-multimedia

Multimedia – A Multidisciplinary Approach to Complex Issues: http://www.intechopen.com/books/multimedia-a-multidisciplinary-approach-to-complex-issues

Deadline: Sunday 8th, July, 2012

Eligibility: Visual Arts – Artists of all ages, nationalities and backgrounds are eligible to participate.

All artists must agree to donate their works to the museum.

Place of Event: Kumbo – Cameroon

Deadline: 30th September, 2012

Send works to:

ArtXchanges-Global 4 Mus’Art Gallery
P.O Box 21, KUMBO
North West Region,
Cameroon
Africa

Deadline: Sunday 30th, September, 2012

Throughout its history, the competition has welcomed proposals that challenge the boundary between living and non-living, between natural and synthetic, either by juxtaposing both realities or by creating overlapping spaces for reflection.

As in previous years, contestants are invited to submit proposals in one of two categories:

CATEGORY FINALISED PROJECTS: In this category, Vida 14.0 rewards artistic artificial life projects developed after the year 2010.
A total of 40.000 euros will be divided among the three winning projects chosen by the jury:
First Prize: 18.000 euros;
Second Prize: 14.000 euros;
Third Prize: 8000 euros.

Seven honorary mentions will also be awarded to projects chosen by the jury from among the finalists.

CATEGORY INCENTIVES FOR PRODUCTION: In this category, Vida 14.0 helps to finance artistic artificial life projects that have not yet been produced. It is reserved for artists who are citizens or residents of any country in Latin America, Spain or Portugal. This category is also endowed with 40.000 euros to be divided among the selected projects.

Deadline: Monday 30th, July, 2012

Piemonte Share is announcing a new edition of the Share Prize, the international competition designed to discover, promote and support art in the digital age. Open Your City is the guiding theme for the Share Festival 2012. A theme that contains three key, simple and direct words, the pillars on which this year’s festival programme will be built. ‘Open Your City’ will also provide the blueprint for this year’s Share Prize. An international jury will short-list six finalists for the prize (EUR 2,500.00), who will be invited to take part in the 8th Share Festival.

details: http://www.toshare.it
deadline: June 6 2012

Deadline: Wednesday 6th, June, 2012

DEADLINE TO APPLY: 9am on 25 June 2012.
COLLABORATION PERIOD: September 2012 – June 2013.
PAYMENT: 12,000 euros + VAT (including travel and accommodation).

Rules of the call and requested researches at http://www.conexionesimprobables.com

Deadline: Monday 25th, June, 2012

http://www.medeaelectronique.com/

Residency

Since 2009 the artist collective Medea Electronique has organized an annual 10-day experimental artist residency, Koumaria, near Sparta in Greece, focusing on improvisation and new media practices. Avant-garde artists from all over the world, inspired by the Greek natural landscape, come together to create a multicultural and cross-media ‘dialogue’ culminating in a collective presentation in Athens at the end of the residency. Past residents have formed lasting friendships and new artistic partnerships. For us the residency serves as a model for future creative collaborations.

The residency is held at an organic olive oil farm at the foot of Mount Taigetos in Sparta. The base for the residency, a modern and comfortable house, features dormitory-style bedrooms, large and comfortable common rooms (featuring fireplaces and magnificent views of the surrounding mountains and fields), two primary spaces for project development and practice, terraces, rooftop overlooks, and a large and modern kitchen. (A second building is being constructed which may be ready for this year’s residency.) The surrounding hills, mountains, villages and the not too distant sea, coupled with a vast expanse of sky, stars, and ever-changing mountain vistas, afford the residents amble space and opportunity for creative work. Meals are taken communally, with an emphasis on fresh and local produce and traditional recipes. In this environment artists not only have the chance to live and work together interacting with the Greek landscape, but also to trade their experiences concerning everyday life and culture. Chores are undertaken collectively, but there is ample time for residents to work, create, explore the surroundings and enter into new artistic partnerships.

The residency is held in cooperation with the Onassis Cultural Centre (http://www.sgt.gr/en), who will host the performance of the residency results as part of a major international 3 day event entitled Across the Great Divide—Creative Human—Machine Improvisations. This event will feature workshops, lectures, performances and demonstrations by many of the leading artist/theorists working in the field of human— machine artistic interactions, including George Lewis, Pauline Oliveros, Evan Parker. Residents will have the unique opportunity to participate in this event, and interact with these, and other, participating artists.

Accordingly, the theme of the residency this year is Machine-Human Improvisational Interactions, and applicants to the residency are requested to submit with their application a project description that speaks to this theme, and evidence of prior work undertaken in this area. We construe the theme broadly, and it raises a number of questions that residents may want to pursue How do machine-human improvisations reveal features of what improvisation itself is, or could be? What do such interactions tell us about what it is to be human, or to be a machine? How might we remain humanists as artists yet embrace new technologies and their potentials? Can machines help us overcome artistic limitations, or do they create new ones? Are new modes of improvisation suggested by software and hardware systems? Have the use of new technologies in art changed the notion of what a body is, or what a machine is? How can we integrate new technologies into art that focuses on nature and the environment? Is a new age of improvisations powered by machines potentially freeing, or stultifying–should we be excited by the possibilities, or worried by what might follow?

We invite applications from artists working across the spectrum of new media arts (musicians, dancers-performers, video artists, photographers, e.t.c.) to participate in the residency. We will select up to 6 participants from the applications received. We are excited by the fact that innovative artist Miya Masaoka will be in attendance for the end of the residency to both work with the residents, and participate in the collective work. It is possible that other guest artists may “drop in” during the course of the residency.

Medea Electronique, being an eclectic art collective, is interested in people from diverse cultural and artistic backgrounds. Past residents have come from a variety of artistic backgrounds, and from numerous countries. While assorted nationalities and ethnicities have been represented, the common language of the residency is English (although fluency is not necessary, an ability to interact with other artists in English is necessary).

The residency provides:

A.In terms of hospitality

1) transportation from Athens to the residency and back.
2) housing and food supplies in Sparta
3) Internet connection while in Sparta residency
4) housing in Athens during the presentations

While there are few expenses the residents need to consider while at the residency, it is worth having some funds for trips to local cafes and the like.

Rooms, Bathrooms in Sparta are shared
Cooking and cleaning the house during our stay is undertaken collectively

B. In terms of equipment

1) A Mac Pro with Logic and Final Cut, assorted plugins
2) A 32-channel digital mixing desk, high-end monitoring (8 Channel Diffusion Set UP)
3) A range of studio microphones and sound processors
4) 2 digital recorders (Olympus LS11, Tascam HD2)

Notes:
• You ought to bring your own equipment/instrument and computers

We do not provide…
Unfortunately no artist fee is to be given for the presentations/performances. Residents are also responsible for their own transportation to and from Athens.

1) A participation form (Download from www.medeaelectronique.com)
2) A personal statement saying why you want to participate. This statement should speak to this year’s theme.
3) A small sample of your individual work (site, demo, pictures etc)
4) First draft ideas for projects related to this year’s theme
5) Your C.V.

Please submit all inquiries preferable online at

info@medeaelectronique.com

or at (Please only regular Post)

Manolis Manousakis
Feidiou 11 Gerakas
15344
Greece

Deadline: Sunday 15th, July, 2012

Deadline: Ongoing until November 2012

Deadline: Friday 30th, November, 2012

Advisors are sponsored by the Institute to work with students on their art and/or curatorial projects off-site during semesters between residencies. Responsibilities include a minimum of two meetings per semester for critiques and advisement on the student’s media independent study projects plus a mid-project and final written evaluation. Students and advisors make schedule arrangements between themselves.

More info on teaching with Transart can be found here:

http://www.transart.org/?p=1687

For questions please contact Drew Henmi: henmi@transart.org

The Transart Experience
TRANSART STUDENTS are emerging and mid-career artists and educators. Transart residencies are a meeting place for cultural exchange. Transart students and alumni will converge for the summer residency from areas as diverse as Thailand, Egypt, Italy, Pakistan, Iceland, Croatia, Ethiopia, Canada, Costa Rica, the UK and the US.

For many students the time at Transart is a transformational experience. Performer and painter Nicole Stager wrote: “This program has changed my life in profound ways. My art practice is more informed, better articulated, more open, more thoughtful, more grounded in theory.” New York based artist Virgil Wong found “The community I’ve become a part of through Transart is already much more immersive than what I’ve developed in ten years of living and working as an artist in New York City”. Photographer and performer Angelika Rinnhofer found that “to work independently can pose a challenge but it also offers freedom and flexibility. Since a large number of students are accomplished artists and earn a living, Transart’s concept is ideal to work toward a degree and to expand one’s artistic career in addition to having a job.”

General information: www.transart.org

Transart Institute
Mail: 228 Park Ave. S. New York, NY 10003, USA
Ph: +1 (347) 410 9905
Skype: transartinstitute
www.transart.org
info@transart.org

Deadline: Tuesday 1st, January, 2013

THE MFA CREATIVE PRACTICE
consists of three intensive summer residencies in Europe filled with lectures, workshops, critiques, seminars, performances and exhibitions and two shorter winter residencies in New York City. In the four semesters between residencies, students create an individual course of study realizing art and research projects with the support of faculty and studio advisors wherever they work and live.y.

FAST TRACK MFA -> PhD
Exceptionally focussed and accomplished artists can apply for transfer from the MFA to the studio PhD program within the first year of the MFA. Students who wish to enroll in the Fast Track program need to apply to the MFA Creative Practice. In their second semester on the MFA they develop a doctoral proposal. At the end of the semester they can apply for Fast Track assessment. Successful applicants will be registered for the MPhil/PhD course of studies at that time.

PhD PROPOSALS
Transart is particularly keen on encouraging proposals that in the widest sense explore the archive, documentary art making, language/image, space and inhabitation of space, software as art, network culture, the role of art making in peace, mediation and international relations as well as performance. The proposal should demonstrate systematic study, independence, critical competence and originality.

ADMISSIONS REQUIREMENTS
A master’s degree in a related field, MFA preferred.
The application process is detailed online.

TUITION AND FEES
Application fee: $50
Tuition PhD: GBP 5,375 / $8,540* per semester (minimum of four)
Bench fee: $3,000 per semester
Tuition MFA: $9,760 per semester (two or four)
All other fees included in semester tuition
* based on current exchange rate

SCHOLARSHIPS
Limited Assistantships are available through enrollment in the PhD program. These Assistantships cover up to $12,000 of tuition over three years. One 50% developing country scholarship is available this year on the PhD program. Partial scholarships are also available on the MFA Creative Practice.

Finances
Funding letters are mailed with acceptance into the program. Plymouth University is certified by the US Department of Education (DoE) as an eligible foreign school. Students are now able to apply for Sallie Mae International private student loans, school code: 023521. (Note: FAFSA and Stafford loans are not an option for this UK validated program.)

The Transart Experience
Transart Students are emerging and mid-career artists and educators. Transart residencies are a meeting place for cultural exchange. Transart students and alumni will converge for the summer residency from areas as diverse as Thailand, Egypt, Italy, Pakistan, Iceland, Croatia, Ethiopia, Canada, Costa Rica, the UK and the US.

For many students the time at Transart is a transformational experience. Performer and painter Nicole Stager wrote: “This program has changed my life in profound ways. My art practice is more informed, better articulated, more open, more thoughtful, more grounded in theory.” New York based artist Virgil Wong found “The community I’ve become a part of through Transart is already much more immersive than what I’ve developed in ten years of living and working as an artist in New York City”. Photographer and performer Angelika Rinnhofer found that “to work independently can pose a challenge but it also offers freedom and flexibility. Since a large number of students are accomplished artists and earn a living, Transart’s concept is ideal to work toward a degree and to expand one’s artistic career in addition to having a job.” Faculty Michael Bowdidge: “Undertaking a PhD has lead me to a much deeper understanding of the nature of my practice. You can learn more about the experiences of Transart members online.

Summer Program Highlights

Reciting Sites, a seminar with Andy Warhol grant recipient Myron Beasley that contemplates and interrogates the cultural politics of public art and its construction of Memory and history with performance theory.

Remembering Spaces, a workshop team-taught by Deborah Aschheim and Lisa Mezzacappa, dedicated to how we experience spaces with our bodies and senses, how we remember these embodied experiences and how we can devise new ways of observing, recording and recreating spatial experiences that get at the deeper truth of the phenomenological and narrative experience.

Urban Poetics, a seminar with curator Radhika Subramaniam is concerned with that ephemeral notion “the urban experience” and how it is brought into being, a historic process and a deeply sensual one. The elements of space, time, memory, subjectivity, and perception that have created it and continue to do so have also constructed an urban way of knowing. Exploring the questions, What are the urban knowledges produced by these ways of knowing? How do urban practices frame our ways of seeing and being? How do these habituate us and influence the ways in which we inhabit cities? close reading, experiments, performance, listening, walking, and a deep exchange and intersection with one’s artistic practice will occur.

The full summer program is online.

General information: www.transart.org
For questions or to make an appointment to speak with faculty please contact: Drew Henmi: henmi@transart.org

Transart Institute
Mail: 228 Park Ave. S. New York, NY 10003, USA
Ph: +1 (347) 410 9905
Skype: transartinstitute
www.transart.org
info@transart.org

Deadline: Friday 31st, August, 2012