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 working on issues such as extractive capitalism, surveillance, invisible labor, AI bias and data colonialism that impact migrants disproportionately. The challenge for us is to disseminate new healing contexts through multi-modal frameworks: art, applied/media anthropology, expressive-arts therapy, user-interaction and code.
As a disabled, immigrant woman both my professional & personal interests align in presenting challenges to working digital in the form of ableist narratives & ecological racism. By virtue of living with chronic diseases I regularly face barriers to working digitally as a differently abled & woman of colour. This is a fundamental issue that needed to be overcome yesterday & I hope we can together.
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.
ACCESS SERVER addresses the unequal inclusion of disabled people in art institutions. There is unequal labor resting on disabled people to make access requests for closed captions, sign-language and scent-free spaces. Our tool collectivises this labor through a digital email server that compiles access requests and puts pressure on institutions to transform their relationships to access.
In the arts — as reflecting society — Trans* & Intersex people face strong adversity navigating institutional mechanisms, resulting in a lack of participation. After Party Collective looks to the potential of the Digital to facilitate transnational gathering, as well as new ways of archiving & presenting work, foregrounding Trans* artists, voices, & crucial perspectives towards inclusive futures.
We challenge the current digital landscape by nurturing a sustainable & playful-driven existence with technology. Returning to the ambitions of the 90's internet, we will foster a community of practice, a new age of collaboration in art that takes on 'open-source' ideas to reclaim agency from big-tech corporations: connecting artists with indie-developers+thinkers in a decentralised digital co-op
This project lays at the intersection of resistance, colonialism, maps, and GIS. In my project MapBH, I tackled the digitisation, translation, and transformation of old colonial maps across the 19th and 20th centuries into a simple modern projection that's easy to explore and outline the stories of neoliberal destruction. In The Reclamation Project, we plan to tell those stories.
Some artists get frustrated and demotivated when trying to work with technology and art. The reason for this, most of the times, can be explained by the difficulty of reaching the depths of their process and actually understanding the hidden mechanisms behind a software, hardware or any technological tool. To tackle this challenge, I believe in open-source solutions and community driven creation.
The many environmental, social and political implications of adopting digital technology come most alive in the form of collage film. In a world that is constantly overworking for making/producing more content, collage film offers an inventive form which bypasses the shooting stage and makes the content all about editing, ideating, juxtaposition, interpretation and letting a structure emerge.
I’m interested in connecting the virtual and the physical worlds and at the same time creating an online art space that focuses on queer perspectives. For this I will invite artists to find a place or an object in the public space in Brussels or Flanders and produce a work around that. It will be exhibited online but activated through an opening event that happens at the chosen space.
We wish to share, instead of produce, to digitally trigger collective & individual imagination & use it as a matrixial space for common experiencing. We plan to activate digitally & work with singular bodily memory & feel deeply the contingency of cultural codes, in developing an Internet platform & a methodology for conceiving listening-imagining-exercises, coming from local needs and memories.
As scenic creators always celebrate making contact, in a shared territory. The distance required between the bodies with the current pandemic put us in a kind of check, and there, in that grid, half immobile, From that place we stopped to think and ask ourselves: How to continue creating and meeting with the audience? Can we use digital media to create a different form of scenic spatiality?
The digital work in the arts interests me as a possibility to form new collaborative alliances with ancestral communities today isolated or difficult to access, whose knowledge and practices with nature can inspire us in the imagination of new necessary life forms, possible to be disseminated on a global scale.
Based on previous workshop experiences, I wonder about the next challenges: How to create the feeling of “togetherness” between participants in a workshop experience? How to construct together, beyond the limitations of nationalities or regionalism? What do we mean by the pronoun “We” in the context of digital media? These questions work as signs to follow, doubts to think and reflect upon.
C O M (E) P U L S I V E wants to find solutions for the absence of physical meetings or even a live audience. We support artistic creation by starting from our existing practice, and redesign, reshape and recreating it specifically for online media. This means we need to redefine ourselves, and our work. Automatically this means critically reviewing the position and tools of the artist in society
When I go to a library, I enter a special space. When I go to my atelier, to the museum or the supermarket, I enter specific spaces. However, when researching digitally, there is only one space – my browser. Sure, there are tabs, but they don't help much: all my projects, all my research gets mixed, it's hard to have clearly defined digital spaces for artistic research.
How can we connect into a conversation of solidarity and participation and be together with our demons? Starting with ourselves and our immediate communities, aiming to reach out beyond through the means of digital exchange. As an artist from West Asia living and working in Western Europe, I want to explore gathering and conversation formats in the context of dynamic transformations.
Born in 1994, my life has been growing up alongside the internet and I have seen how it has changed. Focused on digital art and psychology, especially analytical psychology I can see new forms of symbolism appear in the community. I want to bring this discussion forward because the digital space is a reflection of our inner psyche. Knowing about it can aid in the development of different platforms
I would like to interconnect the powers of games, virtual reality and robots (and maybe more) to create a shared space for education, and for forming awareness of political and cultural aspects of digital literacy. For an engaging narrative frame, I would love to connect this project philosophically with the science-fiction novel "Snow Crash" by Neal Stephenson from 1992.
A researcher based in London and a photographer based in Brussels propose a new way of producing and presenting visual art online. We offer the creation of a podcast, in which artists talk about their works. Is it possible to present an image with only words and music? How to use digital tools to improve the experience of art online positively interacting with our physical and mental states.
As visual artists we are interested in pushing the boundaries of spectatorship and think of new modes of dissemination as we are forced to change our social engagements in current times. The digital interface poses a barrier as well as an entry into reality, we seek to explore this negotiation and to think of what is private and intimate within the seclusion of the digital realm?
The use of digital technologies in education has advanced greatly, particularly during the pandemic. However, it is still in its infancy in many art related subjects. Artists struggle to advance the use of digital technologies in teaching and art educators (& students) face challenges that prevent the successful adoption of such technologies in a digital classroom environment.