From oliver.grau at mediaarthistories.org  Thu Jul  2 16:06:54 2026
From: oliver.grau at mediaarthistories.org (oliver.grau at mediaarthistories.org)
Date: Thu, 2 Jul 2026 16:06:54 +0200
Subject: [spectre] Ext. Deadline: CFProposals to HOST the next
 MediaArtHistories Conf 2029
In-Reply-To: <567152141.279828.1772806804575@mailbusiness.ionos.de>
References: <01a001dca707$fe8c27c0$fba47740$@mediaarthistories.org>
 <1490901702.276112.1772805697591@mailbusiness.ionos.de>
 <2028775316.277029.1772806006255@mailbusiness.ionos.de>
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 <567152141.279828.1772806804575@mailbusiness.ionos.de>
Message-ID: <000001dd0a2c$09e60050$1db200f0$@mediaarthistories.org>

CALL FOR PROPOSALS TO HOST the 13th International Conference  

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

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

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

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

1. Proposed Dates 

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

3. Rationale for hosting the conference 

4. Host Local Organizing Committee 

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

6. Publicity Plan 

7. Funding / Sponsorship plan 

8. Preliminary Budget 

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

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

Deadline for final submission of proposals: July 30th, 2026

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

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

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

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

MAH Headquarters Director: Wendy COONES (US/AUT)

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

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

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

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

Prof. aD Dr. habil. Oliver Grau, MAE

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

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

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

 

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From andreas.broeckmann at leuphana.de  Fri Jul  3 19:25:01 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Fri, 3 Jul 2026 19:25:01 +0200
Subject: [spectre] Fwd: CFP Rewind Yugoslavia 1969-91 : International
 Conference on Video Art - V&A Museum, Dundee, Scotland, 25-26 February, 2027
In-Reply-To: <CAOsV=XBkN379v7MJ_-eiJyyA5S33HKtjUyaxhwhvcBozi1k6GA@mail.gmail.com>
References: <CAOsV=XBkN379v7MJ_-eiJyyA5S33HKtjUyaxhwhvcBozi1k6GA@mail.gmail.com>
Message-ID: <c66884cb-5be1-4713-b370-15a42292fe3a@leuphana.de>

Betreff: [NEW-MEDIA-CURATING] CFP Rewind Yugoslavia 1969-91 : 
International Conference on Video Art - V& A Museum, Dundee, Scotland, 
25-26 February, 2027
Datum: Fri, 3 Jul 2026 14:52:59 +0200
Von: Laura Leuzzi <laura.leuzzi at GMAIL.COM>

Dear List

It is with great pleasure that I am sharing the CFP for 
REWINDYugoslavia's upcoming Conference that will be held at the V&A in 
Dundee from 25th to 27th February 2027. Attendance bursary available 
(please see call and form below).
Please do not hesitate to get in touch if you have any questions
Best wishes
Laura


*Call For Papers*

*Rewind Yugoslavia 1969-91 : International Conference on Video Art*

*V&A Museum, Dundee, Scotland, 25-26 February, 2027*

*Rewind Yugoslavia 1969-91* is a project focused on video art 
production, discussion and consumption from the former Yugoslavia, 
funded by the Arts and Humanities Research Council (UK). The project is 
led by Gray’s School of Art, Robert Gordon University, Aberdeen, working 
in partnership with Duncan of Jordanstone College of Art and Design, 
University of Dundee.

This is the latest funded research project in Rewind’s long history of 
investigating, examining and preserving early works of video art. 
Established in 2004 by Professors Stephen Partridge and Elaine Shemilt, 
previous projects have included *Rewind: British Artists Video in the 
70s & 80s* (2012), *Rewind Italia*(2015), *EWVA- European Womens’ Video 
Art* (2019). *Rewind Yugoslavia* is led by Dr. Jonathan Blackwood 
(Gray’s School of Art), together with Dr Laura Leuzzi and Dr. Maja Zećo 
(Gray’s) and Adam Lockhart (DJCAD, University of Dundee). More 
information can be found at https://rewind.ac.uk/

In February 2027 we will hold an international conference at the 
Victoria & Albert Museum, Dundee, on video art from the former 
Yugoslavia. This will feature invited keynotes and with an open call for 
all scholars who have an interest in video art during this period. We 
seek papers of up to 20 minutes, or alternative formats, focusing on but 
not limited to the following areas:

·      Aesthetics of video art in former Yugoslavia
·      Infrastructures for Video Art
·      Networks of Video Art in former Yugoslavia
·      Video Art and Television
·      Video Art & Performance
·      Artists Perspectives
·      Profiles of Yugoslav Video Art abroad
·      Monographic or Art Historical Papers
·      “National” Histories of Video Art in the former Yugoslav republics
·      Video Art Festivals
·      Technological Histories of Video Art
·      Video Art and Film
·      Video Art and Music

We are open to your suggestions and ideas. A small number of travel 
assistance bursaries will be available to those requiring assistance 
with costs in attending the conference in Dundee, made available on a
case-by-case basis. If you intend applying for one of these bursaries, 
we will require you to make a supporting case to access available funding.

It will also be possible to attend and participate in the conference
remotely.

To apply, please complete the form attached and return to
j.blackwood at rgu.ac.uk copying in m.zeco1 at rgu.ac.uk by *Thursday, 17
September 2026 at 1600GMT.* Colleagues will be notified of the outcome 
of their proposal by *Friday, 25 September.*

We look forward to reading your proposals and to welcoming you in Dundee 
or online, next February! The proposal form is attached below.


*REWIND YUGOSLAVIA CONFERENCE PROPOSAL FORM*

*Name*

*Affiliation *

*Proposal Title*

*Proposal Abstract (maximum, 300 words)*

*Options (Delete as Applicable)*
*I intend to come to Dundee / I will Attend Online*

*I would like to apply for an attendance bursary and attach my 
supporting statement to this form Yes / No*

*Signature*

*Date*


*Please forward to **j.blackwood at rgu.ac.uk* <j.blackwood at rgu.ac.uk>* 
copying in **m.zeco1 at rgu.ac.uk* <m.zeco1 at rgu.ac.uk>

*APPENDIX: Case for support for an attendance bursary*

*Please write your case for support to access an attendance bursary 
below, providing any supporting evidence.*


From darko at darkofritz.net  Mon Jul  6 13:30:57 2026
From: darko at darkofritz.net (Darko Fritz)
Date: Mon, 6 Jul 2026 13:30:57 +0200
Subject: [spectre] =?utf-8?q?=C5=BDeljko_Jerman=3A_Death_in_Korkyra_-_Exhi?=
 =?utf-8?q?bition_openings_in_Zagreb_and_Kor=C4=8Dula?=
Message-ID: <F1ECC2E1-02ED-4029-9756-D06770053F59@darkofritz.net>

Željko Jerman: Death in Korkyra
Exhibition openings in Zagreb and Korčula


7 July – 20 September 2026
Museum of Contemporary Art Zagreb

17 July – 17 August 2026
Korčula Town Museum

17 July – 6 September 2026
grey) (area Wi-Fi Gallery

Curators: Darko Fritz and Radmila Iva Janković



Marking the twentieth anniversary of the death of Željko Jerman (Zagreb, 1949 – Korčula, 2006), one of the key figures of Croatian conceptual art, the Museum of Contemporary Art Zagreb and grey) (area – space for contemporary and media art presents the multi-site exhibition project Death in Korkyra. Taking place in Zagreb and Korčula, the project symbolically connects the city where the artist was born with the island that profoundly shaped both his artistic practice and his personal life. The project is curated by Darko Fritz and Radmila Iva Janković.

The exhibition at the Museum of Contemporary Art Zagreb opens on Tuesday, 7 July 2026, at 8 pm and runs until 20 September 2026. It presents an overview of the key stages of Jerman's artistic practice through works from the Museum's collection, accompanied by selected archival material and documentation from both institutional and private archives. The exhibition spans from the early Subjective Photographs, first exhibited in 1975, through experimental photographic works that radically questioned the limits of the medium, to photo-paintings created in the late 1980s and throughout the 1990s, including works produced in Korčula. Jerman reduced photography to its essential components—light, trace, chemical process, and the materiality of photographic paper—transforming it into a field where art and everyday life become inseparable. The exhibition also recalls the artist's long-standing relationship with the Museum, one of the first institutions to recognise the significance of his work.

The two Korčula exhibitions open on Friday, 17 July 2026, at 7 pm. The exhibition at the Korčula Town Museum, on view until 17 August 2026, presents four works created in Korčula in 1995. Produced as large-format photograms with direct interventions using photographic chemicals and, in some cases, paint, the works demonstrate Jerman's distinctive approach to the photographic medium. At the centre of the exhibition is Death in Corcyra, the work from which the entire multi-site project takes its title. Together, these works testify to Jerman's enduring connection with Korčula, where he realised a series of important artistic projects and exhibitions over several decades and developed a significant part of his artistic language.

Also opening on 17 July is the exhibition at the grey) (area Wi-Fi Gallery, on view until 6 September 2026. It features My Month (2003), the final chapter of Jerman's long-running diary project, in which photographs and short handwritten texts document the artist's everyday life. Conceived as a continuation of the seminal works My Year and My Year 2, My Month reaffirms Jerman's conviction that art emerges directly from lived experience. The exhibition can be accessed via mobile devices by connecting to the open wireless network "grey) (area" at St Mark's Square in Korčula. It represents an innovative model for presenting digital art in public space, developed by grey) (area in collaboration with the Korčula Town Museum and the artist organisation Format C, dissolving the boundaries between the exhibition space and everyday urban experience.

The project takes its point of departure from the work Death in Korkyra, which symbolically reflects Jerman's profound connection with Korčula. Through exhibitions in Zagreb and across the Korčula venues, the project explores the relationship between artistic practice, place and memory, while highlighting the importance of collaboration between museum institutions and the independent cultural sector in preserving and reinterpreting artistic heritage.

More information:

https://www.msu.hr/dogadanja/zeljko-jerman-death-in-korkyra-iz-zbirke-msu-a/1969.html
https://sivazona.hr/events/death-in-korkyra-2-4
https://sivazona.hr/events/death-in-korkyra-3-4
https://sivazona.hr/events/death-in-korkyra-4-4

---

Currently in grey) (area's programme:

Until 16 July 2026 Dorinda Bulić-Čotić: City View: Dubrovnik
grey) (area Wi-Fi Gallery, Korčula
More information: https://sivazona.hr/events/vizura-grada-dubrovnik

Until 30 April 2027 Simon Beer: MA Moments
Church of the Immaculate Conception, Korčula
More information: https://sivazona.hr/events/ma-moments

—

grey) (area – space for contemporary and media art
https://sivazona.hr

From lists at asquare.org  Tue Jul  7 15:25:12 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Tue, 7 Jul 2026 14:25:12 +0100
Subject: [spectre] Extended deadline August 1st 2026 for Post-Disciplinary
 Creative Practices, EAI ArtsIT 2026
In-Reply-To: <CAJ_C8aUeL_btz5LFY7Q0Ui9qX3f0iOWqVA95EUNdcjZRSMmopA@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_C8aV0+8eWKzJEWVNuiqLA72vR0-=VftAkBJFhCKwZ-gkCpw@mail.gmail.com>
 <CAJ_C8aXmwV0YJhzDPsBKwA68ue2+pg0HHB1+JA3xO9YPg-r74Q@mail.gmail.com>
 <CAJ_C8aXn2ESvbLFFxFVemXN8yNSG3MH8zhuXxrJ+_7nK0=31mQ@mail.gmail.com>
 <CAJ_C8aUOqfRyaf3OATP-_GeB7t_C2gD2rU6o3Z0OTEFxincDXg@mail.gmail.com>
 <CAJ_C8aXqw8VQDKbtWe3TE_EwT6EAbH++QPNa6YJtbauFoeoEzw@mail.gmail.com>
 <CAJ_C8aUvyDVDZjphn2YFxPiQYbkE9x+K1U6DAaSSi4VJs+-KPQ@mail.gmail.com>
 <CAJ_C8aUAVjPEur-MtdAEa82md6wYN8A12BcnVzG5bTp0yA7WxQ@mail.gmail.com>
 <CAJ_C8aVaFhDSO=_QrG-YeokRyLcy-P5hRj7dtj6mer=YkyuD7A@mail.gmail.com>
 <CAJ_C8aUeL_btz5LFY7Q0Ui9qX3f0iOWqVA95EUNdcjZRSMmopA@mail.gmail.com>
Message-ID: <CAJ_C8aWcPY8Qt1iQ1x2bquQe79kCnEx_YoCc6tUfvWYDdhVOZg@mail.gmail.com>

Extended deadline of August 1st 2026 to submit a paper 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 andreas.broeckmann at leuphana.de  Mon Jul 13 10:23:57 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Mon, 13 Jul 2026 10:23:57 +0200
Subject: [spectre] CFP: Curating Infrastructures (Yerevan, 1-3 Dec 26)
Message-ID: <f956feea-b317-48d0-ade6-25ab55528afe@leuphana.de>

From: Ines Moreira
Date: Jul 11, 2026
Subject: CFP: Curating Infrastructures (Yerevan, 1-3 Dec 26)

Yerevan, Armenia, Dec 1–03, 2026
Deadline: Jul 20, 2026

Curating Infrastructures – Critical Spatial Research Encounters welcomes 
emerging social sciences and humanities researchers, artists, curators, 
architects, and editors to join a three-day gathering in Yerevan 
dedicated to examining infrastructures as spatial, political, and 
cultural conditions shaping contemporary life. The event is programmed 
by Daria Bocharnikova, Inês Moreira, Maria Gunko, and Lais Rabello de 
Andrade, and developed in collaboration with Yerevan Center for 
International Education (YCIE), TS&D Lab (Yerevan State University), the 
MILITENCE project (Academy of Fine Arts in Vienna), the Extreme Sites 
Project (CEAA-ESAP), and the Ecologies of Care Network.

Infrastructures range from grand, awe-inspiring technological 
achievements to mundane utilities and facilities. They are not
merely the technical backdrop against which social life unfolds: 
infrastructures are embedded in socio-spatial practice, taken for 
granted when functioning and revealed in their breakdown. The 
functioning of infrastructure is an ongoing achievement and an act of 
care – an attempt to extend the life of things while simultaneously 
catering to failures, gaps, wrongdoings, and leftovers of previous 
orders. Against this background, we are particularly interested in 
contributions at the intersection of the following topics:
- Civic, artistic, and curatorial practices of care, repair, reuse, and 
commoning in built and natural environments;
- Collaborative and collective approaches to maintaining, organizing, 
and governing spaces, places, and shared resources;
- Breakdown, abandonment, ruination, and afterlives through 
re-signification, adaptation and reenactment of inherited cooperative, 
industrial, transport, and labour infrastructures, including practices 
emerging around failure and interruption;
- Care, repair, and reassembling as reproductive labour for maintaining 
infrastructures under social, political, or environmental pressures;
- War and violent strategic destruction of infrastructures, their 
systemic support, and the practices of repair, reconstruction, and 
post-war recovery;
- Civic uses of former military infrastructures and the tensions between 
remilitarisation, security regimes, and green transition;
- Infrastructures of extraction, logistics, energy, and waste, and their 
spatial implications for environmental and social justice.

The program combines keynote lectures, roundtables, workshops, 
fieldwork, and portfolio sessions with invited researchers and 
practitioners, including Daria Bocharnikova, Inês Moreira, Nada Schroer 
(TBC), Maria Gunko, and Raluca Voinea. Structured as
a site-specific encounter with the city, the gathering begins with a 
full-day fieldwork session, Learning from Yerevan, developed in 
collaboration with Yerevan-based scholars and NGOs. These partnerships 
situate the discussions within the urban fabric itself, creating a 
shared ground where research, curatorial practice, and grassroots 
initiatives intersect. Focusing particularly on postsocialist contexts, 
the encounters examine how cultural and research practices engage with 
infrastructures as sites of struggle, care, memory, and transformation.
Rather than functioning as a conventional scholarly conference, the 
event aims to operate as a think tank and collaborative platform where 
participants explore practices emerging around infrastructures under 
pressure.

This call invites contributions from emerging researchers, as well as 
artists, curators, architects, and editors whose work relates to the 
themes of the event. Emerging researchers and cultural
practitioners from the South Caucasus region are especially encouraged 
to apply.

Working language: English
Format: In-person event only
Funding and Organization

How to Apply
- All materials must be submitted in English via the Submit button 
below; email
submissions will not be accepted.
- Deadline: July 20, 2026
- Notification of acceptance: By August 30, 2026
- Applicants must select one of the two contribution formats below. 
Applications submitted to both calls will not be considered.

1. Collective Atlas — Call for Emerging Researchers

Participants are invited to contribute a project to the critical spatial 
research encounters’ Collective Atlas, a collaborative and evolving 
cartography of research practices, references, and ongoing projects that 
will accompany the discussions throughout the event.
Conceived as a living archive, the atlas gathers visual and textual 
fragments shared by participants and gradually expands during the 
encounters through workshops and collective mapping sessions.
Selected contributions will be presented in the Collective Atlas 
installation and integrated into the event's collective mapping 
activities. All accepted applicants will be invited to take part in all 
event activities, including two workshops for emerging researchers. 
Their contributions may also be considered for a post-event publication, 
depending on available funding and editorial
arrangements.
Please submit the following:
- One image of a project (image credits must be provided, and any 
AI-assisted tools used must be disclosed );
- Short project description (up to 3,000 characters including spaces);
- Short CV in PDF format.

2. Portfolio Reading — Call for Artists, Curators, Architects, and Editors

Cultural practitioners are invited to submit the following:
- Portfolio of recent work (10–15 pages in PDF format);
- Short CV in PDF format.
Selected applicants will be invited to participate in portfolio review 
sessions during the event, creating opportunities for dialogue and 
exchange with invited guests and local cultural practitioners in 
Yerevan. Their contributions may also be considered for a post-event
publication, depending on available funding and editorial arrangements.

Travel and Accommodation
- YCIE will provide a limited number of travel and accommodation grants 
for the duration of the event, available upon request. Grants will be 
allocated based on the merit of the proposal and demonstrated  m Only 
one travel and/or accommodation grant may be provided per co-authored 
contribution.
- Grant decisions will be communicated together with acceptance 
notifications.
- There is no registration fee.
For any inquiries, please contact: curatinginfrastructures at gmail.com

The event is funded by the Yerevan Center for International Education 
(YCIE) and co-funded by Portuguese funds through FCT, within the scope 
of projects UID/04041/2025 and FCT2022.02125.CEECIND; along The European 
Union under the Horizon Europe research and innovation program.


Reference / Quellennachweis:
CFP: Curating Infrastructures (Yerevan, 1-3 Dec 26). In: ArtHist.net, 
Jul 11, 2026. <https://arthist.net/archive/53444>.

From andreas.broeckmann at leuphana.de  Mon Jul 13 10:35:02 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Mon, 13 Jul 2026 10:35:02 +0200
Subject: [spectre] CONF: BONN SUMMIT: Cultural Forces for Open Societies
 (Bonn, 16-18 Sep 26)
Message-ID: <c1b2b785-5bb6-45f3-ace9-60af5c5fe6f1@leuphana.de>

From: Axel Thiele
Date: Jul 10, 2026
Subject: CONF: BONN SUMMIT: Cultural Forces for Open Societies (Bonn, 
16-18 Sep 26)

Bonn, Bundeskunsthalle, 16.–18.09.2026
Anmeldeschluss: 15.09.2026
<www.bonnsummit.de>

BONN SUMMIT. European Forum on Culture and Politics - 2026 Cultural 
Forces for Open Societies.

Engl. version: https://www.bundeskunsthalle.de/en/bonn-summit

Unter dem Namen BONN SUMMIT. European Forum for Culture and Politics 
laden wir Sie zu einem international besetzten, dreitägigen Kongress und 
zum intensiven Austausch ein.
Im Mittelpunkt steht die Frage nach dem Verhältnis von Kultur und 
Politik in Zeiten geopolitischer Machtverschiebungen und des Erstarkens 
von antidemokratischen Kräften. Kultur ist kein bloßer Spiegel dieser 
Entwicklungen – sie ist eine aktive Kraft. Unter dem Leitgedanken 
„Cultural Forces for Open Societies“ laden wir Sie ein, über die 
Grundlagen unserer politischen Kultur zu diskutieren und konstruktive 
Zukunftsszenarien zu entwickeln. Der BONN SUMMIT ist mehr als eine 
Konferenz; er ist ein Labor für neue Allianzen zwischen Kunst, 
Wissenschaft, Medien, Politik und Zivilgesellschaft.

Warum Sie dabei sein sollten
Wir bringen internationale Expert:innen zusammen, um Antworten auf die 
großen Fragen unserer Gegenwart zu entwickeln. Diskutieren Sie mit 
führenden Vertreter:innen und Vordenker:innen internationaler 
Kunstinstitutionen, Forschungseinrichtungen und zivilgesellschaftlicher 
Organisationen.

Es erwarten Sie hochkarätige Keynotes, intensive Deep Dives und 
erstklassige Netzwerkmöglichkeiten. Mit Sven Lehmann, Mitglied des 
Deutschen Bundestages; Christina Beinhoff, Leiterin der Kulturabteilung 
des Auswärtigen Amts; Oleksandra Matviichuk, Vorsitzende des mit dem 
Friedensnobelpreis ausgezeichneten Zentrums für Bürgerrechte in Kyjiw 
(UKR); Elizabeth Larison, National Coalition Against Censorship (US); 
Marion Ackermann, Präsidentin der Stiftung Preußischer Kulturbesitz, 
Berlin; Amanda Mayne, Leiterin für Partnerschaften des British Museum 
(UK); Omri Boehm, The New School, New York (US); Geert Lovink, Institute 
of Network Cultures, Amsterdam (NL); Patricia Espinosa, ehemalige 
Leiterin des UN-Klimasekretariats; Jörg Lau, DIE ZEIT, Hamburg; und 
vielen anderen.

Das Programm

TAG 1 | 16. September 2026, 17 – 21 Uhr
THE NEW WORLD ORDER: DAS ENDE DES TRANSATLANTISCHEN WESTENS

17:00 Uhr
BEGRÜSSUNG & EINFÜHRUNG
Eva Kraus, Intendantin, Bundeskunsthalle
Sven Sappelt, Kurator, Bundeskunsthalle

17:15 Uhr
KEYNOTE
Glenn Micallef, European Commissioner for Intergenerational Fairness, 
Youth, Culture and Sport (BE)

17:30 Uhr
KEYNOTE “REDE AN EUROPA”
Oleksandra Matviichuk, Leiterin des mit dem Friedensnobelpreis 
ausgezeichneten Zentrums für Bürgerrechte, Kiew (UA)

18:00 Uhr
KEYNOTE “OUR PLANETARY CONDITION. FOUNDATIONS FOR A POLITICS WITH THE EARTH”
Claus Leggewie, Professor für Politikwissenschaften, Universität Gießen (DE)

19:00 Uhr
KEYNOTE “TRANSFORMATIVE CLIMATE JUSTICE: CO-CREATING HOPEFUL FUTURES FOR 
ALL”
Jennie C. Stephens, Professor of Climate Justice, Maynooth University 
(US/IE)

19:30 Uhr
KEYNOTE “PROTECTING ARTISTIC FREEDOM”
Elizabeth Larison, Director of the Arts & Culture Advocacy Program, 
National Coalition Against Censorship (US)

19:45 Uhr
KEYNOTE “DER WESTEN SIND JETZT WIR. DEUTSCHLANDS VERHÄLTNIS ZU DEN USA”
Jörg Lau, Journalist, ZEIT (DE)

20:00 Uhr
PANEL
Elizabeth Larison, Director of the Arts & Culture Advocacy Program, 
National Coalition Against Censorship (US)
Jörg Lau, Journalist, ZEIT (DE)
Claus Leggewie, Professor für Politikwissenschaften, Universität Gießen (DE)
Jennie C. Stephens, Professor of Climate Justice, Maynooth University 
(US/IE)

21:00 Uhr
Empfang (bei gutem Wetter auf der Dachterrasse)

TAG 2 | 17. September 2026, 10 – 22 Uhr
KULTURELLE INFRASTRUKTUREN UNTER BESCHUSS

10:00 Uhr
MORNING BRIEFING
Sven Sappelt, Kurator, Bundeskunsthalle

10:10 Uhr
KEYNOTE “SHRINKING CIVIC SPACES”
Siri Hummel, Direktorin, Maecenata Institut für Philanthropie und 
Zivilgesellschaft (DE)

10:30 Uhr
PANEL
Jens-Christian Wagner, Direktor, Gedenkstätte Buchenwald (DE)
Ferenc Czinki, Autor, Society of Hungarian Authors (HU)
Marita Muukkon, Kuratorin, Artists at Risk (FI)
Carena Schlewitt, Intendantin, HELLERAU, Dresden (DE)

11:15 Uhr
PANEL “RE:CREATE EUROPE”
Christiane Lötsch, European Alliance of Academies (DE)
“Atlas of Artistic Freedom: Strategies of Resilience and Resistance”
Jara Díaz Alberola, Círculo de Bellas Artes de Madrid (ES)
Auf Englisch mit deutscher Übersetzung
11:45 Uhr
Pause

12:00 Uhr
KEYNOTE „EUROPEAN MEDIA PLATTFORM SOUVEREIGNITY“
Geert Lovink, Media Theorist, Institute of Network Cultures (NL)

12:15 Uhr
KEYNOTE “SYNTHETIC DATA, DEEP FAKES AND DISINFORMATION”
Dietmar Offenhuber, Chair of the department of Art and Design, 
Northeastern University (US)
Auf Englisch mit deutscher Übersetzung

12:30 Uhr
PANEL
Geert Lovink, Media Theorist, Institute of Network Cultures (NL)
Dietmar Offenhuber, Chair of the department of Art and Design, 
Northeastern University (US)

14:00 Uhr
EXPERT LABS: PARALLELE DEEP DIVES
Wissenskulturen zwischen Wehrhaftigkeit und Self-policing

DEEP DIVE 1 – KUNST UND KULTUR
Elizabeth Larison, Director of the Arts & Culture Advocacy Program, 
National Coalition Against Censorship (US)

DEEP DIVE 2 – WISSENSCHAFT UND KLIMASCHUTZ
Jennie C. Stephens, Professor of Climate Justice, Maynooth University 
(US/IE)
Anna-Katharina Hornidge, Direktorin, German Institute of Development and 
Sustainability (DE)

DEEP DIVE 3 – MEDIEN UND MEDIENPLATTFORMEN
Geert Lovink, Media Theorist, Institute of Network Cultures (NL)

DEEP DIVE 4 – NGOS UND ZIVILGESELLSCHAFT
Siri Hummel, Maecenata Institut für Philanthropie und Zivilgesellschaft
In deutscher Sprache

16:00 Uhr
PANEL “INTERNATIONALE ZUSAMMENARBEIT IN ZEITEN GEOPOLITISCHER SPANNUNGEN”
Gregory Houston, President and CEO, International Arts and Artists (US)
Mikaël Mohamed, Director of International Relations, MUCEM (F)
Gabriela Moulin, Direktorin, Instituto Tomie Ohtake (BR)
Sascha Priewe, Co-Founder, North American Cultural Diplomacy Initiative (CA)
Moderation: Doris Rothauer, Wien/New York

17:00 Uhr
PANEL “POLITISCHE STÄRKUNG KULTURELLER INFRASTRUKTUREN”
Sven Lehmann, Vorsitzender des Kulturausschusses, Deutscher Bundestag (DE)
Markus Hilgert, Präsident, UdK Berlin und Kulturpolitische Gesellschaft (DE)
Elisabeth Mayerhofer, Kultur und Wissenschaft, Stadt Wien (AT)
Paul Spies, Präsident, ICOM Deutschland (DE)
Moderation: Sven Sappelt, Kurator, Bundeskunsthalle

19:00 Uhr
KONZERT
Ed Neumeister (New York) & Ensemble des Bundesjazzorchesters (DE)
Konzerteinlass um 18:30 Uhr

20:30 Uhr
ABENDPROGRAMM MIT EMPFANG IN DER VERTRETUNG DER EUROPÄISCHEN KOMMISSION
(Aus Platzgründen ist die Teilnehmerzahl leider begrenzt. Anmeldungen 
werden der Reihe nach berücksichtigt. First come, first served.)

TAG 3 | 18. September 2026, 10 – 17 Uhr
PUBLIC IMAGINARIES

PUBLIC IMAGINARIES I: EUROPÄISCHE IDENTITÄT ZWISCHEN SELBSTRELATIVIERUNG 
UND SELBSTBEHAUPTUNG

10:00 Uhr
Morning Briefing
Sven Sappelt, Kurator, Bundeskunsthalle

10:05 Uhr
KEYNOTE “EUROPA NACH DEM EUROZENTRISMUS. NARRATIVE EINER WELTPROVINZ IM 
UMBRUCH”
Albrecht Koschorke, Professor für Literaturwissenschaft, Universität 
Konstanz (DE)

10:25 Uhr
KEYNOTE „CRITICAL INFRASTRUCTURE OF EMPATHY“
Dominika Kasprowicz, Direktorin der Villa Decius (PL)

10:45 Uhr
PANEL
Albrecht Koschorke, Professor für Literaturwissenschaft, Universität 
Konstanz (DE)
Dominika Kasprowicz, Direktorin der Villa Decius (PL)
Moderation: N.N.
Auf Englisch und Deutsch mit Übersetzung

PUBLIC IMAGINARIES 2: NEUTRALITÄTSGEBOT?
EUROPÄISCHE WERTE FÜR TRANSNATIONALE KOOPERATIONEN

12:00 Uhr
PANEL
Marion Ackermannn, Präsidentin, Stiftung Preußischer Kulturbesitz (DE)
Matej Drlička, Open Culture! Bratislava (SK)
Barbara Gessler, Vertreterin der EU Kommission in Deutschland (DE)
Amanda Mayne, Head of Partnerships, British Museum (GB)
Moderation: Silke Krummel, Geschäftsführerin, Agentur für Internationale 
Museumskooperation (DE)

13:00 Uhr
Mittagspause
Public imaginaries 3:
Weltbürgertum und Weltgemeinschaft. Zukunftsfähige Konzepte für ein 
solidarisches Miteinander in planetaren Grenzen

14:00 Uhr
KEYNOTE „RADIKALER UNIVERSALISMUS JENSEITS VON IDENTITÄT“
Omri Boehm, Associate Professor of Philosophy, The New School New York (US)

KEYNOTE
Kumi Naidoo, GCCA (SA)

KEYNOTE
Patricia Espinosa (MX)
Auf Englisch mit deutscher Übersetzung

14:30 Uhr
PANEL
Omri Boehm, Associate Professor of Philosophy, The New School New York (US)
Patricia Espinosa (MX)
Kumi Naidoo, GCCA (SA)
Christina Beinhoff, Leiterin der Kulturabteilung, Auswärtiges Amt (DE)
Silke Weinlich, Deputy Director, UN SSC (DE)

15:30 Uhr
Rückblick, Ausblick Und Verabschiedung
Eva Kraus, Intendantin, und Sven Sappelt, Kurator, Bundeskunsthalle

16:00 Uhr
Networking und Ausklang der Veranstaltung

17:00 Uhr
EMPFEHLUNG: BEETHOVENFEST, BEETHOVENHALLE
Podiumsdiskussion „Zuhause in der Fremde“
mit den Thomas Mann Fellows der Villa Aurora in Los Angeles (US) Susanne 
Beyer, Ciani-Sophia Hoeder und Kai Hinrich Müller.
Moderation: Andreas Platthaus (FAZ)
Tickets: Fr. 18.9. - Podiumsdiskussion: Zuhause in der Fremde

19.30 Uhr
EMPFEHLUNG: BEETHOVENFEST, BEETHOVENHALLE
Konzert Brittany J. Green & Alarm Will Sound (US)
Tickets: Fr. 18.9. - Brittany J. Green & Alarm Will Sound

Die Bundeskunsthalle bietet den idealen Rahmen für anregende 
Diskussionen und Inspiration.

Early Bird: Frühbuchertarife sind bis zum 19. Juli 2026 verfügbar.
Tickets & vollständiges Programm: www.bonnsummit.de

Kontakt: bonnsummit at bundeskunsthalle.de

Dr. Sven Sappelt
Programmkurator  sven.sappelt at bundeskunsthalle.de

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland
Helmut-Kohl-Allee 4, 53113 Bonn
T +49 228 9171–200
info at bundeskunsthalle.de
www.bundeskunsthalle.de
instagram.com/bundeskunsthalle


Reference / Quellennachweis:
CONF: BONN SUMMIT: Cultural Forces for Open Societies (Bonn, 16-18 Sep 
26). In: ArtHist.net, Jul 10, 2026. <https://arthist.net/archive/53438>.

From info at madatac.es  Fri Jul 17 14:29:29 2026
From: info at madatac.es (info at madatac.es)
Date: Fri, 17 Jul 2026 14:29:29 +0200
Subject: [spectre] List Administrator Password issue
In-Reply-To: <498594b5b654e95efa57b0f3e811a1ca@marijnbril.work>
References: <498594b5b654e95efa57b0f3e811a1ca@marijnbril.work>
Message-ID: <ddbf5363aeb0e9b94f90fac36a0e71cb@madatac.es>

Hello Spectre

Our List Administrator Password is not working and gives error.

How we can find the issue, as the password is the same from years ago, 
or how we can modify/change the password.

Thanks in advance.

Julian
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From andreas.broeckmann at leuphana.de  Sun Jul 19 11:13:35 2026
From: andreas.broeckmann at leuphana.de (Andreas Broeckmann LEU)
Date: Sun, 19 Jul 2026 11:13:35 +0200
Subject: [spectre] Fwd: CONF: Visual Culture of the Baltic Exile Communities
 (Riga, 11 Sep 26)
Message-ID: <f2e032d0-dd61-450b-a4b0-2f493fc58b91@leuphana.de>

From: Ulrike Nürnberger
Date: Jul 18, 2026
Subject: CONF: Visual Culture of the Baltic Exile Communities (Riga, 11 
Sep 26)

Riga, Art Museum RIGA BOURSE (Mākslas muzejs Rīgas Birža), Doma laukums 
6, Sep 11, 2026
Registration deadline: Aug 31, 2026

Visual Culture of the Baltic Exile Communities in the Aftermath of World 
War II.

The study of the Baltic exile communities following the Second World War 
has often concentrated on the seemingly inextinguishable energy that 
these communities displayed in combining their carefully defined 
political, social and cultural ambitions with their commitment to 
self-preservation. This dual mission required resounding resilience. 
The importance of their visual cultures in this process, however, has 
not received the interest it deserves. The aim of the 2026 "Homburger 
Gespräch" shall be to delve deeper into how visuality in the Baltic 
exile communities after the Second World War helped them shape their 
understanding of reality.
This shall be done by assembling conversational partners from various 
backgrounds and fields to Riga for a day-long colloquy. The focus shall 
not primarily be on formal aesthetics, text and speech, but rather on 
how cultural meaning, codes and identity were formed through visual 
cues. The notion of seeing shall be ever-present in these discussions. 
What did its members choose to see and what not to see and how did new 
ways of seeing evolve in the new environments?  How did geography and 
history leave its mark on this seeing?  How were space, color, 
materiality negotiated?

Attention shall be focused on the time period between 1944 and 1991. 
This does not, however, mean that the communities did not draw on visual 
perceptions prior to this period and did not reconfigure this visuality 
retrospectively once the exile experience in the formal sense of the 
word came to an end in 1991. By incorporating the most varying impulses 
from periods “prior and post”; and by, at times, engaging their new 
environments, at others, secluding themselves from them, an enhanced 
multifariousness and manifoldness evolved.

A collaborative colloquy (Homburger Gespräch 2026) under the auspices of 
the Böckler-Mare-Balticum-Foundation (Bad Homburg) in collaboration with 
the Herder Institute for Historical Research on East Central Europe – 
Institute of the Leibniz-Association (Marburg) and the Latvian National 
Museum of Art (Riga)
Concept: Agnese Bergholde-Wolf, Jānis Krēsliņš, Ulrike Nürnberger, 
Dietmar Popp

Please register for the conference: 
geschaeftsstelle at boeckler-mare-balticum-stiftung.de
----------------------------------------
Programme:

Arrival at 9.00 AM

9.15–9.30 AM Welcome: Daiga Upeniece (Art Museum RIGA BOURSE), Ulrike 
Nürnberger (Böckler-Mare-Balticum-Foundation), Dietmar Popp (Herder 
Institute)

Revisiting the Notion of Exile and Visual Culture in Exile
9.30–9.45 AM Jānis Krēsliņš jr. (SE)

09:45–10.00 AM Reflection and Discussion

What do we know about Baltic Visual Culture in Exile?  10.00–10.15 AM 
Kadi Polli: Estonia
10.15–10.30 AM Elita Ansone: Latvia
10.30–10.45 AM Ilona Mažeikienė / Birutė Pankūnaitė: Lithuania

10.45–11.00 AM Reflection and Discussion

11.00–11.15 AM Coffee Break

Visual Culture in the very early Stages of Exile 11.15–11.25 AM Inese 
Gātere (LV): The Thematic, Stylistic, and Social Narrative of Artifacts 
Depicting the Lives of Interned Latvian Legionnaires in Allied Captivity 
from 1945 to 1946

11.25–11.45 AM Reflection and Discussion

11.45–11.55 AM Agnija Lesničenoka (LV): Collections of Latvian Exile 
Artists in the National Archives of Latvia: The Example of the Art 
Academy of Latvia Student Fraternity “Dzintarzeme”

11.55 AM–12.15 PM Reflection and Discussion

12.15–12.25 PM Triin Metsla (EE): Understanding the Possible Narratives 
of Refugee Art – from Self-Dermination to Modern Art

12.25–12.45 PM Reflection and Discussion

Exile and the Variety of its Visual Platforms 12.45–12.55 PM: Elke Bauer 
/ Agnese Bergholde-Wolf (DE): “I Have Never Left Latvia” (Jānis Krēsliņš 
sen.) and “The Annual Harvest of a Poor Lithuanian Collector in Exile” 
(Povilas Reklaitis) – Exile Collections at the Herder Institute

12.55–1.15 PM Reflection and Discussion

1.15–2.15 PM LUNCH

The Visible and the Invisible — Physical Footprints vs. That which 
evades the Gaze
2.15–2.25 PM Isabell Schierenbeck (SE): From Berlin to Tel Aviv: Traces 
of German Culture in the Cityscape

2.25–2.45 PM Reflection and Discussion

2.45–2.55 PM Maarja Merivoo-Parro (EE): What in Exile evades the Gaze?

2.55–3.15 PM Reflection and Discussion

Memory vs. Forgetting? 3.15–3.25 PM Indrė Urbelytė (LT): We had to 
forget... National Art Histories and the Experience of Exile (Jonas 
Mekas, Kazys Varnelis, NYC)

3.25–3.45 PM Reflection and Discussion

3.45–3.55 PM Liisa Kaljula (EE): Childhood Memories and Utopian 
Thinking. The Case of Estonian-Swedish Artist Enno Hallek

3.55–4.15 PM Reflection and Discussion

4.15–4.30 PM Coffee Break

Reconfiguring Home vs. Creating a new Home?
4.30–4.40 PM Martin Nõmm (EE): Home or Away – the Dilemma of Exile Art

4.40–5.00 PM Reflection and Discussion

5.00–5.10 PM Ilona Mažeikienė / Birutė Pankūnaitė (LT): The Activities 
of the Art School École des Arts et Métiers (1946–1950): Art Education 
in New Settings, Freiburg im Breisgau

5.10–5.30 PM Reflection and Discussion

Preservation vs. Unbridled Creativity
5.30–5.40 PM Marianna Auliciema (LV): No one wants your Art: Musings on 
Visual Culture in the Collection of the Latvians Abroad - Museum and 
Research Centre and beyond

5.40–6.00 PM Reflection and Discussion

6.00–6.10 PM Andra Silapētere (LV): A Wish to turn Lived Exile into 
narratable History

6.10–6.30 PM The day’s final reflections


Reference / Quellennachweis:
CONF: Visual Culture of the Baltic Exile Communities (Riga, 11 Sep 26). 
In: ArtHist.net, Jul 18, 2026. <https://arthist.net/archive/53501>.

From lists at asquare.org  Sat Jul 25 13:15:37 2026
From: lists at asquare.org (Garrett Lynch IRL)
Date: Sat, 25 Jul 2026 12:15:37 +0100
Subject: [spectre] Final call for papers on Post-Disciplinary Creative
 Practices, EAI ArtsIT 2026
In-Reply-To: <CAJ_C8aXk0-1tz_ki7+bLcnUO0-DmjdXE0hFARc8mucaedna40Q@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_C8aV0+8eWKzJEWVNuiqLA72vR0-=VftAkBJFhCKwZ-gkCpw@mail.gmail.com>
 <CAJ_C8aXmwV0YJhzDPsBKwA68ue2+pg0HHB1+JA3xO9YPg-r74Q@mail.gmail.com>
 <CAJ_C8aXn2ESvbLFFxFVemXN8yNSG3MH8zhuXxrJ+_7nK0=31mQ@mail.gmail.com>
 <CAJ_C8aUXWynaJu2ogfjLa6WYUmzDcRRfL54boUhnnKWins5Dsw@mail.gmail.com>
 <CAJ_C8aU+yB=zW13RY0FrVQ0kXvTxctsnScL9Wq2im7MB0YL-vw@mail.gmail.com>
 <CAJ_C8aUE0YKYNB9KqzbVRbdRLVgLBxisrnJB+HRA3kQZVMwFCQ@mail.gmail.com>
 <CAJ_C8aXjUwNeUMCKmMpAGEUtmRWzRbfFupf2iDReeNDjcs=PQQ@mail.gmail.com>
 <CAJ_C8aXyVY_jiLuxdWf39LezYbZLU1P1oDud31f65U9ZeGt7aw@mail.gmail.com>
 <CAJ_C8aXk0-1tz_ki7+bLcnUO0-DmjdXE0hFARc8mucaedna40Q@mail.gmail.com>
Message-ID: <CAJ_C8aUBgfcGYrwxVai8Wwnf1tW5ku7MPRNt47LALyWawGG-dA@mail.gmail.com>

Final call for papers on Post-Disciplinary Creative Practices for the 15th
EAI International Conference: ArtsIT, Interactivity & Game Creation -
deadline August 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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From noemata at gmail.com  Thu Jul 30 19:22:30 2026
From: noemata at gmail.com (=?UTF-8?Q?Bj=C3=B8rn_Magnhild=C3=B8en?=)
Date: Thu, 30 Jul 2026 19:22:30 +0200
Subject: [spectre] Open call: The Amsterdam show - #nfcdab 2026 edition 7
Message-ID: <CAPP+9aCiP5eQSsme1otePb0tGqJRSbEmtYtih4wRoqgosgPX-A@mail.gmail.com>

We welcome you to the open call for the 7th edition of #nfcdab
(Near-Field Communication Digital Art Biennale). It’s a show
travelling through Europe every two years (formerly Amsterdam,
Wroclaw, Warszaw, Gol, Valencia, Pedreguer, Berlin, Thessaloniki,
Gardony, Dusseldorf, and others). The biennale uses NFC/QR-technology
to exhibit online net art in physical, public places. As such it’s a
bridge between the digital and the physical and makes it possible to
create site-specific, contextual and multi-layered works.
#nfcdab keeps a DIY/DIWO (do it with others) open format and protocol:
no jury, no fees, no return(!). The focus is on informal experiment
with technology with much irreverence and humor.
Deadline for submission: 30.08.2026.

Submit here
https://noemata.net/nfcdab/2026/

This edition features two/three different platforms for exhibition.
You might take part in all of these:

– The Amsterdam show –
The Amsterdam show will probably take place in and around the Rietveld
Pavilion organised by browserbased.org with collaboration from
https://dogtime.rietveldacademie.nl/. The call is open for all manners
of online works: net- and code focused works, moving or still images,
sound, zines, comic strips, etc.
how to submit:
graphics we ask for:
A4 vertical: 21cm x 29,7cm
sticker horizontal: 8,5cm x 4,1cm
Upload for both format: A qr code + text. Text can be title and author
or whatever the author wants.
NFC TAG: short text or link – max 100 characters with spaces.


– The nfcdb initiative –
#nfcdb (NFC database) is one of the platforms in this biennale. If you
want to participate, please place a QR- or NFC-tag with (link to) your
online work, place it in your local, public environment, then upload
the work to the database (see below) where it will be shown on a map
and with extended info how and where to access it. We also welcome
QR/NFC-works done in the past (preferably still existing). The
intention is to provide a global show and register of current and
former works of #nfcdab-related activities, i.e. using the technology
to exhibit online art in public environments. We keep a DIY/DIWO (do
it yourself/ do it with others) open format and protocol: no jury, no
fees, no return(!). The focus is on informal experimenting with
technology with much irreverence and humor, with a database to back it
up and a mapping to show and for the public to explore both online and
on the ground.
Link to nfcdb and submission to it: https://noemata.net/nfcdb/

– The tagdrop/ app – TagDrop turns small files – text, HTML pages,
images, audio, SVGs – into self-contained QR codes that work
completely offline. Print one on a sticker or sheet of paper and leave
it somewhere; anyone with the TagDrop app (or any QR scanner that
follows tagdrop: links) can scan it and view the content immediately,
with no internet connection, server, or account required.
For more: https://github.com/mofosyne/tagdrop


#nfcdab channels:
-blog: https://nfcdab.org/
-fb/group: https://web.facebook.com/groups/1nfcdabiennale/
-fb/page: https://www.facebook.com/nfcdab/
-app: https://github.com/mofosyne/tagdrop
-data base: https://noemata.net/nfcdb/

