Call for Contributions VideoVortex XII, September 2019, Malta

Call for Contributions
VideoVortex XII, Malta
Conference: September 27-28, 2019
Exhibition:  6 September until 10 November (in Gallery, space C)

Deadline: 31st January 2019
Please submit to: submissions@vv12.org
Website: http://vv12.org

VideoVortex, an artistic network that deals with the aesthetics and
politics of online video, will gather again, this time in Malta, for a
two day conference/event. There will be a seperate exhibtion (from early
September to early November 2019), curated in partnership between Spazju
Kreattiv and Video Vortex, to be held in the gallery spaces of Spazju
Kreattiv (https://www.kreattivita.org), particularly to enable
Malta-based participants to engage significantly with the conference
delegates? work before and after the conference.

We are interested in the sharing of propositions, research,
speculations, video and film work that responds to current debates in
film, video, media, networks, and game theory, while being particularly
attentive to the implications that technologies of live video, virtual
reality, augmented reality, and artificial intelligence have for the
future of video & media cultures.

If you want to get involved, contribute to the conference, exhibition or
screening program, please send us a proposal on submissions@vv12.org.

Topics:
1) Video cultures on social media/mobile platforms (Facebook Live,
Instagram, Snapchat, Smart phone aesthetics)
– Streaming realtime video & streaming platforms
– Surveillance Cinema
2) Online video, activism and migration
– Automated and algorithmic filmmaking (AI), bots, online video archives
– Drone aesthetics (e.g. Wiki loves monuments)
3) Digital preservation of online video (archives / curating)
– Use of online video in the established film industry

Films, videos & curated screening programs:
Filmmakers and video artists are invited to submit work that addresses
the themes and concepts outlined here. curators are invited to propose
short screening programs of up to 3 hours that showcase video/film in
response to the themes outlined.

Workshop proposals:
We invite video practitioners, artists, researchers, scientists, content
producers and theorists to submit proposals for workshops that explore
critical making as a mode of critique and inquiry. We are particularly
interested in hearing from those working with virtual or augmented
reality. If you are proposing a workshop, please indicate costs for
materials, as these will have to be built in separately as registration
fees. All workshop organizers will have to make their own arrangements
for materials required.

Talks & lecture-performances:
We welcome proposals for presentations addressing the topics outlined in
the call, as well as proposals for lecture-performances that play with
the standard academic form of presentation.

Program committee:
Andreas Treske (Department of Communication and Design, Bilkent
University, Ankara)
Toni Sant, Justin Galea, Daniel Azzopardi (Spazju Kreattiv, Malta)
Matthew Galea & Adnan Hadzi (Department of Digital Arts, University of
Malta)
Barbara Dubbeldam & Geert Lovink (Institute of Network Cultures, Amsterdam)

Background of VideoVortex

VideoVortex is a network of video makers, geeks, activists, artists and
researchers that work on the politics and aesthetics of online video.
The initiative was established in 2007 by the Institute of Network
Cultures in Amsterdam. Video technology has radically altered the way in
which we produce, consume and circulate images, influencing the
aesthetics and possibilities of moving image cultures, as well as
yielding a rich body of scholarship across various disciplines. Given
its ease of access and use, video has historically been aligned with
media activism and collaborative work. Video is driving social media and
the web. It is dominating the internet of things. Cameras causing
breakdowns in networks. Online video became lifelike.

Rapidly changing technological formats implicate the urgent need to
engage with practices of archiving and curation, modes of collaboration
& political mobilization, as well as fresh comprehensions of the
subject-spectator, actors & networks constituted by contemporary video
and digital cultures.

Previous events:

videovortex #1: Brussels, Belgium, October 2007
videovortex #2: Amsterdam, the Netherlands, January 2008
videovortex #3: Ankara, Turkey, October 2008
videovortex #4: Split, Croatia, October 2009
videovortex #5: Brussels, Belgium, November 2009
videovortex #6: Amsterdam, the Netherlands, March 2011
videovortex #7: Yogyakarta, Indonesia, July 2011
videovortex #8: Zagreb, Croatia, May 2012
videovortex #9: L?neburg, Germany, February 2013
videovortex #10: Istanbul, Turkey, September 2014
videovortex #11: Kochi, India, February 2017

OPEN CALL SHARE FEST – Tallin

 
Share Festival, the Italian exhibition of contemporary tech art and science, with the Artistic Direction of Bruce Sterling announces the opening of the call.
 
The theme of the Share Prize XII edition is:
 
GHOSTS
 
Are we the living ghosts of dead ancestors, of the otherness of the past, its invisible shadows? Or is the past the ghost of ourselves, present, alive and visible?
Do we speak to our ghosts, consciously, every day, through art, mind and the material world, or do the ghosts act, fiercely driving us to the unavoidable but creative path of continuity?
 
Science has its paranormal aspects when the invisible powers that shape our world become visible to us: bacteria, the DNA within our cells, electricity… Our computation and our neural networks aspire to the telepathic and the telekinetic…
 
Art and science join hands to expand our senses and illuminate the unseen and the unknown. Electronic art is at the core of that relationship: so technical and yet so ethereal, untouchable, invisible, virtual… Pushing the borders of unearthly, the sensible and the nonsensible, nothingness or epiphany…
 
Ghosts have been always popular, and the dead for outnumber than the living. Literature and movies teem with ghosts, and in classic cinema, the actors, screenwriters, and directors who parade across our screens are all long-dead. A cultural tradition means that the dead are still living. Those we once loved never leave us; they expand within us as we grow. The gifts we receive from the dead are the world’s only genuine gifts. The dead are, by definition, those who give to us without reward. Their gifts to us are valuable tools for understanding and healing.
 
In Share Festival’s history, we have had many artists, friends, precursors, spiritual ancestors, who left their ghostly traces and voices, whom we want to evoke and cherish with this call.
 
Ghosts can be angels or demons, Hamlet’s vengeful ghost or secretive ghostwriters. They can be male or female or transgender. They can be a political heritage we must never forget, or personal demons we must keep at a distance. Ghosts can be famous or anonymous, seers or spies.
 
Turin is well-known as the esoteric capital of black and white magic, and Share Festival thrives in Turin. This year we will unleash and reveal our ghosts, mysterious, wild, unpredictable. The invisible will become visible, the phantoms will be realized. This year at Share Festival we invite the planet’s ghosts to a seat of honor at our seance table.
 
OPEN REGISTRATIONS UNTIL 3 FEBRUARY 2019 – 12:00 p.m
 
APPLY NOW
 

Scholarships! School of Machines, Making & Make-Believe

School of Machines, Making & Make-Believe are offering two full diversity scholarships <http://schoolofma.org/2019-Scholarships-SchoolofMA.pdf> for each program next year (with exception of China), until accepted until 15th January 2019!

Please share with your communities or anyone who might benefit from a four-week intensive program, topics include data and society, bots and machine learning, Money (finance), and citizen forensics, among others!

2019 Program dates are as follows:

1 – 26 April:::::::Made In China
6 – 31 May:::::::Future Landscapes
3 – 28 June:::::::Data and Society
1 – 26 July:::::::Bots & ML
1 – 26 July:::::::Physical Computing for Beginners
5 – 30 August:::::::Money
5 – 30 August:::::::Coding for Beginners
2 – 27 September:::::::Evidence
30 September – 25 October:::::::Waiting Room Design

To apply for scholarships, click here
https://docs.google.com/…/1FAIpQLSeChw33BAt_Tw14rg…/viewform

CIHA Motion – Transformation (Florence, ‪1-6 Sep 19‬)

Florence, Italy, September 1 – 06, 2019

Deadline: Jan 15, 2019

The 35th CIHA World Congress presents a unique experiment: for the first time a CIHA congress will take place in two different locations and in two different moments: in Florence, Italy, in September 2019 and in São Paulo, Brazil, in autumn 2020. It is dedicated to the general topic of “Motion” and invites the international community of scholars to discuss fundamental aspects of art and architecture under this heading in a broad transcultural perspective, from earliest times to the present. The Congress is conceived as a strong collaboration between the two national CIHA committees, who are responsible for their respective venues and will also create formats for a dialogue between the two events such as joint sessions in each place. The venues focus on two major, though not mutually exclusive aspects of Motion: Transformation in Florence and Migrations in São Paulo. The two committees are pleased to announce this intense collaboration and are looking forward to an extraordinary transcontinental debate about the most challenging concerns of art history and related fields today.

Motion: Transformation

(Florence, 1–6 September 2019)

Migrations

(São Paulo, 13-18 September 2020)

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CIHA FLORENCE 2019 – MOTION: TRANSFORMATION

The Florentine venue of the 35th CIHA congress proposes the title Motion: Transformation as an invitation to study the specific “life” of artworks, artifacts and images: animation, “lifelyness”, efficacy or “emanation” are phenomena that in many cultures, since prehistoric times, are linked to crafted objects, images or rites. Be it religious energy, magical qualities or aesthetic vivification, artifacts are produced, dwell and could be consumed in a great variety of attributed forms of agency. One figure the Florentine congress wants to rethink in this horizon is that of the artist or “maker”, seen in a transcultural perspective. We might refer to the myth of Daedalus, legendary creator of automata, or to Neo-platonic philosophy of late antiquity, according to which the animated simulacrum represents an inescapable element of the link between humans and the cosmos. In subsequent Christian thought, instead, such connections could contribute to the negative conception of the idol. This is only one example which shows the multiple constellations of objects and images in specific world views and cultural practices, often connected to astrology or political theologies. The combination of art historical and anthropological expertise could be a strong point of the congress, to better understand the position of the “animated” object in the formation and transformation of collective identities and in transcultural negotiations. In fact, the cross-cultural gaze can be a means to “vivify” the images and symbols of other cultures of the present or the past, even if often in negative terms as diabolic or inhabited by demons. On the other end of the scale is a discourse of art that attributes to works, images and created objects virtues which are due to a specific aesthetic quality of matter and shape. This can involve an appreciation of subtle crafting and ingenious vivification of representations from nature and the social world. The metamorphotic dimension of such artistic creation (making one matter appear in another) contributes to the celebration of a work as magical and animated but it is important in the congress to differentiate these various dimensions, even if they are shared by many cultures. The congress invites comparative approaches or explorations of dynamics of connectivity. In its broad chronological and geographical range it is specifically interested in epochal changes and the processes of globalization under colonial or postcolonial premises.

In the context of new production methods developed during the Industrial Revolution artistic practices were cast out, whereas the aura could shift from the work of art itself to the figure of the creator. One may even think of terms of social theories such as alienation and estrangement which in their negation evoke concepts of creative work. Already evident in early movements from Romanticism to Symbolism, this “metamorphosis” was pushed further by the twentieth century through the contributions from the anthropological perspective and psychoanalytic mythologies.

The CIHA Italia Committee invites proposals for 8 of the 9 Sessions of the 35° CIHA World Congress Motion: Transformation

Sessions:

[1] The mystical mind as divine artist: visions, artistic production, creation of images through empathy

[2] Matter and materiality: from removal to re-enactment

[3] Art and nature. Cultures of collecting

[4] Art and religions

[5] De/sign and writing

[6] The eye and the hand, from project to product

[7] Artist, power, public

[8] Artists, critics, and Viewers

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[1] The mystical mind as divine artist: visions, artistic production, creation of images through empathy

Chairs: Akira Akiyama (University of Tokyo), Giuseppe Capriotti (Università di Macerata), Valentina Zivkovic (Institute for Balkan Studies, Belgrad, Serbia)

Descriptions of mystical experiences have been mostly analyzed to highlight the relation between visions and real images: in recounting their visions, in effect, mystics let their visual heritage emerge, that is, the images they love to use in their private meditation and the popular iconography of their territory: they see with their minds what they have already seen with their eyes. In this panel, however, we aim to investigate the figure of the mystic as an inspired artist, able to model and build his own work of art entering in empathy with his visual and intellectual heritage. Like a painter or a sculptor, the mystical mind selects literary sources and stylistic and iconographic models to build the mental image and create his work of art.

Recently, in effect, such mystical experiences have been interpreted as the extreme outcome of an ability to look deep down, learned through practice, through a look educated in the use of images and a mind skilled in “inner visualization”. Going beyond this perspective and analyzing the production of images through empathy, should be possible also to verify if and how the “embodied simulation” works not only in the fruition of a work of art, but also in the field of the production of images, originated from the mystical experience.

Therefore, for this panel, we intend to collect papers that investigate the figure of the mystic as a “divine” artist, able to product effective mental images (often linked to real pictures), which are often described in reports of visions or in devotional writings.

The themes and subjects for discussion could be:

– visions and the visual arts

– the meaning of the visions and mental images in hagiographic literature

– transformation and censorship of works of art in visions

– visions and vivification of works of art

– visions and “inner visualization”

– visions and mnemonic technique

– visions, embodiment, embodied simulation

– comparative studies on visions between different religious cultures

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[2] Matter and materiality: from removal to re-enactment

Chairs: Francesca Borgo (University of St Andrews, Scotland), Riccardo Venturi (Villa Medici, Roma)

Shaping and transforming matter into an “eternal”or “ephemeral” work has always been one of the constituents of art discourses. Vice-versa in modernity matter has lost its importance and the category of obsolescence emerges in both industrial design and artistic production, as a manifesto of historical vanguards and of post-Second World War’s architecture. However, at the same moment in which conceptual art apparently dominated the artistic scene, other experiences   re-enacted dynamics of body and matter, claiming their centrality. Today matter and discourses of materiality have become a central concern of the arts as well as of art histories, globally.

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[3] Art and nature. Cultures of collecting

Chairs: Marco Collareta (Università di Pisa), Avinoam Shalem (Columbia University, NY)

Contemporary collections, de-hierarchized and “innocent”, according to the “modest manifesto for new museums” by Orhan Pamuk (2012), invite us to reread Julius von Schlosser‘s anthropological perspective,  introduced in his studies dedicated to the Wunderkammer. From religious treasures to Cabinets of curiosities and art galleries, European collections became a display either of comparison, conflict or convergence between natural and human sciences, and a space for artifacts or natural devices from distant cultures. Metamorphosis is a key concept in all of these collections. In Modernity, collecting provoked an animated discussion to which we can refer to Aby Warburg’s Atlas, as well as to the ethno-anthropological contexts beloved by Surrealists through to the archives of conceptual art and beyond. The session welcomes papers which will confront Western perspectives with those of other cultural horizons.

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[4] Art and religions

Chairs: Mateusz Kapustka (Universität Zürich – Kunsthistorisches Institut, Swiss Confederation), Andrea Pinotti (Università degli Studi di Milano)

The session aims to discuss the role of artifacts and images in religious practices and thought, from cult images to iconoclasm, legends such as the myth of acheiropoieta and theurgical images, spiritual and sacrificial aesthetics across cultures and religions. What is the relation of images and relics, of artefacts and the making of sacred space? What is the role of human-shaped things in Islamic, Buddhist and other contexts? What are the functions of “animating” things and notions of metamorphoses in religion and “magic” in a transcultural and transreligious perspective? What is the contribution of the visual (and that of multisensorial staging or perception) to religious experience, collective or individual, and how does art foster religious imagination or critically respond to religion and magic?

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[5] De/sign and writing

Chairs: Lihong Liu (University of Rochester, New York), Marco Musillo (Kunsthistorisches Institut in Florenz)

The session aims to analyse, in a cross cultural perspective, the coincidence, convergence or differentiation between writing and drawing. On the one hand one might consider the achievements of calligraphy in Islamic and Chinese traditions; on the other hand, those of the didactic, prophetic and exegetical diagrams, including magical ones. What kind of connections can be found amongst these various traditions? How might we characterize the separation of figurative drawing and writing in Western and other cultures?

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[6] The eye and the hand, from project to product

Chairs: Filiz Çakır Phillip (Aga Khan Museum, Toronto), Dario Donetti (Kunsthistorisches Institut in Florenz)

The image of architecture as a representation of a three-dimensional object appears during the first industrial revolution through the planning stage and the production: once completed, the product conserves the distinctive signs of that process of metamorphization in an interplay of thought, matter and technique. But in the post-industrial era the primacy of the process has been replaced by the absolute power of the icon, which reduces the spatial and performative potential of architecture, steering it into the advertising jargon of goods for the planetary mass cultures.

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[7] Artist, power, public

Chairs: Giovanna Capitelli (Università della Calabria), Christina Strunck (Institut für Kunstgeschichte, Erlangen)

The central aim of the session is to examine the relationship between art/the artist, power and the public through a new methodological perspective, drawing on concepts from the spatial and translational turns that have changed our understanding of the dynamics of transformation in historical and modern societies.

Works of art and architecture have always been used to establish and maintain power, on behalf of either an individual or a group or party, in political as well as religious contexts. In accordance with the theme of the 2019 CIHA meeting, ‘Transformation’, this session will focus on moments of crisis and change in which the creations of artists helped to transform inadequate systems or traditional views by positing new ideals or even utopias. The session invites papers that address the role of the arts in the transformation of societal structures, including political systems or power relations between distinct social groups. In this context the empowerment of women and ethnic or sexual minorities deserves special attention. The session will analyse the artistic strategies that engage with power structures (in terms of social class, gender, foreign/local identities, minority/majority status, religious/lay society etc.): how do artists create, enforce, or challenge these?

Works of art have the potential to make intellectual concepts ‘come alive’. In the most successful examples, they not only visualize, but vivify ideas. The session proposes to study the artistic means through which artists give shape to their concepts of power and communicate them to the beholder: how do they involve and attempt to persuade the public?

The participants of the session are invited to consider these questions within the theoretical framework provided by the spatial and translational turns. The ‘spatial turn’ has not only shifted attention to regions and topics previously regarded as marginal, but it has also stressed the necessity of focusing on the interaction between human and non-human ‘agents’. Social space is created via the interaction of people, objects and social goods that are present at a given site. In sociological studies, this approach has yielded important results regarding power relations within cities, but it can also be employed to analyse larger or smaller spatial entities from an art-historical point of view. Questions to be considered are: with what intentions did patrons and artists place buildings or works of art at specific sites? How do these works condition social interactions that take place with, within or around them? In what ways do they contribute to the dissemination or deconstruction of ideas, political ideologies or religious beliefs that aim to shape, stabilize or reform the society with which they operate?

In discussing these questions, it is useful to draw on some key concepts developed by the proponents of a ‘translational turn’. Historians like Peter Burke and Peter Burschel have underlined the fact that power is the result of inter-cultural negotiations in which acts of translation occur on numerous levels (not least via artistic ‘translations’ and visualizations of concepts of rulership). Further inspiration may be derived from postcolonial theory to which such positions are closely linked. Homi K. Bhabha highlights the ‘third space’ of negotiation in between cultures, acts of cultural mimicry and hybridisation as means of resistance, while Gayatri Chakravorty Spivak focuses particularly on women’s roles and the ‘female subaltern’. Their ideas can serve as a starting point for rethinking the session topic in a global perspective by studying the means through which artists try to make certain more or less powerful persons or groups ‘speak out’ in public.

The session intends to create a productive dialogue between scholars working on similar questions with reference to different countries and epochs. The organizers would particularly like to highlight the following fundamental approaches:

– the contribution of old and new visual media to the analysis, questioning, subversion, and destruction of established power structures

– the role of the artist and his negotiation with power in the transformation of societal structures

– the artist and the involvement of the public

– artistic ‘translations’ and visualizations of concepts of rulership.

Examples of relevant topics include, but are not limited to:

– the role of colonial architecture in enforcing political and/or religious domination

– the artistic strategies deployed by Roman missionaries, the ‘Typographia Medicea’ and ‘crusading’ politics in order to introduce societal change abroad

– international travel of both students as well as artistic concepts and practices in fine arts academies as a means to determine the relationship between art and power in Europe, the United States, and Latin America

– the role of the great port cities in the negotiation of political and economic contacts with foreign powers as well as in shaping cultural interaction and power relations

– museums as sites of cultural negotiation (for instance in ‘ethnographic’ museums in Europe/North America and the new ‘mega-museums’ in Asia and the Middle East).

This session welcomes case studies as well as theoretical approaches that refine or redefine the concepts outlined above.

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[8] Artists, critics, and viewers

Chairs: Rakhee Balaram (University at Albany, NY), Flavio Fergonzi (Scuola Normale Superiore, Pisa)

The session invites to discuss the general statement according to which the separation between the work of art and art criticism has disappeared. The notions of authenticity, reproduction, and forgery have long been topics of discussion; furthermore the eyes of the artist, critic and viewer might now appear to be interchangeable. The session aims to investigate to what extent this new hegemony of criticism has until now undermined not only historical paradigms but also the very practice of art history.

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GENERAL AND PRATICAL INFORMATIONS

We invite proposals for 20-minute papers, that will be followed by 10-minute discussions. Please submit a 350/450-word abstract, a short bio (max. 100 words) and a cv as a single PDF file by uploading it at the following link:

http://www.ciha-italia.it/florence2019/2018/04/07/upload-your-paper/

Please note that your abstract needs to have a concise title, pertinent to the content of you talk, since it will be featured in the conference program  and on social media.

If you have further documents that you wish to attach to your proposal (references, list of publications, institutional affiliation etc.), we kindly ask that you combine them to the  proposal, bio and cv and send everything  with a single-file upload.

If you are presenting a proposal for a paper, please remember that it is meant to be pertinent in the topics of the session for which you are applying.

If you apply for a poster presentation instead, it is not necessary to indicate a specific session.

Papers can be delievered in any language, however we ask a copy of the contribution in English, to be projected on a screen during the talk. The debates will be moderated in English.

Deadline for submissions: January 15th, 2019

Notification of acceptance: February 28th, 2019

Draft paper submission: in the two months prior to the conference the conveners

will be in contact with the Congress organizers and the Chairs to discuss draft

versions of their papers/posters.

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NOTE:

Young scholars, graduate students, PhD students and candidates have the opportunity to attend the Congress presenting a Paper or a Poster, qualifying for grants provided by the Getty Foundation – Los Angeles. Applicants for the Getty Grants should not upload their proposals using the platform. They are instead kindly asked to submit their proposals and documents sending an e-mail at the following address: firenze2019@ciha-italia.it and pointing out they are applying for the Getty Foundation grants.

To the grant holders will be given more information once they will receive an acknowledgement of receipt.

The awarded Papers and Posters will be published on the CIHA Italia Firenze 2019 website as content proceedings of the Congress.

Applicants coming from low GDP countries worldwide are especially welcome.

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-CIHA plans to refund Speakers with a grant of about 500 € that will be handed at their arrival in Florence.

-The registration fee for Speakers is of 150 €. It includes congress kit, participation in all the sessions, Opening cocktail and keynote speeches. More information on terms of payment will be given soon.

-The registration fee for young scholars, PhD students and graduated students is of 80 €.

-Travel and accommodation: travel organization will be up to each Speaker, as well as the accommodation option (the CIHA Italia Committee Secretariat will provide soon a list of suggestions). It is expected that candidates are able to seek funding in their own country to cover travel and accommodation expenses.

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For any further information on the application procedure please contact us using the following email address: firenze2019@cihaitalia.it

or visit the Websites:

http://www.ciha-italia.it/florence2019/2018/04/07/sessions-papers/

– and http://www.ciha-italia.it/florence2019/wp-content/uploads/2018/11/cfp.pdf

Deadline for submissions: January 15th, 2019.

16th Annual Graduate Symposium in Nineteenth-Century Art (New York, 18 Mar 18)

Dahesh Museum of Art, New York City, March 24, 2019

Deadline: Jan 13, 2019

Sixteenth Annual Graduate Student Symposium in the History of Nineteenth-Century Art

The Sixteenth Annual Graduate Student Symposium in the History of Nineteenth-Century Art, co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art, will be held on Sunday, March 24, at the Dahesh in New York City. The Mervat Zahid Cultural Foundation has generously provided the Dahesh Museum of Art Prize of $1000 for the best paper, with the opportunity for publication in Nineteenth-Century Art Worldwide. Some travel funding is available.

Graduate students are invited to submit proposals for 20-minute papers on topics in the history of art and visual culture of the long nineteenth century (1789–1914). Proposals that give evidence of new scholarship and originality of approach are especially encouraged. Send the following materials to the selection committee as a single email attachment (not as multiple attachments) addressed to: pmainardi@gc.cuny.edu. Combine the following documents into a single file attachment; do not send multiple files:

•    brief c.v. (2-page maximum)

•    cover sheet with name, school, title of paper, and name of faculty adviser on the proposed paper, as well as its relation to the doctoral dissertation

•    2-page (500-word) abstract

To be considered, proposals must be received by Sunday, January 13, 2019. Invitations to participate will be sent out by email no later than January 27, 2019.

For additional information, please e-mail Patricia Mainardi (AHNCA Programs Chair) at

pmainardi@gc.cuny.edu.

Prints and Drawings Curatorship (Cambridge, ‪9-11 Jul 19‬)

Harvard Art Museums, Cambridge, MA, USA, July 9 – 11, 2019

Deadline: Jan 25, 2019

Call for Participants: The Potential of Technical Studies and Conservation for Prints and Drawings Curatorship: A Professional Workshop (Harvard Art Museums)

The Potential of Technical Studies and Conservation for Prints and Drawings Curatorship is an intensive three-day international workshop to support up to 16 early and mid-career curators in the fields of prints and drawings. The program is scheduled to take place July 9-11, 2019 at the Harvard Art Museums in Cambridge, Massachusetts. The workshop is funded by the Getty Foundation through The Paper Project: Prints and Drawings Curatorship in the 21st Century.

A vital part of a curator’s responsibility as the steward of a collection is not only to understand an object within historical, creative, and cultural contexts, but also to consider its material qualities and how a work of art might change over time. A good understanding of the technical and conservation issues of a collection enables curators to partner better with all colleagues involved in the care of objects. The workshop will build upon curators’ experience and training to date, augmenting it with the skills necessary for a holistic approach to any collection.

The main goal of this workshop is to help close a gap by exploring the fundamental points of intersection between conservation and curatorial practice. Activities and discussions will focus on issues related to preservation, acquisition, and interpretation (research, cataloguing, and publication), which includes understanding the physical structure and condition of a work, ideal storage, possible treatment needs, and display.

These aims will be achieved through a variety of experiences. Hands-on examination of artworks representative of the broad range of mediums that participants are bound to encounter in their careers is planned in the Art Study Center with objects from the museums’ collections. Practical drawing and printmaking experiences will be offered in the museums’ Materials Lab. Close looking with the aid of a variety of technical tools, will be undertaken in the Straus Center for Conservation with the goal of teaching the participants how to undertake basic technical examinations on their own. And throughout the course, participants will engage in discussion with curators, academic art historians, conservators, conservation scientists, and artists committed to the flourishing of the graphic arts.

The workshop will be led by the curators, conservators, and other members of the technical studies team responsible for overseeing and interpreting the Harvard Art Museums’ graphic arts collections, which span both Western and non-Western fields, from the late-medieval to contemporary periods. The project team consists of Francesca Bewer, Research Curator for Conservation and Technical Study Programs, and Director of the Summer Institute for Technical Studies in Art; Penley Knipe, Philip and Lynn Straus Senior Conservator of Works of Art on Paper and Head of Paper Lab, Straus Center for Conservation and Technical Studies; Edouard Kopp, Maida and George Abrams Curator of Drawings; and Elizabeth Rudy, Carl A. Weyerhaeuser Associate Curator of Prints. (In January 2019, Kopp will become the John R. Eckel Jr. Foundation Chief Curator of the Menil Drawing Institute in Houston.)

Confirmed specialists will include Scott Rosenfeld: Lighting Designer at The Smithsonian American Art Museum and The Renwick Gallery in Washington D.C.; Ad Stijnman: independent scholar, printmaker, and print historian; and Joan Wright: Bettina Burr Conservator, Asian Conservation, Museum of Fine Arts, Boston. Other guest specialists are to be confirmed.

Eligibility and Application Process

Early and mid-career curators from institutions of various sizes worldwide are invited to apply. Specialties in prints and drawings of any scope of time and geography are welcome. No background in science or conservation, or access to in-house conservation resources, is required. A maximum of 16 participants will be admitted to the program. Applicants are evaluated on the basis of their academic accomplishments to date and on their expressed interest in integrating technical studies in their curatorial pursuits.

To apply, please send a letter of interest along with a current résumé/CV via email to am_europeanamerican@harvard.edu. Applications will be accepted through January 25, 2019, and notifications will be made in February.

Selected participants who are not U.S. Citizens or Permanent Residents must ensure their immigration status allows them to receive payments from Harvard University, such as a B1 visa or visa waiver for business. B visa holders or visa waivers may not qualify for certain payments if activities at Harvard exceed 9 days and participants have received payments from more than 5 U.S. organizations within a 6-month period.

The Business of Photography (Leicester, 17-18 Jun 19) Photographic History Research Centre, De Montfort University, Leicester, UK, June 17 – 18, 2019 Deadline: Jan 25, 2019

‘Business’ can have many meanings. In the most straightforward sense, it refers to the photographic marketplace, its industry and the commercial relations established among different agents. Some of these actors, such as studios and companies of the like of Kodak and Ilford, are specifically photographic and have featured prominently in histories of photography. But the photographic business also depends on other social, cultural and economic agents like chemical supply companies, image brokers, content providers, commissioning editors, advertising campaign managers and digitization officers, among others.

Especially since the beginning of the 21st century, historians have begun to pay attention to the broader implications of what one might call ‘the business of photography’. In this sense, it is not only about commerce and trade, but also about visual and material economies, where photography and the many worlds and people it affects directly or indirectly negotiate, define or transform social, cultural, political, scientific, and other ideological environments as well as values.

In this 7th annual conference of the PHRC, we invite 20-minute papers stretching the notion of ‘the business of photography’. While not neglecting the transformative role of photographic companies and that of photographers as businessmen and women, we encourage submissions that stretch our understanding of ‘business’ to the circulation of and the impact exerted by photographic images, objects and raw materials. We invite papers that think outside of the box, and address themes like:

– Photographic recycling
– The life of photographic raw materials
– Gender and photographic businesses
– The marketization of individual and collective identities
– Photographic image banks
– Photography in political and financial economies
– Photography in the heritage industry
– Photographs, photographers and algorithms.

Abstracts of no more than 300 words should be sent to phrc@dmu.ac.uk no later than Friday, the 25th of January 2019.

You are very welcome to explore the PHRC blog posts and other webpages by following the links and tabs from the conference webpage at: https://photographichistory.wordpress.com/annual-conference-2019/

What do alternatives look like?

After three years of (semi) regular existence, wherein we have touched on topics ranging from Terms of Service, Smart Cities and Immateriality, it is now high-time that the Pervasive Labour Union zine <http://ilu.servus.at/> takes a very close and serious look at the universe of the alternatives. Alternatives to Facebook, Twitter, YouTube: you name it.

What do these alternatives look like? Sure, plenty of services advertise themselves as “The alternative”, but are they really all they claim to be? What are the requirements of a ‘true’ alternative? The Pervasive Labour Union zine already broached some of these topics on its Special Issue with the Homebrewserver Club on XMPP – “Have you considered the alternative?” <http://ilu.servus.at/issue9.html>. To follow the HBSC?s strategy, a premium should be put on alternative approaches, not on any specific alternative apps. We need federated social networking solutions based on open standards that are able to communicate among themselves, regardless of the platform being used.

Looking forward, what the new issue intends to achieve is a broader, more in-depth look at the field of The Free Network, which, according to Sean Tilley’s article on the topic <https://medium.com/we-distribute/a-quick-guide-to-the-free-network-c069309f334> [ https://medium.com/we-distribute/a-quick-guide-to-the-free-network-c069309f334], includes both The Fediverse and The Federation networks. These networks are comprised of projects such as Diaspora, Mastodon, GNU Social, etc. Which protocols can and are being developed to achieve interoperability between the different alternatives? How do scale and trust influence the field? What are the forces at play within this realm and how to engage with them? With this issue, we propose not only to collect a field guide of sorts, but also to open up the discussion on the alternatives and how to tackle the challenges posed by network effects, scalability and financial viability. As always, we welcome:

– Texts (max. 1000 words). Texts can range from satire, theory, poetry, propaganda, educational etc. to personal rants;

– Images (illustration, photo montage, photography, etc.);

– Any other creative interventions that you might consider fit with the theme.

DEADLINE: February 5th

Call for Papers_ /_ The International Conference on Dance Data, Cognition, and Multimodal Communication (DDCMC19) is organized in the framework of the conclusion of ERC-funded research project BlackBox Arts&Cognition.

 
When: September 19-21, 2019
Where: FCSH – Universidade Nova de Lisboa (Lisbon, Portugal)
 
The increasing accumulation of dance data (for archives of contemporary artists, for the computational processing of collected data or for re-enactments and digital visualizations of previously staged pieces) is becoming a strong motivation for both researchers and performing artists to reflect upon the affordances and usefulness of looking at bodily movements in artistic settings to view human communication and cognitive processes (such as decision-making, creative and critical thinking, emotions) through a different lens.
 
The event wishes to bring together contemporary artists and researchers from a broad range of related academic disciplines, working within different theoretical and methodological paradigms to share their original research in a creative, international, and stimulating atmosphere.
 
This conference aims to provide a interdisciplinary forum (Humanities, Information Technologies, and Cognitive Science) for those creating and handling data from Performing Arts (with a focus on contemporary dance) interested in issues of multimodality and cognition in human communication and in human-computer interaction, particularly regarding documentation, video annotation tools, collaborative platforms for cultural heritage preservation, and scientific analyses of dance data, such as human behaviour and agency in different types of communication and their cognitive, cultural, narrative, technological, social, textual, or discourse functions.
 
Although more broadly the scope of the conference is defined to Performing Arts, we wish to explore more specifically on the current potential of “dance data” and how it can be related to content or form, processes or products, qualitative and quantitative inquiries. Dance data serve a variety of roles such as the subject matter for research, aspects of methodologies, and the format for public presentations. Papers dealing with the representation and annotation of the implicit knowledge contained in performing practices and the application of novel visualization technologies to support it are particularly welcome.
 
Papers on a wide range of topics dealing with Performing Arts are welcome, including, and not limited to:
 
Performance Studies:
– Dance Data: collection and applications
– Documentation of Performing Arts
– Intangible Heritage
– Digital Cultural Heritage
– Multimodal Corpora
– New Media applied to Performance
– Performance Philosophy
– Contemporary Dance
– Choreographic objects
– Digital tools for dance
 
Cognitive Science and the Performing Arts:
– Cognitive approaches to theatrical performance
– Gesture Studies
– Cognitive linguistics
– Human communication: verbal vs. non-verbal interactions
– Intercultural aspects of multimodal behaviour
– Multimodal Metaphor
– Applications of Conceptual Metaphor Theory to Performing Arts
– Neural mechanisms underlying motor control
 
Computer Science and the Performing Arts:
– Computer Vision: 3D rendering
– Movement tracking and visualization
– Dance and technology
– Virtual and augmented reality applications for Dance
– Information Visualization
– Motion Graphics
– Human Computer interaction
– Video annotation
– Annotation schemes and tools for multimodal corpora
 
Other interdisciplinary research and approaches to Performing Arts (theoretical, methodological, etc.)
 
 
__Keynote Speakers__
– Emily Cross, University of Glasgow
– Angus Forbes, University of California, Santa Cruz
– (third keynote to be confirmed)
 
 
__Submission Details__
We invite abstracts (500 words maximum, excluding references and tables/figures, anonymized) of original work for oral paper presentations and posters to be submitted via EasyChair for peer review. 
 
 
Time and space, albeit constrained, will be dedicated for Technical Demos, Artistic Installations, and Demonstrative-Lectures (video, interactive, VR, multimodal, dance, etc.) that accompany accepted presentations/posters.
 
:: Full papers:
A selection of papers will be considered for publication in a theme volume. More information will follow on the conference website.
 
 
__Important *NEW* dates__
– Opening Abstracts submission: November 5, 2018
– Deadline for Abstracts submission: January 15, 2018
– Notification of acceptance: February 15, 2019
– Deadline for Full papers submission: March 28, 2019
– Decision and reviews release date: tba
– Camera-ready papers due: tba
 
 
__Scientific Committee__
Chair: Carla Fernandes (FCSH-Universidade Nova de Lisboa)
Alan Cienki (Vrije Universiteit Amsterdam; Moscow State Linguistic University)
Ana Margarida Abrantes (Universidade Católica Portuguesa)
Ana Rita Fonseca (FCSH-Universidade Nova de Lisboa)
Antoni Gomila (Universidade de las Islas Baleares)
Bertha Bermudez (ICK Amsterdam
Bettina Bläsing ( Bielefeld University)
Charles Forceville (Universiteit van Amsterdam)
Claudia Marisa Oliveira (ESMAE)
Cláudia Ribeiro (FCSH-Universidade Nova de Lisboa)
Claudia Rosiny (Federal Office of Culture Switzerland)
Corine Jola (Albertay University)
Cornelia Müller (European University Frankfurt (Oder))
Francisco Caramelo (Dean of FCSH-Universidade Nova de Lisboa)
Joanna Skubisz (FCSH-Universidade Nova de Lisboa)
Isabel Galhano Rodrigues (Faculdade de Letras da Universidade do Porto)
João Madeiras Pereira (IST – Instituto Superior Técnico) 
Maaike Bleeker (Utrecht University)
Maria Clotilde Almeida (University of Lisbon. Faculty of Arts and Humanities)
Maria José Fazenda (Escola Superior de Dança, IPLisbon)
Mark Turner (Case Western Reserve University)
Michaela Honauer (Bauhaus-Universitat Weimar)
Nuno Correia (FCT-Universidade Nova de Lisboa)
Paulo Monteiro (FCSH-Universidade Nova de Lisboa)
Pil Hansen (University of Calgary)
Rafael Kuffner (FCSH-Universidade Nova de Lisboa)
Rodrigo Abreu (FCSH-Universidade Nova de Lisboa)
Rui Cádima (FCSH-Universidade Nova de Lisboa)
Sarah Whatley (Coventry University – C-DARE)
Scott DeLahunta (Coventry University; Motion Bank Institute)
Sita Popat (University of Leeds)
Sotaro Kita (University of Warwick)
Stephan Jürgens (FCSH-Universidade Nova de Lisboa)
Suzanne Cotter (MUDAM – Luxembourg)
Vito Evola (FCSH-Universidade Nova de Lisboa)
 
__Organizing Committee__
The conference is organized by the BlackBox research team and its hosting institution ICNOVA at FCSH – Universidade Nova de Lisboa, Portugal.
 
Chair: Carla Fernandes (FCSH-Universidade Nova de Lisboa)
 
BlackBox:
Ana Rita Fonseca (FCSH-Universidade Nova de Lisboa)
André Santos (FCSH-Universidade Nova de Lisboa)
Cláudia Ribeiro (FCSH-Universidade Nova de Lisboa)
Joanna Skubisz (FCSH-Universidade Nova de Lisboa)
Liz Vahia (FCSH-Universidade Nova de Lisboa)
Rafael Kuffner (FCSH-Universidade Nova de Lisboa)
Rodrigo Abreu (FCSH-Universidade Nova de Lisboa)
Stephan Jürgens (FCSH-Universidade Nova de Lisboa)
Vito Evola (FCSH-Universidade Nova de Lisboa)
 
ICNOVA:
Natália Manso (FCSH-Universidade Nova de Lisboa)
Patrícia Contreiras (FCSH-Universidade Nova de Lisboa)
 
__Contacts__
Contact email: ddcmc19@fcsh.unl.pt

CALL FOR PROPOSALS: BSA SYNERGY CONFERENCE

CALL FOR PROPOSALS: BSA SYNERGY CONFERENCE
The British Society of Aesthetics is pleased to announce a second round of funding for its latest conference initiative, the BSA Synergy series. The Society is looking to fund one conference with a grant of up to £12,000.
The conference should be designed to enhance the dialogue between analytic philosophers, and historians, theorists, critics or practitioners of any of the individual arts. Roughly half of the speakers at the conference should be analytic philosophers (some of whom ought to be specialists in the philosophy of art), and the other half should consist of theorists, historians, critics or practitioners of one or more art forms. Papers should examine what analytic philosophy can bring to the theory, history, criticism or practice of the individual arts; or how the theory, history, criticism or practice of the individual arts can deepen, modify or challenge analytic philosophy of art.
The conference should be held within one year of the notification of a successful application; it must be held in the UK, though the organisers need not be based there; and the organisers are responsible for all practical matters concerning its running. The conference should include ‘British Society of Aesthetics Synergy’ in its title, and all conference materials should publicise the role of the BSA. The conference should also conform to the Good Practice Policy of the British Philosophical Association and the Society for Women in Philosophy (http://british-aesthetics.org/bpaswip-good-practice-scheme/).
Proposals should be sent to admin@british-aesthetics.org no later than Monday 21 January 2019. They should be no more than 2,200 words long, and include a proposed date range and venue, a draft budget, an explanation of how the conference conforms to the BPA/SWIP guidelines, and a list of proposed speakers and topics (indicating which speakers have already agreed to contribute, conditional on the success of the application). Applicants will be informed of the outcome of their applications by the end of February 2019. A final budget and conference report must be supplied within 18 months of the event date.
Any questions about this Call for Proposals should be addressed to the Treasurer of the BSA, Dan Cavedon-Taylor dan.cavedon.taylor@gmail.com
This call is also available at: