Annual Exhibition 2019 Call for Entries
September 09, 2019 - October 10, 2019

Deadline: October 10, 2019

We are pleased to announce our Call for Entries for the Annual Juried Exhibition 2019: TechnoMEME 2. Our juried exhibition features work created with technology-based new media, electronic, and digital tools. Our upcoming exhibition will run from Friday, November 1st to Saturday, December 7th at the Cultural Arts Center, Columbus Ohio.


TechnoMEME is the theme of Fuse Factory Annual Exhibitions (FFE) in 2018 and 2019. Following the successful invitational exhibition last year, FFE 2019 continually searches for other artists’ creative interpretations of this theme. Since the concept of evolutionary biologist Richard Dawkins’ ‘Meme’, which considered cultural transmissions and imitations as phenomena of self-replication for being an effective propagator of genes according to his book The Selfish Gene (1976), the ambiguous and metaphorical idea from its theoretical beginning has unintentionally morphed into new viral phenomena, such as the trend of the ‘Internet meme’ within online media culture. For this year’s theme, the Fuse Factory looks back at Dawkins’ original term and reviews the usefulness of a meme’s imitation, transmission, retention, and mutation that can be applied and utilized in contemporary art, technology, and culture.

FFE 2019 is considering how new media art translates the ongoing technological phenomena of replication, imitation, variation, reproduction, and mutation responding to technological evolution at the nexus of digital culture. In addition to being the second season of TechnoMEME, FFE 2019 views artistic possibilities of technological and biological matters and platforms that create cultural and behavioral practice as ‘human-nonhuman-meme’, which can be enabled to transmit and replicate between human scientific endeavors and nature. Here is one of many references although this case is a very rare type of animal behaviors and abilities responding human culture. The rhythmic cockatoo Snowball’s spontaneous reactions and humanlike dance would enable us to rethink about human uniqueness and appreciation of nonhuman others.

These artistic explorations can operate as correlative phenomena for intercommunications and interrelationships rather than reinforcing anthropomorphic consciousness and humanized one-way relationships. We seek to include artworks that examine the following:

  • How could we as artists imagine how imitable human consciousness, intelligence, and behavior can connect on par with nonhuman nature and vice versa, or in terms of interspecies?
  • How can we as artists imagine humans as social, cultural, and biological entities, and technological propagators, which can increase understanding of nonhuman others?
  • Moreover, based on the assumption of Dawkins’ claim, the gene-centered view of evolution, how can human genes and memes be transmitted into technological hosts, “surviving machines” and “vehicles”, for leaping from human into hybrids, and surpassing conventional parameters of human nature?
  • How could we sustain humanity?

Here is the list of keywords regarding the theme of FFE2019 – TechnoMEME 2:
– Transmission, imitation, replication, variation, mutation, reproduction, propagator, selfish vs. altruistic, compatibility, co-creation, intercommunication, interrelationship, multispecies, trans-species, interspecies, humanized vs. dehumanized, symbiosis, evolution, technoculture…


The Fuse Factory Art and Technology Lab encourages all artists, inventors, and scientists working with a wide range of high and low technologies to submit works that fall within the following genres: electronic art; interactive installation and interfaces; robotic art; live performance; 3D modeling and animation; art games; virtual and augmented reality; experimental video and moving images; video mapping; digital imaging; sound art; Internet art; creative coding; biological art; eco-art; and other emerging forms not mentioned here. We will also consider traditional forms of art and film, provided that they also explore the exhibition theme.

Both U.S.-based and international applicants are encouraged to submit entries. If you are an international applicant and your work is composed of physical components and/or physical installations that require an international delivery cost, the jurors will need to take this into consideration when evaluating your artwork for inclusion in the exhibition. While we will do what we can, we cannot guarantee that we can cover your shipping costs if your work is accepted. Please feel free to contact our Executive Director, Alison Colman, at if you have any questions or concerns.

  • Artworks that were produced before 2017 will not be considered.
  • Selected artwork must be exhibited during the full month-long exhibition period. However, performative artwork will be scheduled to occur at a specific time and place during the exhibition.


Applicants are required to submit the following:

  • Email your application materials to and include “FFE 2019 APPLICATION_your name” in the subject line.
  • 3-5 images (website links only)
  • Video links (3-minutes-or-less video highlights on YouTube or Vimeo. If your application videos exist on private channels, please include passwords so jurors can access your links)
  • Short art statement (300-500 words, .pdf file) describing what you propose to exhibit and how your artwork fits within to the exhibition theme
  • CV
  • One-page (.pdf file) document specifying your installation requirements and dimensions, and other technical requests
  • Contact details (email, phone, website)


  • Application deadline: Monday, September 30th
  • Notify artists: Saturday, October 5th
  • Announcement for lineup: Monday, October 7th
  • Installation: Wednesday, October 30th – Thursday, October 31st
  • Exhibition duration: Friday, November 1st – Saturday, December 7th
  • Opening Reception: Friday, November 8th
  • De-installation and Art pick-up: Saturday, December 7th
  • NOTE: The Fuse Factory may be able to partially reimburse a limited number of artists (on a case-by-case basis) for the shipping costs they incur by participating in the exhibition. Please contact us to discuss about the supports.


  • There is no entry fee, but we will gratefully accept donations.
  • The Fuse Factory is a not-for-profit art 501c3 organization, and all of our programming is made possible by grants, sponsorships, and donations.
  • PayPal donations can be made to


  • Tyler Cann – Curator of Contemporary Art at Columbus Museum of Art
  • Amy Youngs – New media artist/Associate professor of Art & Technology, The Ohio State University
  • Doo-Sung Yoo – New media artist/Senior Lecturer of Art & Technology, The Ohio State University


  • The Puffin West Foundation
  • Cultural Arts Center, Columbus Ohio

For additional information and questions regarding the exhibition application and workshops, please send us an email to We are also on Facebook. For additional information regarding the gallery space of Cultural Arts Center, please visit or contact

October 2019 Frequency Fridays: Nate Young (DET) + Miralia/Stranahan duo (CLE) + Giant Claw (CMH) + Eddy Kwon (CINCY)
October 04, 2019

Our October 2019 Frequency Fridays show features experimental electronic musician Nate Young, electroacoustic improvisors Miralia/Stranahan duo, composer/violinist/violist Eddy Kwon, and experimental electronic musician/sound artist Keith Rankin’s solo project Giant Claw. Date: Friday, June 7th 2019. Location: 13 E. Tulane Rd. 43202. Admission: $10 for one, $15 for two. Doors open 7:30pm. All ages, BYOB. Our Frequency Fridays 2019-2020 season is supported by grants from the Greater Columbus Arts Council, the Ohio Arts Council, and the Columbus Foundation.

About the artists:

Nate Young Nate Young is a Detroit-based musician who has been working in experimental electronic sound for over twenty years. In 1998, Young founded legendary noise group Wolf Eyes. Solo and as Wolf Eyes, Young has toured the world, released countless records, collaborated with Anthony Braxton and Marshall Allen, and inspired a generation of electronic musicians. Recent accomplishments include performing his compositions with the BBC Scottish Symphony Orchestra, and creating Trip Metal Fest, an annual free experimental music festival in Detroit entering its fourth year of programming that has brought luminaries such as Morton Subotnick and the Art Ensemble of Chicago to Detroit. In 2016, Young co-created (with John Olson) the record label Lower Floor Music, an imprint of Warp Records.

The Miralia/Stranahan Duo (Lisa Miralia + Paul Stranahan, Cleveland OH) creates dynamic soundscapes using ancient and modern acoustic and electronic instruments including gongs, Tibetan singing bowls, drums, synths, bells, homebuilt electronics, and vox. They draw influences from the avant-garde, free improvisation, experimental noise, metal, and ambient musics, but the results are wholly original and will never be performed exactly the same way twice.

Eddy Kwon is a composer-performer, violinist/violist, and community-based teaching artist living in Cincinnati, Ohio. Eddy is a City of Cincinnati Art Ambassador Fellow, a Cincinnatus Presidential Scholar, and a 2016 United States Artists Ford Fellow. Eddy serves as Artistic Director of Price Hill Will, a non-profit comprehensive community development corporation serving the diverse neighborhood of Price Hill, where Eddy also lives. As a violinist/violist and improviser, Eddy has worked with Roscoe Mitchell, Famoudou Don Moye, Akua Dixon, Napoleon Maddox, Tomeka Reid, Nicole Mitchell, and Jens Lekman. Eddy is currently recording and touring with the Art Ensemble of Chicago, Tomeka Reid, and co-creating a long-term interdisciplinary performance project with artist Senga Nengudi and Degenerate Art Ensemble. As a composer-performer, Eddy works primarily in solo and small ensemble forms. Recent commissions include VIOLENCE, a performance work for electro-acoustic ensemble that explores structural violence in America, and a r c h i p e l a g o, a unison piece for electric string quartet experiencing extreme sensory deprivation (Contemporary Arts Center).

In the music he makes as Giant Claw, Keith Rankin distills the erratic world of 21st century internet culture into a string of increasingly strange albums issued by Orange Milk, the Ohio-based label he co-runs with fellow musician, Seth Graham. Using melodic keyboard lines, plunderphonic sampling, and incessant jump cuts, Giant Claw sketches out a jagged topography of the digital landscape. Over the last seven years, his music has incorporated everything from vintage movie synth scores to footwork and chiptune. After an initial string of decidedly less-bizarre albums, Giant Claw veered into stranger territory on his last two outings. 2014’s Dark Web turned split-second online trope samples into snappy juke rhythms, and 2015’s Deep Thoughts used video game sounds to create odd MIDI symphonies. His latest effort, Soft Channel, is both far more unsettling and decidedly more intimate. While he’s still dissecting a mass of samples and digital instruments, the source material is much more personal. Or to put it in Giant Claw’s own internet-informed parlance: If Dark Web was a Reddit page curated by a long list of users, Soft Channel is a Tumblr page.