Data as Experiential Knowledge and Embodied Processes (EKSIG 2025)

Over the centuries our understanding of what constitutes data has – and continues today – to shift. In the 18th century, datum, the singular of data, referred to a piece of information through which inferences could be drawn. For the scientific community, the focus shifted from receiving what is given to extracting what is not. Data transitioned from an entity that was previously unknown or unexplored to being the epitome of what scientists strive to uncover via systematic investigation and observation.

More recently, the art and design community’s engagement with data has once again shifted understanding of the term. Data became an experimental medium for artists and designers and data literacy of general audiences began to emerge. These changes have prompted a more nuanced understanding of the term. Beyond the purely quantitative, data are now recognised to carry temporal and emotional qualities that can be meaningful, malleable and evocative.

Making with data is no longer exclusively digital. Data appear in hybrid and physical forms that invite various perspectives, interpretations, and reflections. For example, data can be found in physical forms like 3D-printed models, sculptures, or even tactile exhibits in museums. In addition, users can explore the embodied nature of data in virtual environments, offering unique perspectives on data's virtual materiality and influencing our perception of scale, complexity, and interconnections between humans and data. Data are no longer exclusively a scientific output either, but instead appear in art and design accessible to entirely different publics. The growth of self-tracking technologies now allows anyone to track, experiment with, and explore data in ways that extend what is known about the self and decision-making in everyday life. More recently, artificial intelligence has once again contributed to shaping our understanding of the term through the use of generative technologies. Even design education has shifted in recent years, using data to inspire, support, and expand students' projects.

Thus, the idea of data has expanded beyond its conventional scientific boundaries and has become a versatile and ever-changing medium that influences how we see the world, stimulates creative expression, and enhances our daily lives in new and remarkable ways.

Submission Guidelines

All papers must be original and not simultaneously submitted to another journal or conference. The following paper categories are welcome:

• For EKSIG 2025, we invite the submission of full papers (4000-5000 words excluding references) that offer new or challenging views on the conference theme that have not been previously published. The papers will be selected through a double-blind peer-review process by an international review team.

• We also invite for workshop submissions that should include:

  • Workshop Description (max 2 pages)

  • Schedule of the Workshop

  • Technical Requirements (including material requirements)

  • Organisers pictures and bios

We invite contributions from creative subjects and other disciplines, e.g. design, architecture, engineering, craft, media, HCI, performance, music, fine art, curation, museology, archaeology, philosophy, knowledge management, education, health, cognitive science, sensory studies and other fields that are concerned with collaboration in research and in creative and professional practice.

Please submit an anonymized version of your full paper of 4000-5000 words or workshop according to this template.

Important Dates for papers and workshops:

Deadline for Paper Submission: 22^nd November 2024

Notification of Acceptance: 10^th February 2025

Camera-ready Papers Due: 10^th March 2025

Conference Date: 11^th-13^th May 2025

List of Topics

• What constitutes making when designing with data at various scales?
• How do the cultural, social and contextual influences of data affect design processes?
• How might engaging with data shift our understandings of space?
• What role does data play in speculation?
• Are data and material practices antithetical?
• At what points in the design process does data provide inspiration?
• How can data take the form of new materialities?

Committees

Organizing & Program committee

• Mary Karyda, Moholy-Nagy Universtiy of Art and Design
• Jessica Hemmings, University of Gothenburg
• Renáta Dezső, Moholy-Nagy Universtiy of Art and Design
• Damla Çay, Moholy-Nagy Universtiy of Art and Design
• Ágnes Karolina Bakk, Moholy-Nagy Universtiy of Art and Design
• Nithikul Nimkulrat, OCAD University, Canada
• Camilla Groth, University of South-Eastern Norway

Venue

Moholy-Nagy University of Art and Design Budapest (MOME), Hungary

Contact

eksig2025@mome.hu