“Designing Culture and Character: Technology in Film, Television, and New Media” November 13-17, 2019

Hardwired to the Grid: The technologies of Cyberpunk in Film, Television, and New Media 
An area of multiple panels for the 2019 Film & History Conference:
“Designing Culture and Character: Technology in Film, Television, and New Media”
November 13-17, 2019
Madison Concourse Hotel and Governor’s Club, Madison, WI (USA)
Full details at: www.filmandhistory.org/conference
DEADLINE for abstracts: June 1, 2019

In Altered Carbon (2017), Takeshi Kovacs finds himself downloaded into one cadaver after another, only to serve the interests of the powerful Elites. Alphaville (1965) find secret agent Lenny Caution on a mission to overthrow the despotic computer Alpha 60. Videodrome (1983) has Max Wrenn develop a relationship with the media stream he has created for gratuitous torture porn. With Tron (1982) Kevin Flynn enters the game grid, when the Master Control supercomputer views him as a threat that must be eliminated.

Cyberpunk, as seen in the above examples, considers the human condition as we grapple with technologies that make a larger, more interconnected world. Often dystopic, sometimes hopeful, our protagonists in Cyberpunk must reconcile their understanding of the world with the way Virtual space and cybernetics alters it. Questions posed by this sub-genre of science fiction include: Could we lose our sense of self in the virtual space? Is a cyborg still human? If you keep being resurrected, does death matter anymore?

Possible topics may include, but are not limited to:

  • The Humanity of Cyborgs
  • Disposable human bodies
  • Torture in cyberspace
  • The Terminator and its sequels
  • The Matrix and its malcontents
  • Game Grids in movies
  • VR games and their users such as in Avalon
  • The strange case of Battle Angel Alita
  • The Holodeck and how it’s used in Star Trek: The Next Generation and The Orville

This area welcomes proposals for 20-minute papers the focus on a wide range of issues in Cyberpunk in Film, Television, and New Media. Proposals for complete panels of three related presentations are also welcome, but should include an abstract and contact information, including email, for each presenter.

Please email your 200-word proposal to the area chair:

Benjamin Franz

Medgar Evers College

bFranz@mec.cuny.edu

CFP: Stedelijk Studies 10: Imagining the Future of Digital Archives and Collections (Spring 2020) Deadline: 14-06-2019

The web of digitized collections and archives in the field of arts and culture is expanding rapidly. As with any technological burst, the digital imperative evokes promises for an improved functionality, but also brings about new challenges and perils. Many museums, like other memory institutions, embrace the digitalization of their archives and collections as means to attract new audiences, for instance, and further their participation and engagement in their collections, their program of activities, and their research. At the same time, these digital transformations challenge existing modes of knowledge production and dissemination, requiring new competencies and new forms of collaboration.

This issue of Stedelijk Studies investigates how we imagine those transformations, and how they affect cultural and academic practices. We invite manuscripts that critically investigate how practices of digitization of collections and archives transform knowledge production and knowledge exchange across academia, museums, and archives. This question ties in with recent scholarship in the fields of digital heritage, digital art history, and digital humanities, but is also addressed in other fields, such as science and technology studies (STS), artistic practices, and design theory.

Scrutinizing existing digitization practices allows us to identify and challenge the forceful imaginaries that often kick-start and drive large-scale and costly digitization projects. Socio-technological imaginaries are part of new technological developments, but as social theorists (c.f. Castoriadis 1997; Marcus 1995; Flichy 1999; Jasanoff and Kim 2015) have argued, such imaginaries are not innocent; they shape our perceptions and elicit our actions, even if we may not realize they do. With this issue we therefore aim to explore how interdisciplinary scholarship on the effects and challenges of digitalization may enhance a deeper understanding of past and current projects concerned with the digitization and new usages of archives and collections in the field of arts and culture, such as Stedelijk Text Mining Project, Time Machine, and Accurator. To start the discussion, we identify three dominant promises associated with such digitization projects. Contributions addressing other possible promises are equally welcome.

Promise 1: Towards increasing inclusivity
Projects involving digital archives and collections are often presented as challenging traditional forms of knowledge production and consumption, and by extension, as questioning our cultural canons (Ciasullo, Troisi & Cosimato 2018). Through co-creation and participatory designs, such projects promise a less hierarchical form of knowledge production in which practitioners, academics, and, increasingly, citizens or niche experts are considered equal contributors to knowledge production (Ridge 2016). The development of more inclusive and diverse digital “pipelines” that include crowdsourcing and folksonomies, however, also warrants practical, moral and epistemological concerns over biases, authority and accuracy, and issues of multiple interpretations and narratives.

Promise 2: Towards complete connectivity
Many heritage and cultural institutions are adopting linked open data as a way to organize and disseminate their collections, archives, and research data (Jones & Seikel 2016; Van Hooland & Verborgh 2014). The advent of linked open data would allow unlimited aggregation of materials from disparate geographical locations. It promises a transition from specialized and siloed information in archives and museums to a web of cultural data. Yet the operationalization of linked open data comes with many questions and concerns, ranging from web standards and domain-specific ontologies, loss of contextual information, presentation of provenance, and user interfaces, to legal and ethical considerations related to copyright and privacy.

Promise 3: Towards unlimited and easy access
Online resources provide access to tens of millions of items from thousands of cultural institutions. In an ideal world, these increasingly democratic and connected institutions will offer unlimited and easy access to data that are personalized and meaningful, but also reusable for academic research. In reality, the myriad interfaces and smart digital techniques notwithstanding, many users and producers still experience difficulties in accessing, interpreting, and presenting online archival and collection data (Kabassi 2017). This may in part be the result of lagging digital literacy skills, and evokes concerns about, for instance, the aptness of the methodologies researchers employ in analyzing this data. It also raises questions about how diverging interests of developers, cultural organizations, and audiences affect the affordances of human-centered designs in graphical and conversational user interfaces.

This issue of Stedelijk Studies aims to reflect on these kinds of promises, encouraging practitioners and academic researchers to revisit past and current digitization efforts. We particularly invite discussions of good practices as well as failed projects in order to assess indicators of success and failure against the backdrop of such promises. Contributions can be submitted in the form of text with images, but with this issue we also seek to explore innovative digital publication formats. We welcome theoretical, methodological, and practice- or case-based contributions focusing on questions such as:
· What kinds of imaginaries can be identified in the digitization of archives and collections? How are future imaginaries about the digital enacted in archiving practices?
· How do diverging expectations of developers, content producers, volunteers, niche experts, and computer scientists affect digital projects involving collections and archives?
· How can we assess the processes and outcomes of digitization projects of memory institutions in light of presumed promises? What are examples of good practices, and what can we learn from failed attempts?
· Which new imaginaries may emerge from scrutinizing past and current projects in the realm of digital archives and collections?

The thematic issue Imagining the Future of Digital Archives and Collections will be edited by Dr. Vivian van Saaze (Maastricht University), Dr. Claartje Rasterhoff (University of Amsterdam), and Karen Archey (Stedelijk Museum).

ABOUT STEDELIJK STUDIES
Stedelijk Studies is a high-quality, peer-reviewed academic journal published by the Stedelijk Museum Amsterdam. The journal comprises research related to the Stedelijk collection, exploring institutional history, museum studies (e.g., education and conservation practice), and current topics in the field of visual arts and design.

SUBMISSION
Deadline for the abstract (max. 300 words) and CV is June 14, 2019.
Deadline for the article (4,000–5,000 words) is October 15, 2019.
Publication of the issue will be in May 2020.

Please send abstracts and other editorial correspondence to:
Esmee Schoutens
Managing Editor, Stedelijk Studies
stedelijkstudies@stedelijk.nl<mailto:stedelijkstudies@stedelijk.nl>

Save the Date / Call for Papers International Colloquium: Digital Era Art Works in Galleries and Museums Brno House of Arts Czech republic 8 – 9. October, 2019

A mere fifteen years ago, it seemed that electronic or new media will barely become accepted by established, institutional collections of modern and contemporary art. Around the year 2000, private collectors and state galleries still seldom, and often with suspicion, paid attention to electronic art works. Artists working in electronic media, and university-level art institutions looked upon electronic media departments with skepticism. But nowadays, new media, electronic and digital art comprises a seminal part of most respected collections.

Since the closing of the 20th century, the (art) world has changed substantially, and new media are no longer a tactic, a strategy, or a statement, but rather one of the most popular means for commenting on the condition of 21st century humanity. Artifacts which include an element of the electronic moving image, digital code, static technical image or sound are no longer limited to projects focusing on new media, but have become an organic component of a large number of exhibitions. Even art works which are presented within the context of the Internet or of computer games appear in the acquisition-oriented endeavors of galleries and museums all around the world.

Media art is however very dependent on technologies which are quickly becoming outdated and are hard to acquire. Many media works are thus losing their potential for being exhibited within a very short span of time, or will eventually become lost forever. We are thus threatened with the prospect that we will lose a large part of our heritage of the post-industrial digital culture, since a systematic, widely accepted and satisfactory methodology for their preservation and documentation is, even in this day and age, still non-existent.

In 2018, the New Media Center Vašulka Kitchen Brno opened under the auspices of the Brno House of Arts. In collaboration with The Vašulkas, as well as with a number of international institutions, it has been confronted with the need for collecting and archiving electronic artworks. What is the current situation in the field of state-owned and private art collections, both Czech and foreign? What is the situation at universities which have expertise in creating and archiving video art, interactive audiovisual installations, net art, sound art and other art forms which are considered as *new media*?

The colloquium entitled Digital Era Art Works in Galleries and Museums intends to introduce, compare and discuss current knowledge, methods and practices of managing collections in galleries and museums, mainly across Central Europe.

The event is intended for curators, archivists, artist, and restorers working with collections, museums and galleries which contain documentation and artifacts which importantly feature analogue or digital, moving or generated images and sounds, as well as other art works whose essential characteristic is their instability.

Apart from presenting select model of media art acquisitions, the colloquium*s program will also focus on the preservation and mediation of new media art, and will also present several institutions with long-term experience of managing and preserving collections.

Proposals for contributions (15-30 minutes) should be sent to: kolo@vasulkakitchen.org

The proposal must feature an abstract (maximum of 750 words) and a short bio (100-150 words).

Deadline for proposals: July 15th, 2019

Organizers: Vašulka Kitchen Brno and the Brno House of Arts Conception: Miloš Vojtěchovský, Matěj Strnad Organizational committee: Monika Szücsová and Adéla Kudlová Curatorial committee: Jana Horáková, Martina Pachmanová, Tomáš Ruller, Dušan Barok, Miklos Peternak, Cooperation: Národní filmový archiv, Prague, Theory of Interactive Media department at Masaryk University, Department of Theory and History of Art, Academy of Arts, Architecture and Design in Prague.

Vašulka Kitchen Brno (VKB) is a new project which offers a platform for research, artistic experimentation and informal education in the sphere of new media art. It comprises a digital archive dedicated to Woody and Steina Vašulka and an exhibition of select works. The spaces are intended for organizing events which would develop contemporary art and creativity, and which are reminiscent of the Vašulkas* artistic and philosophical legacy.

Brno House of Arts is an open, modern institution which aims to spark contact between artists and the general public. The Art House has traditionally been one of the most important movers of Brno*s culture, and its ambition is to become a dynamic space which would work in close contact with some of the most prestigious European galleries.

Further information

Vašulka Kitchen Brno https://vasulkakitchen.org/ The Brno House of Arts http://www.dum-umeni.cz/cz/o-nas/dum-umeni The National Film Archive https://nfa.cz/en/ Theory of Interactive Media of MU https://music.phil.muni.cz/ Department of Theory and History of Art, Academy of Arts, Architecture and Design in Prague https://www.umprum.cz/web/en/

Organized with the kind support of: The Agosto Foundation, Brno House of Arts https://agosto-foundation.org/

Geographies of Cultural Memory (London, 8 Jun 19)

Warburg Institute, London, June 8, 2019
Deadline: May 15, 2019

CALL FOR APPLICATIONS

GEOGRAPHIES OF CULTURAL MEMORY: A ONE-DAY WORKSHOP WITH CARLO SEVERI
June 8, 2019 (11.00–17.00), The Warburg Institute, University of London

The Warburg Institute is pleased to announce a day-long workshop with renowned anthropologist Carlo Severi (Ecole de Hautes Etudes en Sciences Sociales, LAS/Collège de France). Professor Severi will give a public lecture at the Warburg at 7:00 p.m. on Friday, June 7th. The next day, Saturday, June 8th from 11:00 to 17:00, he will lead a closed-session workshop. We invite PhD students, post-docs, and early career scholars to participate.

Entitled “Geographies of Cultural Memory,” the workshop will address methodological and historical problems in the study of global visual and aesthetic traditions. Drawing upon Severi’s foundational work on cultural memory and indigenous arts, discussions will place particular emphasis on the role of images and visual arts within anthropology and ethnography. How has anthropology dealt with the formal variety and geographical diffusion of aesthetic objects in the past, and what new modes of investigation offer themselves to us today? In this connection, we will also have occasion to revisit long-dormant anthropological aspects of Aby Warburg’s cultural science, and to consider its ramifications for a global study of culture in both the past and the present.

Under Severi’s direction, the workshop will consist of group discussions of key texts and a limited number of research presentations by participants. Please note that space for the workshop is very limited. To apply, please send a brief description of your research in relevant areas (150-200 wds) and a brief CV (2 page max) to John.Tresch@sas.ac.uk and vollgraff@bilderfahrzeuge.org. We especially welcome London-area postgraduate students and early-career scholars working at the crossroads of art history, anthropology, geography, and/or the history of the human sciences.

Professor Severi’s recent publications in English include ‘The Chimera Principle: An Anthropology of Memory’ and ‘Imagination and Capturing Imagination: A Proposal for an Anthropology of Thought’ .

The Art and Science of the Moon (London, 14-15 Nov 19)

Deadline: May 15, 2019

To mark the fiftieth anniversary of humanity’s first footsteps on another world, Royal Museums Greenwich (RMG) will host a major exhibition exploring our evolving relationship with the Moon across times and cultures. ‘The Moon’ (19 July 2019 – 5 January 2020) will present a scientific and cultural history of our nearest celestial neighbour, exploring its role as a mirror for humanity’s dreams, obsessions and endeavours.

This conference considers cross cultural relationships with the Moon and invites various responses to our cosmic companion. In keeping with RMG’s interest in interrogating the collision of science, history and art, ‘The Art and Science of the Moon’ will explore how the Moon’s motions and phases have influenced human activities, beliefs and behaviours; how sustained scrutiny and mapping of the lunar surface have enabled us to understand more about ourselves and our place in the universe; how attempts, imaginary and real, to reach this other world have fostered creativity and technological progress; and how in the 21st century we are reflecting on the past and rethinking our relationship with the Moon for the future.

Plenary lecture by Professor Paul Murdin, Senior Fellow Emeritus, Institute of Astronomy, University of Cambridge.

We are particularly interested in papers that explore the interface between art, in its widest sense, and science, particularly lunar studies, and those which interrogate issues such as:

– Myths and folklore of the Moon
– The Moon as muse: how different cultures have responded to the Moon in various artistic forms
– Exploring the perception and nature of moonlight
– Using art to help us interpret and understand the complex nature of the Moon’s motion
– Scrutinising, imaging and mapping the lunar surface
– How different and changing technologies, techniques and traditions of observation and representation have shaped how we understand the Moon
– The cultures of professional and amateur astronomy and their interactions within the context of lunar observation and research
– The Moon and the imagination – getting there, lunar life, and the possibility of the Moon as home
– How art and popular culture impacted on the endeavour to reach the Moon and vice versa
– What are the reasons for our renewed drive to explore the Moon?
– What are the challenges and opportunities of returning the Moon?

We would like to invite academics, artists, curators and creative practitioners to submit their proposals for 20-minute papers. We particularly welcome submissions from early career researchers.

If you are interested, please send a 250 word abstract and short CV to research@rmg.co.uk by 5pm on Wednesday 15 May 2019. The conference will take place on 14-15 November 2019 at Royal Museums Greenwich.

Open Lecture Series “Bauen fuer die Wissenschaft” (Berlin, 2 May – 11 Jul 19)

Berlin, TU, Institut für Architektur, 02.05. – 11.07.2019

Open Lecture Series “Bauen für die Wissenschaft”

Kooperation der Humboldt-Universität zu Berlin und der Technischen Universität Berlin
initiiert vom Drittmittelprojekt “Wissenschaft in der Stadt”

Institut für Architektur
Technische Universität Berlin
Straße des 17. Juni 152, 10623 Berlin
(U-Bahn Ernst-Reuter-Platz)

donnerstags, 18-20 Uhr, Hörsaal A151 (Scharoun-Bau)

Bauen für die Wissenschaft

Die Veranstaltungsreihe wird Architekten, Stadtplaner, (Wissenschafts- und Kunst-) Historiker, Soziologen und Philosophen zu einem Gespräch über Architektur und Wissenschaft zusammenbringen. Mit dem Blick auf aktuelle und historische Lösungen für das Bauen für die Wissenschaft sollen auch Perspektiven für die Zukunft entwickelt und diskutiert werden: Braucht Wissenschaft (noch) ein spezielles Gehäuse? Wie verhalten sich die Ansprüche der Wissenschaft in Bezug auf Repräsentativität und Funktionalität zueinander? Formulieren Natur-, Lebens- oder Geisteswissenschaften unterschiedliche Ansprüche an ihre Bauten – und wie können Architekten diesen Ansprüchen überhaupt gerecht werden? Wie definiert sich die Universität architektonisch? Verändert die digitale Revolution die Forschungsorte und Wissensspeicher der Zukunft? Wie positionieren sich Universität und Wissenschaft architektonisch in der Metropole und welche urban-kommunikativen Angebote machen sie der Gesellschaft?

Programm
02.05. Prof. Matthias Sauerbruch – Sauerbruch Hutton/Akademie der Künste
Was ist Wissenschaftsarchitektur?

09.05. Prof. Dr. Gabriele Metzler (HU Berlin), Prof. Dr. Jörg Gleiter (TU Berlin), PD. Dr. Arne Schirrmacher (HU Berlin)
Universitätsbauten und Stadt. Historische und theoretische Perspektiven

16.05. Prof. Dr. Harald Bodenschatz (TU Berlin) + N. N
Universitätsarchitektur und Diktatur. Eine europäische Perspektive
abweichend im Hauptgebäude der HU, HS 1072

23.05. Georg Augustin – augustinundfrankarchitekten + Prof. Christine Nickl-Weller – Nickl Partner
Das Labor als architektonisches Experiment abweichend im Hauptgebäude der TU, H 111

06.06. Peter Westermann – Hilmer & Sattler und Albrecht + Prof. Dr. Margarete Pratschke (HU Berlin)
Kaiser-Schloss / Humboldt-Forum. Gehäuse für Politik und Wissenschaft

13.06. Volker Giezek & Martin Boden-Peroche – Code Unique Architekten + N.N.
Kopf-Bauten / Denk-Orte

20.06. Prof. Dr. Jörg Rainer Noennig – (HCU Hamburg) + Prof. Dr. Martina Löw (TU Berlin)
Science City: Wissensarchitektur in der digitalen Stadt
abweichend im Hauptgebäude der TU, H 111

27.06. Friedhelm Haas – Haas Architekten + Tobias Nöfer – Nöfer Architekten
Maschinen-Bauten / Experimentier-Räume

04.07. Achim Bodamer – Bodamer & Faber + Prof. Dr. Kai Kappel (HU Berlin)
Bio-Bauten / Kommunikations-Räume

11.07. Prof. Florian Nagler – Florian Nagler Architekten + N.N.
Lehr-Maschinen / Forschungs-Landschaften

Weitere Informationen unter:
www.wissenschaft-in-der-stadt.hu-berlin.de

// English version //

Open Lecture Series “Building for Science”
(Berlin, TU, Institut for Architecture, 5 May – 11 July 2019)

A Cooperation between the Humboldt-University Berlin and the Technische Universität Berlin
Initiated by the research project “Science in the City”

Institut für Architekturgeschichte
Technische Universität Berlin
Straße des 17. Juni 152
10623 Berlin

Thursdays, 6pm to 8pm, in Auditorium A151 (Scharoun Building)

Building for Science

The open lecture series will bring together architects, urban planners, (science and art) historians, sociologists and philosophers in a discussion on architecture and science. With a view to current and historical solutions for building for science, perspectives for the future will also be developed and discussed: Does science (still) need a special housing? How do the demands of science with regard to representativeness and functionality relate to each other? Do the natural sciences, life sciences or the humanities formulate different demands on their buildings – and how can architects even meet these demands? How does the university define itself architecturally? Will the digital revolution change the research locations and knowledge stores of the future? How do the university and science position themselves architecturally in the metropolis and what urban-communicative offers do they make to society?

Program

Further information is available at:
www.wissenschaft-in-der-stadt.hu-berlin.de

Just because you start a fire, does not mean you have to watch it burn.

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