Month: November 2017

CFP: In Motion: Performance & Unsettling Borders (Chicago, 27-29 Apr 18)

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Northwestern University, Department of Performance Studies, Chicago, Illinois, April 27 – 29, 2018
Deadline: Dec 1, 2017

How do borders echo and reverberate as cultural geographies, unsettling space and forcing bodies to move, to organize, and to perform? How do performers and scholars account for and navigate their bordered existence, when traversing them can regularly (re)produce the conditions for both precarious and secure living? What conditions arise amongst bodies, boundaries, and the spaces there in between?

The 2018 Department of Performance Studies Graduate Student Conference, In Motion: Performance and Unsettling Borders, invites graduate students—practitioners and scholars—to generate dialogue and debate by coming together around artistic work and interdisciplinary thinking.

Recent international, national, and local political and social events have brought increased attention to the reality of borderlands as contentious sites of movement and activity. History demonstrates that borders—immaterial and material— have always existed and that movement has always been central in their negotiation. For some, borders are porous and easy to cross, a mere nuisance or pit stop. For others, borders are an integral part of being, continuously looming, shaping entire lives. If the border affirms its presence through constant yet imperfect iteration (repetition), then how might we employ performance (and practice) to interrogate its rigidity? How does performance elicit a mode of thinking and doing that allows us to consider how borders, contemporary and historical, demand both imaginary and tangible forces to be maintained—and how might we come to unsettle (or secure them) through our practice(s)?

We seek proposals for traditional academic papers, performance-lectures, live performances, and other experimental formats. Papers, performances, and experimental submissions might want to consider:

Decolonial practices and aesthetics
Affects and political economies of race, gender, sexuality and disability
Geopolitics, geographic (dis)location and positioning
Immigration, emigration, migration, and displacement
Choreographic patterns: kinesthetic awareness and somatic power
Sound, sound art, and acoustic resonance
Temporality: iteration, and repetition in/on the margins
Border-crossing: thresholds, vestibules, portals, gates, and throughways
Memory, embodiment, and transference
Language, translation, communication, speculation
Mediatisation, telecommunication, and other forms of network exchange
Interdisciplinarity, cross-disciplinary practices, syncretism, hybridity
Spatial politics: built-environments and architectures
Transnational flows: sovereignty, authority, and the state
Travel and tourism economics
Death, life, interstitial spaces
Skin, surface, hapticality
Object oriented ontologies

Locations are wheelchair accessible, but questions about accessibility and accommodations can be directed at Didier Morelli (didiermorelli2018@u.northwestern.edu). We have partnered with students in the Departments of Art Theory and Practice to realize this event. The three-day conference also includes a featured performance and discussion, lectures, catered meals/receptions, and a Long Table to build community and dialogue across disciplines and artistic practices. We acknowledge that Northwestern campus sits on unceded Native land, once occupied by the Council of Three Fires Nation which includes the Chippewa, Ottawa and Potawatomi.

The deadline for proposals is December 1, 2017.

Please submit all proposals, and any questions to, inmotion2018@gmail.com

For paper proposals, please submit as one word, pages or pdf document:
1) Name and Contact Information (with email address),
2) your institutional affiliation,
3) an abstract (~300 words),
4) a brief biography (~250 words), and
5) a curriculum vitae.

For performance and experimental proposals, please submit as one word, pages or pdf document:
1) Name and Contact Information (with email address),
3) your institutional affiliation,
2) description of performance (~300 words),
3) a brief biography (~250 words),
4) a resumé or curriculum vitae,
5) technical requirements and duration,
and, if applicable, and 6) up to six jpeg images, link to an online portfolio, or other relevant media.

Some partial travel grants will be available for participants. Notices of acceptance will be sent on January 15, 2018. There is no registration fee.

Reference / Quellennachweis:
CFP: In Motion: Performance & Unsettling Borders (Chicago, 27-29 Apr 18). In: ArtHist.net, Nov 15, 2017.

For more follow the link – https://arthist.net/archive/16741

CFP: ‘Africa-Asia, A New Axis of Knowledge’ Conference

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Dear Sir/Madam, we invite proposals for (institutional) panels, roundtables, exhibitions, documentaries, papers, (MA and PhD) dissertations and book presentations in the newly conceptualized field of ‘Asian-African studies’.

‘Africa-Asia, A New Axis of Knowledge’ – Second Edition

Deadline
Proposals should be in English or French. They should be submitted online by 1 February 2018.

Conference dates
20 – 22 September 2018

Venue
Dar es Salaam, Tanzania

Organized by
University of Dar es Salaam (UDSM, Tanzania), Association for Asian Studies in Africa (A-Asia, Accra, Ghana) and the International Convention of Asia Scholars (ICAS, Leiden, Netherlands).

In partnership with
Muziris Institute for the Indian Ocean Studies, University of Calicut (Calicut, Kerala, India), International Institute for Asian Studies (Leiden, the Netherlands), Leiden University (Leiden, the Netherlands), University of Michigan (UM, Ann Arbor, U.S.), Université de La Réunion (La Réunion, Fr.), National University of Singapore (NUS, Singapore), Social Science Research Council (SSRC, New York, U.S.).

Call for (institutional) panels, roundtables and papers
Building on the multiple encounters, interactions and dialogues initiated at the 1st Africa-Asia Conference (Accra, Ghana, 2015), the 2nd international Conference ‘Africa-Asia, a New Axis of Knowledge’, to be held from 20-22 September 2018, in Dar es Salaam (Tanzania), seeks to deepen the explorations of new realities, and long histories connecting Africa and Asia. The conference aims to solidify an infrastructure of engagement bringing together scholars, artists, intellectuals and educators based in Africa and Asia as well as across the world to think both comparatively and holistically about the challenges and possibilities of cross-continental and trans-regional encounters.

Emphasizing an inclusive approach, the conference, modelled after ICAS international conventions, will be organized around a series of broad thematic multi-disciplinary and multi-sectorial groupings that highlight multiple flows and mobilities linking the two continents such as: transcontinental connections & interactions, economics & development, intellectual; encounters, arts & culture, migration & diasporas and Asian studies in Africa & African studies in Asia. Specifically, the central unifying theme for the conference is a call to understand the histories and futures of Africa-Asia as simultaneously unfolding, in order to rethink the methodologies and knowledge practices through which we understand Africa in Asia and Asia in Africa, and beyond, Africa, Asia and other world regions as ‘fields of studies’.

FIND THE SUBMISSION FORMS ON https://forms.iias.asia

Those whose (institutional) panel, roundtable and paper proposals have been accepted will be notified by 10 April 2018. The working languages of the conference will be English and French. All PowerPoint presentations must be in English. Simultaneous translation is not available.

Registration fees
Further information about registration fees, the venue and logistics will be provided on the conference website once the panels and papers have been accepted.
Funding
Very limited financial support may be made available to some scholars who reside in Africa and Asia and some junior or low-income scholars from other parts of the world. If you would like to be considered for a grant, please submit the Grant Application Form in which you state the motivation for your request. Please also specify the kind of funding that you will apply for or will receive from other sources. Please note that the conference operates on a limited budget, and will not normally be able to provide more than a partial coverage of the costs of travel. The form should be submitted before 1 February 2018. Requests for funding received after this date will not be taken into consideration.

The Africa-Asia ICAS Book Prize
The Africa-Asia ICAS Book Prize (AAIBP) was established by the secretariats of the International Convention of Asia Scholars (ICAS) and the Association for Asian Studies in Africa (A-ASIA). Publishers are invited to submit academic publications in the Humanities and Social Sciences, written by an African scholar on an Asia-related topic or by any author on Africa-Asia (transnational) linkages. Publications may be in English, French or Portuguese, and must have been published after July 2014. The winner of the AAIBP will be announced during the Second International Conference ‘Africa-Asia, a New Axis of Knowledge’ (Dar es Salaam; 20-22 September 2018), and shall thereafter be invited to ICAS 11 in Leiden (16-19 July 2019) to present his or her book.
Online submissions are possible between 1 December 2017 and 15 March 2018 on the ICAS website.

For more follow the link – http://list.iias.asia/web/IIAS-CfP-Asia-Africa-II.htm

CALL FOR PAPERS | Cultural Practices of Labour in Migration

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Date and time: April 20, 2018 10:00AM – April 21, 2018 6:00PM

In his essay “East Indian,” V. S. Naipaul reflects about the ways in which the indentured labour from Bihar and Uttar Pradesh recreated their lives in a strange world. In a characteristically provocative phrase, Naipaul makes the point that “it was less an uprooting than it appears” because the indentured labourers took everything they had—“beds, brass vessels, musical instruments, images, holy books, sandalwood sticks, astrological almanacs”—in short, all the marks of culture and traditions that defined the life world of those workers. However, what the workers also found out in this migration was that they could break away from the practice of caste and in the India they created in the foreign land they achieved a “revolution” by breaking the hold of caste as one of the principal social relations in organizing their society. Naipaul’s essay brings out the ways in which migration of labour transforms their culture and society. It is a creative and revolutionary process. However, as in the case of all revolutions, this revolution too is not so simply explained. The discontents and continuing conflicts as a result of labour migration have been brought by Ashwini Kumar Pankaj in Maati Maati Arkati. He carefully points out the erasure of the history of “hill coolies” and how this erasure still influences the political lives of erstwhile plantation colonies. These contradictions need to be analysed.

The purpose of this conference is to bring together works from diverse fields and discipline that will re-examine the making and unmaking of cultural practices that accompanies labour migration both historically as well as in contemporary times. How does labour migration mutates the established genres? How does it create new ones? What is the role of memory and acts of forgetting? What are the processes through which the culture industry commodify the cultural practices of migrant labour and sell it back to them and in the process not only accumulate surplus value through their labour but also through their hitherto non-commoditized cultural artefacts? Is it possible to revisit and reconceptualise such concepts like hybridity, multiculturalism, exile, and so on by keeping at the centre of our analysis workers in plantation, or mining, or shipping, or as is the case in contemporary times, in the globalized construction industry? Are these workers creating new methods of articulation of cultural practices which literary studies, cultural studies, and social sciences in general need to unearth? These are only some of the questions that we want to address in the seminar.

The papers in the seminar would be on following subjects which are only indicative and can go beyond these stated themes:

Literary genres in migration
Cultures of resistance, association, and intersectionality
Memory, loss, identity
Language and its development through labour migration
Genealogy of cultures created through labour migration
Gender and sexuality
From folklore to mass production of culture
Representation of labour and migration
Transitions and Translations of Culture
Migrant Labour and Urban Culture
Migration and Indigenous Culture
Please send an abstract with title of the paper (250 words max) to mithilesh.kumar@tiss.edu and patnacentre@tiss.edu.

The last date for submitting the abstract is January 10, 2018.

Authors whose papers are selected will be informed by January 15, 2018.

Full paper should be submitted latest by April 1, 2018.

Papers can be presented in English, Hindi, or Urdu.

Poster exhibition and documentaries are welcome. A copy of the art work will be housed and catalogued in the repository of the Migration Archive of the Centre.

Organised by: Centre for Development Practice and Research, TISS Patna.

Conference Coordinator: Mithilesh Kumar, Research Fellow, TISS Patna Centre; Shanker Dutt, Professor, Department of English, Patna University; and Pushpendra Kumar Singh, Professor, TISS Patna Centre.

Date: April 20-21, 2018

Venue: TISS Patna Centre

For more follow the link – http://tiss.edu/view/5/mumbai-campus/centre-for-development-practice-and-research/cultural-practices-of-labour-in-migration/

CFP: Performance and Labor in the Contemporary World

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March 30 – 31, 2018

Duke University Department of Cultural Anthropology

contact email:
performanceandlabor@gmail.com

Keynote address: Prof. Louise Meintjes, Department of Cultural Anthropology and Music at Duke University

When football quarterback, Colin Kaepernick, took a knee during the national anthem, his intention was not to disrupt the NFL’s economic flow, as one might during a players’ strike. Instead, Kaepernick used the power of spectacle and his status as a cultural performer to foster a public debate on racism in the USA. Performance – sports, music, dance, yoga, porn, sex-work, martial arts, theater, cinema, television – bring together aesthetics and labor in a specific way. While performance uses embodied and participatory modes of enactment to reinforce or transform societal norms, laborers, too, often invoke performative strategies to develop new modes of recognition. Workers may stage dramatic performances to disrupt economic flows, by striking, or, more subtly, develop strategies to subtly resist alienating and dehumanizing forms of labor (for example: Office Olympics, bar tenders dancing, etc.). On the flip side, labor control mechanisms increasingly rely on notions like performance. For this conference, we welcome papers that address the ways in which performance and labor inform, interact, and address each other’s inseparability.

Aesthetic performances, having been shaped by entrepreneurs as markets of their own, involve ordinary capitalist relations of labor, competition and precarity. While some performance markets are publicly associated with the top talents of the competitive pyramid who often become mediatized celebrities, each sector of the culture industry relies on an invisible mass of skilled and unskilled workers. Concepts like talent, genius or creativity shape contested hierarchies within this workforce and nurture ideologies about the performer’s unalienated oneness with his/her labor power. By focusing on the performer-persona, top talents in mass cultural sectors occasionally gain so much wealth and recognition that this obscures the structural fact these industries, too, harbor a tension between labor power and the laborer’s persona. Finally, cultural performance economies often derive most of their talent from unprivileged strata of society or from globally subordinated countries, creating a source of class, gender, and racial anxiety and celebration.

Additionally, this conference will allow a space for us to think about the flip-side of labor as performance – that is, the performance of labor. Non-spectacular service sectors demand labor to be continuously executed in a performance-like manner, aesthetically, playfully, emotionally, affectively etc., precisely in the zones of our capitalist world where leisure time and consumption, as well as the share of service economy, have most expanded. We hope to engage with new ideas that consider the inseparability of laboring and performing, which some theorists think might be paradigmatic of the increasingly non-industrial workforce employed in post-industrial nodes of global capitalism.

We invite an interdisciplinary range of papers from ethnographic, historical, or theoretical backgrounds that focus on questions of labor and performance, aesthetic production and economy, in an effort to cross-fertilize disciplines and topics.

Possible ideas, but not limited to the following, include:

– Ethnographic papers contributing to labor dynamics surrounding sports, music, dance, yoga, porn, sex-work, martial arts, theater, cinema, television, and similar fields

– Gender, race, sexuality, class and labor in the culture industry

– Labor and the body (injury, aging, beauty, talent)

– Artisanal labor

– Globalization of local practices and diffusion of dominant forms of performance

– Professionalization of performance

– Performance and the aestheticization of labor

– Affective Labor

– Critical insights into concepts of talent, creativity, genius, gifted-ness, etc.

– The labor of writing about/documenting performance

– Labor surrounding the production of spectacle

– Alienation, labor, and performance

Interested graduate students are required to send an abstract (max. 300 words) for a 15-minute presentation along with a short CV (max. 2 pages).

The deadline for submission is January 1, 2018. Please email abstracts to performanceandlabor@gmail.com

Selected applicants will be notified by January 15, 2018.

Limited grants are available to assist presenters with travel, room, and board. Please mention in your application if you wish to be considered for a travel bursary, and if your participation is contingent upon receiving one. For further information: performanceandlabor@gmail.com

Conference Organizers: Can Evren (ce59@duke.edu & Hannah Borenstein (hannah.borenstein@duke.edu)

For more follow the link – performanceandlabor.wordpress.com

Nineteenth International Baroque Summer Course of the Werner Oechslin Foundation

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Introduction
Memoria is more than history and more than history turned into a monument. The focus is on the conscious act of remembering. And this always means drawing historic objects and events into one’s own realm of experience; hence, it concerns a visualization at each corresponding point in time. History is not situated “vertically” through various epochs as a sequence in a presumably causal context. Instead, it is integrated horizontally in the vivid realm of lived experience. (Precisely this aspect is very often foregrounded in tomb inscriptions, in the sense of overcoming time and transience.)
Thus, for its representation, Memoria particularly requires a whole series of mental capabilities and efforts, covering the entire spectrum from “spetie & forme dell’animo”; it possesses its own force (“vigore della memoria”) and avails itself furthermore of some specific devices. In his “Dialogo” dedicated to Memoria (1562), Lodovico Dolce speaks with relation to Cicero of an “imaginaria dispositione delle cose sensibili nella mente” and adds: “sopra lequali la memoria volgendosi & piegandosi, viene a eccitarsi, & a ricevere giovamento.” It concerns how one handles the comprehensive world of imagination, our “imaginaire.” One can, according to Dolce, appropriate and avail oneself of a memory by this method “con più agevolezza, più distintamente.” Taken by itself, that has long been an “art”. But if one adds the specific artistic means, then the possibilities of representing and shaping Memoria seem nearly limitless.
Inasmuch, art history shows us the virtually overwhelming riches of various characteristics and manifestations. Cathedrals and major churches become receptacles of entire cycles of tombs and monuments. In Mainz, generations of prince bishops are posed and demonstrate in their daily presence the union – in their case a special one – of worldly (dominium temporale) and spiritual (dominium spirituale) power. For this they employ the entire repertoire of images and signs, from the “effigies” to inscriptions and symbols.

The course is open to doctoral candidates as well as junior and senior scholars who wish to address the topic with short papers (20 minutes) and through mutual conversation. As usual, the course has an interdisciplinary orientation. We hope for lively participation from the disciplines of art and architectural history, but also from scholars of history, theology, theatre and other relevant fields. Papers may be presented in German, French, Italian or English; at least a passive knowledge of German is a requirement for participation.

Conditions: The Foundation assumes the hotel costs for course participants, as well as several group dinners and the excursion. Travel costs cannot be reimbursed.

Please send applications with brief abstracts and brief CVs by e-mail to:
anja.buschow@bibliothek-oechslin.ch

The CFP deadline is 10 December 2017.

Concept / Organization: Dr. Anja Buschow Oechslin (Einsiedeln), Prof. Dr. Axel Christoph Gampp (Uni Basel), Prof. Dr. Stefan Kummer (Uni Würzburg), Prof. Dr. Werner Oechslin (Einsiedeln) in collaboration with Prof. Dr. Maarten Delbeke (ETH Zürich).

Reference / Quellennachweis:
CFP: Baroque Summer Course Werner Oechslin Foundation (Einsiedeln, 24-28 Jun 18). In: ArtHist.net, Nov 15, 2017.
For more follow the link – https://arthist.net/archive/16728

Rijksmuseum Fellowship Programme (Amsterdam)

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We welcome international research proposals which open new perspectives on the Rijksmuseum’s collection, its history and activities. The purpose of the programme is to enable applicants to base part of their research at the Rijksmuseum and thus to strengthen the bonds between the museum and universities. The focus of research should relate to the Rijksmuseum’s collection and activities, and may encompass any of its varied holdings, including paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. The programme offers students and academic scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise. Furthermore, the museum facilitates opportunities for Fellows to engage in workshops and excursions to encourage the exchange of knowledge – both amongst themselves and the broader museum audience.

Eligibility
The Rijksmuseum Fellowship Programme is open to candidates of all nationalities and with varied specialisms. They may include art historians, curators, conservators, historians and scientists. Candidates should have proven research capabilities, academic credentials and excellent command of the English language – both written and spoken. Proficiency in a second language (ideally Dutch or German) is preferred but not required. Fellowships will be awarded for a duration ranging from 6-24 months, starting in the academic year 2018-2019. Please review the Rijksmuseum website for detailed information on each individual Fellowship position.

Funding
Fellowship stipends are awarded to help support a Fellow’s study and research efforts during the tenure of their appointment. The stipend amount varies by funding source and Fellowship period. Visit the Rijksmuseum website for further information.

Application and procedure
Please review the eligibility, funding and application requirements by following the link to the Fellowship of your interest:
• Andrew W. Mellon Fellowship for art historical research
• Johan Huizinga Fellowship for historical research
• Migelien Gerritzen Fellowship for conservation research
• Dr. Anton C.R. Dreesmann Fellowship for art historical research

The closing date for all applications is 14 January 2018, at 6:00 p.m. (Amsterdam time/CET). No applications will be accepted after this deadline. All applications must be submitted online and in English. Applications or related materials delivered via email, postal mail, or in person will not be accepted.

Selection will be made by an international committee in February 2018. The committee consists of eminent scholars in the relevant fields of study from European universities and institutions, and members of the curatorial and conservation staff of the Rijksmuseum. Applicants will be notified by 1 March 2018. All Fellowships will start in September 2018.

Further information and application forms: http://www.rijksmuseum.nl/fellowships
For questions concerning the application procedure, contact Marije Spek, Coordinator of the Fellowship Programme (m.spek@rijksmuseum.nl), +31 (0)20-6747395.

Reference / Quellennachweis:
STIP: Rijksmuseum Fellowship Programme (Amsterdam). In: ArtHist.net, Nov 15, 2017.

CFP: Music and image (Canterbury, 9-12 Jun 18)

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Music and image in cultural, social and political discourse

One of the most distinctive features of any cultural, social and/or political movement is its soundtrack—to the point where the music and its associated iconography may outlive the message for later generations. With or without words, the music and images accompanying social and cultural change are often their most powerful bequests to contemporary culture.

The annual conference of Association RIdIM welcomes proposals for papers which make a contribution to our ongoing discussion of music and image in cultural, social and political discourse.

The official language of the Conference is English. Papers are limited to thirty minutes in length, allowing time for questions and discussion.

Proposals should be submitted electronically, from the Conference website (http://ridim.org/application-form-ridim-conference-2018-canterbury/), no later than Monday 8 January 2018.

The Programme Committee will make its final decision on the abstracts by 1 February 2018, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be available on the Conference Website.

Reference / Quellennachweis:
CFP: Music and image (Canterbury, 9-12 Jun 18). In: ArtHist.net, Nov 15, 2017.
For more follow the link – https://arthist.net/archive/16726

CALL FOR PROPOSALS| Sharing and Storing: Everyday relationships with digital material Special Issue of New Media & Society

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Edited by
Heather A. Horst
The University of Sydney, Australia

Jolynna Sinanan
RMIT University, Australia

Larissa Hjorth
RMIT University, Australia

Abstract Submission Deadline: 15 November 2017
Deadline extended to 25 November 2017
Proposal Selection Notification: 10 December 2017
Initial Article Submission Deadline: 01 March 2018

Contact email: sharingandstoring@gmail.com

Technologies and technological infrastructures are often associated with social and economic change. Airplanes and the shipping containers (Levinson 2008) became mechanisms for the spread of globalisation, reshaping the production processes and the trade and consumption of goods from around the globe. Undersea cables and mobile phone towers are often associated with providing the infrastructure of the digital age, enabling the flow of information, communication, media, technology, commerce and other goods to move at a greater speed than experienced in previous eras. These possibilities continue to expand with the introduction of solid state drives, Bluetooth capabilities, smartphones, ‘the cloud’ and social media platforms that have fundamentally altered the practices of storing, sharing and circulating digital materials.

Yet, the increasing capabilities for sharing and storing also have consequences for the ways in which we engage with and/or manage our digital data on a day-to-day basis. Research on digital materials in the home highlight how families and households now grapple with an increasing number of digital photographs, videos and other digital materials that are often stored on a range of outdated or defunct devices, formats and platforms. Memory size in domestic technologies has increased, but so have the number and size of files that host many of the mundane digital materials. These constraints prompt decisions about what digital material should remain, what can be deleted and where certain digital materials should be stored. Such decisions become even more difficult with the increasing infiltration of work into the domestic sphere, syncing and other forms of automation and the increasing number of channels through which digital materials can circulate. For many people the separation of digital materials that move between different domains has become more challenging – and messier – than ever.

This special issue examines our everyday relationships with digital materials and the various platforms, devices, spaces and formats through which they are stored and shared. We ask contributors to this special issue to consider: How do people manage the proliferation of digital material in their everyday lives? What strategies and rituals do they develop to organize, curate or delete digital materials? How are existing cultural practices of sharing and storing in other domains shaping these strategies? What are the broader infrastructures, platforms, programs and devices that are enabling, hindering or changing people’s ability to navigate the ways they store and share digital materials?

Papers in this special issue will explore the everyday ways we manage living in a world of digital data and may include the following topics:

• Data transfer practices (e.g. moving digital materials from old to new devices)
• Manual vs automatic syncing of digital materials
• Temporalities of digital materials (e.g. long-term storage vs. transient data storage, changes of storing and sharing practices in relation to life stage)
• Routines and practices (e.g. organising, cleaning or curating digital materials)
• Non-sharing
• Emergent categories of and distinctions between digital materials
• Historical comparisons of sharing and storing of non-digital and digital materials
• Specific studies of sharing or storing on or across specific platforms (e.g. WhatsApp, Facebook, Instagram, YouTube, Dropbox, iCloud, c-Share, Google Drive, etc.)

Please note that the guest editors’ welcome submissions on a wide variety of theoretical and/or empirical contributions to the study of digital material beyond the suggestions identified.

Submissions:
Proposals should include the author’s name and affiliation, title, an abstract of 250-300 words, and 3 to 5 keywords, and should be sent to the e-mail address no later than 15 November 2017:sharingandstoring@gmail.com (Note: Deadline extended to 25 November 2017). Invited paper submissions will be due 1 March 2018 and will be submitted directly to the submission site for /New Media and Society/: https://mc.manuscriptcentral.com/nms where they will undergo peer review following the usual procedures of New Media & Society. Approximately 10-12 papers will be sent out for full review. All other papers will be returned to their authors for submission elsewhere. Therefore, the invitation to submit a full article does not guarantee acceptance into the special issue. The special issue will be published in 2019. See also: https://docs.google.com/document/d/1iS-X-7xA411NShBzGmsruuHNcLbF3ieBqfYzzCC7s-I/edit?usp=sharing

For more follow the link – http://sociologicalimagination.org/archives/19567

Museum Fellowship: Indian Foundation for the Arts

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India Foundation for the Arts
in collaboration with the
Visvesvaraya Industrial & Technological Museum (VITM)
(National Council of Science Museums)

invites applications for

a Museum Fellowship
Application Deadline: December 15, 2017

This initiative is supported by TATA TRUSTS

India Foundation for the Arts (IFA) in collaboration with the Visvesvaraya Industrial & Technological Museum, Bangalore invites applications for a Museum Fellowship for a period of one year.

The Archival and Museum Fellowships initiative of IFA began with the two-fold objective of providing practitioners with an opportunity to generate new, critical and creative approaches to public engagement with collections in archives and museums, and to energise these spaces as platforms for discussion and debate.

This is the first collaboration between IFA and a Science Museum to develop dialogues between the fields of arts and science and facilitate interdisciplinary practices.

About the Museum:
Visvesvaraya Industrial & Technological Museum (VITM) is a landmark in Bangalore for science enthusiasts and tourists. The Museum has a rich collection of science and technology objects such as measuring instruments, sewing machines, engines, locomotives, weights and measures, and optical recorders. It also houses communication devices—transmitting and receiving equipment, wire recorders, gramophone recorders and players, radio receivers, telephone exchanges and telephone instruments. In addition, the museum is a repository of engines ranging from aircraft engines, steam engines, oil engines to hot air engines and locomotives. VITM is the southern headquarters of the National Council of Science Museums, an autonomous body under the purview of Ministry of Culture, Government of India. The main objective of the museum is to popularise Science and Technology through interactive exhibits, exhibitions and non-formal education activities.

For more information about the Visvesvaraya Industrial & Technological Museum (VITM) please visit http://www.vismuseum.gov.in

For more information about the museum please contact:
Mr R. Bharadan – Education Officer
Ph: 080-22040228 | E-mail: vitmuseum@gmail.com

About the Fellowship:
The fellowship offers creative practitioners a new set of materials to work with—scientific and technological objects located in a science institution. We hope these objects can be used in engaging and creative ways, and present new perspectives of seeing and interpreting the world. The important feature of this fellowship is to engage with the local community. The awardee will be responsible for curating an exhibition and presenting the collection through a series of activities such as talks, workshops and other public programmes over a period of one year.

Applicant profile:
We seek applications from curators, historians, visual artists, researchers and other creative practitioners with prior curatorial experience and a strong interest in research and working with museum collections. We also encourage applicants to think through an interdisciplinary and collaborative approach and method.

Practitioners who are Indian nationals or have been residents of India for five years or more are eligible to apply. To know more about our eligibility criteria please click here.

Financial assistance and other support:
Each fellowship provides an honorarium of Rs 2,00,000/- for a duration of one year. A separate budget will be provided for the final outcome (exhibition and outreach activities).

Important dates:
The deadline for receiving applications is December 15, 2017.
Shortlisted candidates will be informed by the third week of December 2017.
Interviews with shortlisted candidates are expected to take place by the end of December 2017.
The Fellowship will commence from January 15, 2018 for a period of one year.

Application Process:
Your application must include:

A brief description of an exhibition and public programmes you could develop from the collection at the VITM. The description should include your vision, approach and possible outcomes of the programmes. The intention is to give us an idea of how you would like to approach this project.
A letter of interest explaining how you would benefit from this Museum Fellowship. Please identify aspects of your practice that you think will be honed and further developed during the course of the Fellowship.
A brief description of a project you have been involved with as a curator, arts practitioner or researcher. Please include documentation of the project including six to eight scanned or printed images with titles and dates, DVD (maximum duration of four minutes), catalogues, artworks, performances, or reviews.
Your curriculum vitae.
Please address your application or any queries to suman@indiaifa.org
Please also post the required documents to IFA in an envelope marked ‘VITM Fellowship’ by December 15, 2017.

VITM Museum Fellowship
India Foundation for the Arts
‘Apurva’, Ground Floor,
No 259, 4th Cross, RMV 2nd Stage, 2nd Block
Bangalore – 560 094