Call for proposals 3: Working digitally in the arts field
Flanders Arts Institute has been looking for candidates that call the status quo into question and suggest possible or alternative ways to work digitally in the arts.
This open call is now closed. You can check and comment on the submittes ideas below.
The answer to this question come up for a shared reflection between art producers and curators Ana Veiga Riscado (PT/GE) and Wen Huang (TW), departing from each-other experiences working in the performing arts field. Together we realise that is becoming urgent to invent a new business model that would secure our activity transnationally. We shared similar interesses in what concern dance practises
I am interested in testing how participatory projects can be developed through hybrid methodologies between physical and digital contacts. Working digitally doesn't necessarily means producing digital artworks, it can also implies creating participation through digital devices focusing this period of transition from physical to digital encounters, but also mutations through digital communication.
RADICALE 1924 is a newly formed art program in Saint-Cirq-Lapopie, once the summer home of Elisa and André Breton. Sharing intentions with surrealism, we aim to develop digital art projects that address the mechanisms of control enhanced by the pandemic. We are looking to non-productive strategies of resistance as a form to subvert the usual flow of digital content.
Kunstenaars en culturele instellingen hebben hun digitale infrastructuur veelal uitbesteed aan Google, Microsoft, Zoom, ook al weten ze dat ze daarmee de monopolies van multinationals versterken en persoonlijke gegevens delen. Met partners werkt Constant aan een Open Source en collectief gerunde infrastructuur voor videoconferenties die is aangepast aan de behoefte van culturele organisaties.
Inspired by Jussi Parikka's seminal text "A Geology Of Media", the London Alternative Photography Collective would like to creatively interrogate the materiality of digital media. We would do this by researching the unsustainable digital photography working processes, and suggest more sustainable options - which could include recycling, remodelling, recoding and hacking of old cameras.
I am interested in how digital spaces are shaped by a privileged few and inhabited by many. This is the case for virtual reality, video games, and other digital spaces that use avatars. The people who develop these spaces are highly skilled, rarely present, and others are subject to their vision. How can we put the tools of shaping virtuality into the hands of artists without intense training?
We are a group of designers, artists, and IT professionals. We are interested in developing more inclusive digital creation tools for expressing the multisensory aesthetics for creating artifacts. One of the examples could be found here: creation artefacts based on kinaesthetic-haptic-sonic expression: https://urplay.se/program/221539-ur-samtiden-nyckeln-till-framtidens-textil-kladd-i-ljud
In Be-coming Tree events we encountered a lack of cross-generational media literacy, and participants in general having difficulties using accessible technologies (smartphones, Zoom) fluently enough to enable free flowing creativity. By encouraging use of accessible tech we aim to empower generations not born into a digitised world and enable intersectional artists to reach new audiences globally.
A current problem in online platforms for art is that they tend to homogenize sense perception. As acoustic investigators, our main challenge is designing strategies in how to include simulated auditory perception and body/space interaction in online art production. Our proposed approach is to investigate dedicated convolutional auralization processing in web api and videogame technology.
For me it comes down to the why of creating choreography and movement, and that is to move people. In a digital context, we can no longer rely on the in person performance to grab the audience's attention. My artistic ideas around this lie in working to maintain the authenticity of dance work without adhering to the capitalised and commercialized nature of the internet.
I want to question and explore the role of the body, our senses in giving meaning to aesthetic as well as everyday experience. The current shift towards virtualisation of human experience accelerated by the pandemic has led to a sense of disembodiment, being simultaneously here and elsewhere, present and absent in our bodies and our surroundings. Yet digital also means accessibility.
Certainly the pandemic era has added an extra layer of almost total dependence on digital means. As a performing artist this "constrain" provokes me to produce street performances that could nourrish from remote work dynamic between 2 artists bringing together a sonic perceptual context of one city onto the visual stimuli of another that is precisely where the choreographic performance take place.
Levelling the playing field in terms of accessibility, resources, and opportunities in the digital arts sector for women. Through an intense R&D programme, we will design a prototype framework that can deliver online Lifelong Learning, training, education, skill-sharing, volunteering, and commissioning opportunities for women working in or wanting to work within the digital & tech-driven sector.
Het mogeiljk maken voor verschillende stakeholders in de kunsten om op eenvoudige wijze "digital twins" van hun werken en collecties te maken en deze data te kunnen delen met partners van hun keuze. Hun werken te kunnen managen, gebruik hiervan op te kunnen volgen en deze werken en daaraan vast hangende data uit te kunnen wisselen met andere kunst organisaties die op het platform aangesloten zijn.
My curiosity lies within the ability to bridge the digital and the physical areas of art, and how different mediums are able to interweave their disciplines and adapt it to the prevailing approaches of art. In addition, the accessibility and literacy of new platforms for sharing art is crucial , how do artists collaborate, and work with such virtual spaces and what are the potential hurdles?
The absence of physical contact in the digital interface brings the need of reestablishing the connection. From my curatorial practice I am dealing with various formats how to make audience and/or colleagues land into the digital environment and how to depart from it, how to make the digital interactions capable of transmitting the personal nuances and how to create safe spaces.
Exploring collectively, feministand intersectional possibilities of vide-a game by learning Godot Engine software Since 2018 as a group we have organised workshops that toke place around 2 axes, a reflection on contemporary languages on contemporary video games from a feminist perspective, and the learning of video game programming by the free software Godot Engine.