[artinfo] Fw: [Isea2006 | ZeroOne San Jose] Theme: Transvergence - Call for Participation ISEA2006

Franck Ancel franck.ancel at wanadoo.fr
Tue Aug 16 15:08:52 CEST 2005


----- 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
for Participation 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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