Triple Canopy accepts proposals year round via our online form. All proposals will receive a response by email. Please do not submit more than one proposal at once and please direct questions to email@example.com.
Triple Canopy created the three project areas listed below—Research Work, Immaterial Literature, Internet as Material—in order to better articulate the magazine’s artistic aims to collaborators and supporting foundations alike.
Research Work was established to facilitate the creation of research projects that are produced outside academia, for a general audience; employ Internet-specific methods of presentation; and serve a public best reached by making the work available for free online.
Research Work is supported in part by the Brown Foundation, Inc. of Houston, Lambent Foundation Fund of Tides Foundation, National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York Council for the Humanities.
Examples of pieces published in Triple Canopy that fall into the category of Research Work:
- Anonymity as Culture: Treatise, by David Auerbach
- Our Weirdness is Free, by Gabriella Coleman
- Tektite Revisted, by James Merle Thomas & Meghan O’Hara
- The Tale of the Big Computer, by Anna Lundh
- The Ultimate High Ground, by Steve Rowell
- Inside the Mundaneum, by Molly Springfield
- He Is Fresh and Everyone Else Is Tired, by Ian Volner & Matico Josephson
Immaterial Literature was established to facilitate the production of creative writing—fiction, poetry, prose—that engages other media (and artists), considers the particular formal qualities of the Web as a medium, and speaks to a diverse and widespread readership. Triple Canopy believes that recent technological developments, and consequent changes in the way literature is produced and consumed, compel writers to develop new forms for crafting their work and articulating their ideas—from critical essays that employ multimedia to prose poems and short stories that mine the potential of interactive tools—and that their work benefits greatly from such consideration. Editorial staff provide emerging and mid-career writers with exacting and attentive editorial and production assistance, from the early phases of development to the final, published work.
Immaterial Literature is supported in part by the Brown Foundation, Inc. of Houston, Lambent Foundation Fund of Tides Foundation, National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts.
Examples of pieces published in Triple Canopy that fall into the category of Immaterial Literature:
Noping, by Caroline Bergvall
The Patio and the Index, by Tan Lin
Like on the Subject of the Icebreak, by Ish Klein
Sibyl and Marsyus, by Anja Utler
Happy Moscow, by Sam Frank
Thirty-Six Shades of Prussian Blue, by Joshua Cohen
Internet as Material
Internet as Material was established to support emerging and midcareer artists who have never before made work specifically for the Web in the production of an online project. These projects further Triple Canopy’s mission by utilizing the Internet—which is too often understood as a channel for the transfer of information—as a medium for the development of artworks that actively engage readers and viewers. By facilitating the use of the Internet as raw or appropriated material, comparable to acrylic paint or magazine clippings, these commissions also help to broaden and diversify the narrowly defined, and technically challenging, field of Internet-based art. Typically, projects are conceived in collaboration with editorial staff and employ the technical assistance of a staff Web developer. Equal attention is paid to the animating ideas of the project and the use of the Internet’s particular properties to articulate those ideas technically and aesthetically. What results is not a mere presentation but an artwork that can be viewed by an audience much larger and more diverse than that enjoyed by any gallery or publisher of artist books.
Internet as Material is supported in part by the Brown Foundation, Inc. of Houston, the Foundation for Contemporary Arts, Lambent Foundation Fund of Tides Foundation, National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts.
Examples of pieces published in Triple Canopy that fall into the category of Internet as Material:
Triple Canopy is pleased to announce its seventh annual call for proposals. Apply via the online form. The deadline for submissions is November 13, 2016, at 11:59 p.m. EDT. Commission recipients will be announced on December 15. For instructions on how to submit a general proposal, please refer to our year-round submission guidelines. Proposals are reviewed in two rounds by the magazine’s editorial staff, and successful applicants receive an honorarium as well as editorial support over the course of the subsequent six to twelve months, culminating in the publication of their work by Triple Canopy.
Click “Read more” below to learn about the 2016 call for proposals.
Triple Canopy’s 2016 call for proposals
The magazine invites proposals for new work to be developed by artists and writers in collaboration with Triple Canopy’s editors for inclusion in our newest issue, Vanitas, which launched in September and will continue to unfurl in the coming year.
In an age defined by extremes of finitude and excess, deprivation and luxury, what is vanity? How do we register our own transitoriness even as we strive against decay and senescence, by way of cryogenics labs, biotechnology innovations, spa treatments, and the hoarding of material goods and digital files? This issue explores contemporary meditations on mortality as well as the delights, delusions, and pressures of fleshly existence, and ranges from the much-heralded “end of death” to collective processes of aging to the pursuit of impossible—or nearly impossible—forms of beauty. The name is taken from the opulent, hyperrealist still lifes popularized by Dutch and Flemish painters in the seventeenth century, which symbolize the brevity of human life and essential emptiness of earthly pursuits, even as they advertise the artist’s ability to fix time. These paradoxical images prompt us to consider how and why we strive to overcome death while reminding us of our certain mortality.
Triple Canopy is looking for artists and writers with coherent proposals for projects that can be realized in one year or less. We are, as ever, in search of work that makes innovative, persuasive use of its own form and medium. While past publication or experience is not a prerequisite, successful applicants will demonstrate fluency in the field in which they wish to publish. We appreciate work that takes into account current discussions and debates but is not bound by them, work that is carefully crafted but not fixated on form. We invite artists and writers to submit proposals for projects that may or may not find their primary realization on the Web; the following list, by no means exhaustive, enumerates some of the forms such projects might take:
- Print broadsheet, poster or pamphlet
- Book or e-book
- Digital project
- Software deployed outside of Triple Canopy’s website
- Public lecture or seminar
- Exhibition or installation
Commission recipients receive:
- Eight to twelve months of artistic, editorial, and technical support
- $1,500 honorarium
- Opportunity to use Triple Canopy’s venue at 264 Canal Street for a performance or other public event
- Coordination and production of any print publication or live event
- Archiving of materials and long-term maintenance of any online version of the project by Triple Canopy in partnership with New York University’s Fales Library and Special Collections
How does Triple Canopy define “emerging”?
We define an “emerging” artist as someone who is in the process of developing a distinct practice and set of concerns and producing a significant body of work, but whose recognition within the field is limited, regardless of age. All artists and writers are encouraged to produce challenging, experimental work that advances both their individual practices and the contemporary concerns of their fields.
How do I know if my project is right for Triple Canopy?
The best way to gauge whether or not your submission is appropriate is to read the magazine. That said, Triple Canopy projects often combine artistic and literary work, or confuse the distinctions between them.
How else does Triple Canopy commission projects?
Aside from our annual call for proposals, Triple Canopy receives submissions via two other channels on a rolling basis: 1, Proposals are received and evaluated year-round by editors using the same criteria detailed above; and 2, Editors regularly solicit contributions from artists whose work they admire and believe could benefit from our collaborative process. To submit a proposal outside of our annual call, please fill out our online form to complete your initial application.
Who are past Triple Canopy commission recipients?
Anjuli Raza Kolb and Jaffer Kolb are siblings working at the intersection of visual and scholarly practice. Anjuli is a professor of English and comparative literature at Williams College and Jaffer is a designer and lecturer at Princeton University’s School of Architecture. For their Triple Canopy commission, the Kolbs will explore the social and architectural history of the Central Park Ramble. Frederick Law Olmsted and Calvert Vaux, along with master gardener Ignaz Anton Pilát, designed the thirty-eight-acre Ramble to bring the “mysterious illusion of lush, tropical vegetation” into an otherwise highly rational park. The perfect combination of wildness and density, invisibility and navigability, the Ramble has served as one of the city’s most significant wilds, a space for orgiastic reverie, for community and solidarity, and for refuge and love during the darkest days of the AIDS crisis. The Kolbs’s research will draw upon the library’s Pilát papers and the Gay Activists Alliance records.
Kameelah Janan Rasheed is an artist-archivist whose work has been exhibited at the Studio Museum in Harlem, the Queens Museum, the Bronx Museum, the Schomburg Center for Research in Black Culture, and the Weeksville Heritage Center, among other venues. Rasheed’s project focuses on printed matter, sermons, and religious iconography produced in the late nineteenth and early twentieth centuries within black religious movements in the United States. She will explore how self-anointed black prophets created and sustained post-slavery communities, inspiring a sense of belonging on the part of followers. Her research will involve sermons, song lyrics, proselytizing materials, photographs, FBI investigation files, and ephemera related to the Church of God and Saints of Christ, the Moorish Science Temple of America, and the International Peace Mission, all housed at the New York Public Library’s Schomberg Center. Rasheed will write a sermon for the eve of the twenty-second century that draws on these documents, as well as an essay that includes annotated archival materials and video interviews with contemporary adherents of these movements.
Kieran Daly is a writer and musician from Florida. His recent publications include MCAR (DTL) (Fig. 1) (X. Vol. No. Month. YEAR, 2014), Results (Futow, 2014), and Suspended (of) the formal capacity to sample and thereby preserve such samples according to the conditions from which they appeared (LUMA Foundation, 2014). For his Triple Canopy commission, Daly will present a lecture-performance on Pyrrhonian skepticism and musical systems. (“Music and Pyrrhonism Without Us”)
Primavera De Filippi is a postdoctoral researcher at Pantheon-Assas University of Paris II, and currently a research fellow at the Berkman Center for Internet & Society at Harvard Law School. Samer Hassan is an activist and assistant professor of computer science at the Complutense University of Madrid. For their Triple Canopy commission, De Filippi and Hassan will create a crowdfunding system for artistic production, implemented as a Distributed Autonomous Organization (DAO) within the platform and programming language Ethereum.
Sowon Kwon is an artist working in sculptural and video installations, digital animation, drawing, and printmaking. For her Triple Canopy commission, Kwon will create a digital portfolio, “S as in Samsam,” which takes as its point of departure the coincidence of linguistic slippage between the diminutive of the English/Hebrew proper name “Samuel” and the Korean slang term of respect and affection for “Teacher” (샘). Kwon’s work will explore the professional and personal dimensions of friendship.
Timothy Leonido is a writer and musician from Philadelphia. For his Triple Canopy commission, Leonido will create an essay and digital text, “The Discipline of the Voice: A Critical Engagement with Corpora,” that focuses on the history of the DARPA TIMIT Corpus, a collection of “phonetically balanced” sentences used to develop automatic speech recognition.
Frank Pasquale, a professor of law at the University of Maryland, writes on the political economy of law and information. His book, The Black Box Society: The Hidden Algorithms Behind Money and Information, will be published by Harvard University Press in fall 2014. For his Triple Canopy commission, Pasquale will author an article, “Automating the Automators,” on the promise and limits of automation in medicine, law, education, and finance.
Jared Stanley is the author of two collections of poetry and a 2012-2014 Research Fellow at the Center for Art + Environment at the Nevada Museum of Art. For his Triple Canopy commission, Stanley will create “Oaths of the Blossoms,” a looseleaf chapbook composed of embossed notary seals, detailing the rights and obligations of ten white wildflowers and affording these species a shadowy “voice” in the debates we undertake on their behalf.
Gillian Walsh is a New York-based choreographer whose work interrogates notions of definitive performance and choreographic mastery. For her Triple Canopy commission, Walsh will use material remnants of her dance-making process—video, photographs, transcribed text, and scores of foot patterns generated by Hasbro’s Twister Dance Rave toy—to create an “online performance” that calls into question commonplace distinctions between process, product, and object of performance.
Rosa Aiello is a writer and video artist. For her Triple Canopy commission, Aiello will create a digital project, exploring the limits of humanness as raised by 3-D animation. (“Cloths and Ladders”)
Shane Anderson is a Berlin-based poet, translator, and editor. For his Triple Canopy commission, Anderson will translate poet Ulf Stolterfoht’s Ammegespräche, or “Amme Talks,” a linguistic interchange with artist Peter Dittmer’s chatbot installation, Die Amme.
Bloopers comprises New York–based artists and musicians Michael Bell-Smith, Sara Magenheimer, and Ben Vida. (“Bloopers #0”)
David Greenspan is a renowned actor and playwright. For his Triple Canopy commission, Greenspan will present a solo performance of three works by Gertrude Stein. (“Composition … Master-Pieces … Identity”)
Irene Lusztig is a filmmaker and Assistant Professor of Film and Digital Media at UC Santa Cruz. For her Triple Canopy commission, Lusztig will mine an extensive archive of 20th-century maternal training and childbirth films to create a mediated essay on the medicalization and institutionalization of childbirth and motherhood in America. (“The Motherhood Archives”)
Dan Phiffer is a computer programmer and artist interested in hackable, inexpensive computer networks. For his Triple Canopy commission, Phiffer will deploy a peer-to-peer network autonomous of the Internet and designed to facilitate open political discussion. (“Occupy.here”)
Matt Sheridan Smith is a Los Angeles-based artist. For his Triple Canopy commission, Sheridan Smith will create an interactive fiction work and text-only computer game navigated using basic commands such as “examine,” “take,” “look,” or “go.” (“You Can’t See Any Such Thing”)
Ada Smailbegović is a poet and critic. For her Triple Canopy commission, Smailbegović will compose “Of the Dense and Rare,” an investigation into the poetics of matter based on experimental procedures drawn from Francis Bacon’s 1623 treatise The History of Dense and Rare. (“Of the Dense and Rare”)
Anna Della Subin is a writer and Bidoun contributing editor. For her Triple Canopy commission, Subin will author an essay on the failed 1935 Cairo production of Tawfiq al-Hakim’s The People of the Cave and the possibility of sleeping through revolution. (“Not Dead but Sleeping”)
Annie Julia Wyman A cultural history of the treadmill, from disciplinary device in British prisons to idol of American fitness.
Danielle Dutton On sculpture and narrative: grids, jellyfish, fathers, failure.
Rebecca Bird A series of animated vignettes about soldiering, the ballad “Danny Boy,” Bikini Atoll, heaven, ancestors, and more. (“Danny Boy”)
Tom Francis and Yasmine Seale An anatomy of the Buraq, the winged steed upon which Mohammed is thought to have ascended to heaven, from a product of a medieval bestiary to the emblem of a Libyan airline.
Genevieve Yue with Liz Sales A deep reading of Theater of the Universe, an eighteenth-century camera obscura within a book, that uncovers hidden relationships between archaic optical devices, the bounds of human knowledge, and our own build-it-yourself universes.
David Auerbach On the laissez faire etiquette and counter-irony of “A-culture.” Documenting those anarchic, anonymous online subcultures that most resist documentation. (“Anonymity as Culture: Treatise”; “Anonymity as Culture: Case Studies”)
Franklin Bruno Inverting the hierarchies of class difference: multimedia analysis of My Fair Lady and its localized parodies. (“Wouldn’t It Be Milchadik?”)
Gabriella Coleman An ethnographic inquiry into the ethics and aesthetics of the hacktivist (anti-)organization Anonymous. (“Our Weirdness Is Free”)
Isabelle Moffat On the history of diagrammatic images of brain function, from the Renaissance to the fMRI. (“This Is Your Brain on Paper”)
Emmanuel Broadus & Ryan Ffrench Aba Okipasyon (Down with the Occupation): the ideological program of the UN in Haiti, as shown through footage shot by the artists. (“Aba Okipasyon”)
Suzanne Snider A profile of rehabilitative tools and therapeutic objects, from the Hug Machine to the multisensory sound and light environments of Snoezelen.
Laura Vitale What does it sound like when an ocean forms? A sonic exploration and performative lecture exploring the properties and valences of gypsum.
Graham T. Beck A Chromatic History: a survey of FS-595, the official color palette of the United States.
Anna Lundh An investigation into a “vision of a vision”: Karl-Birger Blomdahl’s unfinished computer opera, inspired by Hannes Alfvén’s 1966 novel The Tale of the Big Computer. (“The Tale of the Big Computer”)
James Merle Thomas & Meghan O’Hara On its fortieth anniversary, revisiting NASA’s Tektite project, the sci-fi-inspired underwater habitat that provided America with a fleeting vision of technologically oriented utopia. (“Tektite Revisited”)
Matt Wolf “What happened to Jason?” An inquiry into the life of Jason Holliday, the gay black prostitute featured in Shirley Clarke’s 1967 film Portrait of Jason. (“Another Portrait of Jason”)
Alyssa Pheobus & Murad Khan Mumtaz A study of the iconography of Pakistani and American passports and the precarious relationship between personal identification, citizenry, and the state. (“Origin, Departure”)
Eve Sussman & Rufus Corporation A dual-stream thriller randomized in real time; an experimental film noir. (“whiteonwhite”)
Mary Walling Blackburn & A. B. Huber From Joseph O’Donnell’s photographs of the wreckage of Nagasaki to Brueghel’s Landscape with the Fall of Icarus, exploring the relationships between violence, representation, and evolving technologies of vision. (“The Flash Made Flesh”)
Claire Barliant Revisiting Mankato, which in 1862 was the site of the largest mass execution to occur in US history, and questioning the value of manufactured memory. (“The Hanging at Mankato”)
Ilana Halperin A performative lecture on “volcanic field work,” that mines the intersection of archaeology, geology, and visual art. (“Hand Held Lava”)