A Fair New Idea

On.Each.Sec

On.Each.Sec aims at exploring the web as a new space for creating and exploring art, talking liveness, and finding new ways of shaping creative communities and international collaborations in the digital art world.

Arash A. from Xor

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The Corpus Creative: digital accessibility as creative practice

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.

Lyndsey W. from Crawlers

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Cripping the Digital: developing counter-archives in dance

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.

Karen J. van STUK Huis voor Dans, Beeld & Geluid

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Digital representation, online collaboration and data structures.

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

Mark S. van Cyborg Art Collective

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Virtual performativity

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.

Martina Freyja K.

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Digital Artivism as a Tool for South-to-South Solidarity

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?

Andrea M.

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Searching for empathic relationships with other species

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.

Joana S. van SYMBIOTIC SPACES

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Via digitaal, online en technologie de samenwerking tussen bedrijven en culturele actoren bevorderen

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.

Erwin V. van Dual&Day

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Live art is in crisis due to imposed physical distance. This field owns a public position to produce

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

Ana R.

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Hybridity

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.

Eva F.

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DIGITALE RADICALE

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.

Chantal Y. van RADICALLOW

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komuna

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.

Femke S.

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Contemplating The Materiality of Digital Media

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.

Melanie K.

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Grasp: Bringing Virtual Worlds within Reach

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?

Haseeb A.

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[🔌↗️🚪 .conf ]: Een feministische server als digitale werk- , residentie- en presentatieplek.

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!

marthe v. from ooooo

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Alternative Aesthetics: Multisensory Expressions

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

Vidmina S.

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Be-coming Tree: Flanders edition. A collective live-streamed Ecoart event for systemic recovery.

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.

Danielle I. from Be-coming Tree

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Addressing Acoustic perception in Online Platforms For Artistic Expression Or Dissemination

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.

Pilar R. van patrimoniacustic

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Move me through the screen

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.

Klara E.

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Tangible Territory journal/ Sensing Place retreat

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.

Tereza S.

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Wired Women – an online system that is fair & safe for women artists.

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.

Donna H.

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Data uitwisseling tussen stakeholders in de kunsten.

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.

Maarten K. van 21 Muses

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energies between people

Make cooperation possible in a garden of peculiarities. Create platforms for connecting, playing, experiencing with only artistic interests. License it as open-source but violent activities aren't allowed. See The (Cooperative) Non-Violent Public License

Jo C.

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Reaching digitised audiences and boosting technological and aesthetic literacy

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?

Si Xuan C.

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Oproep 3: Digitaal werken in de kunsten

Deze kandidaturen werden reeds ingediend

On.Each.Sec

The Corpus Creative: digital accessibility as creative practice

Cripping the Digital: developing counter-archives in dance

Digital representation, online collaboration and data structures.

Virtual performativity

Digital Artivism as a Tool for South-to-South Solidarity

Searching for empathic relationships with other species

Via digitaal, online en technologie de samenwerking tussen bedrijven en culturele actoren bevorderen

Live art is in crisis due to imposed physical distance. This field owns a public position to produce

Hybridity

DIGITALE RADICALE

komuna

Contemplating The Materiality of Digital Media

Grasp: Bringing Virtual Worlds within Reach

[🔌↗️🚪 .conf ]: Een feministische server als digitale werk- , residentie- en presentatieplek.

Alternative Aesthetics: Multisensory Expressions

Be-coming Tree: Flanders edition. A collective live-streamed Ecoart event for systemic recovery.

Addressing Acoustic perception in Online Platforms For Artistic Expression Or Dissemination

Move me through the screen

Tangible Territory journal/ Sensing Place retreat

Wired Women – an online system that is fair & safe for women artists.

Data uitwisseling tussen stakeholders in de kunsten.

energies between people

Reaching digitised audiences and boosting technological and aesthetic literacy