We map out exit strategies for artists in the form of an artist-run-accelerator(ArtUp Escalator). We use startup model as a model for an artwork, engage “startupism” as a concept critically while offering feasible and sustainable models for artists. We ask: What kind of tools do we need to prepare a product/artwork that has use value and at the same time keeps its artistic integrity in the market?
Moving beyond our dualistic vision and what lies behind the surface. the parallel relationship there is between all that is visible and invisible. the truth behind online connections, how present or missing ones shape our sense of identity. To open a discourse between different disciplines, different expressions.How the past the present and the future interlace as we communicate online.
Digital image making, capturing, image-based surveillance, panoptics, techniques of observation, image manipulation (purposeful and through faulty algorithms, etc.) produce a wide visual field that inserts itself before our eyeballs to such a significant degree that such imagery determines an aesthetic that is new. In fact, it’s so new that we should call it ‘new’ and catalog its characteristics.
To us, DIGITAL is FREEDOM, it provides limitless potential, access and organic growth. Art should not be defined by institutions or corporate stakeholders. We want to shake the earth. To uncover methods that could allow for a rip in the fabric of MONEY EQUALS, DEFINES AND EATS ART. We seek to enable the development of a decentralised art world.
technology applied to performing arts as a concept and a practice to respond to our philosophical life questioning. Making contemporary art with relevant message for today that goes beyond our geo-limits in the most poetic and innovative way to say them. to make something relevant is to go beyond our interest as artists and scientists. our project involves digital art such as MR (mixed reality )
I am interested in exploring the digital as an emancipatory space for radical care and in generating a safer, fairer and not oppressive environment. Through a set of digital caring practices and a platform we voice intersectionality, allow forms of intimacy while generating new form of knowledge to subvert the neoliberal individualism and the solitude of hyperproduction towards systemic worldview.
Challenges I am preoccupied with are situated in formal, and informal, art education, forced into the online realm since March 2020. From positions of teacher and student, they are; preconceptions of neutrally in software, lack of consideration towards neurodiversity, miscommunicated feelings, an inability to have challenging and motivating group discussion where we listen to each other deeply.
Invisible Voice is a free plugin that empowers you to make informed decisions about the websites you use. Invisible Voice is a little button on your screen, that when clicked displays: the owners, parent company, affiliated companies, political leaning, revenue, controversies, news stories, and more, about the company who own the websites you are visiting, as and when you are on their website.
What role does the curator* hold in transforming environments whose trajectories are all intertwined with processes of globalisation? How are ephemeral experiences curated, archived and re-evoked across space, time and digital access, consumption and saturation? How can curatorship subvert the algorithms placed upon us and how can safety, solidarity and an ecology of sharing be upheld throughout?
We address issues of databases - bridges between personal and structural to effectuate change. This proposal deals with the gap between anecdotal and factual. We resort to data feminism; strategies to think about data informed by direct experience, commitment to action, intersectionality. We want to find accessible formats to explore mapping and visualisation of relevant aspects of our community.
Can we tour live and digital art internationally through minimal travel? Can an idea, process or work travel without the artists? Is there potential for collaboration with local artists and communities? We're interested in exploring identity in the digital world, merging live physical theatre, dance, film and social media story to create dialogue about agency, human bodies, justice, and utopia.
Digital environments require a sense of community to be reinvented and ways to put the body, hands, and mind together in motion. This is the double objective of the digital platform Lovingtolearnyoumore: to create and share freely with others and to rediscover the pleasure of gesture and action. We envision a platform that encourages to intervene in the world around us and share creative impulses.
I want to explore methods of distributed collaboration and how digital systems are being used as springboards to bring ideas into real life. How can virtual reality be used not just as a representational space, but as an active brainstorming space; another way of existing and thinking through material? Can collaborating this way be accessible and useful post-pandemic?
Since I've moved to France, skyping with my parents is one of the most vital acts . My parents yawn often when we Skype and as yawning is contagious, I can’t stop yawning myself even we are facing two screens. We consider the digital encounter as an alternative way, lacking compared to a physical meeting but still we can find this signals a beautiful moment in human interconnectivity.
Our project seeks to focus on the untapped potential inherent in digital curatorial practices. By defining curatorship as the practice of artistically arranging the space of an exhibition, this project aims to explore the potential of tools and platforms, such as Unity Engine, to produce radically alternative online spatialities that transcend the constraints of the physical space.
Artworks presented in digitally are in a battle between presenting themselves as if being seen in reality rather than the virtual space they inhabit. What would happen if a work artwork circulated itself digitally in ways that were not reminiscent of traditional mediums, rather entirely new ones and for all to access? How could this affect the way that digital art is not only shared, but created?
Accessibility, disability justice, data sovereignty, Feminist ethics, de-centralization of the web, Inclusivity, Algorithmic Bias (for BIPOC and LGBTQ2S+ peoples), anti-surveillance, resisting commodification of data (humans), AI and AI's biases towards queer and racialized bodies, moderation and censorship in digital space, working digitally in collaboration with artists in different locations
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.