{"id":5527,"date":"2026-06-16T08:44:49","date_gmt":"2026-06-16T08:44:49","guid":{"rendered":"https:\/\/icids2026.ardin.online\/?page_id=5527"},"modified":"2026-09-18T07:32:20","modified_gmt":"2026-09-18T07:32:20","slug":"elementor-page-5527","status":"publish","type":"page","link":"https:\/\/icids2026.ardin.online\/index.php\/elementor-page-5527\/","title":{"rendered":"Art Exhibition"},"content":{"rendered":"\t\t
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Art Exhibition<\/h1>
Adaptive Measures<\/div>

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Deadline for Submissions:<\/strong> October 1, 2026<\/div>
Notifications:<\/strong> October 15, 2026<\/div>
Exhibition Format:<\/strong> In-person at Ramkhamhaeng University, Bangkok, Thailand<\/div><\/div>

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The ICIDS 2026 Art Exhibition invites artists, researchers, and creative practitioners to submit interactive digital artworks that push the boundaries of narrative and technology, in dialogue with this year’s conference theme, adapt\/abilities<\/em>.<\/p>

To be adaptable is to be willing to change\u2014to modify, to acclimate, to move with fluid conditions of selfhood, nation, border, culture, ecology, ritual, and tool. Adaptability is an art of survival. But it is also, more quietly, a form of defense and\/as offense: a way of managing and mitigating oppressive counterforces while sustaining novel identities and states of being.<\/p>

We are curious about what this looks like when it is made rather than argued. What does an adaptive narrative actually do? What does it withstand, and at what cost? Where does responsiveness shade into surveillance, personalisation into capture, resilience into the quiet demand that we absorb harm without complaint?<\/p>

This is an open call for new works and you do not need to adapt to the theme\u2026 but we particularly invite works along three currents. They are named to give the exhibition shape, not to sort submissions into boxes\u2014most interesting work will run through more than one.<\/p><\/section>

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I. Beautiful Endurance<\/h3>

Adaptation as duration. Systems that persist by changing: narratives that mutate with use, degrade gracefully, repair themselves, migrate across dying platforms, or refuse to behave the same way twice. Work made with old machines, dead formats, low-tech constraint, and salvage. Ecologies of endurance across scales, from cell to climate to more-than-human agencies and planetary materialities. What survives, what it costs to survive, and who decides what is worth keeping running.<\/p><\/div>

II. Soft Armour<\/h3>

Adaptation as defense and\/as offense. Masking, coded language, mimicry, refusal, and survival aesthetics\u2014the arts of moving unseen, of saying two things at once, of holding ground by appearing to yield. Narratives that dissemble, that encrypt themselves in plain sight, that withhold. Work on camouflage and counter-surveillance, on the double address of minority speech, on the strategic opacity that makes endurance possible. We are also interested in the antagonists: who or what makes this necessary, and how do we learn to recognise them?<\/p><\/div>

III. Mutable Bodies<\/h3>

Adaptation as access, and access as adaptation. Adaptive and assistive interfaces, crip technoscience, sensory substitution, work that treats differing bodies and minds not as edge cases to accommodate but as the design premise. Interfaces that reconfigure around the person rather than the reverse. Also: the body altered by its tools, the machine altered by its user, and the politics of who is asked to adapt to whom.<\/p><\/div>

Across all three:<\/strong> Heritage in flux: traditional forms, oral narrative, and localized wisdoms re-envisioned through emerging technologies and interactive storytelling. Generative and machine-learning systems, including works that interrogate, resist, or misuse them. Site-responsive work made for, or made vulnerable to, the conditions of Bangkok.<\/p>

Works need not address the theme explicitly. As with the main conference, the theme is offered as inspiration, not constraint.<\/em><\/p><\/div><\/section>

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What We’re Looking For<\/h2>

We welcome interactive digital works including, but not limited to:<\/p>

VR, AR, and MR works<\/span><\/div>
Computer games and game poems<\/span><\/div>
Interactive installations<\/span><\/div>
Screen-based computational works<\/span><\/div>
Web-based works<\/span><\/div>
Webdocs and interactive films<\/span><\/div>
Transmedia works<\/span><\/div>
Internet of Things\u2013based works<\/span><\/div>
Performance and participatory works<\/span><\/div>
Rule-based system narrative works<\/span><\/div><\/div>

Works may be new or previously exhibited. Works in progress will be considered where a functional presentation is possible at the conference.<\/p>

A note on adaptability, practically speaking:<\/strong> ICIDS 2026 is a hybrid conference in Bangkok, and shipping, power, space, and network conditions are real constraints. Works that can adapt to their exhibition conditions\u2014that travel light, run on modest hardware, scale to available space, or exist online\u2014are especially welcome. If your work is ambitious in its technical demands, tell us early and tell us specifically; we would rather solve the problem with you than turn the work away.<\/p><\/section>

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Submission Requirements<\/h2>

Submit via Google Form (one submission per artist). Please have the following ready:<\/p>