Tag Archives: Printemps numérique

ISEA (International Symposium on Electronic Arts) 2020: Why Sentience? still in October 2020 but virtually in Montréal, Québec

I wonder what happens to geography and time when you hold your conference virtually? Part of the excitement of a conference or other meetings is the promise of the destination with new people and new adventures. Whether 2020 is a pause between in-person meetings, a moment when everything changed, or some combination is yet to be determined but perhaps ISEA2020 will be a harbinger.

I received a June 10, 2020 notice (via email) with the latest news about ISEA2020,

Montreal, June 10, 2020    ISEA2020 from October 13 to 18, 2020 goes entirely digital, with an innovative experiential format.

The worldwide COVID-19 outbreak has forced ISEA2020 in Montreal to be postponed to October 13 to 18. The physical distancing measures put in place in many countries and the travel restrictions imposed to prevent the spread of the pandemic mean that we cannot all be physically present in Montreal. Montreal Digital Spring (Printemps numérique) – the organizers of ISEA2020 –  have thus decided to make the symposium a 100% online event. Our team is currently working on the platform that will allow us to come together, connect, and exchange knowledge and practices, despite the physical distance. We worked with our partners and collaborators, experts in art, design, science and technology to (if only begin to) reinvent the format of academic interdisciplinary conferencing! 

Our main strategies for ISEA2020 Online:

Programming: ISEA2020 is a full week of research and creation, 100% online, with more than 300 international speakers and artists from over 40 countries.

Connecting: We are working on the online platform to ensure we meet ISEA’s core values of encouraging and promoting creative exchanges between diverse groups; of creating opportunities for networking and informal meetings, in addition to ensuring the good flow of panel sessions.

Programming for all the time-zones: From October 13 to 16, conference presentations will unfold over 16 consecutive hours each day, in order to include participants in all the time zones, from East Asia to the west Americas.

Reduced registration fee: The registration fee has been reduced. In addition to saving travel costs, ISEA2020 Online is accessible at a significantly reduced fee, hoping it will attract a larger number of participants, including more students and independent artists. 

Live Q&A: All presentation sessions, including keynote sessions, will include live Q&A periods, mediated by invited delegates.

Art Programming:  We are working with artists and partners on strategies to showcase the selected projects and special programming.

While we regret not seeing you in Montreal, the new format will make ISEA2020 accessible to a larger number and will certainly contribute to a broader discussion on how to produce and transfer knowledge and showcase art through connected digital communication platforms. Our team is committed to ensuring the high standard of creative and academic contributions that is paramount to ISEA.

We look forward to seeing you online this fall!

REGISTRATION FEE

You can now purchase your ISEA2020 Online Pass at the Early Bird rates of CAD $99 (regular) and CAD $69 (students), offer valid until August 13 [2020].

NEW DEADLINE TO REGISTER (for presenters)

The deadline to register, to upload the camera-ready papers, and to fill in the Zone Festival form is July 27 at 11:59 pm (GMT-5). 

CONTACT

We updated our website. Please refer to the Frequently Asked Questions – FAQ page. If you have a specific question, please contact: isea.academic@printempsnumerique.ca for academic presentations / isea.artistic@printempsnumerique.ca for artworks / ISEA2020@printempsnumerique.ca for general questions/registration. 

 LIRE LE COMMUNIQUÉ EN FRANÇAIS

How we got here

The academic chairs have written this statement,

ISEA2020 ONLINE: WHY SENTIENCE?
OCTOBER 13-18, 2020

The academic chairs’ statements regarding the ISEA2020 online turn:

Since last August [2019] when we established the ISEA2020 theme of “Why Sentience?”, life on Earth has been dramatically transformed. Our belief in concepts like proximity, justice, equality, indeed, the very concept of the future itself, has been radically uprooted. As cultural organizations worldwide scramble to adapt, the ISEA2020 team has decided to reimagine the event for the anytime/anyplace zone of digital space and to transform it into an online experience. But we have also realized that there is no need to adjust the theme to make it more “responsive” to our current conditions. Despite their almost cataclysmic impact on the political-economic-social-cultural-ecological fabric of the world, the triumvirate forces of the coronavirus pandemic, its disastrous economic consequences, as well as systemic racial injustice have now acutely amplified ISEA2020s question: “Why Sentience?” These conditions sharpen the need to stop, pause and re-examine what it means to be sentient, “the ability to feel or perceive.” They help us reformulate our notions of what the world is with us and beyond us. They give us a front seat perspective on the corporeal and ecological entanglements between power and knowledge, animals and humans, machines and environment, oppression and liberation. They pointedly demonstrate that difference—social-economic-cultural—resonates through the sentient world. The virus—a 120-160 nm in diameter entity that is invisible to our human senses and considered neither living nor dead but ontologically somewhere in between [emphasis mine]—is thus perversely a great teacher and provides us lessons on how the modern splitting up of the sentient and inanimate worlds increasingly makes no sense.

ISEA’s mission aims to foster interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. As we write, ISEA2020 should have already passed into history. The new digital space of ISEA2020 will link the local community in Montreal with the international one beyond so that we can collectively rethink the form of such an event. The new platform will also allow us to examine close up these new and, at the same time, ongoing historical set of conditions; conditions that demand a response if we are to live in the coming (post)-pandemic world. 

Christine Ross – McGill University (Montreal, Canada)

Chris Salter – Concordia University/Hexagram (Montreal, Canada)

2020 Trailers

There is a conference trailer for this new ‘virtual’ version of the 2020 conference,

Montreal Digital Spring (Printemps numérique) produced both the English language version and this one in French***, Note: Video [credit]: Guillaume Guardia,

I’m not sure why the French language version is so much shorter*** (maybe I found an abridged version?), in any case, the content is quite different and you may want to check out both trailers.

***ETA June 22, 2020 at 1550 PDT: The answer to my question as to why one trailer was shorter? Two different (but this year related) events. I failed to note that the second trailer was for “MTL Connect.” Here is Manuelle Freire’s description (academic programme manager of ISEA2020, Printemps numerique) of MTL Connect,

The latter is an annual event organised in Montreal by Printemps numérique, consisting of different thematic pavilion. This year ISEA2020 is the art and creativity pavilion of MTL Connect, so part of a larger endeavour that is affected by this online turn in its entirety.

As for MTL Connect, there’s this from the homepage,

BRINGING TOGETHER DIGITAL MINDS, DIGITALLY

6 DAYS OF PROGRAMMING • +400 SPEAKERS • 50 COUNTRIES REPRESENTED • +10,000 ATTENDEES • THOUSANDS OF OPPORTUNITIES FOR INTERACTION

That’s it for the correction. ***

Meeting technology, cyber security, and local involvement

I emailed (Friday, June 19, 2020) a couple of questions to the organizers which they have kindly answered.

  1. Are you going to be using Zoom as the technology for virtual
    attendance? Will there be security measures for attendees?
  2. [A]re there going to be any local (Vancouver, BC) virtual or in-person get-togethers? By October it might be possible to have small groups (with appropriate precautions) meet in person for ISEA2020 discussions/participation in virtual events held elsewhere. (Just a thought)

They responded by Sunday, June 21, 2020). That is quickly. The short answer to both questions is: “We don’t know yet.”

More specifically, Manuelle Freire (Printemps numerique) had this to say,

I will have to forward your first question regarding the technology of the platform, specifically cybersecurity, to the platform development project manager. Cybersecurity is an important matter that we have discussed internally and will be included in the FAQ and the IEA2020, as soon as we have stabilized the different features of the platform and we are ready to release.

As for the second question,

In what comes to small groups meeting in person. It is indeed possible that groups [might] be able to meet in October [2020], but at this stage, with social distancing and travel restrictions in place, we are still facing degrees of uncertainty. While we regret not meeting everyone in Montréal, moving the symposium 100% online seemed the only safe and certain solution. No in-person activities are scheduled for now.

The questions were also sent to Philippe Pasquier, a locally based (Vancouver, BC) member of the ISEA2020 academic committee and he had this to say about the possibility of local, in-person get-togethers,

As for (2), this is a good idea. Let’s wait and see what will be possible and revisit this idea closer to the date. 

The responses have made me happy. Hearing that they take cybersecurity seriously is downright musical and learning that they are open to local, small, in person get-togethers is spirit-lifting.

Final words

In 2009, I attended an ISEA being held in Northern Ireland and Ireland and asked one of the organizers if any of their symposia had been held in Canada. Yes! Montréal, my source raved at length, hosted a great meeting.

The next Canadian ISEA host was Vancouver in 2015 and guess what? Someone in a lineup was raving about the Montréal meeting. It seems that 1995 meeting has taken on a legendary glow.

It was a privilege being able to attend two meetings in person. Legendary, problematic, or good, the meetings bring together exciting talent and disturbing and/or mind-expanding ideas and experiences. Given the circumstances, the organizers find themselves dealing with, I wish them the best of luck although I’m confident that despite all the obstacles, ISEA2020 will be an extraordinary affair.

On a practical note, the $99 (or less) fee for the online pass is a good deal. (I know because I had to pay for mine when they were here in Vancouver in 2015. By the way, I’ve never regretted a penny of it.)

ISEA (International Symposium on Electronic Arts) 2020: Why Sentience? rescheduled to October 2020 in Montréal, Québec

Mentioned here twice (in a November 29, 2019 posting about the call for proposals and in a March 4, 2020 posting about the preliminary programme), the 2020 International Symposium on Electronic Arts has been postponed, from a March 23, 2020 announcement received via email,

POSTPONEMENT NOTICE – ISEA2020
New Dates: October 13 to 18, 2020

Montreal, March 23, 2020 — With the COVID-19 pandemic, the world is facing an extraordinary situation. Following the measures announced by the Government of Quebec and the Government of Canada, in a concerted decision with its partners and collaborators, Montreal Digital Spring (Printemps numérique) has decided to postpone ISEA2020: WHY SENTIENCE? We are looking forward to seeing you in Montreal, October 13 to 18 2020!

Our priorities are public health and high-quality programming, and we will work hard during the spring and summer to ensure that the ISEA community enjoys a memorable symposium! We thank you for your understanding.

TICKETS

Any purchases already made will be automatically transferred to the new dates. The new deadline for Early Bird registration, for presenters to upload camera-ready papers and to fill in the Zone Festival form is May 1st, 2020 at 11:59 pm (GMT-5).

The answers to most of your questions can be found in the FAQ. If you have a specific question, contact us at the following emails: 

Regarding academic papers, panels, institutional presentations and artist talks, contact: isea.academic@printempsnumerique.ca

For artworks, contact: isea.artistic@printempsnumerique.ca

For workshops, contact: sylvaine@printempsnumerique.ca

For general public, contact: ISEA2020@printempsnumerique.ca

See you in Montreal in October!

There you have it.

FACTT 2020: Festival of Art and Science Exhibition, March 9th – March 12th, 2020 in Toronto plus some ISEA (International Symposium on Electronic Arts) 2020 news

The FACTT 2020: FESTIVAL ART AND SCIENCE EXHIBITION is the third time (I believe) that the ArtSci Salon in Toronto has hosted this event. Marta de Menezes and a FACTT festival were mentioned for the first time here in a January 10, 2018 posting titled: CRISPR/Cas9 as a tool for artists (Art/sci Salon January 2018 events in Toronto, Canada) and an event in Winnipeg, Canada.

Here’s more from the March 3, 2020 ArtSci Salon announcements (received via email),

Sensorium Centre for Digital Arts and Technologies, ArtSci Salon, Cultivamos Cultura and Arte Institute present:

FACTT 2020: FESTIVAL ART AND SCIENCE Exhibition 
Monday, March 9th – Thursday, March 12th, 2020
11:00am-4:00pm
Gales Gallery (Accolade West Room 105) 
York University 

Exhibition Opening: March 9th from 6:00-7:30pm

Subway Stop, York University. 
Exit on the left – Accolade West is the building on the left

Don’t miss the 2020 Festival of Art and Science Exhibition – (Be)-Coming An Exhibition of Experimental Contemporary Art, co-sponsored by Sensorium: Centre for Digital Arts and Technology, ArtSci Salon, Arte Institute and Cultivamos Cultura. The exhibition features the work of invited artists from Portugal and North America, and AMPD students [I believe they are referring to students at York University’s School of the Arts, Media, Performance & Design]. The exhibition is curated by Marta DeMenezes [sic], Roberta Buiani and Joel Ong.

All are welcome to attend the exhibition opening which will take place on March 9th from 6:00-7:30pm in the Gales Gallery at York University. 

More soon at http://facebook.com/artscisalon and/or
http://twitter.com/ArtSci_Salon

About FACTT 2020

FACTT 2020 – (BE) COMING An Exhibition of Experimental Contemporary Art is about the impermanence of becoming permanent. A transformation is an extreme, radical change. The unavoidability of changes is a constant process we have throughout our lives. We may not always be aware of it, and often just spend so much energy avoiding this “law of nature” that we forget it exists and thrives for stability. (BE) COMING is an exhibition about change, the impossibility of not changing, the perpetual impermanence and the process of becoming. As we become aware of the need to change in our world, in our planet and our lives, it feels necessary to remember that life is a dynamic process. Life is a consistent process of transformation and adaptation. Art, more than any other human endeavour, is a reflection of this aspect of life and therefore the best way to remember the process of being something different, something else, something more, or something less, while becoming ourselves. 

****ETA March 11, 2020: CANCELLED. The Marta De Menezes talk has been cancelled****

According to the March 3, 2020 announcement, there’s another event associated with FACTT 2020; artist Marta De Menezes is being featured in a talk,

Sensorium Winter Lunchtime Seminar Series featuring: Marta De Menezes [sic]

Wednesday, March 11th, 2020
11:30am-12:30pm
The Sensorium Research Loft  [York University}
4th Floor GCFA, Room M333
RSVP to sensinfo@yorku.ca

Our second Sensorium Winter Lunchtime Seminar Series event of March will feature pioneering bio-artist Marta De Menezes [sic] who explores the use of biology and biotechnology as new art media and in conducting her practice in research laboratories that are her art studio.

Here are links for each of the sponsors: ArtSci Salon, Sensorium: Centre for Digital Arts and Technology, Arte Institute, and Cultivamos Cultura.

ISEA 2020

The 26th annual International Symposium on Electronic Arts (ISEA): Why Sentience? is being held from May 19 – 24, 2020 in Montreal, Canada and organizers have sen,t via email, a March 3, 2020 announcement,

DISCOVER THE PRELIMINARY PROGRAMMING!

Below is the list of accepted authors* from the call for submissions to ISEA2020. *Speakers are confirmed upon registration

PRELIMINARY PROGRAMMING HERE

REGISTRATION

ISEA2020, from May 19 to 24, 2020, will bring together in Montreal the scientific, academic and artistic work based on research and creative practices that explore new technologies. Don’t miss it!

EARLY-BIRD RATE ENDS ON MARCH 16, 2020!

REGISTER HERE

Major events of Printemps numérique [Montreal Digital Spring; this organization is one of the ISEA 2020 partners]

MTL connect: Montreal Digital week

ISEA2020

#intersections series

Youth QC 2030

Keynote speakers, workshops, special sessions, performances, and screenings are still to come.

I hope this Covid 19 situation is resolved soon. In the last paragraph of my March 2, 2020 posting I offered some information about articles along with links for more information about the virus.

*****ETA March 5, 2020: The ISEA 2020 keynote speakers were announced on March 5, 2020. Here they are (from the ISEA 2020 Keynote Speakers page):

THIERRY BARDINI

Professor in the Communication department at Université de Montréal
Agronomist (ENSA Montpellier, 1986) and sociologist (Ph.D. Paris X Nanterre, 1991), Thierry Bardini is full professor in the department of communication at the Université de Montréal, where he has been teaching since 1993. From 1990 to 1993, he was a visiting scholar and adjunct professor at the Annenberg School for communication at the University of Southern California, under the supervision of Everett M. Rogers. His research interests concern the contemporary cyberculture, from the production and uses of information and communication technologies to molecular biology. He is the author of Bootstrapping: Douglas Engelbart, Coevolution and the Genesis of Personal Computing (Stanford University Press, 2000), Junkware  (University of Minnesota Press, 2011) and Journey to the End of the Species (in collaboration with Dominique Lestel, Éditions Dis Voir, Paris, 2011). Thierry Bardini is currently working on his first research-creation project, Toward the Fourth Nature, with Beatriz Herrera and François-Joseph Lapointe.

Web Site : Université de Montréal

JOLENE RICKARD

Visual historian, artist and curator

Jolene Rickard, Ph.D. is a visual historian, artist and curator interested in the intersection of Indigenous knowledge and contemporary art, materiality, and ecocriticism with an emphasis on Hodinöhsö:ni aesthetics. A selection of publications includes: Diversifying Sovereignty and the Reception of Indigenous Art, Art Journal 76, no. 2 (2017), Aesthetics, Violence and Indigeneity, Public 27, no. 54 (Winter 2016), The Emergence of Global Indigenous Art, Sakahán, National Gallery of Canada (2013), and Visualizing Sovereignty in the Time of Biometric Sensors, The South Atlantic Quarterly: (2011). Recent exhibitions include the Minneapolis Institute of Arts, Hearts of Our People: Native Women Artists, 2019-2021, Crystal Bridges Museum of Art, Art For a New Understanding: Native Voices, 1950’s to Now,  2018-2020. Jolene is a 2020 Fulbright Research Scholar at McMaster University, ON, an Associate Professor in the departments of History of Art and Art, and the former Director of the American Indian and Indigenous Studies Program 2008-2020 (AIISP) at Cornell University, Ithaca, NY. Jolene is from the Tuscarora Nation (Turtle Clan), Hodinöhsö:ni Confederacy.

Web Site: Cornell University

RAMON AMARO

Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.
Dr. Ramon Amaro, Ph.D. is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. Previously he was Research Fellow in Digital Culture at Het Nieuwe Instituut in Rotterdam and visiting tutor in Media Theory at the Royal Academy of Art, The Hague, NL (KABK). Ramon completed his PhD in Philosophy at Goldsmiths, while holding a Masters degree in Sociological Research from the University of Essex and a BSe in Mechanical Engineering from the University of Michigan, Ann Arbor. He has worked as Assistant Editor for the SAGE open access journal Big Data & Society; quality design engineer for General Motors; and programmes manager for the American Society of Mechanical Engineers (ASME). His research interests include machine learning, the philosophies of mathematics and engineering, critical Black thought, and philosophies of being.

Web Site : sambarhino.com and Twitter : https://twitter.com/sambarhino

I will try to keep up with the news from ISEA 2020: Why Sentience?