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CFP: RE-CREATE 2015: The 10th anniversary and sixth international conference on the histories of Media, Art Science and Technology

Reminder DEADLINE extended January 12, 2015

Hexagram, Concordia University and Université du Québec à Montréal in collaboration with Media@McGill and CIRMMT- McGill Montréal, Canada.
5-8 November 2015
Re-Create CFP Submission:
http://moodle.donau-uni.ac.at/recreate/openconf.php

Re-Create 2015, the sixth international Conference on the Histories of Media Art, Science and Technology will mark the 10th Anniversary of the Re conference series. Re-Create 2015 is devoted to exploring what theories, methodologies and techniques can be used to understand past, present and indeed, future paradigms of creative material practice involving technologies within research contexts from a historical and critical point of view.

The title Re-Create is an abbreviation for the term “research-creation”, part of a growing international movement which goes by many names: “practice-led research,” “research-led practice,” and “artistic-research,” among others.

While the link between research and practice seems to be a new horizon, the media-based arts have long been at the intersection of the humanities, sciences, and engineering and present a critical site in which to take up the changing relationships between knowledge, power, and economy.

Research normally signifies modes of acquiring new knowledge that coherently and systematically advance a field and is grounded and validated by both social frameworks (peers) and existing bodies of knowledge. Similarly, research in conjunction with material practice demands that making be historically, theoretically and methodologically framed and valorized.

Re-Create 2015 seeks to interrogate the historical entanglement of  research and making within a wide and diverse set of international sites, disciplines and contexts: from non-institutional creative research initiatives driven by artists and designers in the streets, to the labyrinths of industry funded research labs and universities. From unknown or ignored histories of research-based practices in Latin America, Asia and Indigenous communities to government funded initiatives, the conference will thus critically explore the ongoing and productive tensions between theory, method and making in the histories of media art, science and technology.

Potential contributors to the conference should focus thematic panel sessions or individual papers on one of the following areas of concentration:
:: LAB STUDIES: Studies on how artists and designers have historically worked in industry, universities and collective, grass roots-based research environments
:: CURATORIAL ACTIONS AND PRACTICES: How have research paradigms historically entered into curatorial practices and how have they been framed, exhibited and articulated?
:: ANTI-INSTITUTIONAL RESEARCH: Historical profiles of non-institutionally based research-driven explorations.
:: THEORETICAL FRAMEWORKS: How have theoretical paradigms in media, art, science and technology historically evolved structuralism in the 1960s or media studies to current work in affect theory, media archaeology, critical post-humanist approaches derived from STS, appropriation and remix aesthetics, feminist new materialism, queer and postcolonial studies, enactive and distributed cognition?
:: METHODOLOGIES: What can methodological tools emerging from the human and social sciences like ethnography, historiography, archaeology, genealogy and other qualitative techniques provide to the historical and critical positioning of practice?
:: INTERDISCIPLINARY INTERSECTIONS AND IMPACTS: Exploration of the formation and rise of interdisciplinary research fields (image science, sound studies, science studies, sensory studies, environmental studies) and their impact on the construction of media art histories.
:: DIGITAL HUMANITIES: What is the historical relationship between the digital humanities and the histories of media art, science and technology?
:: SITES: How historically have sites of research and practice in media art, science and technology evolved outside of the predominant spheres of Europe and North America and what forms have they taken?

CONFERENCE PROGRAM
The conference program will include competitively selected peer-reviewed individual papers, panel presentations and poster sessions as well as a number of keynotes and invited speakers and a parallel satellite program of events with Hexagram partners including core cultural institutions in Montreal. In the interest of maintaining a concentrated conference program, there will be a series of plenary sessions as well as accompanying poster sessions. Each of the plenaries as well as the poster sessions will mix together scholars and practitioners representing different cultural perspectives. The conference will be held in English and French, with live translation.

CALL FOR PROPOSALS
Re-Create 2015 welcomes contributions from researchers, artists, designers, scholars and technologists working across diverse disciplines, sites and practices. We particularly encourage scholars and creators from international contexts outside of Europe and North America.

ABOUT THE CONTEXT AND THE HOST
The conference will take place in Montreal hosted by Hexagram, the international network for media, art, design and digital culture (http://hexagram.ca). It is the largest network of its kind in Canada and one of the largest internationally dedicated to research-led creative practices. Ten years after the inaugural Re-Fresh conference at the Banff New Media Institute in 2005, the return of the conference to Canada and specifically to Quebec, offers a pertinent context to address the evolution of research in the histories of media, art, science and technology (http://www.mediaarthistory.org/mah-conf-series). The conference will be held across the two core Hexagram sites at Concordia University and the Université du Québec à Montréal (UQAM). The venues are within walking distance from each other, centrally located in vibrant, downtown Montreal – the digital arts and culture capital of North America.

SUBMISSIONS
250 word abstracts of proposals, panel presentations and posters should be submitted in either Text, RTF, Word or PDF formats. Texts can be submitted in French and in English. The DEADLINE for submissions is January 12, 2015. INFORMATION about the submission process and general information can be found at: Re-Create Submission Site: http://www.mediaarthistory.org/recreate-2015/re-create-cfp

Conference partners include Media@McGill, CIRMMT-McGill, Cinémathèque québécoise, DHC-Art, Elektra/ACREQ, Goethe-Institut Montreal, Department fpr Image Science Danube University and others to be announced.

Conference chairs and Hexagram Co-Directors: Chris Salter, artist, Concordia University Research Chair and Associate Professor, Design and Computation Arts, Concordia University (QC/CA/US/DE) and Gisèle Trudel (QC/CA), artist and professor, École des arts visuels et médiatiques, Université du Québec à Montréal.

Re-Create Local Organizing Committee: Thierry BARDINI, Barbara CLAUSEN, Ricardo DAL FARRA, Jean DUBOIS, Jean GAGNON, Alice JIM, Jason LEWIS, Jonathan LESSARD, Louise POISSANT, Chris SALTER, Cheryl SIM, Jonathan STERNE, Alain THIBAULT, Gisele TRUDEL, Marcelo WANDERLEY

Re-Create 2015 International Advisory Board: Marie-Luise ANGERER, Monika BAKKE, Samuel BIANCHINI, Georgina BORN, Andreas BROECKMANN, Annick BUREAUD, Michael CENTURY, Joel CHADABE, Dooeun CHOI, Ian CLOTHIER, Sarah COOK, Nina CZEGLEDY, Sara DIAMOND, Diane DOMINGUES, Jean Paul FOURMENTRAUX, Zhang GA, Sébastien GENVO, Orit HALPERN, Jens HAUSER, Denisa KERA, Felipe César LONDONO, Natalie LOVELESS, Glenn LOWRY, Rafael LOZANO-HEMMER, Roger MALINA, Sally Jane NORMAN, Nicolas NOVA, Jussi PARIKKA, Christiane PAUL, Simon PENNY, Andrew PICKERING, Sundar SARRUKAI, Yukiko SHIKATA, Michel VAN DARTEL, Ionat ZURR

MAH Honorary Board: Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL

MAH Conference Series Board: Sean CUBITT, Oliver GRAU, Linda HENDERSON, Erkki HUHTAMO, Douglas KAHN, Martin KEMP, Machiko KUSAHARA, Tim LENOIR, Gunalan NADARAJAN, Paul THOMAS

Call for Papers: Fashion, the 84th Anglo-American Conference of Historians

Institute of Historical Research

Senate House, University of London

2-3 July, 2015

In a major collaboration with the Victoria and Albert Museum, the IHR is taking Fashion as the theme for its annual conference in summer 2015. Fashion in history is a topic which has come of age in recent years, as scholars have turned to addressing what is chic and what is style over the ages and across different cultures. The history of fashion, and the role of fashion in history, is not just confined to the study of dress and costume, but encompasses design and innovation, taste and zeitgeist, treats as its subjects both people and objects, and crosses over into related disciplines such as the history of art and architecture, consumption, retailing and technology. And across the world, fashion brings together museums, graduate teaching programmes, learned societies and the fashion profession around a common set of interests and concerns. The IHR conference next year we hope will be a perfect showcase and a meeting-point for the wide spectrum of specialists in this exciting field.

Our plenary speakers include Christopher Breward (Edinburgh), Beverly Lemire (Alberta), Ulinka Rublack (Cambridge) and Valerie Steele (Fashion Institute of Technology, New York). Proposals for panels on the themes of dress, imitation and emulation, taste and style, body-art, the fashion-industry and its media, fashionability and trend-setting, catwalks, fairs and exhibitions, innovation in interior design, architecture and public space, fashion education and technology will be accepted down to the middle of December. Individual paper proposals will also be accepted. Panels should comprise three papers and a chair, and proposals must include the name and affiliation of the speakers, the title of the panel and the titles of the individual papers. Please send proposals by 15th December toIHR.Events@sas.ac.uk Decisions will be made known once the Programme Committee has met in early January 2015.

Banff Research In Culture 2015

Demos: Life in Common
Banff Research in Culture 2015 – Summer Research Residency
Program dates: June 1, 2015 – June 19, 2015
Application deadline: December 10, 2014

Faculty: Alex Hartley, Nina Power, Astra Taylor, others TBA

Demos: Life in Common
Banff Research in Culture 2015 – Summer Research Residency
Program dates: June 1, 2015 – June 19, 2015
Application deadline: December 10, 2014

Faculty: Alex Hartley, Nina Power, Astra Taylor, others TBA
Further info, including application information, can be found at:
http://www.banffcentre.ca/programs/program.aspx?id=1534
(Contact: Brandy Dahrouge: brandy_dahrouge@banffcentre.ca)

The word demos names ‘the people’, and thus democracy is, at its most basic constitutive level, the shared power of people thinking and acting. Democracy is grounded upon the capacity of the people to narrate and decide the shape of collective life. But the ‘democracy’ we experience and live with today has devolved into practices of state sovereignty and governmentality, a society characterized by social and economic inequality, and an under-represented and disenfranchised electorate. And it seems, too, that hopes in technology as a mechanism that might yet create a new common ground have failed to achieve their promised ends.

Demos: Life in Common invites participants to consider the ways in which we constitute and experience collective life in this century. We seek to bring together artists, writers, researchers, and cultural producers who in their work explore the ways in which we might reinvigorate democratic life today—not just ‘democratic’ in its narrow, political sense, but as life in common in which being and belonging engenders the full flourishing of individuals and communities. What new forms might politics take today—a time that bears little resemblance to those bygone centuries that gave birth to many of our political structures and imaginings? How is collective self-determination mobilized and what do recent events demonstrate about the will of the people and the will of the state? What is the role of new technologies in enhancing or impeding social equality? Might it yet help to create new forms of community and belonging? And how might contemporary cultural, artistic and intellectual activities enliven the belief of the dêmos in its own capacities and possibilities?

“Demos” also names cultural and social practices that suggest other ways in which we might pursue our inquiries during this program. A demo is also an essai—an attempt, a test, an experiment in sound that allows musicians to record their own creative efforts and to share their ideas with others. And, demos are what groups engage in when they want to draw attention to problems and limits that existing structures of government, law or economy can’t address or even apprehend. Demonstrations are a site at which the demos tries to upend the ossified language of culture and politics by upsetting the patterns of the quotidian, taking to the streets and affirming their collective displeasure en masse. Over three weeks, participants will engage in experiments of thinking, acton, and making—demos that challenge the self-certainties and pieties of existing structures and practices, and so help to envision and enable renewed forms,of democratic life.

We look forward to receiving compelling and original proposals from thinkers and artists.

Banff Research in Culture 2015
Banff Research in Culture (BRiC) is a residency program designed for scholars and artists engaged in advanced theoretical research on themes and topics in culture. Graduate students, postdoctoral fellows, junior faculty (pre-tenure), activists, writers, and practicing artists from around the world will convene at The Banff Centre for three weeks to contemplate the theme Demos: Life in Common.

BRiC is designed to offer researchers and artists with similar interests from different disciplinary and professional backgrounds, an opportunity to exchange opinions and ideas in a fruitful and intensive environment. Participants are encouraged to develop new research, artistic, editorial, and authorial projects, both individually and in connection with others. Participants will attend lectures and seminars offered by visiting faculty. This program aims to develop new approaches toward the study and analysis of culture, as well as create lasting networks of scholars and artists who might use this opportunity as the basis for future collaborative work.

Demos: Life in Common is the fifth edition of BRiC following Distributed Intimacies (2014); Dock(ing); or, New Economies of Exchange (2013); The Retreat: A Position of dOCUMENTA (13) (2012), and On the Commons; or, Believing-Feeling-Acting Together (2011). The Banff Centre is a world-renowned facility supporting the creation and performance of new works of visual and digital art, music, dance, theatre, research and writing.

The 2015 edition of BRiC is generously supported by The Banff Centre, the University of Alberta, and the Centre for Comparative Literature at the University of Toronto.

CFP: Being Modern. Science and Culture in the Early Twentieth Century

Institute of Historical Research, London 22-24 April 2015

Engagement with science was commonly used as an emblem of “Being modern”, across culture in Britain and the western world in the years around the First World War. Today, historical studies of literature, art, design, lifestyle and consumption as well as of the human sciences are exploring intensively, but frequently separately, on that talk of “science”. Historians of science are exploring the interpenetration of discourse in the public sphere and expert communities. This pioneering interdisciplinary conference is therefore planned to bring together people who do not normally meet in the same space. Scholars from a range of disciplines will come together to explore how the complex interpretations of science affected the re-creation of what it was to be modern.

Please see the website for more details: http://www.qmul.ac.uk/being-modern/

Submissions for four types of presentation and discussion are sought:

1.      disciplinary panels of three x15 minute papers and discussion

2.      cross-disciplinary panels of three x15 minute papers and discussion

3.      Focus on research presentations of 5 minutes plus two minute discussion each will provide opportunities particularly for graduate students

4.      Poster sessions

Closing date 19 October 2014. Get in early – competition will be strong!

Submissions to: research@sciencemuseum.ac.uk

Enquiries to: Robert.bud@sciencemuseum.ac.uk

CFP: Photography’s Shifting Terrain: Emerging Histories & New Practices

Conference Name: Photography’s Shifting Terrain: Emerging Histories & New Practices
Place: New York University Abu Dhabi, Abu Dhabi, UAE
Date: March 8-10, 2015

Language of Papers & Presentations: English

Conference description:

Photography’s Shifting Terrain: Emerging Histories & New Practices

Our understanding of the histories and practices of photography is changing as more and more critical attention is being paid to photographic cultures from outside of Europe and North America, and to new forms and functions emergent in a variety of contemporary social and political contexts and digital formats. This conference will bring together up to forty scholars, photographers, curators and archivists from around the world in order to undertake new explorations of photography’s past and its present.

Models for global, regional and local histories of photography are being rethought as a growing number of case studies develop our knowledge of previously unexamined or little known traditions as well as individual photographers. New visual vocabularies and practices are being constructed in vernacular, documentary and fine art forms; the same vocabularies and practices can also challenge these very categories and are often characterized by a turn to local histories and mythologies and personal experiences and needs. Emergent nations and cultural groups are using photography to construct their own histories and a sense of shared cultural heritage. At the same time, both photographers and photographs increasingly move between cultures, and the space between the local and the global has become a space of situatedness in its own right.

Documentary photography has been the object of critique but photography committed to human rights or ‘peace photography’ is thriving – not just in new forms but also through new strategies of intervention. The concern with aesthetics has similarly been out of favor in some quarters but there is also a renewed interest in the relationship of aesthetics and ethics.

In such contexts, the work of archives, galleries, photo agencies, festivals and other cultural organizations committed to the photographic image is more important than ever, as is the role of visual education. Where there is little state support for photography, such institutions often carry the responsibility for creating, preserving and disseminating photographic culture.

These are some of the areas and issues the conference aims to examine. The conference will focus in particular on the Middle East, North Africa and Asia. However, work about and from other regions is also welcomed, as are suggestions for other topics.

We invite both scholarly papers as well as presentations by those working with photography outside the academy.

The organizers plan to publish a volume of selected papers and presentations.

In addition, we would like to gather together important and previously un-translated writings on photography from the non-English-speaking world with a view of publishing an anthology in English. We would very much welcome suggestions and contributions in this area.

*****

Funding & Organization:

All travel, accommodation and subsistence expenses will be covered for all participants presenting at the conference.

The conference is funded and hosted by the New York University Abu Dhabi Institute. It is organized in collaboration with the Arab Image Foundation.
Principal organizers:

Shamoon Zamir
Associate Professor of Literature & Visual Studies, NYUAD, and Director of Akkasah: Center for Photography at NYUAD.

Issam Nassar
Professor of Middle East History and Member, Arab Image Foundation

*****
Suggested topics:

Possible topics for proposals include, but are not limited to:

•           New visual vocabularies in photography
•           Archives & archival practices
•           Alternative histories of photography
•           Photography & human rights / “Peace Photography”
•           Photography and history
•           Photography and aesthetics
•           Cross-cultural encounters & movements
•           Photographic genres, modes and audiences
•           Image & text / the photobook

*****

Proposal guidelines, submission process & schedule:

Proposals for papers or presentations, or for panels should provide as much detail as possible but should not exceed 500 words.

Proposals will be reviewed by the principal organizers and an advisory committee.

All papers and presentations will be 20 minutes.

Submit a 500 word abstract and a 150 word biographical note to:
Özge Calafato
ozge.calafato@nyu.edu
Proposals should be submitted in the following format:

Name of the author(s)
Telephone and e-mail address
Affiliation
Title of proposal
Body of proposal

DEADLINE FOR SUBMISSION: October 3, 2014

You will be notified by November 7, 2014 regarding the status of your proposal.

*****

Contact & Link:
For further information on the conference, please contact:

Shamoon Zamir
Arts and Humanities, New York University Abu Dhabi, Abu Dhabi, UAE
shamoon.zamir@nyu.edu

Details of the conference and the call for papers & presentations are also available at:
http://nyuad.nyu.edu/en/research/faculty-research/akkasah/call-for-papers-presentations.html

V&A Museum – 2014 Call for Project Proposals for AHRC Collaborative Doctoral Partnerships

The Victoria and Albert Museum is now inviting applications for AHRC-funded Collaborative Doctoral Awards (CDAs). As part of the Collaborative Doctoral Partnership consortium, the V&A will award four fully-funded studentships.

The V&A is Britain’s national museum of art and design, with a collection spanning two thousand years of art in virtually every medium, from across the world. It was established following the 1851 Great Exhibition in London, with the radical, utilitarian and entrepreneurial aims of educating and inspiring working people. With a vast and encyclopaedic collection, significant for its historical importance as well as its contemporary excellence and relevance, the Museum remains a source of inspiration for all who share a passion, interest and enthusiasm for art and design.

The V&A actively welcomes enquiries and project proposals from UK Higher Education Institutions, and has identified six priority research areas around which studentships should be formulated:

1) New approaches to learning, display and interpretation in the field of art and design
2) Designing the future
3) Research into textiles (including projects with a practice-based component)
4) Conservation-related research
5) Collecting and curating Africa
6) Design for performance

Applications outside the priority themes may also be submitted if they can demonstrate a strong fit with other V&A priorities.

Application Procedure
We welcome project proposals from UK Higher Education Institutions, for projects to start from October 2015. The deadline for proposals for studentships to start in the 2015/2016 academic year is Friday 28 November 2014.

Copies of the proposal form and application guidance are available here.

Please send applications and any enquiries relating to the V&A’s CDP scheme to: ahrcresearch@vam.ac.uk.

CFP: New Voices 2014 ‘A Picture of Health: Representations and Imaginations of Wellbeing and Illness’

New Voices 2014
‘A Picture of Health: Representations and Imaginations of Wellbeing and Illness’
Birkbeck and Wellcome Trust, London
7 November 2014

Call for Papers

Keynote Speakers

• Dr Suzannah Biernoff, Department of History of Art, Birkbeck, University of London
• Christine Borland, BALTIC Professor, Northumbria University
Introduction by Ross MacFarlane, Research Engagement Officer, Wellcome Library
What is the relationship between art and health, and how has it varied across different historical periods and disciplines?
Paintings, drawings and sculptures have long played a significant role in the care and portrayal of the sick, from the 16th-century Isenheim altarpiece, painted for a monastery that nursed plague sufferers and patients with skin diseases, to contemporary art and medical research collaborations, outreach workshops and the art collections of modern-day hospitals. Artists themselves have engaged with medicine in a number of different ways, ranging from technical illustration to expressive portrayals of the subjective experience of illness, while historical psycho-biographical readings of art and modern-day biopics have perpetuated the association between mental illness and ‘creative genius’.
In recent years Medical Humanities has emerged as an important new area of interdisciplinary study. Scholars have increasingly focused on images and art objects in their enquiries into the culture of medicine. What distinctive methodologies can the practice of art history offer this new field? What different conceptual models might be appropriate for considering the function and purpose of art in relation to issues of illness and health? How can art help us to negotiate our own sense of wellbeing, and what is the mediating role of the artist in this process? What can art tell us about historical relationships between doctors and patients, changing conceptions of the human body, or the representation of illness as distinct from ‘good’ health?
Paper Proposals
We welcome contributions from those working with visual materials in a wide range of disciplines including but not limited to art history, fine arts, film and visual culture, art therapy, medicine and literary or cultural studies. Topics might address notions of art and health across all periods and contexts, at both ‘micro’ and ‘macro’ levels, from specific case studies about particular artists, works or medical collaborations, to broader historiographical investigations. Topics may include, but are not limited to:

• Art and illness as metaphor
• Self-portraiture and illness
• Psycho-biographical readings of art
• Medical illustration
• Technologies of the body
• Medical and visual culture collaborations
• Perceived healing powers of devotional objects

Papers should be 20 minutes in length. Abstracts of 250 words and a brief biography indicating your institutional affiliation should be submitted as a single Word.doc by email to AAHNV2014@gmail.com. All speakers must be members of the AAH.
Paper Proposal deadline: 1 August 2014
This event is supported by Supported by the Wellcome Trust and Birkbeck School of Arts & Centre for Medical Humanities

Convenors: Sophie Frost, Fiona Johnstone & Nicola McCartney

Tickets:
AAH Members £15
Non-members £25
See more at: http://www.aah.org.uk/events/new-voices-conferences​

CFP: World Picture Conference, Berlin, 2014

World Picture Conference

ICI Berlin Institute for Cultural Inquiry

7-8 November 2014

ABANDON

Organisers:

Manuele Gragnolati (Oxford University/ICI Berlin), Christoph Holzhey (ICI Berlin), Brian Price (co-editor, World Picture/University of Toronto), John David Rhodes (co-editor, World Picture/University of Sussex), and Meghan Sutherland (co-editor, World Picture/University of Toronto)

Keynote lecture:

Prof. Laurence Rickels, Staatliche Akademie der Bildenden Künste Karlsruhe

This year’s conference marks the occasion of an exciting collaboration between World Picture and the ICI Berlin Institute for Cultural Inquiry.

The theme of this year’s conference is abandon, a term that encompasses radical renunciation and immersive indulgence in its oscillation between abandonment of and abandonment to, between restraint and luxury, mindfulness and neglect. When we speak of abandonment we indicate a situation in which we take leave of something, or disband a collective entity, or else act in a way that suggests a disaggregation of certain protocols of behaviour, or belonging (as when we “laugh with abandon”). Discourses and scenes of media and politics are generally highly invested in ideas of taking-leave, breaking apart or away, acting with abandon. In the present moment, we believe the term resonates in manifold ways. For instance: with often painful choices between theoretical and political models that have outlasted their effectiveness but to which there seem to be no alternatives; with turns to abandoned objects as new sources of ontologies in which the turn itself is a mode of abandoning an established political-theoretical project; with the obdurate “problem” of pleasure in aesthetics and aesthetic theory as either the obstacle or the medium of the aesthetic’s interface with the political; with the cathexis of the body and its phenomenology as an instrument and medium of political and aesthetic experimentation; with attempts to relinquish the human, and its attendant association with agency, as a category of experience; with contemporary experiences/fantasies of control and resistance to control; with theatricalizations of abjuration and gratification. We invite papers that explore abandon in any number of philosophical, theoretical, artistic, mediatic, generic, and disciplinary contexts.

This year’s conference on abandon supports and feeds into the upcoming ICI Core Project ‘Errans’, which takes the shifting and incompatible meanings of erring as a starting point to explore the critical potentials and risks of embracing error, randomness, failure, and non-teleological temporalities. For further details of that project, please see http://www.ici-berlin.org/errans.

Papers to be delivered should be 20 minutes in length.

Please email an abstract (250-500 words) and a short bio to worldpicturejournal@gmail.com by 30 June 2014.

Notifications of acceptance will be sent by mid-July.

The conference is supported by the ICI Berlin Institute for Cultural Inquiry and the Sussex Centre for the Visual, University of Sussex.


John David Rhodes

Co-Editor, World Picture
Meshes of the Afternoon
Taking Place: Location and the Moving Image
Antonioni: Centenary Essays
On Michael Haneke
Stupendous, Miserable City: Pasolini’s Rome

Workshop on Ethnographic Filmmaking

Lake District, 30 May – 2 June 2014

Durham University’s Residential Workshop on Ethnographic Filmmaking will take place in the Lake District from 30 May to 2 June 2014. Organised by the Department of Anthropology and financially supported by Arts and Humanities Research Council, the workshop aims to introduce the history, theory and practice of ethnographic film to Durham University-based postgraduate researchers of anthropology and AHRC-related disciplines who are interested in ethnographic research and audio-visual media.

In an intensive 4-day practical and theoretical training, participants will get acquainted with key concepts of ethnographic film language. They will gain understanding and basic skills in various audio-visual techniques for ethnographic filmmaking and develop confidence in using the medium of film for research purposes regardless of limited financial and technical resources.

The main emphasis of the training will be placed on creating short ethnographic films in a small group setting following established practices of film production. The practical challenge will be preceded by a series of introductory sessions that will focus on the history and theory of ethnographic film language as well as the basics of handling audio-visual equipment and journalism.

Meals, accommodation and transportation will be covered for all selected participants.

If you are interested in participating, please read the open call and fill in the online application form by Friday, 25 April 2014.

For any additional information contact Dr Alex Flynn or Pina Sadar.