Category Archives: Photography

Valokuvataiteen jatko-opintoseminaari, keskiviikkona 19.4.

Tervetuloa DOM-L0003 Valokuvataiteen jatko-opintoseminaariin

Keskiviikkona 19 huhtikuuta 2017, klo 10–16
Arabian kampus, Hämeentie 135 C, Helsinki
9. krs, valokuvauksen tilat

Professori: Merja Salo

Ohjelma:

10-12 Kari Pyykönen: Väitöskirjan rakenne, sisällysluettelo ja poimintoja aineistosta.
12-13 Lounastauko
13-15 Satu Kiuru (Taiteen laitos): Kuvataiteilijan tutkimusmatka tiedostamattomaan. Väitöskirjan rakenteen ja aineiston esittely.
15-16 Pauliina Pasanen: Society for Photographic Education, seminaarikuulumisia Floridasta.

Nida Doctoral School 2017 – Tweezers and Squeezers: Methodological Approaches and Research Methods in Art, Design & Architecture

Please read below about this year’s Nida Doctoral School (NDS) intensive course for DA and PhD students.

NDS is a wonderful opportunity for doctoral candidates to focus on their doctoral thesis development. There are 4 places for Aalto ARTS students and costs will be covered on ARTS School level.

You will find more information and the link to the Application Form by scrolling down.


Tweezers and Squeezers: Methodological Approaches and Research Methods in Art, Design and Architecture
Third Nida Doctoral School intensive course for DA and PhD students in art, design, architecture, humanities and the social sciences

21-26 August 2017
Nida Art Colony of Vilnius Academy of Arts, Lithuania

Application deadline: 31 March 2017

VAA Nida Art Colony, Neringa, Lithuania, 2016. Dronography by Robertas Narkus
 
Theme
The third Nida Doctoral School (NDS) will bring together a multidisciplinary group of practice and theory-based doctoral candidates researching different topics in the context of the visual and performing arts, design and architecture, sharing the common goal of completing a doctoral degree, to discuss and develop the methodological framework of their research projects. NDS will provide a platform for dialogue and the exchange of ideas, as well as a space for sharing feedback and peer support. The aim of NDS 2017 is to focus on research methods and on the development of methodological skills and approaches, and to provide critical feedback from distinguished international tutors.

Finding suitable methods and framing the methodological approach is one of the biggest sources of anxiety and uncertainty for doctoral researchers, especially practice-based, when developing and implementing a research plan. Could I treat my art or design practice as the main method? How should I write about my methodology? Or, as Henk Slager calls it, ‘methodicy’*? How should I safeguard myself and my audience from methodological excess? Does my methodological approach help or limit me in doing my research? When should I think about it: when starting or when concluding my research and thesis? What is the relationship between theory and practice in my research, and which philosophical/theoretical school should I refer to in order to base my argument?

Format
The third NDS will take place on 21-26 August 2017. Each day will include one-hour-long presentations by invited speakers and tutors, followed by one-hour-long discussions. The rest of the day will be dedicated to doctoral student presentations, followed by discussions and feedback (one hour per student). Invited speakers and tutors will act as respondents to the student research development work. The programme will also include slots for individual consultations.

The students are expected to participate in presentations and discussions, and to prepare for the course by studying a reading list compiled by the invited speakers and tutors and provided in early June. In addition to the discussions around the overall topic of the School, students are asked to prepare a 30-minute presentation of their own research and practice, with a special focus on their methodological approach. In these sessions, students will receive feedback from their peers on other doctoral programmes, as well as from the invited speakers and tutors of the School.

Invited Speakers and Tutors
In 2017, NDS has the pleasure to welcome three INVITED SPEAKERS:
–        Dr Joanne Morra, Reader in Art History and Theory, curator of the Doctoral Platform at Central Saintt Martins, University of the Arts London, founding principal editor of Journal of Visual Culture;
–        Dr Marquard Smith, academic, curator, commissioner, programmer, and Founder and Editor-in-Chief of Journal of Visual Culture, currently Programme Leader for the MA Museums & Galleries in Education at UCL Institute of Education;
–        Prof Juha Suoranta, social scientist and public intellectual, professor at the University of Tampere, author of ‘Artistic Research Methodology. Narrative, Power and the Public’ (with Mika Hannula and Tere Vadén, 2014), ‘Rebellious Research’ (in Finnish with Sanna, Rynnänen, 2014).

Dr Joanne Morra is a Reader in Art History and Theory at Central Saint Martins (CSM), University of the Arts London. She runs The Doctoral Platform at CSM, and is the Founding Principal Editor of Journal of Visual Culture. She has published widely on modern and contemporary art, in, for instance, New Formations, Art History, Journal of Modern Art, What is Research in the Visual Arts (eds. Holly & Smith). Joanne has edited many collections, including ‘The Limits of Death’ (MUP 2000), ‘The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future’ (MIT 2006), ‘Visual Culture: Critical Concepts in Media and Cultural Studies’ (4 volumes, Routledge 2006), ‘Acts of Translation with Bal’ (Sage 2007). Recent activities include the exhibition ‘Saying It’ (Freud Museum London 2012), ‘Intimacy Unguarded: Autobiography, Biography, Memoir’ (with Talbot, 2013), ‘50 Years of Art and Objecthood’ (with Green, Sage 2017), and ‘Inside the Freud Museums: History, Memory and Site-Responsive Art’ (I.B. Tauris 2017).

Dr Marquard Smith is Programme Leader for the MA Museums & Galleries in Education at UCL Institute of Education. He is an academic, curator, commissioner, programmer, and Founder and Editor-in-Chief of Journal of Visual Culture. Recent exhibitions curated include, ‘The Global Archive’ (London, 2012), ‘Jordan McKenzie: An Englishman Abroad’ (Istanbul, 2014), and most recently ‘How to Construct a Time Machine’ (Milton Keynes, 2015). Marq writes on artistic research, practice-based research, archives, arts education, and most recently on experimentally in ‘MaHKUscript: Journal of Fine Art Research’. He is author, editor, and co-editor of over 20 books and themed issues of journals including ‘What is Research in the Visual Arts?’ (Yale UP, 2008), ‘Visual Culture Studies’ (Sage, 2008), ‘The Erotic Doll: A Modern Fetish’ (Yale UP, 2013), ‘The Prosthetic Impulse’ (The MIT Press, 2005). Marq’s previous academic roles include: Head of the School of Art and Design History, Kingston University, London; Research Leader and Head of Doctoral Studies in the School of Humanities at Royal College of Art; and Founding Director of the Institute for Modern and Contemporary Culture at University of Westminster, London.

Prof Juha Suoranta is a Finnish social scientist, and public intellectual. He is currently Professor at the University of Tampere. In total, he has published 38 books, such as ‘The Integrated Media Machine I: A Theoretical Framework’ (co-edited with Mauri Ylä-Kotola, Sam Inkinen and Jari Rinne), 2000; ‘Architecture: Theory, Research, and Practice’ (with Seppo Aura and Juhani Katainen), 2001; ‘Artistic Research. Theories, Methods, and Practices’ (with Mika Hannula and Tere Vadén), 2005; ‘Artistic Research Methodology’ (with Mika Hannula and Tere Vadén), 2014.  Suoranta has published extensively in the fields of education, political sociology of education, radical adult education, critical media education, and critical pedagogy. In his writing, Suoranta is interested in bringing together ideas and material from various disciplines, including media and cultural studies, sociology, educational studies, literature studies and literature.

Three TUTORS will guide the students through the course:
–        Dr Sofia Pantouvaki, scenographer and Professor of Costume Design at Aalto University;
–        Dr Mika Elo, Professor of Artistic Research, Head of Doctoral Programme, Vice-Dean for Research at the University of the Arts Helsinki, Academy of Fine Arts;
–        Konstantinas Bogdanas, artist and Associate Professor of Visual Art at Vilnius Academy of Arts.

Dr Sofia Pantouvaki is a scenographer and Professor of Costume Design at Aalto University. Her background includes over 80 designs for theatre, film, opera and dance productions in Europe, as well as numerous curatorial and exhibition design projects. She is co-author of ‘History of Dress – The Western World and Greece’ (2010), editor, ‘Yannis Metsis – Athens Experimental Ballet’ (2011), and co-editor of ‘Presence and Absence: The Performing Body’ (2014). She is editor of the academic journal ‘Studies in Costume and Performance’, project leader for ‘Visual Aspects of Performance Practice’ and the Vice-Head of Research for OISTAT Costume Design Group. Costume Curator for World Stage Design (2013), and Associate Curator for ‘Costume in Action’ (WSD2013). At Aalto University, she founded ‘Costume in Focus’ and is Principal Investigator of the research project ‘Costume Methodologies’ funded by the Academy of Finland (2014-2018). Sofia has taught and lectured internationally. Her recent research focuses on performance costume, fashion and costume curating, the potential of new materials and embodied technologies in costume practice, and clothing in the concentration camps of the Second World War.

Dr Mika Elo is Professor of Artistic Research at the University of the Arts Helsinki. His research interests include theory of photographic media, philosophical media theory, and artistic research. He participates in discussions in these areas in his capacity as curator, visual artist and researcher. In 2009-2011, he worked on the research project ‘Figures of Touch’ (figuresoftouch.com). In 2012-2013, he co-curated the Finnish exhibition ‘Falling Trees’ at the Biennale Arte 2013 in Venice. He is also a member of the editorial board of the ‘Journal for Artistic Research’.

Konstantinas Bogdanas studied painting at the State Institute of Art (now Vilnius Academy of Arts). He currently lectures on visual art at the Academy. Since 2012, he has supervised doctoral students’ practice-based research. Bogdanas has been exhibiting since 1986. In his artistic career, he focuses on concept-based artwork, andcombines different media (objects, installations, performances, photographs), the most important of which, however, is the medium of language. Formally speaking, Bogdanas is mainly concerned with questions of identity. He questions abstract notions, such as art, nation and perception, as well as the personal understanding of the self. The key words in his work are (non)coincidence, (in)adequacy, (un)necessity, (non)fruition, (un)usefulness, (non)understanding, (in)capability. The most important, though far from obvious key words, are artificiality and vulnerability. An element of humour is present, only it is not so striking; it always succumbs to existential doubt. His ‘poste restante’ posture of silent waiting and non-involvement should also be conceived as a conceptual work of art.

NAC Academic Board members will also contribute to the course.

What is Nida Doctoral School (NDS)?
In Nida, we explore unorthodox approaches to research. Through making, performing, writing and discussing, we test the possibilities for generating knowledge outside the conventional venues and models of academic research. NDS participants are offered a possibility to position their own research and practice within a broader field of research approaches. NDS aims to open up the horizons for experimental development by intersecting with a diversity of disciplines and experiences. The goal of NDS is to provide time, space and a conceptual framework for participants to gain an insight into their field of research, as well as to broaden and diversify their outlook and methodological tools.

Nida Doctoral School is an international programme designed and organised by the Nida Art Colony of Vilnius Academy of Arts, and Aalto University School of Arts, Design and Architecture, for doctoral students in the visual and performing arts, design and architecture. In 2017, the University of the Arts Helsinki is joining the organisers’ team.

NDS is tailored for doctoral students in the visual and performing arts, design and architecture. However, some limited places are intended for students within the humanities and social sciences, if their research is related to the arts, design and architecture. The programme comprises seven day-long intensive courses, organised once a year, and 1-6 month-long doctoral residencies which are part of the international Nida Artist-in-Residence Programme (the annual application deadline is 15 March).

Tuition, Funding and Costs
There is no tuition fee. Free accommodation and catering are provided for selected applicants from Aalto University School of Arts, Design and Architecture, University of the Arts Helsinki, and Vilnius Academy of Arts. In addition, Aalto and UniArts students are provided with a travel grant. Other participants are expected to cover their accommodation and catering costs, which amount to 300 Eur/person in a double room, and travel costs.

Application
Please fill in the NDS application form.
Application attachments (motivation letter, CV and portfolio) should be sent to rasa.antanaviciute@vda.lt
All application documents should be submitted by 31 March 2017.

Up to 16 students will be invited to take part on the NDS course.

Practical information regarding accommodation, travel arrangements, payment and all other issues will be sent to the selected participants in due course. You can check out the facilities of Nida Art Colony here and the programmes of previous NDS courses here.

For any other queries, please contact Dr Rasa Antanavičiūtė, Manager of NDS and Executive Director of Nida Art Colony, at rasa.antanaviciute@vda.lt

About Nida Art Colony (NAC)
Nida Art Colony is an art and meeting space, surrounded by sand dunes and seas. As a resourceful platform, it runs an Artist-in-Residence Programme, Nida Doctoral School, and initiates art, education and research projects. We aim at a creative confluence of academic and non-academic education, artistic and scientific practice, hard work and leisure.

NAC is a subdivision of Vilnius Academy of Arts, and opened in 2011. It operates all year round, receives about 700 people a year, and provides space for workshops, intensive courses, exhibitions, seminars, rehearsals, artists’ talks and screenings in its premises of 2,500 square metres. Its activities can result in presentations, exhibitions, broadcasts and publications.

NAC is located on the Curonian Spit, a peninsula dividing the Curonian Lagoon and the Baltic Sea. The spit is on the UNESCO World Heritage List as one of the most beautiful and unique cultural landscapes of Europe. It also forms Neringa National Park. Nida is 50 kilometres from the Lithuanian seaport of Klaipėda, and 360 kilometres from the capital city Vilnius.

*Methodicy: ‘[…] a strong belief in a methodology founded on operational strategies which cannot be formulated and legitimized beforehand’ (Henk Slager, The Pleasure of Research, 2015, p. 30).

Call For Papers: Photography and the Archive Research Centre

Photography and the Archive Research Centre

*** CALL FOR PAPERS ***

Art and Reconciliation Sarajevo, Bosnia. June 30-July 2, 2017

Fast Forward: Women in Photography. Vilnius, Lithuania. November 3-4, 2017

Why Remember? 
Memory and Forgetting in Times of War and Its Aftermath

3-Day Conference in Sarajevo, Bosnia, June 30 July, July 1, July 2,   2017.

Sponsored by the Photography and the Archive Research Centre (PARC) University of the Arts, London; Salem State University, Massachusetts, USA; WARM Festival, Sarajevo, Bosnia.

Keynote Speakers include
 Simon Norfolk, photographer, and Vladimir Miladinović, artist.

In his book In Praise of Forgetting: Historical Memory and Its Ironies, David Rieff offers a persuasive challenge as to whether the age-long “consensus that it is moral to remember, immoral to forget” still stands in our contemporary era. What should we remember, what should we forget, and why? Do we need to reconfigure the way that we think about memory and its potential impact on issues such as reconciliation and healing in the wake of war? Is memory impotent as a social, political, or aesthetic tool? Rieff’s questions appear more pertinent than ever as wars and conflicts continue to rage in many parts of the world with no end in sight.

These questions of memory (and forgetting) are intensely political and have far-reaching consequences. This conference will engage with difficult and troubling questions around the value and nature of memory such as how do they reverberate in the context of post- war societies, post-conflict reconciliation, prevention, questions of memory and past events? Does memory discourse help us push the borders of how the concept of memory is currently being configured and applied? To what extent do we remember the past and how do we choose what to remember and why we remember? How could and should (consciously and unconsciously) memory processes shape the present and future? How might public institutions (such as museums and other heritage sites that support education/awareness) deal with the past? What is the difference between commemoration and memorialization? Where do they intersect and how might they impact the process of reconciliation and prevention? How can art function as a site of the aesthetic interpretation of the past?

We seek papers from a wide-range of historical and geographical spaces that address the discursive limits of contemporary memory studies, particularly drawing on these areas of study:

*   Film/media studies

*   Museum studies/objects/ New Materialism

*   Visual arts

*   Literature/Narrative

*   Music/Performance

*   Necropolitics/Forensics/Anthropology

*   Politics and aesthetics

**Interdisciplinary approaches to memory and remembrance studies are welcome.

There will be two styles of presentations: more formal papers of 20-25 minutes and workshop idea papers of 10-15 minutes. We welcome submissions from artists, early career researchers and post-docs as well as established scholars. We encourage applications from a range of academics, current PhD students, especially those outside of Western European institutions. All papers will be delivered in English.

Paper proposals should include:

*   author name(s), affiliation(s) and contact email,

*   paper title,

*   a paper abstract (200 words max),

*   and short bio (200 words max).

Please clearly indicate whether you are submitting formal paper or a workshop idea paper. 
This academic conference is linked to the Art and Reconciliation AHRC funded research project currently being undertaken by The University of the Arts London, King’s College War studies Department, and the LSE. The research is under the auspices of the PACCS Conflict Programme. 
It is also part of the larger WARM festival, which takes place in Sarajevo, Bosnia each summer, and “is dedicated to war reporting, war art, war memory. WARM is bringing together people – journalists, artists, historians, researchers, activists – with a common passion for ‘telling the story with excellence and integrity’.”

See this link for more information.

Registration cost: 150 Euros. 
Concessionary rates are available for faculty applying from non-EU, non-US institutions, and for those who can present a case for reduced fees. Information about hostels and hotels will be provided for participants. 
The conference is supported by the Center for Holocaust and Genocide Studies at Salem State University, Massachusetts, and the Photography and the Archive Research Centre (PARC) at the University of the Arts London.

Please submit your proposals no later than March 17th, 2017 to why.remember.conference@gmail.com.

Decisions will be made by March 31, 2017.

Fast Forward: Women in Photography – Lithuanian Edition

National Gallery of Art, Vilnius, Lithuania, 3-4 November 2017

Please submit your proposals by 8 April 2017 to:

fastforward@ucreative.ac.uk

Building on the success of the Fast Forward conference at Tate Modern in 2015, co-organized by Tate, University forthe Creative Arts (UCA) and Photography and the Archive Research Centre (PARC) at University for the Arts London, Lithuanian Photographers Association announces the second edition of the Fast Forward conference in collaboration with UCA and UAL/PARC to take place at the National Gallery of Art in Vilnius.

Photography has been a political tool as well as a means of artistic expression. Women have used it in various ways including discussions around their rights, their economic and social insecurity, and their representation in culture and society. Through studying women photographers’ lives, celebrating their creative achievements and contribution to international photographic history, we can discover important insights and inspiration for current issues and discussions generated by global political forces, and also become aware of the obstacles women photographers have to overcome as they have pursued their work.

We are interested in papers which span the entire history of photography, from the 19th century to the present day and which also encompass photography’s different methodologies, from art practice to commercial /industrial work.

One of the foci of this Fast Forward edition is to enable opportunities for researchers to present to an international audience new knowledge about the role of women photographers in the cultural, social and political life of the Baltic States and Eastern Europe – which have a rich academic discourse and vibrant artistic culture combining specific national features with particular local experiences and Western ideas.

We are also interested to present research into, and practitioner accounts of, the experiences of women photographers in parts of the world that are as yet unfamiliar within a US/European photo historical context.

We welcome proposals for artist-led presentations and panels.

In this conference in Lithuania, we aim to bring together international and regional researchers, to share knowledge and consider our potential relationships and networks. This second edition of the Fast Forward conference aims to embrace and celebrate the contributions of women photographers to both art and commerce, regionally and globally, and to engage in pertinent debate that will influence new academic discourse and provide further context for the study and practice of photography.

This conference has a special interest in women photographers from the Baltic States, but is not limited to this. We also welcome abstracts which explore women’s photography throughout the world and across history, and which provide insight into the breadth and complexity of women’s history within photography as practitioners, curators, writers or organizers.

Areas of interest include, but are not limited to:

§  New knowledge about little known histories and forgotten names.

§  Discussions about networks and collaborations since the invention of the medium until today.

§  Explorations of how technologies have influenced women practitioners, past and present.

§  Research on both commercial and art practices that women have developed within the medium of photography from the 19th century to the present.

§  Activism and socially engaged photo practices initiated by women.

§  Diverse identities coming out through photography.

§  The photographic imprint on other artistic media and its use by online communities.

§  Debates about and new conceptualizations of the medium from the perspective of women photographers.

Researchers are invited to explore conceptual, technical and/or stylistic links connecting women photographers in the Baltic region and internationally.

The conference is organized by Lithuanian Photographers Association and Vitas Luckus Photography Centre in collaboration with The University for the Creative Arts and UAL Photography and the Archive Research Centre (PARC) at London College of Communication, University of the Arts London, and with the support of the National Gallery of Art in Vilnius, Lithuania.

Submission of the papers as follows:

8 April 2017 – submit 500-word abstract for the peer-review

7 May 2017 – successful applicants will be notified

15 October – full paper is required

Abstracts must be submitted in English only, although the papers could be presented at the conference in Lithuanian or English, which will be the working languages of the conference.

Please submit abstracts as a Word document only with your full name, the name of organization you represent (if relevant) and the title — all placed at the top of the first page. The file should not exceed 1MB. Please email submissions or enquiries to: fastforward@ucreative.ac.uk with the subject “Lithuanian Edition – submission”.

Doctoral programme info session on Research Data Management

Doctoral programme info session on Research Data Management

 
Time: Wed 8 February, 9-10 am
Place: seminar hall Jossu (5006), 5th floor, Arabia (Department of Art)

Info session held by legal counsel Maria Rehbinder on research data management for doctoral candidates at the School of Arts, Design and Architecture.
 
Welcome!

Turnitin tool to support your writing and prevent plagiarism

Turnitin tool to support your writing and prevent plagiarism

Turnitin is a help for practising scientific writing. Practically, it is a submission box where an originality report is generated of the submitted texts. It helps students to improve their reference skills and advisors may use it to check texts.
Especially doctoral candidates about to turn in an article or manuscript are warmly recommended to take a look at the tool and learn to use.
Turnitin is available in MyCourses: Independent Turnitin Originality Checkworkspace in MyCourses (mycourses.aalto.fi).

Turnitin instructions

Before you start to use Turnitin, check out the instructions. Turnitin gives you an originality report of your text and you will probably have to read the instructions to understand the report fully.
Detailed instructions for students (wiki.aalto.fi) about submitting in Turnitin submission box, interpreting the originality report, viewing teacher’s feedback and tips for scientific writing (wiki.aalto.fi).
If you have trouble using the Turnitin submission box, contact turnitin@aalto.fi.
Information about Turnitin in Finnish: https://into.aalto.fi/pages/viewpage.action?pageId=19833247

Doctor of Arts Seminar in Photography 16 Feb 2017

DOM-L0003 Valokuvataiteen jatko-opintoseminaari
Professori Merja Salo
Arabian kampus
Hämeentie 135 C, Helsinki
9. krs, valokuvauksen tilat

 

Seuraava tapaaminen:

To 16.2.2017

Klo 10-12 Liisa Söderlund: väitöskirjan nykytilanne.
Klo 12-13 lounastauko
Klo 13-16 Hanna Timonen: Kyproksen konferenssin esitys ja kuulumiset.
Merja: Photographies -palautetta konferenssiabstraktien valmistelusta.

Tervetuloa! Welcome!

CALL FOR CONTRIBUTIONS, EXCLUSION: 2nd Biennial PARSE Conference

EXCLUSION: 2nd Biennial PARSE Conference
CALL FOR CONTRIBUTIONS – Panels, papers, performances, screenings, collaborations and workshops.
The second biennial PARSE conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden November 15-17, 2017 takes as its point of departure the question of EXCLUSION.
How does exclusion operate at a local, national and international level both within the arts, in education and within cultural production more generally? How does one get to imagine oneself as an artist of any discipline – in terms of race, class and access to education? Within the arts, how can we improve access to learning and the formation of experience – and what can we model from other disciplines in this respect? How do images of exclusion – from media images of stranded civilians in Aleppo to molecular images of diseases untreated due to pharmaceutical drug finance and distribution – circulate as both knowledge and neutralisation? What are the politics of access? Do strategies and infrastructures of inclusion simply replicate and reinforce individualised imaginaries within broadly hierarchical social structures, particularly as artistic habits of production are increasingly exported as economised knowledge production to non-Western parts of the world?
Both within and far beyond the field of cultural production, people are excluded from territorial, subjective, environmental and imaginative spaces, be they national or virtual. The weight of the world, as Pierre Bourdieu would have it, is slighted against the vast majority of people living upon it. What forms of research and which actions can be taken within the artistic and pedagogical environment that hold open spaces of contact and forms of rights?
The PARSE conference on exclusion welcomes individual and collective proposals on the theme of exclusion from all disciplines. As well as the arts (visual art, design, performance, music, architecture, craft, etc.), we are particularly interested to learn from the social sciences, natural sciences, law, medicine as well as from the professional sphere. We welcome proposals for presentation nodes and are interested in all forms of presentation. 

ROLLING SUBMISSION OF PROPOSALS

The deadline for proposals is February 10, 2017, however, we recommend early submission.
Please include:
(i) an abstract / summary description of the proposed contribution (300 words)
(ii) a recent CV of participant(s)
(iii) an indication of technical or other requirements for the contribution / presentation.
We are open to all formats:
Panels, performances, screenings, workshops, rhetorical statements, design proposals, sonic interventions, hearings, plans, public actions, etc.
(For events it is especially important for us to have a clear sense of any technical or spatial requirements.)
Suggested duration for contributions:
We are open to suggestions for durational events as part of the conference: these may include formal panels of around 90 minutes, ongoing installations, performances, screenings or individual papers of 20 minutes.
If you have a collective suggestion, please contact conference curator Andrea Phillips at andrea.phillips@akademinvaland.gu.se
PEER REVIEW PROCESS
Each proposal will be peer-reviewed by three experts drawn from the PARSE research network with reference to:
(i) relevance to the overarching thematics of EXCLUSION
(ii) potential in developing a dialogue across the disciplines
(iii) originality of contribution
CONFERENCE DOCUMENTATION
All contributions will be recorded for archive purposes and may be used as part of future PARSE publications.
CONFERENCE PUBLICATION
A selection of contributions will be further developed for publication through the PARSE Journal in consultation with, and with permission of, the authors.
For more information, please visit our website: www.parsejournal.com

European University in St.-Petersburg: ”After Post Photography”

European University in St.-Petersburg:
”After Post Photography” conference 
19.–20.5.2017

Submission deadline: 22.1.2017.

With the third edition of After Post-Photography we will continue to explore how photographic images and realities – whatever they may be – are interconnected. We share the post-photographic critique that these connections are by no means stable as concepts such as indexicality suggest. Yet in particular the practices of using and perceiving photographic images treat the images as if they indeed were imprints, records, representations or models of realities. With the conference After Post-Photography 3 we aim in particular at reconsidering and reflecting how notions such as indexicality and the truth of the photographic image retain their validity and importance even after they were deemed obsolete.

The conference is intended as platform for multidisciplinary research within the domains of visual, cultural, scientific and technical studies, and the approaches to the specific subjects can be of historical, empirical or theoretical nature. The papers could address topics such as, but are not limited to:

  • Reconsidering the history and historiography of photography.
  • History of photography as a history of practices.
  • Applications of photographic processes for producing non-photographic images.
  • Photographic aesthetics for non-photographic images.
  • Applications of photography for memory, remembrance, and reconstruction.
  • Analog features in digital photography.
  • Pre- and post-production in photography and film.
  • Representing temporality by the means of photography and film.

In particular we encourage papers dealing with the mobilisation of photography by way of smart phones, tablets, drones, dash and body cams. We would like to discuss in more detail how the relation between the picture and the depicted change with these tools; we are interested in contributions that shed light upon the practices of how the resulting images are perceived and processed; and we would love to know more about the role and recording of metadata of all sorts inextricably connected to these images.

Please submit your application including a short summary of your paper (250-400 words) in English using the following link https://easychair.org/conferences/?conf=app3 no later than 22 January 2017. NB that you should register at Easychair website to be able to submit your application. There is no participation fee.

We consider the possibility of on-line participation. Working languages of the conference are Russian and English. The conference materials are planned for publication.

Organizing committee: Maria Gourieva, Friedrich Tietjen, Natalia Mazur, Daria Panaiotti, Olga Davydova

Conference dates: 19.–20. May 2017.

CFP 2017 Приглашение

CFP / Art of Research 2017

aor_logo2Art of Research VI
Catalyses, Interventions, Transformations

29-30 November 2017 at Aalto University, School of Arts, Design and Architecture, Helsinki, Finland

Over the past two decades, the Art of Research conferences have had a significant role in promoting continuous dialogue and fruitful convergence between art- and design-related research practices. The conferences have contributed to the development of rapidly growing and spreading contemporary discourse on artistic and practice-led research – while acknowledging and engaging in multiple notions of research where diverse modes of creative practice are used as catalysts for enquiry.

The theme of this sixth Art of Research conference addresses the agency of the artist-researcher as a catalyst that challenges established ideas and produces new thinking through artistic and practice-led research. Moving on from early preoccupations within the field about ontological or epistemological foundations, this Art of Research VI Conference poses the questions:

How do artistic research activities act as catalysts in the domain of different praxes? How can ideas and/or practices of catalysis be considered within a particular research processes, or in relation to larger contexts and realms of art, politics and society?

Art of Research VI conference explores the different manifestations, articulations and emergent agencies triggered by artistic means and related methods of theorizing. In the context of artistic research, catalysis is understood as an action that causes reactions and continues to activate critical thinking that provokes further reactions. Therefore, Art of Research VI focuses on the multitude of bodies of artistic and practice-led research and their effects towards producing new knowledge, new experience, new materialities, new theoretical insights, new praxes and poetics.

We invite submissions to the conference that are original proposals on various forms of art that significantly contribute to praxis and research through art and design. As a guide to developing submissions relevant to the conference, we suggest some potential questions. The themes are not categorical nor fixed; rather, we encourage broad contextual thinking and perspectives that relate but are not limited to the following areas:

· How can artistic and practice-led research offer alternative accesses and options for challenging established epistemologies?
· How can artistic and practice-led research trigger revisions and transformations in art and design in relation to present day ethical, societal and environmental challenges, on a diversity of scales?
· How does artistic and practice-led research intervene in the realms outside the art world or academia? How does it relate to activism/artivism?
· How can artistic research enable collisions of different practices, methods and agencies?
· How is thinking at the intersection of poetics, ethics and politics transformed?
· How can the theory-practice interface catalyze new poetics or praxis in relation to a singular artistic research project or in a wider context for any field of art?
· How does the artistic/ practice-led research context challenge the ways the research is written, expressed or performed.

Through these questions, the main aim of the event is to engage in a shared exploration of bold and visionary thinking across different entangling practices. Historically, the Art of Research conference has been widely appreciated as an unconventional and highly-interactive format for discussing, exhibiting and performing different modes of discourse. Art of Research VI will offer an academic framework for discussing catalyses, interventions and transformations in a diversity of art-, craft- and design-related practices.

The Conference is interested in proposals drawing from the full spectrum of artistic and practice-led research today. We encourage submissions from artist-researchers and practice-led researchers representing different art forms e.g. contemporary art, film, photography, scenography, craft, design, media and architecture. The conference themes include a diversity of perspectives that relate to the conceptualization and to the different forms and formats that artistic research can take, as well as to its contribution to critical thinking and groundbreaking change. Other questions that potential contributors see as productively challenging these themes are most welcome.

We invite full papers (5000 words maximum) from doctoral students, post-doctoral researchers and mature academics. Specifically, we invite contributions that contribute to one of the following categories:

(1) Explorative papers/presentations including works of art

This type of papers must be submitted together with works of art, artifacts, or documentation of artistic processes and must contribute to the understanding of how the visual/audiovisual and the textual are unified in research. Each submission must also include a separate description of the artwork (80 words max.) and visual material such as photographs or video (digital formats only, up to 10MB in total). The submission should also entail explanation of the related equipment required to display this material. Please note that the transportation of the artwork(s) is the author’s responsibility. The exhibition will be curated by the organizers.

(2) Methodological and theoretical papers related to the conference themes

All contributions will be double-blind peer reviewed. To facilitate the review process, authors are responsible for removing any identifying information from their submissions that might lead a reviewer to discern their identities or affiliations. The author’s name in self-citations must be replaced with “Author” in in-text citations, reference entries and footnotes. For the paper template and other practical details, see the conference web site at artofresearch2017.aalto.fi. For more information, please contact aor2017@aalto.fi.

This is the sixth in the Art of Research conference series, the first of which took place in Helsinki in 2005. The conference is co-organized at Aalto University by the Department of Design, the Department of Film, Television and Scenography and the Department of Art, in the School of Arts, Design and Architecture.

KEY DATES
15 January 2017: First call for papers
15 February 2017: Second call for papers
15 March 2017: Third call for papers
15 June 2017: Deadline for full papers
31 August 2017: Notification of acceptances and reviewer feedback

15 September – 20 November 2017: Registration and payment
15 October 2017: Submission of final papers
12 November 2017: Submission for exhibits (with photos & description)
23-28 November 2017: Exhibition Building
29-30 November 2017: Conference


Maarit Mäkelä, Susanna Helke and Harri Laakso (Conference co-chairs)