Call No. 2 – Fractal Horses

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Announcement Call: May 15, 2017
Deadline: June 23, 2017
Jury selection: June 23–27, 2017
Web Residencies: July 3–August 3, 2017
Residents: Jean-Michel Rolland (Marseille/France), Eric Parren (Los Angeles/USA), Jeffrey Alan Scudder (Maine/USA), Nicolas Sassoon (Vancouver BC/Canada)
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»There are only patterns, patterns on top of patterns, patterns that affect other patterns. Patterns hidden by patterns. Patterns within patterns. If you watch close, history does nothing but repeat itself. What we call chaos is just patterns we haven’t recognized. What we call random is just patterns we can’t decipher.« Chuck Palahniuk

People want patterns. They communicate with patterns, live in patterns. Patternalism prevails. Some patterns are so obvious they can’t be true. Others are so complex they can’t be true. – And some are just right. Or beautiful.

Chaos theory is a dark horse of science. It teaches us to expect the unexpected and deals with things that are essentially impossible to foresee or control. It changes the view on our patterned existence. For it is chaos that permeates our lives, appearing from a tiny snowflake to the World Wide Web, which echoes the infinite complexity of nature. Any little shift can change everything.

We are looking for works that challenge the multiplicity and tensions of patterns and chaos – in any new art media discipline such as visual, music, sculpture, games or writing. We are looking for artists who face the nonlinear and the unpredictable, who design algorithms to draft the flap of a butterfly’s wings, watching out for the change of the course and the rhythm of the world to come.

It is easy to trace a path, but it is difficult to create a sophisticated journey.

[May 2017]

Claudia Maté (b. 1985, Spain) lives and works in London. She works in a large area of new media and online works. Her works come from a variety of formats including programming, 3D, video, video games, VR, GIF, and sound. She is cofounder and curator at cloaque.org. Her work blends the familiar with the odd, and the futuristic with strange retro tropes. She has realized her ambition to fuse the Internet and interactive 3D technology into an aesthetic that is nonideological and defines a never-ending new aesthetic – into a surreal and pixelated world where anything is possible, and nothing is as it seems.