deadline: 25 April
\nCall for entries<\/p>\n
open call for works<\/p>\n
the 3rd near-field communication digital art biennale is calling for works that use and interacts with P2P (peer-to-peer) dynamic and distributed form of electromagnetic, light and wireless technology standards.<\/p>\n
the idea of the biennale is to take advantage of the potential of near field communication and other sharing technologies for promoting and making web-based digital art accessible in physical settings. it’s also an attempt of bringing this art outside the framework of galleries and institutions.<\/p>\n
#nfcdab 2018 will take place in Warsaw, Wroclaw(PL), Amsterdam(NL), Trondheim(NO), Valencia(ES), and possibly Prague(CZ), Berlin (DE), throughout 2018.<\/p>\n
this call is directed towards the trondheim leg, although the works will be shared between all nodes.<\/p>\n
trondheim biennale date: 4-6 may 2018.
\nlocation: trondheim, norway, in the context of metamorf and dangerous futures conference.<\/p>\n
technology
\nNFC tags, QR codes, modified routers, 2 categories of sensors: A. embedded human sensory pack, see: https:\/\/en.wikipedia.org\/wiki\/Sense ; B. sensors in mobile devices, see: https:\/\/www.w3.org\/2009\/dap\/<\/p>\n
suggestive descriptions of what we’re looking for
\n– contextual, parasitic, virtual, imaginary, descriptive, phenomenological, mapping art.
\n– parasitic on art context and on human percpeption.
\n– the character of the trondheim leg is low-tech and low profile, even to to the degree of being ‘bricked’ (unresponsive) as a strategy against the spectacle which is technology.
\n– a focus on the relation between inert physical objects and their virtual counterpart in a broad sense being objects of our perception – coming alive, activated by innate or prostetic sensors.
\n– fictionalization, obfuscation, and muddling of information, activating associative, lateral, derailing storylines. a staging of events, not for common digestion all bombyx (written on a box of canned silk worm pupaes). there should always be the possibility that the biennale doesn’t exist. it may be a practical joke or simply a hallucinating of arcane references found in public spaces, toilet walls, and bricked streets.
\n– the works can be textual descriptions of possible or impossible artworks for the locations. invert works to ‘prompts’ for activating the subject ‘in place of the work’.
\n– alternative mapping strategies between physical and virtual.
\n– how the tech can be used to invert modes of exhibition and perception.
\n– people can act like sensors, works can be prompts – an activation of your innate senses.
\n– descriptive art, the code-tag can act as a prompt for people to write, to email, web or nfc message board.
\n– a description of a virtual artwork (‘imaginary works of art in certain locations’, joubin), or reinterpretation of a real (or virtual!) work at site.
\n– hybrid object, virtual-real, the tag refers to its virtual counter-part, complement\/undermine\/commenting it.
\n– an object’s memory, available to the decoder, and collected by (mail\/web\/nfcboard).
\n– virtual graffiti, a camera obscura – creating of an inverted virtual-physical space.
\n– ambulating, walking, tagging, flaneur.<\/p>\n
submit your work to #nfcdab 2018
\n– content playable or bricked on mobile, portable devices, human senses and imagination.
\n– whatever you can conjure up related to the call, even being its contrary stance.
\n– interventions and tripwires.
\n– send link or text to nfcdab3@noemata.net<\/p>\n
deadline: 25 april 2018.<\/p>\n