Terms & Conditions

  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
  • Registration fees should be settled via online payment. Cash and cheques will not be accepted. Registration will only be considered complete once the registration form and payment have been received. Payments not received in full prior to the event may result in entry being denied. No cancellation is accepted. Registration fees for IMPACT 11 are not refundable. If a participant is unable to attend and would like to transfer the registration to another person, approval will be determined by the HKOP & IMPACT 11 team on a case-by-case basis.
  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
  • By entering the event premises, you consent to being photographed or filmed by the HKOP and IMPACT 11 teams, and to the organiser’s use and publication of audio recording, video recording in any and all media for promotional and educational purposes. No recording or photography on the premises of the conference is allowed during the conference without prior written consent of the organiser.
  • In case of a person (delegate, exhibitor, visitor) infringing the overall interest/aim of the conference or infringing the interest of other delegates, companies or parties involved in the conference, the organiser is entitled to exclude the infringing person/company from the event after an oral or written warning by the HKOP directors show no adequate result. All respective costs in context of the infringement or exclusion are on the infringing person’s/company’s own responsibility. No liability in any way or any reason is taken by the organiser in this case.
  • Applicants are responsible for their own travel arrangements, including but not limited to flight and local transportation, accommodation, adequate insurance cover, as well as related visa procedures. Visa requirements for entry to Hong Kong vary according to the visitor’s country of origin.
  • While every effort will be made to adhere to the published programme, it may be necessary for reasons beyond the control of the organisers to alter the content, speakers, and/or timing of the programme without prior notice. Please check the website for the latest version of the programme.
  • Personal information collected will be held on a database and used for communication purposes. In some cases, related to the funding support to the conference, your details may be made available to the funding bodies or its related department for record.
  • In addition to the provisions mentioned above, these terms and conditions are subject to the laws of the Hong Kong Special Administrative Region.
Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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Proposal Abstract

New technology’s impact on art and print has come to signify the digital world and all artworks created utilising drones, soundscapes, mapping, photo manipulation, and anything else with a CPU. Many people have come to expect that technological influence on art means the artwork needs to be created or recordable in 1’s and 0’s. This paper is an objection to that assumption. It is the result of a month spent at sea cut off from high-speed internet access and 4G, but connected to other technologies that have come to play a key role in the reinvention of artistic movements and inspiration in my own printmaking.

Reinvention is the key word here, because romanticism of the 19th century was also fascinated with the sublime elements that blossoming discoveries of the industrial revolution brought with it, whilst our recent advancements have given birth to a completely new set of fascinations. Romantics in Friedrich’s era spoke of man’s relationship with the sea, as something to be feared and respected. Despite the vast quantity of depictions of nature, the ocean, and (depending on the image) man’s superiority or inferiority over it, the viewer almost never gets to glimpse what lies beneath the surface.

Today, artists who are fascinated with water are reinventing romanticism through advances in dive technologies, navigational equipment, underwater mapping, and waterproof cameras. This paper is about how modern inventions have helped us cross our boundaries from land back to the ocean, evolving so the human may devolve from bipedal mammal to aquatic being. Artists have begun to take over realms where the human doesn’t belong, thus creating a new age of terrified romantic artists and printmakers obsessed with man’s traces on the sea.


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Academic Paper

Return to the Seas and the Rebirth of Romanticism

Sarah Epping
Printmaker, Academic
Akademia Sztuk Pieknych