Tag Archives: cfp

cfp: Activism and Technology

From the bailout:

CFP—Issue 24 Fibreculture Journal: Entanglements: activism and technology

(pdf attached)

http://fibreculturejournal.org/cfp-entanglements/

Please note that for this issue, initial submissions should be abstracts only.

Issue Editors: Pip Shea, Tanya Notley and Jean Burgess

Abstract deadline: August 20 2014 (no late abstracts will be accepted)
Article deadline: November 3 2014
Publication aimed for: February 2015

all contributors and editors must read the guidelines at:

http://fibreculturejournal.org/policy-and-style/

before working with the Fibreculture Journal

Email correspondence for this issue: p.shea@qub.ac.uk

This themed issue explores the entanglements that arise due to frictions between the philosophies embedded within technologies and the philosophies embedded within activism. Straightforward solutions are rarely on offer as the bringing together of different philosophies requires the negotiation of acceptance, compromise, or submission (Tsing 2004). This friction can be disruptive, productive, or both, and it may contribute discord or harmony.

In this special issue, we seek submissions that respond to the idea that frictions between technologies and activists may ultimately enhance the ability of activists to take more control of their projects, create new ethical spaces and subvert technologies, just as it may also result in tension, conflict and hostility.

By dwelling in between and within these frictions and entanglements – through strategic and tactical media discourses as well as the very concept of an activist politics within technology – this special issue will elucidate the context-specific nature, constraints and possibilities of the digital environments that are co-habited by activists from proximate fields including social movements, human rights, ecological and green movements, international development, community arts and cultural development.

Past issues of the Fibreculture Journal have examined activist philosophies from angles such as social justice and networked organisational forms, communication rights and net neutrality debates, and the push back against precarious new media labour. Our issue extends this work by revealing the conflicting debates that surround activist philosophies of technology.

Submissions are sought that engage specifically with the ethics, rationales and methods adopted by activists to justify selecting, building, using, promoting or rejecting specific technologies. We also encourage work that considers the ways in which these negotiations speak to broader mythologies and tensions embedded within digital culture – between openness and control; political consistency and popular appeal; appropriateness, usability and availability.

We invite responses to these provocations from activists, practitioners and academics. Critiques, case studies, and multimedia proposals will be considered for inclusion. Submissions should explore both constraints and possibilities caused by activism and its digital technology entanglements through the following themes:

Alternative technology versus appropriate technology
Pragmatism and technology choice
The philosophies and practices of hacking technologies
Activist cultures and the proprietary web
Digital privacy and security breaches and errors
Uncovering and exposing technology vulnerabilities
Technology and e-waste
The philosophies of long/short term impact
Authenticity and evidence

Initial submissions should comprise 300 word abstracts and 60 word biographies, emailed to p.shea@qub.ac.uk and t.notley@uws.edu.au

References:

Tsing, A. 2005 Friction: An Ethnography of Global Connection. Princeton: Princeton University Press.

The Fibreculture Journal (http://fibreculturejournal.org/) is a peer reviewed international journal, associated with Open Humanities Press (http://openhumanitiespress.org/), that explores critical and speculative interventions in the debate and discussions concerning information and communication technologies and their policy frameworks, network cultures and their informational logic, new media forms and their deployment, and the possibilities of socio-technical invention and sustainability.

Third Asian Conference on Film and Doco

The Third Asian Conference on Film and Documentary 2014
13th to 16th November 2014 – Osaka, Japan
Abstract Submission Deadline: July 1st – Please submit your abstract through the online submission system found on the “Call for Papers” page of the website.

2014 Conference Theme: “Individual, Community and Society: Conflict, Resolution and Synergy”

Enquiries: filmasia@iafor.org
Web address: http://filmasia.iafor.org
Sponsored by: IAFOR – The International Academic Forum

The International Academic Forum in partnership with Waseda University (Japan), Birkbeck University of London (UK), The National Institute of Education (Singapore), The National University of Tainan (Taiwan), Lincoln University (UK), the Hong Kong Institute of Education (HKSAR), Virginia Tech (USA), Auburn University (USA), and its global partners is proud to announce the Third Annual Asian Conference on Film and Documentary 2014, to be held from November 13-16, at the Rihga Royal Hotel and the adjoining Osaka International Conference Center, Osaka, Japan.

The conference theme is “Individual, Community and Society: Conflict, Resolution and Synergy” and the organizers encourage submissions that approach this question from a variety of perspectives, and is designed to elicit a wide variety of interpretations as avenues of research. However, the submission of other topics for consideration is welcome and we also encourage sessions within and across a variety of disciplines and fields related to film and documentary, including:

Film Direction and Production
Film Criticism and Theory
Film and Literature: Artistic Correspondence
Biography
Film History
Documentary History
Archive-Based Studies
Films and Digital Distribution (Use of the Internet and video sharing)
Anime and Digital Film Production
Films, Festivals, and Fans (Audience/Fan responses to film)

NOTE: Successful presentations in these streams may be scheduled alongside relevant papers submitted as a part of the FilmAsia sister conference, MediAsia.

Cinematic Turn

Interesting call for papers. Though can’t tell from the blurb if this a book or a journal? An anthology perhaps….

Straight off the email:

The Cinematic Turn
Submission Deadline: March 1, 2015
Co-Editors : Cher Krause Knight and Harriet F. Senie

With the rise of new technologies specifically relating to the moving image, the breadth of public art expanded as its practitioners engaged in more varied explorations, though it would be fair to say the migration of these technologies into public art was generally slower than their absorption into the museum and gallery. This issue focuses on the use of film, video and/or cinematic techniques and strategies, with the intention to recognize some of the earliest efforts to incorporate these art forms into public art practice as well as addressing their current manifestations.
For more information: Lauren Harvey (lauren.harvey@tandf.co.uk)

Interactive Narrative cfp

Extended Deadline – May 12, 2014

Call for Papers: Interactive Narratives, New Media and Social Engagement

October 24–25, 2014 University of Toronto

An interdisciplinary conference for researchers and practitioners

The call for papers has been extended, so you still have time to send your abstract.

How has the digital screen changed our world in general and narrative and visual arts in particular is the broad focus of the second Department of Spanish and Portuguese at the University of Toronto and BRAFFTV Film and Media international Conference.

We are interested, for instance, in the evolution of narrative practices from text-based literature to the advent of the digital revolution as storytelling moves from literacy to so-called post-literacy.

The prevalence of new interactive digital narrative in all areas from games, to literature, to films, to video art has resulted in new forms of storytelling and, accordingly, provoked new practices of reading that transforms readers/viewers into active collaborators.

Visible Evidence This Year

Straight from the email:

Visible Evidence 21
New Delhi
December 11–14, 2014
CALL FOR SUBMISSIONS:
Visible Evidence, the annual scholarly conference on documentary film, media, culture and politics–interdisciplinary, international and indispensable–is now 21!
Inaugurated at Duke University in 1994, Visible Evidence has met annually ever since–in Canada, the UK, France, Germany, the Netherlands, Brazil, Australia, and most recently in Sweden, as well as in the US (eleven times).
This year the conference will be held in New Delhi, India from December 11 to 14 2014. Co-hosted by Jawaharlal Nehru University and Jamia Millia Islamia, the conference will be held at the India International Centre, Max Mueller Marg, New Delhi. In 2014 we are meeting in Asia for the first time, and for the second time only in the global south!
Visible Evidence 21, as is traditional, will feature a range of panels, workshops, plenary sessions, screenings and special events around documentary, its practices, histories and theories.
Proposals for panels, workshops, presentations, screenings and individual papers are solicited according to the following guidelines and themes.
Please check out www.visibleevidence21.org for information about travel arrangements, the conference site, and registration, etc.

Cut N Paste CFP on Poetics and Politics of Doco

Research symposium: Poetics and Politics of Documentary Film – Building Bridges between the Theory and Practice of Documentary Film
April 22 – 24, 2013 Aalto University, ARTS, ELO Helsinki Film School, Finland

CALL FOR PAPERS
The Aalto University ELO Helsinki Film School (Department of Film, Television and Scenography, School of Arts, Design and Architecture) will host a symposium on the relationship between theory and practice in documentary film. The objective of the symposium is to build bridges between the practice and theory of documentary film.
The symposium seeks to find ways to “theorise within” film instead of “theorising about” it. Theory can be understood as an active tool in catalysing the new politics and poetics in the practice of documentary filmmaking.

AIMS
The main objective of the symposium is to further promote dialogue between the new and emerging field of practice-based research and the traditional academic film studies on documentary film. The symposium will provide a forum for discussions on the possibilities and approaches related to practice-based research and the theorising that stems from artistic work. The symposium will create important opportunities for networking for all interested in conceptual approaches in documentary film, whether practice or theory based.

The international keynote speakers are leading scholars in the area of documentary film theory. The Vietnamese-American filmmaker and theorist Trinh T. Minh-ha and the British film scholar and filmmaker Brian Winston will both reflect on questions of the synergies and connections between theory and practice.

CALL FOR PAPERS AND PRESENTATIONS
We are pleased to announce a call for papers and presentations. We are open both for research and scholarly papers but also presentations of art projects accompanied by a paper describing a research element connected to the art project. The call is aimed especially at researchers working on art-based research projects but we are also open for papers from the wider range of film studies on documentary film. The time allotted for scholarly papers is 20 minutes + 10 minutes for discussion. Presentations including presentations of art projects (or part of them) can be 45 minutes + 15 minutes discussion.

Possible topics for papers and practice-based research presentations include, but are not limited to, the following categories:

1. The New Theory of Documentary Film: Theorizing within
– Papers or presentations related to the dilemmas, methods and possibilities of practice-based research. How can art projects be expressions of theory or part of the process of researching film? Does practice based theory and research need new strategies and styles of writing theory?

2. The New Poetics of Documentary Film
– Papers or presentations on questions related to stylistic, aesthetic or formalistic questions in documentary film. This forum provides an arena for discussions on a variety of topics on the poetic in relation to the myriad sub genres, strategies and modes of tradition of documentary film or new strategies of expression in contemporary documentary film.

3. The New Practices of Documentary Film
– Papers or presentations on the questions of new and emerging areas and practices in the field of documentary film production, technology, distribution or other areas of film production as well as on new ways of understanding the role of documentary film practice and the use of it in wider contexts, including the political, social or other arenas.

4. The New Politics of Documentary Film
– Papers or presentations dealing with the rhetoric of the new political documentary film, the new ways of understanding the political in documentary film, and the different implications of the political in relation to the social, ethnic, gender or other questions.

Please send your proposals (1 page synopsis, max. 400 words, and short bio) to kirsi.rinne@aalto.fi by January 31, 2013. You will be contacted by the conference organisers by February 28, 2013.

The conference fee is 85 euros including lunches, coffees and one reception. The conference website will be available at the end of January 2013 with an updated program and information on registration, travelling and accommodation.

Conference committee: Professor Susanna Helke (Aalto ARTS), researcher Ilona Hongisto (Univ. of Turku), researcher Jouko Aaltonen (Aalto ARTS), coordinator Kirsi Rinne (Aalto ARTS).

For further inquiries, please contact
Susanna Helke, professor of documentary film, susanna.helke@aalto.fi
Kirsi Rinne, coordinator, kirsi.rinne@aalto.fi

Video Vortex 8 Details

Below is straight cut and paste from the email announcement. Would very much like to be able to contribute to this but May is a very difficult time to get away. Did it this year for DNA and it really stuffed up the end of Integrated Media. But for others, this should be an excellent event:

Video Vortex #8 The Politics, Cultures and Art of Online Video

The Museum of Contemporary Art Zagreb, Croatia

May 17th-19th, 2012

CALL FOR CONTRIBUTIONS

We are pleased to announce that the 8th edition of Video Vortex will take place at the Museum of Contemporary Art in Zagreb, Croatia, between the 17th and the 19th of May, 2012. So far Video Vortex has taken place twice in Brussels and Amsterdam and once in Ankara, Split and Yogyakarta. The Video Vortex network was founded in in 2007 and deals with the cultural, political and artistics aspects of online video. Video Vortex 8 is organized by the Kazimir Association in Split and The Museum of Contemporary Art, Zagreb in collaboration with the Institute of Network Cultures in Amsterdam.

The moving image and the Internet are still defining the parameters of their mutual relationship. The conference will focus on issues concerning changes in contemporary art and cinema as well as broader cultural, social and technological issues.

Video Vortex 8 will consist of a conference, an exhibition, screenings and performances. This call pertains to the conference. Artists who will present work at the conference will also be included in the accompanying exhibition. If you have an idea for an alternative way to present your work on one of the themes below please let us know. For all themes we expect up to a 500-word abstract while for artist presentations we would like also to receive documentation via URL.

Themes:

1. Contemporary art and online video

Museums which follow and present ontemporary Art as well as Centres for Art, Media and Technology have specific contexts in which they present and preserve the moving image in the 21st century. Spatial issues and exclusivity are put in relation to the constant virtual presence of artwork. Fast changing technologies are undermining the very sense of the preservation of the moving image in an online context.

2. Theoretical discourses and online video.

Concepts related to the aesthetics and structure of the moving image. Including, but not limited to, online-only production, torrent-based original programming, YouTube-centered narrative and artwork, community-funded cinema and scholarship in an online environment.

3. Social networks and online video in the region.

Reports on new the discourses of online video in Middle and Southeast Europe.

4. Techno-colonialism, surveillance and control of the distribution of the moving image.

Shutting down or channelling online video. The possibility of stealing the online-originating revolutions in North Africa. The technological dominance and control of worldviews and basic human value systems. The speed of communication and what is left to those isolated from it.

5. The perspective of online cinema.

The relationship between film and the Internet. What is happening to independent cinema due to technical accessibility and online quality in the making, producing and distribution of films? Do we see specific new film forms in the online environment? The end of 35mm film. How does digital cinema distribution work, from DCP (Digital Cinema Package) passwords to open online video/film collections or cinematic databases?

6. Artists talk about their own work and research in online video.

Presentations of artistic practices related to the Internet from artists participating in the exhibition which runs concurrently with the conference. These practices include working on the web and using the web as a medium and using the Internet as found footage; in other words, it is channeling the art process through Internet-based communication. Other topics could include the Internet as a public presentation venue for artists and discussions about curating online.

7. Technological aspects of new developments in participatory video.

The moving image on the Internet has opened itself to tagging, telepresence and social communication. Can it still open itself further through visual browsers and HTML5? With HTML5 authors can script their own user interface, but there is also a way to trigger a user interface provided by the user agent – is this a seed for a new manner of online video communication? Does it indicate developments of open personalization and/or the further fragmentation of users? Other issues could include technologies of the private and the public spheres.

Practical information:

The deadline of submission of proposals and abstracts is 20th January, 2012. Proposals and questions should be addressed to Brian Willems: brianwillems at gmail dot com.

The conference itself is free and if possible the presenters or institutions to which they are attached should take care of the travel and accommodation expenses.