The Centre for Creative and Cultural Research is seeking two PhD students to join its new Flagship Program, Digital Treasures. The Digital Treasures program builds on our strengths in digital design and cultural heritage. Digitisation is transforming cultural collections into digital treasure-houses, and opening up new opportunities, and new challenges, in how we represent, access, and apply these collections. Our recent projects such as ManlyImages, Trove Mosaic, and Australian Prints and Printmaking provide a taste of what’s possible. Students in the program will work with staff including Mitchell Whitelaw, Ana Sanchez Laws, Sam Hinton and Stephen Barrass.
The URL for this announcement is: www.canberra.edu.au/faculties/arts-design/news/digital-treasures-phd-scholarships-call-for-applications
The Digital Treasures PhD program is
- applied: focused on addressing the challenges and opportunities faced by our research partners in major cultural institutions practical, and
- practice-led: students will develop practical projects working with digital collections, supported by training in digital design and production
- industry-linked: students will work closely with partner institutions including the National Library and the National Archives, with internships built in to the PhD program.
Tuesday & Wednesday, 11 & 12 June 2013, 9.30am to 5.30pm
Venue: British Academy, 10-11 Carlton House Terrace, London SW1Y 5AH
Convenors: Professor Björn Weiler and Dr Peter Lambert, Aberystwyth University
This conference convenes an international group of experts to ask how societies debated, engaged with and refashioned their pasts. Such issues have come to the forefront in a variety of recent contexts: the Tea Party in the US, the teaching of history in UK schools, or the rewriting of history in countries across Europe, Asia and Africa. Yet to understand modern developments properly, they have to be approached from a truly comparative and global perspective. Speakers will explore areas and periods ranging from Imperial China to medieval Europe, colonial Mexico to Mughal India, and modern Africa.
Uses of the Past in Past Societies – British Academy.
The Museum Ethnographers Group (MEG) , as part of their Arts Council-funded Engaging Curators project is looking for examples of the innovative, ethical, participatory use of ethnographic collections in community projects in museums. We want to discover if any case study materials already exist or policy documents about working with local and overseas communities.
Please contact Dr Bernadette Lynch email@example.com before Friday 14 June 2013 with information (a selection of case studies will be published on the MEG website and disseminated via the Arts Council).
3 year full time PhD position at the Oslo School of Architecture and Design (AHO) and the Barents Institute in Kirkenes. (2nd call)
The position is associated to the Future North project, funded by the Norwegian Research Council within its SAMKUL Program. Future North aims to map and document the current Arctic and Subarctic landscapes through experimental interactive modes of mapping. Founded on a conception of landscape as a shared human experience, the PhD project should aim to bring to the foreground the voices of Northern residents – indigenous, non-indigenous, and new-comers. It should aim to develop strategies for mapping the relationship between these voices and the perception and representation of contemporary and future landscapes, as the Arctic advances headlong into massive industrialization, exploration for more resources, and speculative planning. The team includes 4 researchers from architecture, landscape, design, media, and social sciences, as well as 3 PhD fellows.
Deadline 30 May 2013
Further information please click here
From the Jewish Museum Blog:
Marc Adelman’s Stelen (Columns) (2007–11) was included in The Jewish Museum exhibitionComposed: Identity, Politics, Sex (Dec. 23, 2011–June 30, 2012). The work comprises a set of photographs Adelman found on a gay dating website. Following a published review of the exhibition, the Museum received complaints from several people whose profile pictures were featured in Stelen. Their comments focused on privacy issues—the inclusion of their images in the artwork without their consent—and the possibility that as a result of being depicted publicly in the work they might be subject to significant anti-gay backlash. (See statement.) We have invited Marc Adelman and a range of experts to address some of the complex issues raised by the artwork
The Jewish Museum Blog » Blog Archive » Who Owns What in the Digital Age.
PALESTINE AND THE MOVING IMAGE is a one day conference dedicated to the subject of Palestine in film and video.
Convened by the Palestine Film Foundation in association with the Centre for Palestine Studies at the London Middle East Institute, SOAS, the event is the first of its kind in the UK. With presentations by scholars, artists and curators, panels will explore topics ranging from colonial propaganda to video art, from militant aesthetics to visual ethics. The conference is aimed at cinema enthusiasts as well as scholars and filmmakers.
Date: Saturday May 11th
Time: 10:00am – 18:00pm
Venue: Khalili Lecture Theatre, SOAS, University of London, Russell Sq., WC1H 0XG
NB: Space is limited, advance booking essential.
Tickets: £20 full price / £15 students & unwaged (includes buffet lunch)
Details and booking: www.palestinefilm.org/events.asp?s=talks
HASTAC (Humanities, Arts, Science and Technology Advanced Collaboratory) is hiring to continue the work begun by postdoctoral fellow David Sparks to better understand our innovative community of educators and learners, to incentivize and support the range of cross-disciplinary researchers who must work together successfully in order to solve society’s biggest problems.
Click here, or read on to learn more about this unique opportunity to study HASTAC’s social network.
The Tate Gallery has a marvellous new website, The Gallery of Lost Art, an immersive online exhibition that explores the materiality, nature, biography and archive of missing (often canonical) works of art. Exploring the resonances and traces of pieces such as Rachel Whiteread”s and Robert Smithson’s Partially Buried Woodshed the site explores art that is ephemeral, discarded, missing, transient, erased, destroyed and attacked, and constitutes new materialities for these works in the form of image, text, audio, and dense archival explorations. The design of the site is also wonderful and don’t forget to check out the blog.
Whilst the fashion system persists over time, the relative fashionability of an item of clothing is, by definition, ephemeral; the knowledges and transient meanings that are seen to constitute fashion would seem to be at odds with a focus upon materiality of items of clothing.
Even if items wear down and change, their material persists for longer than they are fashionable. However, this special issue will engage with understandings of materiality not only in terms of persistences and endurances, but also in terms of transformations and material processes. The emphasis then will be upon how fashion is materialised, and conversely, how clothing is immaterialised. Paradoxically, even if the immaterial sense of ‘being in fashion’ can be detached from a specific garment, often it is the very materiality of clothing that was necessary to the creation and connotations of fashionability in the first place. The processes through which they come about are no longer present in consumption; their presence in/as fashion is their materiality.
Centring on the core question of how fashion is made material and how clothing is rendered immaterial, papers are invited in, but not restricted to, the following areas: The way in which items of clothing are visualised or images are materialised. The temporalities of fashion and of clothing. The consequences of materiality in terms of sustainability. How relationships to the materiality of clothing has changed over time (including in a ‘fast fashion’ era). Sensory effects and the tactility etc. of clothing.
The length of papers is negotiable; images are welcomed. Please send proposals for papers in the form of an abstract of between 500 and 1000 words, to Tom Fisher (firstname.lastname@example.org) and Sophie Woodward (email@example.com) by June 14th 2013. Full drafts should be ready by 2nd September 2013.