ARC is happy to announce that our very first ‘Next Steps’ session took place last Thursday, December 11th. The group visited the studio of Michael Krueger (pictured) and the labs of Town Peterson and Sandi Beard. It was fantastic to hear about what Michael has been working on while being a creative fellow at the Hall Center for Humanities as well as Town’s important work on mapping the Ebola virus in Africa, and Sandi’s work on the archeology of horses in the cultures of Kazakhstan and Saudi Arabia. It was great that all three of these scholars were willing and able to present their work and working environment. Thanks to all who came out and we hope to have another session soon.
Many thanks to our Graphic Designer, Jeffrey McKee, and our Web Programmer, William Hopkins. They did a great Job.
CALL FOR PAPERS AND PRACTICE-BASED PROJECTS
Hybrid practices in the arts, sciences, and technology from the 1960s to today
Arts Research Collaboration initiative (ARC)
Spencer Museum of Art
University of Kansas
Lawrence, KS, USA
Submission deadline: Nov. 1, 2014
In partnership with the Terra Foundation for American Art, the Spencer Museum of Art (SMA) at the University of Kansas (KU) is organizing a conference on hybrid research practices in the arts, sciences, and technology from the 1960s to today. Distinguished scholars involved in the conference include D. Graham Burnett (Cabinet magazine) and Anne Collins Goodyear (Bowdoin College Museum of Art). Together with papers, roundtables, and keynote presentations, the conference will incorporate performative and event-based creative projects grounded in hybrid art-science-technology research. Selected conference presenters will be invited to a follow-up colloquium, led by David Cateforis (KU) and Shepherd Steiner (Emily Carr University) in May 2015. We anticipate publishing selected papers and projects in an edited volume that serves as both conference proceedings and guide for researchers undertaking work in this field.
To date only a small group of scholars has focused attention on collaborative projects between artists and practitioners in technological and scientific fields during the 1960s and 1970s. Hybrid Practices seeks to broaden our understanding of this pivotal period in U.S. history and in American art by investigating the cultural, political, and social factors that enabled and encouraged such projects to emerge. Although the conference will focus on the United States, we intend to include international perspectives and welcome applications from scholars and practitioners based in other countries. By thoroughly examining early research collaborations among artists, scientists, and technologists, we will establish a context through which to explore the resurgence in hybrid research practices today.
We are seeking proposals for papers and practice-based projects that explore one or more of the following aspects of hybrid artistic research:
1. Key hybrid projects from the past 50 years, including but not limited to Experiments in Art & Technology (Bell Laboratories), Art & Technology (Los Angeles County Museum of Art), and the Artist Placement Group (U.K.)
2. Shared vocabularies among the arts, sciences, and technology, and the role of language in cross-disciplinary collaboration
3. The impact of interdisciplinary work on the identity of the hybrid practitioner
Papers may be organized as case studies or theoretical approaches to the topic. Case studies should focus on one or two projects; they may interrogate the historical moment of the project’s existence, the hybrid methodology involved, and/or the impact of the work as it was assessed both at the time the project took place and in the present. Participants are encouraged to use archival material in these case studies. Theoretical papers may address multiple projects across a broad geographical or historical range. While the conference’s theoretical framework will draw on the work of French philosopher and science historian Michel Serres, participants are not limited to examining his ideas in their papers.
Practice-based projects should explore the same themes as papers while keeping in mind the physical and temporal conference setting. Hybrid Practices will be held at The Commons (www.thecommons.ku.edu), a space dedicated to fostering closer relationships among the sciences, humanities, and arts. It is a fully mediated event space rather than an exhibition space, so practice-based projects should not require sustained display. Applicants are encouraged to submit proposals for projects that could reasonably be produced in this setting. Logistical arrangements for selected projects will be developed in consultation with SMA staff.
Please submit abstracts of 150–200 words in English, along with a bio of approximately 100 words, to firstname.lastname@example.org. Up to five images may be included to support your proposal.
November 1: Deadline for submission of abstracts
November 21: Notification of acceptance
February 9: Deadline for submission of accepted papers
March 10–13: Conference in Lawrence, Kansas
May 29: Follow-up colloquium in Lawrence, Kansas
January: Proceedings published
Now in its fourth edition, ArtsIT has become a leading scientific forum for the dissemination of cutting-edge research in the area of arts, design and technology. The conference (6-8 November 2014, Istanbul, Turkey) aims to bring together leading researchers and practitioners from academia, the arts and industry to present their innovative work and discuss all aspects and challenges in a stimulating environment. The main focus of this edition of ArtsIT is to present participants with tools, systems, models, artworks, performances, shows and empirical studies that may enrich the possibilities for artists and creative people of working with new media technologies. The call for papers is aimed at people across a wide spectrum of interests and disciplines including computer science, design, arts, sociology, anthropology and psychology. Deadline to submit: 28 February 2014. Find out more at artsit.org/2014/show/home.
Recombinant Creativity: Temporal Intersections, (de)Historicizing Strategies, and Contemporary Cultural Products
(Ontario College of Art & Design, Toronto, March 6-7, 2014)
Fredric Jameson spoke of a “dialectical intensification of the autoreferentiality of all modern culture, which tends to turn upon itself and designate its own cultural production as its content” (Postmodernism, or, The Cultural Logic of Late Capitalism).
Building upon Fredric Jameson’s potent and pithy insight into the character of contemporary cultural production this conference asks broadly about the role of appropriation and interdisciplinarity. Has the traditionally discipline-based structure of scholarship been challenged or changed by recombinant forms and processes of critical engagement?
The Contemporary Art, New Media and Design Histories program at OCAD University invites papers that acknowledge the place and implication of Jameson’s ideas of autoreferentiality or the practices of assemblage, bricolage, collage, remixing, sampling, borrowing, mashups, hybridity, and the role of technology as strategies for creativity.
Papers will be accepted from graduate students of all levels and disciplines, and should be traditional presentations 15- 20 minutes in length. While an emphasis will be placed on these discourses in art and visual culture, we also welcome cross-disciplinary interpretations of the theme. Topics for papers may include, but are not limited to the following:
– Global and local collages in design practice
– Re-imagining indigenous culture through digital dialogues
– Hip hop in contemporary Indigenous cultures.
– Biopolitics and subversive, activist strategies
– Splicing and the cultures of bricolage in contemporary society
– Appropriation as methodology
– Processes of othering and identity-formation
– Appropriation as a sign of cultural bankruptcy
– (de) Historicizing the so-called Western canon in art history
– Recombinant culture as resistance and strategies of dissent
Please send a 250-word abstract of your paper along with a working title, keywords, curriculum vitae, and contact information to email@example.com. The symposium will be held 6-7 March, 2014 at OCAD University, Toronto, Canada.
Deadline for submission: December 2, 2013.
Successful participants will be notified by December 17, 2013.
Follow us on Twitter @cadnconference. Recombinant Creativity blog at https://recombinantcreativity.wordpress.com/
The Journal for Artistic Research (JAR) is a peer-reviewed journal, publishing original research from artists of all disciplines. Published twice a year, with currently four issues accessible online, the journal is unique in its field, marrying the rich-media and social networking capabilities of online publishing to peer-review and scholarly rigour.
JAR invites original submissions for future issues from artists worldwide, with or without academic affiliation. The journal is open to submission from all artists who wish to reflect on and expose artistic practice as research, who are interested in exchanging ideas and processes with a group of engaged peers and, thus willing to contribute to the ongoing debate about research in the arts.
With the aim of displaying and documenting practice in a manner that respects artistic modes of presentation, the journal uses the Research Catalogue, a free-to-use online tool that allows the weaving together of text, image, audio and video material. JAR is open to all possible approaches to the publication of research including those that use little or no text. The Research Catalogue also enables collaboration, allowing multiple authors to work on the same document simultaneously and submit to the journal as a team. Articles that are not accepted for publication in JAR can be self-published, free of charge in the Research Catalogue.
JAR is a free open-access resource, with an international readership and a growing pool of renowned artistic and academic reviewers. The journal’s issues are non-thematic and submissions are considered by an experienced editorial board, in a rolling fashion, as they are submitted. To submit an article, contributors are required to register for an account on the Research Catalogue, and use the writing space to layout and expose their research. JAR provides editorial guidance and technical help with these processes.
Interested contributors should first acquaint themselves with previous issues at www.jar-online.net (the inaugural issue JAR0 is a good place to start) and then contact the journal to discuss the suitability of their material and receive advice on progressing towards submission.
The next issue, JAR4, will be published in November. Submissions that should be considered for JAR5 need to be made before November 15, 2013.
Send your correspondence to Barnaby Drabble, Managing Editor, Journal for Artistic Research: firstname.lastname@example.org
JAR is published by the Society for Artistic Research.