Oproep 3: Digitaal werken in de kunsten
Kunstenpunt is op zoek naar mensen die de status quo uitdagen om digitaal werken in de kunsten duurzamer, transparanter en solidairder aan te pakken.
Dien een kort statement in waarin je je idee en interesses schetst, en aantoont hoe die passen binnen deze oproep. Indienen kan tot 14 mei 2021.
Crawlers is interested in promoting and expanding forms of accessibility in the digital arts: in online works, and in the technologies used by creative industries more broadly. COVID has led to an accelerated blossoming of digital platforms, but accessibility measures – and their creative potential – are rarely prioritised or realised, due to both lack of awareness and resource allocation.
Met Cripping the Digital ambiëren STUK en KU Leuven Culturele Studies de ontwikkeling van een inclusief digitaal archief rond hedendaagse dans. Hiermee zetten we in op: * De ontwikkeling van een duurzaam en inclusief digitaal dansarchief en danslandschap. * Een kritische benadering van digital archiving door de focus op danspraktijken die ondergerepresenteerd zijn binnen de traditionele canon.
For digitization object's need to be conformed to data logic and become numerically interpretable. Making them mathematically approachable, giving us ways for concrete analysis and manipulation. Online communication gives access to a wealth of knowledge. But it confronts us with an abundance of voices. Facing us with the challenge of filtering noise from an often discordant orchestra of narrative
The pandemic challenges all artists,but especially performative arts.Their biggest challenges is the adaptation of classical theater/performance into online format and lack of interaction between audience members and performers.We want to explore usage of 3D gaming technology in live digital performance as a new form of expression with emphasis on online delivery and interaction with the audience.
I wish to tackle the challenges entailed in digital artivist exchanges between Global South marginalised groups in Latin America and Africa. The aim is to investigate how digital artivism can be used to connect colonial histories separated by Global geographies of oppression. How can digital artivism capture instances when plural Souths meet? How can these work as tools for movement building?
We want to carefully take a piece of the local earth and shape it through 3D Clay-Printing and natural algorithms. These are the media to reflect about the nature of technology, the use of materials and the question, which needs and perspectives should be involved in contemporary, technological output.
Enerzijds kunnen digitaal en nieuwe technologieën helpen om kunsten op een andere manier naar een groter en nieuw publiek te brengen. Anderzijds wordt het belangrijk om bij de creatie van kunst nieuwe technologieën in te schakelen. Nieuwe technologieën en digitaal kunnen bovendien ook de inspiratie zijn om nieuwe creaties te maken.
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?
De huidige technologie richt zich op bewaking, controle en onderdrukking. Maatschappelijk en technisch uitgedaagd, kiezen we om zelf servers te beheren. We bediscussiëren, configureren en zetten services op: mailingslist, agenda, social media, clouds, websites, streaming,… om te communiceren, publiceren, documenteren, experimenteren, presenteren. Met vrije software. Geëmancipeerd noodzakelijk!
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.
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?