thingsimeanttoapplyfor

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http://crdh.rrchnm.org/

About the event and proceedings

http://crdh.rrchnm.org/ 

The first annual CRDH meeting will be held at George Mason University in Arlington, VA, on Saturday, March 17, 2018. Papers proposed for that meeting are due on September 29, 2017.

The annual conference will feature one plenary session: a roundtable with four leading scholars on the state of digital history. The remainder of the sessions will consist of panels and presentations advancing historical argumentation. One track of three sessions will be devoted to the conference theme. The other three time slots of panels can be on any historical topic or time period. Each session will consist of two 10-minute presentations, with comment from a respondent and the audience. The final time slot will be devoted to sessions proposed on the day by participants at the event, responding to the work that has been presented.

Conference schedule9:00–9:45State of digital history roundtable

9:45–10:00Break

10:00–11:00Session: theme topicSession: open topicsSession: open topics

11:00–11:10Break

11:10–12:10Session: theme topicSession: open topicsSession: open topics

12:10–1:30Lunch

1:30–2:30Session: theme topicSession: open topicsSession: open topics

2:30–3:15Break and unconference planning

3:15–4:15Unconference sessionUnconference sessionUnconference session

After revisions, presentations will be published in a peer-reviewed online open access journal. This publication offers a means of capturing the short form work presented at conferences and giving it academic standing by peer reviewing it. These conference proceedings will enable scholars to publish early findings from larger projects. Peer review will be provided by the program committee of digital historians as part of the acceptance of submitted papers, and then by the session commentator at the event. Publishing online accommodates the dynamic visualizations and narratives that are an increasingly core element of digital scholarship.

The platform for Current Research in Digital History will offer the following features in order to effectively publish a range of scholarship:

publication of visualizations, graphics, and narratives

publication of associated data or code in a research compendium

external hosting of content if necessary, provided that authors agree to maintain the content

DOIs and other metadata for all articles

indexing in Google Scholar and other academic databases

Call for papers for CRDH 2018

Current Research in Digital History 2018 March 17, 2018 — George Mason University, Arlington, VA

The Roy Rosenzweig Center for History and New Media invites submissions for the first annual Current Research in Digital History conference. Submissions should offer historical arguments and interpretations rather than showcase digital projects. We anticipate that the format of short presentations will provide an opportunity to make arguments on the basis of ongoing research in larger projects. Graduate students are encouraged to submit proposals. Some travel funding is available. Presentations will be peer-reviewed and published in an online publication that accommodates dynamic visualizations and narrative.

Submissions due: September 29, 2017. E-mail submissions as a PDF or URL to <lincoln+crdh@lincolnmullen.com>. Questions may be sent to the same address.

Format: Each presentation will be 10 minutes in length. Proposals must include the full text (no more than 2000 words) and accompanying visualizations or websites to be presented. Papers can include multiple authors. Submissions can be either a single presentation or a session of two presentations. Proposals may suggest a commentator but are not obliged to. (Session commentators will receive an honorarium of $100 and have their registration fee waived.)

Theme: The theme for 2018 is the history of slavery. One track of three sessions (a total of 6 presentations) will focus on this topic. Submissions for the remaining six sessions (12 presentations) can explore any topic or time period.

How papers will be selected: The primary criterion by which these presentations and panels will be judged is whether they advance historical argumentation. In other words, while digital methods will be common to all the presentations, we will select presentations that show how those methods have advanced specific interpretations of history. The program committee is charged with creating panels that include people of color, female, queer, and independent scholars, junior scholars, and graduate students.

Submissions are due by September 29, 2017.

Accepted proposals will be returned with reviews provided by the program committee on December 15, 2017.

Revised versions of accepted papers will be due to the session commentator by February 17, 2018. Commentators will provide an additional review at the conference on March 17, 2018.

A final revised version of the paper for publication will be due on May 25, 2018.

Travel funding: Four $200 stipends are available to support the participation of presenters who have to travel to the event. Please indicate on your submission if you wish to be considered for a stipend.

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The Ammerman Center for Arts and Technology 16th Biennial Symposium

INTERSECTIONS

February 15 - 17, 2018

Keynote Address by Krzysztof Wodiczko

Featured exhibition by Natalie Bookchin

Deadline for Commission Submission Proposals: September 30

Deadline for General Submission Proposals: October 30

The Ammerman Center at Connecticut College seeks submissions for its 2018 Biennial Symposium on Arts and Technology being held February 15-17, 2018, at Connecticut College. The aim of the symposium, now in its 32nd year, is to create an inclusive forum for multidisciplinary dialogue at the intersection of arts, technology and contemporary culture. The symposium brings artists and researchers from a wide range of fields together as they present new works, research and performances in a variety of formats.

The symposium accepts general submissions as well as applications for one of several commissions, in any of the following categories: Exhibition and Installations; Site-Specific Installations and Performances; Screen Based Art; Music and Sound; Dance, Theater and Performance; Paper Presentations and Artist Talks; Workshops and Demos; and Panel Proposals.

Click here to access the full Submission Guidelines and Submission Entry Form.

New, original, multidisciplinary works in any medium may be submitted for a special "Commissioned" category; each of the 2-3 selected commissions will be awarded $3000, given a week-long residency prior to the symposium and be featured in the program. Preference will be given for proposals by teams of two or more. Click here to read the Commission Guidelines for details.

All submissions are encouraged to address the symposium theme of INTERSECTIONS, and the proposed thematic threads.

In keeping with the symposium theme, scholars and artists from marginalized communities from the northeast region are especially encouraged to apply, including independents and adjuncts. A limited amount of full and partial scholarships are available upon request.

ABOUT THE SYMPOSIUM THEME:

It is increasingly understood that our lives are pushed, pulled and interconnected by a range of intersections among multiple factors of identity and experience including: gender, culture, race, sexuality, and economic and technological contexts, among others.

For the 16th Biennial Symposium on Arts & Technology, the theme INTERSECTIONS seeks to question categorizations, to experiment with new and emerging mediums while deferring to the original definition of Intersectionality, as coined by legal scholar Kimberlé Crenshaw in relation to the intersecting dynamics of race, class and power. The symposium will explore the infrastructures and imaginaries pushing and pulling our techno-culture into an ever more precarious relationship with the social and ecological fabric on which our intersectional beings are founded.

THEMATIC THREADS While we are open to any number of interpretations of this year’s wide-ranging INTERSECTIONS theme, we encourage and invite participating artists, theoreticians and researchers to relate their work to this theme through the guiding threads listed below:

Alternative futurisms: New narratives of the future being crafted and told in any medium, with an emphasis on alternatives to the story told by Silicon Valley, Wall Street and TED.

Experimental systems for awareness, equity and justice: Leveraging existing and emerging technological mediums, tools or systems for questioning power and / or promoting increased connection, awareness, equity and justice by activists and artists

Hybrid bodies: Bio-politics and borders, intersectional identities, chimeras, and cyborgs

Symposium website

Submissions website

Submissions Entry Form

For questions or further information, please contact Libby Friedman, Assistant Director, Andrea Wollensak, Director, or Nadav Assor, Associate Director.

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The call for works and projects is now open ! For the second time, the Phonurgia Nova awards will take place in Paris at the Bibliothèque Nationale de France - François Mitterrand. The jury will award 5 Prizes (for an amount of 7 500 €). Many prestigious institutions are joining us for this new edition. Special thanks to them and to all the other partners quoted below without which this event could not exist. Celebrating the best of french and international radio and sound art, the jury is looking for "the crème de la crème" of creative documentaries, radio drama, field recording, hörspiel, audio pieces, archives recycling, installations and performances. All details available on this page below. Save the dates : Opening of the contest and call for works: may 7th. Deadline for submissions: july 31th. Public listening days at the BnF in Paris (open to everybody) : September 23th and 24th (Bibliothèque Nationale de France)

Reminder : last year, 199 productions, coming from 17 countries, were entered in the prize. The winners’works are available on www.sonosphere.org

22th Call for works "The Loud-speaker is probably the greatest common denominator in all our lives to-day. Video, multimedia, car radios, mobile phones are all crafting a new life for sound. In all domains sound is an objet of research, of reflexion. It is essential to open up creative, imaginative spaces for sound. And to encourage people to listen". Christian Leblé, chairman.

#01 BACKGROUND Among the prizes awarded for acoustic creation, the Phonurgia Nova competition has, since 1986, occupied a special place by virtue of its recognition of artists whose work exploits sound as a medium for expressing the real and the imaginary. The contest is open to all authors (independant radio producers, musicians, composers, sound artists and multimedia production teams). An international jury panel (made up of representatives from the radio industry, the art press and the sound world) will judge the entries.

#02 CALL FOR WORKS This year's competition will distinguish authors whose work manifests a keen sense of sound and listening as means of expression. In that frame, the criterions remain: “Radicality, boldness, audibility”! As usual, the jury will consider all forms of inventive radio (documentary, feature, fiction, essays, Hörspiel, experimental radio, etc.) and all kind of works beyond the radio (like Field recording, Web works, Soundmap, etc). The jury will deliberate on two types of works : 1) completed production (granted with euros) 2) project (granted with residencies and workshops) All preselected works will be broadcasted during the two days’ Festival in their integrality if they do not exceed 20 minutes. If the piece is longer, an extract will be chose by the author for the broadcast in public. #03 PRIZES The jury will award 5 Prizes (for an amount of 7 500 €) : 1) The “Sound Art Award” of 2 000 € (for the finalized production) . 2) The “Pierre Schaeffer Discovery Award” of 500€ (for the finalized production) and several Phonurgia Nova Workshops (for the projects) during summer 2018. Be carefull : this category is only open for authors less than 30 years old at the date of the registration. 3) The " Fiction Award " of 2 000 € is granted by the french authors society, SACD. Details on this Prize are available in the french version of this call for works. 4) The “Spoken archives Award” of 1 000€ granted by the BnF / Bibilothèque Nationale de France - François Mitterrand (Paris). It will award an author or group of authors claiming creative freedom in collecting and/or manufacturing the speech (without any language restriction). 5) The “Field recording Award” of 1 000€ is granted by the " Musée de la Camargue" (Arles). It will award an author or group of authors claiming creative freedom in exploring the sound of nature, and intercation between humans and the environnement.

In addition, 5 residency will be granted for innovating projects, submitted as scripts, in thiese various areas. These residencies woll take place at GRM/INA (Paris), GMVL (Lyon), Euphonia (Marseille), and Phonurgia Nova (Arles) The discussions of the jury are open to the public during two listening days (23th and 24th of September at the BnF), but the final Jury decisions are not subject to appeal. The awarded works and some others works belonging to the final selection will be offered to the members of the EBU European Broadcasting Union, and to the French radio non-profit networks, for one free broadcast per station. The broadcasts will be declared to the respective author's rights organizations.

#04 HOW TO APPLY Each entry must be filled out in English or in French, and drop on the following website Dropbox, https://www.dropbox.com/. A guideline is available on request at : concoursphonurgia@free.fr Each submission must include: 1 - the included entry form completed and signed off 2 - a biography of the author(s) and general information concerning his (their) habitual manner of working. 3 - an authorization to participate from the production or the co-authors of the works submitted 4 - a short description of the work submitted 5 - a sound file in good quality (wav) 6 - in the ‘project’ category: we expect a description and/or “maquette” and/or a scenario of the project, accompanied by any documentation which could inform the jury as to the intention of the authors and the technical requirements of the project 7 - A transcription in English of the text included in the work, if relevant 8 - for the “Pierre Schaffer Discovery award”, in addition with the documents above, we ask for a copy of an identity card mentioning the date of birth of the authors Closing date for registration of entries: July, the 30th 2017. We expect one application form by submission in the different categories (and not one per author/producer).

An application form is available in PDF format from the link below

DOWNLOAD THE REGISTRATION FORM 2017

#05 TRANSFER OF WORKS AND PROJECTS Once the folder created on Dropbox and containing all required elements mentioned below, you just have to share the link with the following email address: concoursphonurgia@free.fr #06 REGISTRATION FEES Registration fee for the different prizes mentioned above = 30 euros (and 15 euros for each work submitted to the “Pierre Schaeffer Discovery Award”). All payment from outside France must be made by Paypal (using the following email address: info@phonurgia.org) or by direct bank to bank transfer to Association PHONURGIA NOVA, Bank: BNP Arles, 10 place de la République, 13200 Arles, IBAN : FR76 3000 4000 4400 0201 4673 195 / BIC BNPAFRPPNIM. All bank charges must be prepaid. No refunds will be made. #07 DEADLINES AND DATES Applicants are asked to submit their productions by the 31th July 2017. The Listening days will take place on September the 23th and 24th 2017 at the BnF / Bibliothèque Nationale de France, site François Mitterrand (Paris, 13). Theses two days of listening are open to everybody. Results will be announced on the evening of the last day and published on our website. They will be given to all participants by email. The terms of artist-in residence will be organized during the year 2018, in accordance with dates chosen by the prizes’ winners. Prize winning works will be auditioned or exhibited by Phonurgia Nova in 2018. #08 LIABILITY Authors must make sure that any participant or right owner has given his agreement. The festival management is not legally responsible for any damage caused on any piece of the entry. The Festival management reserves the right to use any selected work in order to promote the Festival. The completed entry form represents the candidate's consent to the above rules and regulations. The french version of this text will be taken in account in case of contestation. # 09 A LISTENING ROOM An online "listening room" on www.sonosphere.org enables visitors to have access to some previous selected works. # 10 SOUND ARCHIVES All the materials received at the Phonurgia Nova contest will constitute a permanent archive of audio works. This archive will be opened to the public for free. # 11 FURTHER INFORMATION A blog will allow you to follow all steps of the selection on www.phonurgianova.blog.lemonde.fr (mostly in French, sorry). For further information or any question, feel free to email at concoursphonurgia@free.fr

# 12 Send For further information about this competition, please feel free to contact the Phonurgia Nova office in Arles :

Phonurgia Nova Awards 39, rue Genive 13200 Arles France

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HIAP - Helsinki International Artist Programme is seeking applications from artists worldwide for residencies taking place at HIAP Suomenlinna and HIAP Cable Factory in 2018.

HIAP Residency Programme is HIAP's main residency programme, which has welcomed artists to Helsinki since the year 1998. The programme focuses on contemporary art but is open for art professionals from other disciplines as well. The programme offers time and space for open-ended research and experimentation, without the requirement to produce finalized pieces or work.

The residency studios, which combine living and working space, are located in the Cable Factory cultural complex and on the island of Suomenlinna, both in Helsinki, Finland. HIAP welcomes also family members of the artists-in-residence. The studios can accommodate 2-3 persons. For images of the HIAP Suomenlinna and Cable Factory Studios, please take a look at http://www.hiap.fi/suomenlinna and http://www.hiap.fi/Kaapeli.

The duration of the residency is three months. The programme at HIAP is divided into three residency seasons:

Spring (March - May) Summer (June - August) Autumn (September - November)

The applicants will be asked to state their preferred residency period in the application form.

The residency includes accommodation and studio space free of charge, a monthly working grant of 1200€ and travel costs.

The main funders of HIAP Residency Programme are Taike Arts Promotion Centre Finland, Ministry of Education and Culture and City of Helsinki. With the support of the Nordic-Baltic Mobility Programme for Culture by Nordic Culture Point, artists based in Nordic and Baltic countries are eligible for an additional support in the form of a production budget.

HIAP encourages artists-in-residence to carry out collaborations with local artists and arts organisations. During their residency, the artists have access to HIAP administrative support and to contacts with local arts professionals and organisations. The artists have a chance to present their work in a HIAP Open Studio event organised towards the end of each residency season. In addition, HIAP Project Space can be used by the artists for meetings, gatherings or for self-organised events.

HIAP hosts a weekly internal gathering for all resident artists with occasional special guests and offers an annual programme of visits to exhibitions, galleries and various other venues and events in Finland.

HIAP is in the process of confirming collaborations with organisations which can offer specific production facilities for artists. The first confirmed collaboration is with Pot Viapori ceramics studio, located next to HIAP Suomenlinna Studios. More information: http://www.hiap.fi/pot-viapori

In addition to HIAP Residency Programme open call, there are several other annual open calls which are sent out by our partner organisations. The specific country focuses of these open calls include Australia, Japan and Korea. The open calls also include specific focus areas, such as comics and design. For further information please have a look at the annual open calls summary page.

The Jury consists of HIAP Associates and members of HIAP staff. The selected artists will be notified by the end of August 2017. Please note that due to the large number of applicants, we are unfortunately unable to give feedback about individual applications.

The deadline for the applications is Wednesday, June 28, 2017 (11:59 pm, GMT +2).

SELECTION CRITERIA

HIAP Residency Programme welcomes artists, curators and other arts professionals with a wide range of backgrounds and diverse practices. The selection is based on professional merit and there are neither limitations nor preferences in factors such as country of origin, age, media, etc.

Applications from individual artists, collectives or artist duos are welcomed. Please note that in case of more than one selected applicant, the working grant and travel allowance will need to be shared among the members of the group.

The main criteria for the selection are the originality and quality of the professional practice and the motivation letter.

In addition, there are several guidelines that the HIAP Jury will take into account when assessing any proposal:

- Applicants should be reasonably fluent in English (spoken and written).

- Applicants should normally have at least 2–3 years of proven professional practice or have completed a university level degree in a relevant field of study.

- The willingness to present one’s practice to local audiences in the frame of HIAP Open Studios is considered an advantage.

APPLICATION GUIDELINES

To apply, applicants must submit the following by using an online application form:

Motivation letter

Working plan describing the professional activities you plan to undertake during the residency period

Short bio and a curriculum vitae

Examples of previous work

Incomplete applications or applications sent by e-mail without using the online application form will not be taken into consideration.

Please note the following guidelines regarding additional material supporting your application:

It is advised that all the supporting material is stored online and can be downloaded via the use of hyperlinks, which are mentioned in the application. Please make sure that the links do not expire before you have received the decision of the Jury.

All image / video / sound samples should be stored and shared online. It is advised to use platforms such as YouTube, Vimeo, etc, so that downloading isn’t required to  access the material.

Please note that due to the amount of materials received, we are unable to contact applicants upon receipt of each application, to address individual inquiries regarding proposals, or to comment further upon the selection process.

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APPLY FOR TAG TEAM'S OPEN CALL 2017:

Tag Team Studio usually do not accept applications for exhibitions. But once a year we host an Open Call-exhibition, where all professional artists are invited to apply.

Deadline July 16th 2017 Honorarium: 15.000 NOK Transport: Up to 5.000 NOK Send your application to: soknad@tag-team.no

The Open Call-exhibiton will be announced mid August.

Information about the application:

Tag Team Studio invite all professional artists to apply for the Open Call. The duration of the exhibition will be November 24th – December 10th.

What to send us:

1: Your project description Should contain a short text about your artistic practice, and a short project description of your exhibition at Tag Team Studio.

2: Your CV

3: Documentation: up to 10 images (or video if that is the format you are working with). Also include a list of documentation, containing titles, year of production, technique and size.

- Photos should be less than 2 MB per image bilde, and in jpeg-format (or gathered in a PDF) - The text have to be in word- or PDF-format.

Send your application as a dropbox-link, that leads to the folder where all your content is gathered. Make sure the link will give us access to the entire content of the folder. Your email to us should (in addition to the link) contain your name and a short summary of your project description.

Questions If you have other questions, you can send them to post@tag-team.no. Mails sent to our application address will not be answered. But you will get an automatic reply confirming that we have received your application.

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Description: UCHRI invites University of California faculty, graduate students and recent PhDs , as well as independent scholars and artists, to submit letters of interest to attend an all-day workshop on the topic of experimentation and the humanities. The aim of the workshop is to explore innovative agendas, partnerships, and methodologies that advance multidisciplinary, multimodal examinations of the topic. The workshop will examine both experimental practices and cultural representations of the experimental in both historical and contemporary frames. The purpose of the event is to form collaborative research groups that will participate in a studio on humanities experimentation during the 2017-18 academic year.

Who Can Apply: UC and non-UC faculty, graduate students, recent PhDs, independent scholars, artists, and media professionals

Award Amount: Travel, lodging, and meals to attend the event; potential opportunity to apply for additional funds to participate in the year-long research studio.

Application Opens: March 28, 2017 (online via FastApps)

Application Deadline: May 5, 2017 (11:59 pm PST)

Awards Announced: May 19, 2017 (expected)

Funding Source: The Horizons of the Humanities initiative, funded by the Andrew W. Mellon foundation

Final awards are contingent upon available funding.

View Frequently Asked Questions

Program Details

On June 16, 2017 at UC Irvine, UCHRI will host an exploratory all-day workshop on the topic of experimentation and the humanities to facilitate face-to-face networking and proposal development among groups of scholars and artists. The exploratory workshop will convene up to 15-20 competitively-selected UC faculty and graduate students, journalists, artists, and other public scholars for one day of networking, sharing research interests, and building an interdisciplinary research team.

The purpose of the exploratory workshop is to identify opportunities for research collaborations and partnerships beyond those typically found within traditional academic structures. To that end, we encourage applications from both humanities and non-humanities faculty and graduate students who are working on the topic of experimentation, as well as public scholars and artists from throughout California.

While establishing research affinities during the workshop, we encourage participants to think broadly about the topic and to consider interdisciplinary, multimodal scholarship and methods, as well as an expanded definition of research outcomes. Select research collaboratives that emerge from this initial exploratory engagement may be invited to apply for longer-term research funding as part of UCHRI’s Horizons of the Humanities initiative in order to conduct a year-long Experimentation Studio.

Topic Details

If you want to be a productive researcher, you have to conduct your experiments in such a way that you can be surprised by the outcome, so that unexpected things can occur. This only happens if, on the one hand, experiments are precisely set up but, on the other hand, are complex enough to leave the door open for surprise.

—Hans-Jorg Rheinberger in conversation with Michael Schwab, Experimental Systems: Future Knowledge in Artistic Research (edited by Michael Schwab), p. 200

Experimentation, once the province of science, is no longer an unfamiliar term in the arts and humanities both as a method and as an object of study.  Concomitant with the rise of digital technology, there has been a resurgence of interest in process-oriented and open-ended research methods such as visualization, mapping, simulation, and modeling, all of which share some processual overlap with experimentation. These and other new practices are changing the epistemological basis on which humanities research is conducted, and are helping to create new kinds of knowledge.

Experimentation, and its role in shaping humanistic thought, takes on a particularly urgent meaning at a time when ecological crises, media proliferation, resurgent authoritarian populism, and economic precarity combine to blur long-cherished distinctions between humans, and technologies. Algorithmic governance and lively nonhuman agents all force new imperatives upon humanist inquiry. In this situation, experimental engagements with the contemporary can offer generative imaginations of both creative and repressive futures.

As a collaborative practice, experimentation calls on humanists to develop new modes of research that are attuned to principles of community, dialogue, and cohabitation. In a moment when there is intense pressure on humanists to produce quantifiable knowledge in the form of clear “outcomes”, this studio calls on scholars and practitioners to reflect on experimentation as a method for resisting the instrumentalization of the humanities in the university and beyond. The studio will be a space for interdisciplinary, collaborative work committed both to the process of generating knowledge and end product. We encourage collaborations between artists and humanists that combine modes of experimental practice to redefine the shape and outcomes of knowledge.

We invite letters of interest from scholars, artists, and researchers that (a) include a research abstract, and (b) reflect on experimentation as an object of study and as a research method. Potential areas of inquiry include:

Historical legacies of experimentation as an expression of creativity as well as power

Experimental dialogues between the human, social, and natural sciences

Experiments as sites of collaboration, collusion, and deception

The democratic experiment and the future of collectivity

Experimentation as work and play

Experimental thinking as epistemology and/or cultural values system

Role of experimentation in the blurring of distinctions between human, machine, and animal; animalization of human life/anthropomorphizing of the animal and machinic, technologic

Dialogues between experiments in humanistic and artistic practices

Application Details

Applicants are strongly encouraged to contact their respective campus representative on the UCHRI Advisory Committee for guidance in the process.

Applicants must apply online via UCHRI’s FastApps system. Required documents include:

Curriculum Vitae/Resume of the participant

Letter of Intent (800 words max) outlining your interest in the topic of experimentation and how a collaborative engagement would contribute to your continued research aims.

Successful applications should clearly demonstrate how the theme would be suitable to collaborative research.

For program-related questions, please contact Marie Saldaña, Research Programs Manager at msaldana@hri.uci.edu.

For technical assistance with FastApps, contact techsupport@hri.uci.edu.

Please include the name of the program for which you need assistance.

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ARTIST RESIDENCY

Marble House Project accepts approximately  52 artists a year for individual 23 day residencies. Each resident is provided with a private studio space, room and board.

During residencies, artists are invited to engage with the local community by sharing their work at one of our weekly Art-seed events. Artists may also participate in sustainability workshops, volunteer on the farm, and take weekly yoga classes. While our residency is uniquely suited for artists interested in sustainable practice there are no requirements that a resident must fullfill. Applicants are selected based on the quality of their work, commitment to their practice, and the potency of the project they intend to create while at Marble House Project.  

Our Artist in Residency Program runs from April 24 - October 25th. During this period we offer one FAMILY FRIENDLY residency for artists with children. This residency is 16 days long, during which time we provide a summer camp for children 4-14 years of age.    LEARN MORE

COLLABORATIVE RESIDENCY

Marble House Project is launching a collaborative residency program for artists working in groups of 3 or more. This program will begin November, 2017 and run through March, 2018.. Our Collaborative Residency was founded to encourage artists across disciplines to work together in the spirit of innovation and risk.

During the collaborative residency, groups will be provided with all 8 private bedrooms on campus and three multidisciplinary visual art studios, our dance studio and our music studio.

The application for Collaborative Residency will go live April, 2017. If you have any questions about the Collaborative Residency please email info@marblehouseproject.org for more information.  

CURATORIAL RESIDENCY

The curatorial field has expanded rapdily in the last decade. Today's curators are largely independent and build exhibitions, programming and publications for museums, galleries, biennials, projetct spaces and the web.  The institutional support for curatorial research must respond to the significant cultural impact of independent curators today.

Our Curatorial Residency will run alongside our Artist Residency Program from April 24- October 25. Curators will be given private bedroom in the Maley-Leferve house and a studio space with wireless internet access. Curators are also welcome to apply for the Family Friendly Residency LEARN MORE

FAMILY FRIENDLY  RESIDENCY

Marble House Project offers one session per season in our residency program that is family friendly. Accepted artists can bring their spouse/partner and children. Each family is provided with  housing, studio space and food in a communal atmosphere. Art and ecology programming and other physical and enriching activities are provided for the children, weekdays, from 9 till 3pm.   Residents and their families have the opportunity to participate in all aspects of our agriculture program and learn more about sustainability and food production. MHP offers field trips for families to travel to local farms and museums.  Artists in residence present their work to the community through open studios and ART-Seed, our Tuesday night presentation series.  LEARN MORE

CHEF RESIDENCY

The commercialization of nutrition has led to an industry that substitutes bioavailable nutrients for a long list of preservatives and additives. In this culture of non-food, our chefs are a beacon of hope for a future of healthy eating. With that in mind, we founded a Chef Residency Program to provide  chefs an opportunity for experimentation and growth and inspire our community to embrace a more DIY approach to the kitchen.

Our Chef Residency provides chefs a test kitchen, ingredients (wherever possible from our organic farm) and a restaurant for bi-weekly meals.  The Chef Residency runs concurrently with the artist residency program.  LEARN MORE

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MUSICultures

solicits articles for publication in a special issue on

Ecologies

guest edited by Dr. Aaron S. Allen (University of North Carolina at Greensboro) and Dr. Jeff Todd Titon (Brown University). We also continue to solicit

articles on any topic related to our mandate

The goal of this special issue is to demonstrate and bring into conversation the diverse yet interconnected fields and disciplines that bring ecological approaches, methods, and thinking to considerations of sound and music. The plural form “ecologies” indicates that we welcome writings from diverse applied, artistic, scholarly, and scientific perspectives. Such perspectives include (but are not limited to) the natural sciences (ecology, conservation ecology, soundscape ecology, etc.), the social sciences (cultural ecology, ecological/environmental psychology, human ecology, political ecology, etc.), the arts and humanities (acoustic ecology, composition, deep ecology, ecocriticism, ecomusicology, ecophilosophy, environmental humanities, performance studies, sacred ecology, sound studies, etc.), and applied fields (administration, governmental officials, non-governmental organizations, policy makers, etc.).

Contributions may include original research, state-of-the-field summaries, position papers, review essays, or other approaches that range in length from circa 1000 to circa 7500 words.  

MUSICultures is the peer-reviewed journal of The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales. It is a refereed journal published twice a year under the auspices of the Society. Membership in CSTM is not a prerequisite for publication.

MUSICultures publishes original articles in English and French on a wide range of topics in ethnomusicology, traditional music research, and popular music studies. MUSICultures welcomes articles on music in Canadian contexts as well as scholarship on any relevant issues in relation to any music practices in the world or to global processes. The journal also publishes reviews of books, and sound and visual recordings.

Article proposals, consisting of a title and a 250-word abstract should be submitted in French or English by May 15, 2017, together with an indication of the type of contribution and expected word count. Complete contributions will be due by September 15, 2017. Articles on original research are normally in the range of 6,000-7,500 words, but shorter pieces in other styles are welcome.

Please visit our website for complete submission details:

http://www.yorku.ca/cstm/publications.

Submit manuscripts or questions to: musicultures@cbu.ca.

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ISACS17 – International Sound, Art and Curating Conference Series – ZKM, Karlsruhe 28-30 September 2017Submission here extended deadline: 15 MayResonant Worlds – Curating Sound, Art & Science‘Resonant World’ is the metaphor, suggested by H.C. Andersen to Danish Physicist H.C. Ørsted in their search for a way to describe the physical world appearing in phenomena such as acoustics and electro-magnetism*. In this (poetic) vision, the physical world is indeed a resonant world in which seemingly static or solid objects are in a constant flux of energy or entropy. The world is best represented in-between ‘mental orchestrations’ and ‘sonic manifestations’ that perform ephemeral information emanating from a variety of new ‘epistemological’ instruments (such as the spectrograph or seismograph).The metaphor of resonance has since entered the vernacular of as different areas as molecular science (Weibel and Ljiljana Fruk), sociological philosophy (Hartmut Rosa), and various domains of sound analysis (Kramer) and production (Sutter).Thus, the metaphor of resonance does more than hint at a physical world we cannot see but still resonate in us; it also describes a world we cannot perceive without instruments. Thus, it marks a change in the perception of the physical world; or, rather, it changes our understanding of how the physical world (and ourselves as part of it, as resonant beings) may be perceptible, if at all. The resonant world is a world of technological perception and distributed reflectivity. The notion that technology is our transcendence (Heidegger) at the same time points out and hides the complexities involved in acknowledging the materiality behind the technological perception of that resonant world. Theories of experience, reflectivity and discourse all examine art and artistic practices as a way to work within scientific epistemology. In the 1820s, resonant worlds pointed towards a new collaboration between art, sound and science. It is suggesting an essential conceptual framing of the field of art and science which inescapably involves sound as acoustic materiality and sonic representation. A conceptual framing which implies structures of understanding and meaning from the world of sound and acoustics by which art and science operate; and by which those worlds are being operationalized (interpreted, contextualized, understood). Sound points out a different ontological status of the world both art and science aims at describing. It is a field which has seen much activity within post-humanism, post-phenomenology and post-positivism. It is, moreover, a field which operates in the second scientific revolution (Ihde, Whitehead), techno-science, and techno-genesis (Hayles).We call for submissions across a variety of categories that (re)investigate the resonating intersections of sound, art and science today. We especially welcome papers that experiment with the academic format, such as curator-based research, performative academics, audio papers, documentation-based or other practice-based formats.All participants in the conference will be offered the opportunity to submit full papers (including practice-based formats) to a special issue of the online journal Seismograf, edited by Peter Weibel and Morten Søndergaard. All submissions will undergo a double blind review. All papers must be submitted online: https://easychair.org/conferences/?conf=isacs17.Deadline for proposals (abstracts including practice-samples): extended deadline 15 May (notification July 15).Full paper deadline (if abstract is accepted): September 1.Authors should consider one of the following tracks when submitting:The Meta Track: Histories of Sound, Art & SciencesThe (post)human Track: Technology and ResonanceThe Curation Track: Contexts of Sound, Art & SciencesThe Science Track: Sound and Sonification as EvidenceThe Art Track: A selection of sound art will be selected to be performed or exhibited at ZKM.The un-curation track: everything unwinds and fall apart.

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International Conference

8-10 November, 2017

Musée du quai Branly – Jacques ChiracIrcam – Centre Pompidou

The “Music & Hacking: Instruments, Communities, Values” conference intends to look at musicians and technicians’ practices which – explicitly or implicitly – could be seen as musical hacking activities. Since the turn of the last century, computer coding and digital instruments continue to transform the aesthetic, ergonomic, communicational, and ethical dimensions of musical practices. These shifts are taking place in part under the banner of hacking, a notion which is primarily associated with the IT world. However, it has progressively infiltrated and structured a number of other fields, such as that of artistic creation. Hacker values include re-appropriation of mass-produced technical products and a focus on freely accessible communal know-how, as well as the pleasure of serendipity, subversion, and manipulation. In sum, hacking is the foundation of a disparate, discreet form of social protest: a reaction to a normalized, globalized commercial and industrial culture. The conference will focus on three general themes: organological hacking, creation and federation of musical communities through hacking, and the influence of hacker ethics on musical practices. At the end of the conference, a Music Hack Day will be organized on the premises of IRCAM, which will give us a chance to extend and test our reflections on musical hacking.

Topics

Invention and subversion of instruments

Non-conformist instrumental practices

Hacking, organology, museology

DIY, circuit bending, and making

Squats, fab labs, and makerspaces

Hacking and socializations

Opportunity, serendipity, and innovation

Music and open source

Musical hacking and intellectual property

Hacker ethics and axiology

Coding and transcoding music

Musical hacking and the emergence of digital culture

Musical hacking and the history of information technologies

Musical hacking and digital art forms

Cultural industries and counter-cultures

Music Hack Days, tech providers, and web audio

Demoscene and derivations of hacking

Proposals for demos, workshops or performances will be taken into consideration for inclusion in the concluding Music Hack Day.

Calendar

Proposals (either in English or French) are due on May 1st, 2017, and should be sent to musiquehacking2017@gmail.com. Authors will be notified of their participation on July 1st, 2017 at the latest. Proposals, in .doc format, should include a title and an abstract of approximately 500 words, the author’s name and institutional affiliation, as well as a brief biography.

Scientific committee

Paul ADENOT (Mozilla), Sébastien BROCA (CEMTI, Université Paris 8), Nicolas COLLINS (School of the Art Institute of Chicago), Joanna DEMERS (University of Southern California, Thorton School of Music), Nicolas DONIN (APM, IRCAM), Christine GUILLEBAUD (CREM, Université Paris Ouest Nanterre), Michel LALLEMENT (LISE, CNAM), Paul LAMERE (Spotify), Camille PALOQUE-BERGÈS (HT2S, CNAM), Norbert SCHNELL (ISMM, IRCAM), Jimena ROYO-LETELIER (Deezer)

Organizing committee

Baptiste BACOT (EHESS/IRCAM), Clément CANONNE (APM, IRCAM), Frédéric KECK (MQB) and Guillaume PELLERIN (APM, IRCAM)

Partners

Musée du Quai Branly

Ircam

CNAM

Labex CAP

Deezer

Contact

musiquehacking2017@gmail.com

Documentation

PDF version / Press release

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CALL FOR 5TH GHETTO BIENNALE 2017

A CARTOGRAPHY OF PORT-AU-PRINCE

A call for artists and curators (calls in Kreyòl, 官话, Português, لغة العربية, Español, русский, Français, नॉट available soon on the website)

PDF CALL Español

PDF CALL Deutsche

PDF CALL Français

PDF CALL Ελληνικά

PDF CALL Português

The polyphonic city of Port-au-Prince has a rich history of cultural production. While its infrastructure is deeply compromised, and the gap between the rich and the poor immense, this chaotic and resolute city is provocative and engaging.

The 5th Ghetto Biennale 2017 is looking for projects that map, in the broadest use of the word, the city’s many diverse centers of cultural production, street life, religious heritage, mythologies, histories, varied architectural presences and much more; to create a compelling portrait of a historically significant, and intensely complex, city in flux.

"A Cartography of Port-au-Prince" will use the city as a lens through which to view the chaotic intersections of history, music, politics, religion, magic, architecture, art and literature; to enable to the viewer to reflect upon the past and speculate about the future of this uncommon city and its country.

The 5th Ghetto Biennale 2017 will take place from the 24th November until the 18th December 2017. All works must be made and exhibited in Haiti. Artists and curators will be invited to pass, no less than one and up to three weeks in Haiti before presenting their work in the neighbourhood to an audience of local people, Port au Prince neighbourhood communities, arts collectives and arts organisations.

The deadline for proposal applications is midnight Sunday 2nd July BST and our decisions will be made and announced by the end of the third week in July.

Applicants for the 5th Ghetto Biennale 2017 must provide a written synopsis of their project proposal covering conceptual background, methodology, and a production and exhibition strategy for the proposed new work in no more than 500 words and on no more than two sides of A4 including illustrations and a one page CV; all formatted as pdfs. We will not accept any proposal longer than two sides, no attached images and neither will we accept website links as a proposal component.

Please keep in mind that we are looking for works that will be created during the three-week period in Port-au-Prince, Haiti. We are not looking for work that is already created. We welcome projects that may require collaboration with local artists and would be able to help connect artists beforehand.

There is no funding for this event and you will be expected to cover the cost of your flight, accommodation and materials. We will supply a reading list, there is a film about the Grand Rue sculptors on-line and we will be more than happy to help (via email) with any research and information needed, both before your application and leading up to the event. Advice can also be given about the practicalities for the production of specific projects and budgeting for the trip. If your work involves intensive interviews we will advise you to budget for your own translator. Artists should be aware that Haiti has only a 50% literacy rate and text heavy projects could be problematic for the local audience. We can help organise all hotel bookings, airport pick-ups and internal transport.

The Ghetto Biennale site remains a lens-free zone for none-Haitian artists but there will be a photographer on site to document the projects at the end of the event for anyone needing images for documentation. But we are relaxing the lens-ban to accept film and photographic project proposals for works made in other areas of the city.

Thank you to our volunteer translators Patricia Verdial (Español), Nelta & Maccha Kasparian (Français), Yuk Yee Phang (官话), Anya Dorofeeva (русский), Priscilla Mountford (Português), Laurie Richardson (Kreyòl) and more.

‘The Sculptors of Grand Rue' can be viewed at http://vimeo.com/14681755

Find more information about Atis-Rezistans visit www.atis-rezistans.com

Check out the project archives of the previous Ghetto Biennales www.ghettobiennale.org

Enquiries, applications & questions contact: Leah Gordon at Leahgordon@aol.com

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Tuning Speculation V: Vibratory (Ex)changes

17-19 November 2017, Toronto (Canada)

Organized by The Occulture

(David Cecchetto, Marc Couroux, Ted Hiebert, Eldritch Priest and Rebekah Sheldon)

If the din of sonic and vibrational ontologies has catalyzed a salutary expansion of the vectors through which the world is (never) made sensible, it has also risked speaking, echoing, and amplifying the disquieting murmurs and groans of contemporary neoliberal biopolitics such that sounds of the latter are, paradoxically, inaudible as such. If this is the case, then what is the relationship between a vibro-capitalism that is heard in and as contemporary politics and a vibrocapitalist impulse that drives and ratifies the reality of those same elements? Put differently, on what does vibration exchange?

Maybe it’s time to forget the future, which was always a hallucinatory mnemotechnical destiny anyways; instead, the tuning is now and it brings with it questions that can only be (un)heard at scales that never quite sound. We therefore seek contributions from scholars, artists, writers, activists and comedians who take seriously the ethical, political, or phenomenal capacities —possibly impossible, and likely unlikely—that are opened, foreclosed, amplified, attenuated, dampened, resonated, remixed, or otherwise called forth at the nexus of vibration and exchange, however broadly conceived. While several approaches can catalyze our speculations, we propose to concentrate on sounding art—broadly understood—in order to leverage the fated semiotic parasitism, differential production, relational expression, and perceived multiplicity that informs such practices. We also welcome various reflections on sono­distractions, phonochaosmosis, ’patasonics, harmelodic­prescience, audio pragmètics, chronoportation, h/Hypermusic, rhetorical modes of speculation and other invocations of impossible, imaginary, and/or unintelligible aural (dis)encounters.

Please send an abstract (maximum 250 words) to torn@asounder.org by 1 July 2017. In addition, given that we will be making multiple funding applications to support travel for all presenters, please include the following with your abstract: short bio (150 words), your affiliation, and a summary of academic degrees. Notification of acceptance will be given in early August.

Tuning Speculation V is generously supported by York University through the Faculty of Liberal Arts & Professional Studies, the Faculty of Graduate Studies, and the Department of Humanities.

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Media often escape articulation, even as they shape articulation itself. Today, we increasingly express ourselves through and within digital media, yet our critical vocabulary for these devices, their processes, and the apparatuses in which they are enmeshed, remains thin. Even as the study of media has become an increasingly prominent feature of the scholarly landscape in recent years, it remains a notoriously difficult field to define. This conference will explore the methodologies with which we might excavate past media forms and the knowledge they produce, as well as practices with which we might usefully juxtapose new and old media in order to reframe these technologies in the present.

We invite proposals that consider new approaches to media theory and history. We are interested in papers that will critically examine recent developments in the field, or offer an analysis of specific media, whether new or old, digital or analogue, that will suggest new ways to think through our understanding of media and their epistemological frameworks. A place to begin may indeed be with the term media, or perhaps medium, itself—which is notoriously ill-defined, yet essential to our theoretical frameworks. The programme committee welcomes submissions in the form of 20-minute presentation papers from any discipline. Topics which these might address include, but are not limited to:

Media and the construction of historical narrative

How do media transpire and expire?

How have digital media transformed our perception of older media forms?

The philosophy of technology: technics and techne

How do we distinguish between media and the intermedial?

Polemics on recent approaches, such as ‘media archaeology’ and ‘cultural techniques’

How do media condition and produce knowledge?

The conference will bring together individuals from a variety of disciplines to discuss how we might enhance our articulations of media. Focusing on media will offer a new avenue towards the consideration of the conceptual and material frameworks that undergird the more traditional subject matter of humanistic and social-scientific work. Such questions might radically alter our understanding of interdisciplinary work and the theoretical models in which we trade. An interrogation of the epistemologies bound up with media remains essential in questioning the binary of the old and the new, the antiquated and the relevant, the useful and the remainder.

Plenary addresses will be given by:

Jussi Parikka (Professor in Technological Culture & Aesthetics, Winchester School of Art)

Bernhard Siegert (Gerd-Bucerius-Professor for History and Theory of Cultural Techniques and Director of IKKM, Bauhaus Universität Weimar)

Abstracts for individual papers should be no more than 300 words in length and should be sent, along with a biographical note, to excavatingmedia@gmail.com by Saturday, 22 April 2017. Notifications of acceptance will be sent out by the end of April.

Conveners: James Gabrillo (Faculty of Music) & Nathaniel Zetter (Faculty of English)

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Banff music programs

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Conference theme:    STS (In)Sensibilities

If sensibility is the ability to grasp and to respond, how might we articulate the (in)sensibilities of contemporary technoscience?  How, similarly, can we reflect on the extent and limits of our own sensibilities as STS scholars, teachers, and activists?  The conference theme invites an open reading and exploration of how the world is made differently sense-able through multiple discourses and practices of knowledge-making, as well as that which evades the sensoria of technoscience and STS.  Our aim is that the sense of ‘sense’ be read broadly, from mediating technologies of perception and apprehension to the discursive and material practices that render worlds familiar and strange, real and imagined, actual and possible, politically (in)sensitive and ethically sensible.    

We welcome open panel and closed session proposals, individual paper submissions, and proposals for events that are innovative in their delivery, organization, range of topics, and type of public.  Due to the growing number of submissions and our desire to be as inclusive as possible, each participant will be strictly limited to only one paper or media presentation and one other activity (such as session chair or discussant), for a maximum of two appearances. Participation in the Making and Doing event (see below) is not counted toward this limit.

Program Committee

Heather Paxson (MIT, Chair) Daniel Breslau (Virginia Tech) Claudia Castañeda (Emerson College) Tarleton Gillespie (Cornell, Microsoft Research New England) Mary Gray (Indiana University, Microsoft Research New England) Nick Seaver (Tufts) Banu Subramaniam (University of Massachusetts-Amherst) TL Taylor (MIT) Lucy Suchman (Lancaster University)

Important Dates

Nov 15. Call for open panels proposals Jan 1. Submission closes for open panels Jan 15.  Call for closed/invited sessions and individual paper submissions and Making and Doing session proposals March 1. Deadline for submission of closed sessions and individual papers April 15. Acceptance notification May 15.  Preliminary program June 23. End of early registration July 21. Registration deadline to be included in the program

Call for Papers, Panels, and Making and Doing Presentations

Submissions now open! Please begin by reading these instructions.

Deadline for Submission: March 1, 2017

Papers

Paper submissions should be in the form of abstracts of up to 250 words. They should include the paper’s main arguments, methods, and contributions to STS. You may choose to submit your paper abstract to an open panel, or you can leave panel selection to the program organizers.  In addition to designating one or more topical Research Areas using the drop-down menu, please list up to five keywords to help the program organizers evaluate and assign your paper.

Sessions

Each session proposal should contain a summary and rationale of up to 250 words, including a brief discussion of its contribution to STS.  A session proposal must contain a minimum of three paper abstracts conforming to the criteria above and may contain up to five, plus a discussant. If the proposal contains fewer than five papers, the Program Committee may assign additional papers to your session to optimize scheduling and participation.

Open Panels

Prior to opening submissions, the program Committee accepted 129 proposals to host Open Panels. Their descriptions are available for perusal across four pages via the menu at left. When submitting a paper, you have the option of nominating your paper for up to three Open Panels.

The purpose of calling for open panel proposals is to stimulate the formation of new networks around topics of interest to the 4S community. Like any meeting panel, an open panel is a paper session with a theme and a responsible chairperson(s). In contrast to traditional ("closed") session proposals, open panel topics are included in the call for papers, and authors nominate their paper for one or more panels.

Making and Doing Session

In addition to paper and session submissions, 4S invites proposed presentations for the ‘STS Making and Doing’ event.  The Making and Doing event aims at encouraging 4S members to share scholarly practices of participation, engagement, and intervention in their fields of study. It highlights scholarly practices for producing and expressing STS knowledge and expertise that extend beyond the academic paper or book.  

Participation in the Making and Doing event does not count toward limits on conference participation described elsewhere. Making and Doing proposals are submitted through a dedicated form found at the same location as paper and session submissions. Read the full Call here.

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The Scientific Delirium Madness is a collaborative initiative of Leonardo/The International Society for the Arts, Sciences and Technology (ISAST) and Djerassi Resident Artists Program (DRAP). Empiricism and intuition are not mutually exclusive.  The goal of the project is to explore and expand how the creativity of scientists and artists are connected.    

At its heart is a 29 day residency for six (6) artists and six (6) scientists at Djerassi’s 585-acre retreat in the coastal Santa Cruz Mountains, south of San Francisco. The program will also include public and academic forums, published blogs and articles in LEONARDO/ISAST’s journal published by MIT Press.

Scientists selected must be involved in significant art-related research and/or be practicing a form of art and/or have original ideas on how to integrate aspects of art and science. This includes but is not limited to poetry, playwriting, fiction, creative non-fiction, choreography, music composition, media arts/filmmaking, painting, sculpture, photography, and installation art. By the same token artists selected will have a track record of work driven by the influence of biology, chemistry, physics, math, environmental or agricultural science.  A strong sense of play and experimentation is essential.    

Applications are now open via djerassi.org for scientists and artists who wish to be considered for this special residency.  To apply use the APPLY button on the left.

Scientists, mathematicians and additional artists will also be proposed via nominators selected by the project’s steering committee. Invitations for residencies will be sent in September of 2017.

This is not a product-based residency. Artists and scientists will be free to work on their own projects. Participants will be expected to be in-residence for the entirety of the session. Accommodations, food, and local transportation are provided. Residents will also be expected to interact with colleagues in differing fields, participate in a two public forums during their stay and document/share their experiences for both academic and general audiences.

Inquiries should be directed to Margot H. Knight, Executive Director, Djerassi Resident Artists Program, 2325 Bear Gulch Road, Woodside, CA 94062 at margot@djerassi.org.  650-747-1250 or Piero Scaruffi, Leonardo Art/Science Evening Rendezvous (LASERs) at p@scaruffi.com  

deadline 3/15/17

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As testimony, test, or proposal, models of all sorts record, revise, and reinvent the world.  From toy miniatures to computer simulations, modeling is a primary means by which we make sense of and act upon our material lives, the lives of others and the culture at large.  Everyone models: from artists and designers to prototype machinists and engineers to children.  Models may be provisional or idealized—rehearsals of things yet to be or representations of those that already exist—professional or slapdash, sustained or ephemeral. In particular, models, whether prospective or mimetic, have long animated disciplines and discourses that center on knowledge formation and innovation.  Models can represent existing conventions or visionary inventions; in both cases models are scalar constructions with the potential for affective, aesthetic, conceptual, and technological effects. Inspired by the Hagley Museum’s extensive collection of patent models—nearly 900 items made between 1809 and 1899—this interdisciplinary conference seeks to highlight modeling as both a fundamental human activity and an inevitably material practice.

“Imagined Forms: Modeling and Material Culture” inaugurates a biennial conference series sponsored by the Center for Material Culture Studies at the University of Delaware. We invite submissions from all disciplines—including art and architecture, art history, comparative literature, digital humanities, English, history, history of science, and media studies—that critically investigate the function and form of models, the materials and methods of simulation and representation, questions of scale and perception, experiment and presentation, and the limits of modeling.

Please send abstracts of max. 300 words, with a brief CV of no more than two pages, by February 15, 2017 to materialculture@udel.edu.