Kate Armstrong
Since 2002
Works in United States of America

Kate Armstrong is a writer and new media artist who has lived and worked in Canada, France, Japan, Scotland and the United States. Her work has taken a variety of forms including short films, essays, net.art, performative network events, psychogeography and installation. Her theoretical work centres on themes of immanence and repetition. Her first book, Crisis & Repetition: Essays on Art and Culture, was published in 2002. Her artwork has been exhibited internationally. More information: http://katearmstrong.com

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Call for Artworks: ISEA2015//Vancouver

Sun Aug 10, 2014 12:00

Vancouver, Canada


This is the ISEA2015 call for artworks and performances. Additional CFPs for papers, notes, short papers/posters and panels, workshops and tutorials, can be found at http://isea2015.org/.

The 21st International Symposium on Electronic Art invites proposals. We ask that you consider the ISEA2015 theme of Disruption http://isea2015.org/about/theme/. Submissions may take the Symposium sub-themes into consideration or may think beyond them under the overarching theme of disruption.

The International Symposium on Electronic Art (ISEA) will be held in Vancouver, Canada August 14 - 18, 2015.

ISEA is one of the world’s most important international academic arts/technology events for the interdisciplinary discussion and showcase of creative productions applying new technologies in art for interactive, electronic and digital media. It’s an event that annually brings together artists, academics, scientists, and designers. The symposium consists of a peer reviewed conference and a wide-ranging program of artistic activity including partner events such as residencies, screenings, and performances.

We are looking for a broad range of works that respond to the ISEA2015 theme, including but not limited to site-specific work, interactive projects, online works, performances, screenings, installations, visual art, electronic literature, works that engage with public space, photography, media art, interdisciplinary projects, music and video. There will be a gallery exhibition as well as works that engage with other sites in and around the downtown Woodward’s main campus and elsewhere in Vancouver.

The ISEA2015 committee encourages individual artists and/or creative teams to conceptualize and scale their projects with budget considerations in mind. ISEA2015 will consult with selected artists around grants and funding applications.

Important dates:
• Deadline for submissions: August 10, 2014
• Projected Date of Notification of Acceptance: September 15, 2014

ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics of change, renewal, and game-changing paradigms. We look to raw bursts of energy, reconciliation, error, and the destructive and creative forces of the new. Disruption contains both blue sky and black smoke. When we speak of radical emergence we must also address things left behind. Disruption is both incremental and monumental.

In practices ranging from hacking and detournement to inversions of place, time, and intention, creative work across disciplines constantly finds ways to rethink or reconsider form, function, context, body, network, and culture. Artists push, shape, break; designers reinvent and overturn; scientists challenge, disprove and re-state; technologists hack and subvert to rebuild.

Disruption and rupture are fundamental to digital aesthetics. Instantiations of the digital realm continue to proliferate in contemporary culture, allowing us to observe ever-broader consequences of these effects and the aesthetic, functional, social and political possibilities that arise from them.

Within this theme, we want to investigate trends in digital and internet aesthetics and revive exchange across disciplines, We hope to broaden the spheres in which disruptive aesthetics can be explored, crossing into the worlds of science, technology, design, visual art, contemporary and media art, innovation, performance, and sound.

To elaborate on this general theme we have established the following sub-themes:

Increasingly, culture operates based on a sophisticated, invisible layer of data that may or may not relate to the physical world, and which leaves a “worldly residue” behind as machines alter our lived experience. These effects go to a wide variety of real world impacts. In addition there is a growing appreciation in the mainstream for the partial, procedural aesthetics produced by internet culture, from animated .gifs, RGB palettes, filters, to cats, unicorns, hair smiles and ugly selfies. What are the current effects of how the physical and the digital are entwined and what are the implications for the future? What does this blending of spheres mean for politics, aesthetics and the social world?

From strictly autonomous systems that generate complete work to tools for computer assisted creativity, artists and designers have been exploring generative frameworks for decades. In our increasingly computerized world, fronting a tsunami of data, we see an ever-increasing role for generative systems that operationalize autonomous behaviours that are algorithmically determined. We invite work that reflects on human and machine autonomy, aesthetics, and roles. How can we build on ideas of disruption in the framework of generative systems, processes, art and music?

By definition a glitch is small: a transient, short-lived fault that creates disturbance in a system. And yet the effects of a glitch can be monumental: on an aesthetic level a glitch can completely elide the readability of an image; in an airplane a glitch can cause total systems failure leading to catastrophe. One can find glitches in anything: in complex processes, in our images, bodies and lived experiences. A glitch is unstable, something slippery that is hard to find and harder to fix. Glitch is a ping from the system that makes itself visible. While glitch has a history it continues to appear in the contemporary practices of many artists. How can we explore glitch in the frame of cataclysmic, raw disruption? What is the scale of glitch now?

Our own bodies form lenses of experience, perception, cognition and disruption. How can we exploit the body itself in renegotiating physical habit, cultural experience and embodied texts in the context of embodied innovation, and disruptive technology through the lens of embodiment? What are the key drivers of innovation as it is situated within and upon the body and what are the consequences - social, political, biological, creative, performative, in cyborgs and in fashion? How can we see movement as a driver of knowledge and innovation? What is physical movement now?

We are in the midst of a revolution driven by DIY culture and participatory cultures of making. These cultures are knit together by networked technology and driven by increasingly available and ever-smaller and more powerful components in the internet of things. Hacking as in: DIY, physical computing, drones, robots, sensor networks, body-hacking, biofeedback, responsive systems, hacking as a determinant in political and aesthetic strategies, the critical making movement, 3D printing and rapid prototyping all have a place in this framework. While applied, these technological processes fluctuate in a speculative and creative space.

Text reveals language in code, poetics and discourse. How can text, code, and practices in electronic literature be explored in the frame of disruptive change? How do defamiliarization and rupture cross from literature into other spheres? Using text and code, how can we investigate contemporary aesthetics at this moment within bookforms, narrative, electronic, or generative literature? What are the possibilities of creation and destruction using the medium of code and the function of the literary in today’s culture?

Science informs art as art problematizes science. How have disruptive models from other fields created effects for science in areas like citizen science, biology, social culture, fashion, mutation, performance and ecology? How do scientific discourses and metaphors integrate and interfere with other disciplines such as architecture, politics and urbanism?

Our social spaces are the backdrops of everyday experience in contemporary design, urban architectures and cityscapes. We are knit together within the complex framework of our cities, through technological and social networks, patterns of habit and use and by our interactions with objects and people both near to us and half a globe away. Our lives are more entwined than ever, but the networks that hold us together can become fragile. When networks govern both global trade and our relationships with our thermostats, where is the tension between innovation and disruption?

Submissions may take the Symposium sub-themes into consideration or may think beyond them under the overarching theme of DISRUPTION.

We are looking for a broad range of works that respond to these themes, including but not limited to site-specific work, interactive projects, online works, performances, screenings, installations, visual art, electronic literature, works that engage with public space, photography, media art, interdisciplinary projects, and video. There will be a gallery exhibition as well as works that engage with other sites in and around the Woodward’s main campus and elsewhere in Vancouver.

The ISEA2015 committee encourages individual artists and/or creative teams to conceptualize and scale their projects with budget considerations in mind. ISEA2015 will consult with selected artists around grants and funding applications.

To submit work, please send the following by email to isea2015-art@sfu.ca. These elements must be compiled into a single PDF.
• Brief project description (200 words)
• Thematic statement
• 1 - 2 images
• If submitting a video, send a link to the vimeo
• Artist bio or CV
• Proposed budget
• Technical and logistic requirements

• Deadline for submissions: August 10, 2014
• Projected Date of Notification of Acceptance: September 15, 2014

The series of ISEA symposia is coordinated by ISEA International. Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. ISEA International Headquarters is supported by the University of Brighton (UK).

Kate Armstrong
Director, Social + Interactive Media (SIM) Centre
Emily Carr University of Art and Design
twitter: http://twitter.com/#!/kate_armstrong
mobile: (604) 788-2309


Tributaries & Text-Fed Streams

Sat May 24, 2008 00:00 - Sun May 11, 2008

What are the creative and poetic possibilities of RSS syndication and how might the introduction of iterative publishing processes affect our experience of digital literature? How can a book be transformed and reworked through an exploration of the formal and aesthetic structure of the stream?

Join us on Saturday, May 24th at 7:30 pm to launch a new artwork by Montreal-based writer and artist J.R. Carpenter.

Tributaries & Text-Fed Streams is a project by J.R. Carpenter that re-purposes the original text of an issue of literary quarterly The Capilano Review (TCR) as a raw material for a new digital artwork. The work is commissioned by The Capilano Review and curated by Kate Armstrong. The work will be simultaneously launched on Turbulence.org.

The launch event will feature a reading by the artist in addition to a programme of experimental readings by practitioners in disparate fields such as quantum physics, geography, and poetics, arranged to explore ideas of streams, seriality, or flow. Participants include Maria Lantin, Michael Boyce, Jeremy Venditti, Global Telelanguage Resources, and J.R. Carpenter.

After this short program there will be a reception. The event will take place at Helen Pitt Gallery in Vancouver on Saturday, May 24th starting at 7:30 pm.

In short:
Saturday, May 24th, 2008
Launch with experimental readings and a reception to follow
Helen Pitt Gallery
102-148 Alexander Street
Sliding scale: $5-$10


Tributaries & Text- Fed Streams: http://tributaries.thecapilanoreview.ca/
The Capilano Review: http://www.thecapilanoreview.ca/
TCR Issue 2-50 : “Artifice and Intelligence”: http://www.thecapilanoreview.ca/archive.php?id=series2/2_50
J.R. Carpenter: http://luckysoap.com/
Turbulence: http://www.turbulence.org


Why Some Dolls Are Bad: A Graphic Novel for Facebook

Mon Nov 19, 2007 00:00 - Mon Nov 19, 2007

Why Some Dolls Are Bad
A Graphic Novel for Facebook
By Kate Armstrong

About :
Why Some Dolls Are Bad is a dynamically generated graphic novel by Kate Armstrong. Built on the Facebook platform, the work assembles a stream of images from Flickr that match certain tags and dynamically mixes them with original text in order to produce a perpetually changing narrative.

Users who add the application in Facebook can capture pages from the novel and save, reorder, and distribute them.

The novel engages themes of ethics, fashion, artifice and the self, and presents a re-examination of systems and materials including mohair, contagion, environmental decay, Perspex cabinetry, and false-seeming things in nature such as Venus Flytraps.

How Does it Work?
Why Some Dolls Are Bad is a graphic novel built as a Facebook application. To experience it in its native environment, you will need to add the application to your Facebook account, where it will appear on your profile.

It operates by streaming images and text into a frame on your profile page. The image and text combine to create a page in the book.

As you read, advance to the next page by clicking "Next Page". A new text and image combination will be loaded. Since the novel is dynamically generated, you will never see the same page twice.

If you like the page you are reading and would like to save it, click "Capture". Pages you capture can be saved, shared, or collected into chapters.

Kate Armstrong:
Kate Armstrong is an artist and writer with interest in networks, social media, urban space, poetics, and computation. Her work examines tensions between digital and analogue systems, and looks to bring digital structures - both functional and metaphorical - into low-fi models and physical spaces as a way to interrogate contemporary culture. She is engaged with text and experimental narrative, especially open forms that bring poetics and computational function together. In the past this has taken a variety of forms including net art, psychogeography, installation, audio, performance, painting, and robotics.

Armstrong is the Director of Upgrade! Vancouver, which is part of the Upgrade! International network. She has taught at Emily Carr Institute and holds a position at the School of Interactive Arts and Technology in the Faculty of Applied Science at Simon Fraser University in British Columbia, Canada.

Kate Armstrong: http://www.katearmstrong.com
Why Some Dolls Are Bad: http://www.cornerdata.org/dolls
To locate the application on Facebook, search “Why Some Dolls Are Bad”, then click “Add this Application”.


Upgrade! Vancouver: TCR Launch Party

Thu May 17, 2007 00:00 - Thu May 10, 2007

New Writing, New Technologies
Launch Party for TCR 2-50: Artifice and Intelligence, guest edited by Andrew Klobucar
With panel discussion, food, & live a/v by CineCitta

Presented by the Capilano Review and Upgrade! Vancouver

May 17, 2007
7:30 pm

The latest issue of The Capilano Review: 2-50 - Artifice and Intelligence, features an array of cultural producers currently investigating the complex and rapidly evolving relationships between writing, art, and digital technology.

Join us as we explore critical questions on how contemporary developments in media technologies - its tools and methods - continue to influence many of today's most important literary and art movements, and how these new technologies affect the concept of knowledge.

Panel discussion with Jim Andrews, Kate Armstrong, David Jhave Johnston, Laura Marks, Sandra Seekins, and Darren Wershler-Henry, moderated by Andrew Klobucar.

Join us for food, drinks and live a/v by CineCitta 7:30pm
Panel discussion: 8:30 pm

Intersections Digital Studios (IDS)
Emily Carr Institute of Art + Design
1399 Johnston Street, Granville Island

More information:

Supported by The Canada Council for the Arts, Capilano College, Upgrade! Vancouver, & Emily Carr Institute for Art and Design. Darren Wershler-Henry appears courtesy of Capilano College's new Creative Writing Program reading series OPEN TEXT.

The Capilano Review: 2-50 - Artifice and Intelligence
Global Telelanguage Resources
Sandra Seekins
Kate Armstrong
David Jhave Johnston
Laura U. Marks
Sharla Sava
Antonia Hirsch
Kevin Magee
Jim Andrews
Gordon Winiemko
Nancy Patterson
Darren Werschler-Henry

http://www.thecapilanoreview.ca ORDER ONLINE WITH SECURE PAYMENT


Upgrade! Vancouver//with Matt Rogalsky

Wed Oct 18, 2006 00:00 - Thu Oct 12, 2006

Hi Everybody

Just a quick note off the top to say a massive Thank You to everyone who participated in ArtCamp on September 21, 2006. It was a really amazing event which far surpassed expectations in terms of attendence, the brilliance of projects and talks that y’all came up with, and with the flabbergasting smoothness of logistics on the day. Yay principles of self-organization! I was really happy with the whole thing and I hope that you were too. I am writing up a report about the event which I will circulate soon.

In the meantime you can see (and add) pictures at NowPublic: http://www.nowpublic.com/artcamp_is_here and also at a newly established Flickr group for ArtCamp: http://www.flickr.com/groups/86885591@N00/pool/ . There is talk about another one next year...stay tuned!

*Next up for Upgrade! Vancouver is a talk by Matt Rogalsky on Wednesday, October 18 at 8pm.
Matt Rogalsky's work as a media artist often focuses on exploration of abject, invisible/inaudible, or ignored streams of information. Since 1985 his performances and installations have been seen and heard across North America and Europe. Most recently he presented the installation When he was in high school in Texas, Eric Ryan Mims used a similar arrangement to detect underground nuclear tests in Nevada, in a solo show at the Agnes Etherington Art Center in Kingston Ontario, and a new multi-channel sound work Memory Like Water, in a solo show on Hornby Island BC, presented by the GroundWater Foundation. A double CD documenting the past ten years of live performances, also entitled Memory Like Water, was released in July 2006 on XI Records.

At Upgrade, Rogalsky will discuss his installation Ellipsis (2001), on view at the Western Front, in which software "listens" to a single talk radio input. In the exhibition space we hear only the gaps between the words-the "silences"-as they occur in realtime, but amplified to a louder than normal listening level. A time counter projected on the wall shows the hours, minutes, seconds and hundredths of seconds of accumulated "silence", inexorably advancing with each fragment. This piece is one of several exploring aspects of "silence" in the media and in musical performance. It has previously been shown at Diapason (New York City, USA), Sleeper (Edinburgh, Scotland), the Slade Gallery (London, England), SoundPlay Festival 2004(Toronto), as part of the Digital Poetics and Politics symposium at Queen's University in 2004 (Kingston, Canada) and in the exhibition Disquiet curated by Christof Migone in 2005 for Modern Fuel Gallery (Kingston, Canada).

Upgrade! Vancouver ( http://www.katearmstrong.com/upgrade/vancouver/) is curated by Kate Armstrong. It is one of 22 nodes currently active in Upgrade! International (http://theupgrade.net), an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email kate@katearmstrong.com.

When: Wednesday, October 18 at 8pm
Where: Western Front, 303 East 8th Avenue, Vancouver, Canada
FREE! Everyone welcome.
URL: http://www.katearmstrong.com/upgrade/vancouver/
On NowPublic: http://www.nowpublic.com/matt_rogalsky_at_upgrade_vancouver_on_october_18_2006