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What is a diagram? How do maps, charts, plans, DNA sequencing, weather mapping, computer glitches and Internet cartography blur the boundaries between ‘art’ and ‘information’? Drain calls for artworks, thought experiments, essays and reviews that explore how data has been weaved into artworks and in the other direction, artworks into data. How are surveillance, spying, data collection explored by artists? Does Google Earth problematize artists’ relationships with space and mapping? Is there an algorithmic aesthetics? What is at the source of the renewed artistic interest in Cybernetics? How do artistic practices appropriate information-age interfaces: first-person shooter or roving perspective; satellite pictures or overhead images, disposable data or the notion of a mathematical sublime? Can the diagram revamp the essence of the image, its relationship to the multiplicity, to mutating media platforms, to screen interface, to the virtual and actual of the image? How is it possible to reveal the image’s relationship to binary code and coding, scientific visualization, maps of the universe, data navigation, the algorithmic posthuman? Under the umbrella term of the diagrammatic, Drain seeks to question definitions of ‘art’ and ‘information’ by examining their creative interconnections.
This issue will be led by Jakub Zdebik.
The fascination with dirt, mud and earth runs deep and taps into a longstanding, mythical and magnetic psychology. Dirt is not necessarily clean or unclean, vital or morbid. It has a certain agency that resists reason, and it can also soil the temple of high art.
Dirt has been the dumping ground for politics, art and mind. The depths of the earth have absorbed toxic waste, blood, countless corpses, radioactivity and palimpsests of political and legal measurements and geometries. Dirt’s connections with the air and sea, plant life and ecosystems are physical and reciprocal, political and psychological. One can follow the flow of dirt from the base to food politics and back again.
This call for papers and artworks invites forms of creativity emerging from the encounter between an ordered world (or a world order) and the chaos of dirt, and asks how it might be possible for dirt to produce a disturbance of aesthetic, ecological and political categories and affects.
This issue will be led by Greg Minissale.