[spectre] Fw: [Isea2006 | ZeroOne San Jose] Theme: Transvergence - Call forParticipation ISEA2006

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----- Original Message -----
From: "Steve Dietz" <mediachef at gmail.com>
To: "ISEA2006" <isea2006 at cadre.sjsu.edu>
Sent: Saturday, August 13, 2005 9:05 AM
Subject: [Isea2006 | ZeroOne San Jose] Theme: Transvergence - Call
forParticipation ISEA2006


> CALL FOR PARTICIPATION ISEA2006
> THEME: TRANSVERGENCE
> http://isea2006.sjsu.edu/transvergence/index.html
> Deadline October 3, 2006
>
> This is an invitation by the ISEA2006 Symposium and ZeroOne San Jose:
> A Global Festival of Art on the Edge to groups and individuals to
> submit proposals for exhibition of interactive art work and projects
> reflecting on the thematic of the transvergence.
>
> Creative interplay of disciplines to catalyze artistic, scientific,
> and social innovation is evidenced by decades of multi-/ pluri-,
> inter-, and trans-disciplinary discourse and practice. Emphasis on the
> dynamics subtending this interplay has led to the notion of
> transvergence, a term coined by Marcos Novak which overrides
> discipline-bound issues and demands, and serves as the focus of the
> present call. Proposals are sought that address but are not limited to
> themes outlined below, challenging the boundaries of disciplines and
> conventional (art) institutional discourse, and indicating creative
> strategies for overriding them. Proposals may consist of art projects,
> residencies, workshops, standalone conference papers, or group
> conference sessions.
>
> "While convergence and divergence are allied to epistemologies of
> continuity, transvergence is epistemologically closer to logics of
> incompleteness, to complexity, chaos, and catastrophe theories,
> dynamical systems, emergence, and artificial life. While convergence
> and divergence contain the hidden assumption that the true, in either
> a cultural or an objective sense, is a continuous land-mass,
> transvergence recognizes true statements to be islands in an alien
> archipelago, sometimes only accessible by leaps, flights, and voyages
> on vessels of artifice.
>
> "Central to transvergence is speciation. We want to draw proposals
> that constitute new species of effort and expression and that both
> enact and reflect on our construction of new species of cultural
> reality -- not by being merely novel mutations within known areas, but
> by boldly challenging known areas and yet being potentially viable to
> the point of becoming autonomous entities -- not dancing about
> architecture or architecture about dancing, for instance, but dancing
> architecture... or, better still, something else, as yet alien and
> unnamable, but alive and growing."--Marcos Novak
>
> ORGANIZATIONAL MODELS OFFERINGSETTINGS FOR TRANSVERGENCE
>
> Transvergence is conditioned by exodus and invention. New idioms of
> expression do not happen in isolation. Although creativity is a
> resource that works best when shared, there is no clear form of
> revenue or infrastructure for the practices of collaboration that
> characterize transvergence. Collaboration in this context does not
> arise from democratically disseminated, proportionally allocated
> property, but from the permanent re-appropriation of shared resources,
> and resultant re-territorialization of production, creation and
> artefacts. The models of the think-tank, media lab and research centre
> have shown their limits since the 80s and 90s, as have tactical media
> activism tied to the logic of events, and NGOs facing the donor
> system's arduous accountability requirements; university research is
> often encumbered by best-practice driven managerial culture, and
> "creative industries" clusters are subject to economies of scale and
> uneven divisions of labour. As a technics of expression immanent to
> media of communication, transvergence requires settings that
> instantiate structures of possibility. Such settings might derive from
> models offered by ecologies, fields and membranes, and from the
> emergent institutional forms of organized networks, whose constant
> configuring of relations between actors, information, practices,
> interests and socio-technical systems corresponds to the logic of
> transvergence.
>
> ISEA seeks new visions of organizational and participatory models as
> structures of possibility for transvergent practice.
>
> TRANSVERGENT ETHICS AND REDEFINTIONS OF ART
>
> Institutions which purportedly back new art practices are not always
> the bravest when it comes to work which challenges basic assumptions
> about what art is, what the artist is, what the relationship between
> artwork and audience might be, and what the outcome of an artwork
> might be. Counter intuitively, business corporations can be much
> quicker to support radically new ways for artist, artwork and audience
> to speak to each other: every time a viewer/player engages with an
> interactive creation, a kind of commerce occurs - a series of
> transactions, a litany of offers and purchases. Similarly,
> organizations devoted to healthcare, social well-being and political
> activism may more readily recognize exchanges that privilege the
> contingent yet compelling "we", and the urgency of the encounter. Art
> and cultural institutions remain reluctant to take on these new forms
> because they destabilize old views of the artist as a person making a
> proposition about the world and of the audience as consumer/
> interpreter of this proposition, whereas transvergent work instates
> audiences as key f/actors in communication processes. This implies a
> shift in – but not necessary the demise of - the artist's role, and a
> change in the nature of artworks, formulated as public experiments
> raising questions as much to do with ethics, as with aesthetics and
> poetics.
>
> ISEA encourages proposals querying the role and relevance of art in
> public arenas that are being redefined by interactive, inclusive
> ambitions and tools
>
> BIO-TECH-BIOINFO-BIOART-ECOART
>
> Over the past 20 years, biotechnology has revolutionized the
> pharmaceutical and agricultural industries, and the fields of animal
> and human medicine. Biotechnology implementations direct areas such as
> food production and consumption, global trade agreements, human and
> animal reproduction, environmental concerns as well as biosecurity and
> biodefense. The Human Genome Project and stem cell research have
> stimulated the merging of computational research with areas of the
> life sciences. Disciplines such as bioinformatics and ecoinformatics
> currently enjoy broad public attention and funding. Although artists
> have long been engaged with depictions of "nature", BioArt, which
> includes the use of biological matters as part of artistic production
> and context creation, and EcoArt, where artists attempt to influence
> the ecologies in which we live, are relatively young areas demanding
> new exploratory and creative strategies.
>
> ISEA is interested in projects engaging with the materials and broader
> ecology of life sciences, rather than simply their symbolic
> representation.
>
> TECHNOZOOSEMIOTICS AS AN EPISTEMOLOGICAL PLATFORM & PLAYGROUND
>
> Technozoosemiotics is the study of signs elaborated by all natural or
> artificial living species to communicate in intra- or extra-specific
> ways (zoe = life). Humans and their more-or-less intelligent artefacts
> ignore the quality and singularity of information elaborated and
> emitted through the myriad channels and networks which traverse
> terrestrial, celestial, marine and intergalactic spaces. As art forms
> migrate from institutional sanctuaries to other areas of experience –
> the everyday, public, intimate/private, the biosphere, the universe –
> they must tune to the diverse communications that animate the
> technozoosphere. This means inventing interfaces that favour
> interactions of like and unlike kinds of intelligence, and emergence
> of new species of conversational agents. It means creating
> epistemological platforms and playgrounds for the transduction and
> translation of codes that open up novel ways of thinking and domains
> of knowledge.
>
> ISEA is soliciting art that extends beyond human-centred design, to
> questions of living systems and new species of cultural reality.
>
> TRANSVERGENCE CALL COMMITTEE:
>
> Chair, Sally Jane Norman, Louis Bec, Andy Cameron, Beatriz da Costa,
> Bojana Kunst, Maja Kuzmanovic, Anne Nigten, Marcos Novak, Ned Rossiter
>
>
> Timeframe:
> Announcement August 1, 2005
> Submissions due October 3, 2005
> Jurying due December 1, 2005
> Accepted proposals announced December 15, 2005
>
> http://isea2006.sjsu.edu/transvergence/index.html
> If you have questions contact
> transvergence at yproductions.com
> Sign up for the ISEA2006 mailing list:
> http://cadre.sjsu.edu/mailman/listinfo/isea2006
>
>
> --
> Steve Dietz
> Director, ZeroOne: The Network
> Director, ISEA2006 Symposium +
> ZeroOne San Jose: A Global Festival of Art on the Edge
> http://isea2006.sjsu.edu : August 5-13, 2006
> stevedietz[at]yproductions[dot]com
> http://isea2006.sjsu.edu/index.html
>


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