Category Archives: Announcements and Listings

Survivor Objects

“Survivor Objects” considers the meanings of material objects that have been tempered by trauma. By bearing historical witness, such objects can come to hold a privileged place in cultural memory and, as a result, play a powerful role for present-day communities. The symposium features faculty, graduate students, curators, and conservation specialists from across the country.  Please see the full program for panel and paper topics.

Details are available on the website

 

CALL FOR PAPERS: The Craft Museum: Ideals and Practice

March 13, 2015, Smithsonian American Art Museum, Washington, DC

Keynote: Sir Christopher Frayling, former Rector, Royal College of Art

Paper submissions from senior and emerging museum professionals, scholars, and educators are invited for this symposium, which will examine the role of the craft museum in modern culture. Coinciding with the renovation of the Renwick Gallery, the Smithsonian’s national craft museum, this program seeks a lively dialogue on craft’s institutional mission, and the execution of programming devoted to the collection, conservation, presentation, and study of craft. The issue of how to interpret the field of craft in a museum setting is increasingly urgent as the boundaries of its teaching, practice, reception, and the discipline’s very definition shift dramatically in the first quarter of the 21st century.

Potential topics include:

-       The museum as an engine of craft research and scholarship

-       Diversifying audiences for craft

-       Materiality and the digital museum

-       Viewing craft: new approaches to museum design

-       Evolving interpretations of skill

-       The conceptual turn in an aesthetic field

-       STEAM? Museums and craft education

-       Competing interpretations of craft in museums of art, anthropology, and archaeology

-       Museum citizenship, ethics, and the public trust

-       Interpretive and collection strategies for post-studio craft

-       The future of studio craft collections

-       The relationship between museums and the academy

-       Craft’s position within large institutions

-       The state of the dedicated craft institution

-       The history of craft museology

Please submit a 300-word abstract and short CV to Nicholas Bell, The Fleur and Charles Senior Curator of American Craft and Decorative Art, and Nora Atkinson, The Lloyd Herman Curator of Craft, at CraftSymposium@si.edu. Proposals are due by December 5, 2014. Applicants will be notified of their status by January 2, 2015. The symposium will be webcast.

RAI Horniman Museum Collecting Initiative (2014-2015)

As part of Collections People Stories: Anthropology Re-Considered, an Arts Council England (ACE) funded project taking place at the Horniman Museum, 2012-2015, we are seeking PhD Students or Postdoctoral Fellows, who plan to carry out fieldwork in 2014-2015 to make small collections for the museum.

Deadline: 30 September 2014

Collections People Stories: Anthropology Re-Considered is undertaking a detailed review and documentation of the Horniman’s Anthropology collections, highlighting the range, scale and importance of both its stored collections and those on display. The project sets out to investigate new and innovative ways of collections research, engagement and interpretation. It will facilitate academic and community consultation and debate, to both unpack the legacy of the anthropology collections and unlock their values for communities and visitors today. The different activities and events over the course of the project will feed into establishing a vision, and funding bid, for a major new anthropology gallery at the museum.

The Horniman has had a long legacy of fieldwork collecting. As part of the Collections People Stories project, they are keen to further expand on their remit of contemporary collecting at the museum.

We would like applicants to collect a single object or small selection of objects related to their own research area that would be of interest to the museum. The object needs to be visually appealing and culturally significant, an object that would easily lend itself to being displayed at the museum. The object/s collected should also have a rich context and we strongly encourage the use of photographs and videos showing the object being used and/or being made.

We are also interested in proposals that employ different models of field collecting, for instance asking local people what they would collect to represent themselves etc.

Please send us a proposal (up to 1,500 words) outlining, in brief, your research interests, fieldwork plans, including a proposal of objects you would like to collect for the museum.

£500 in expenses will be given to 3 people, selected by the Royal Anthropological Institute.

Please note: This fee includes object acquisition, packing and transport costs, so please take this into account within your proposal. Please also bear in mind museum conservation and storage issue when choosing your object. The Horniman’s Acquisition Policy can be found here: www.horniman.ac.uk/media/_file/Policies-Acquisition.pdf

Those selected will be expected to meet with Horniman curators before fieldwork, write a short report for the museum and an object narrative which will be posted on the museum’s website, www.horniman.ac.uk/.

If you have any questions regarding the Horniman Museum collections, or want to know more about the holdings from your specific research areas, please contact Sarah Byrne,sbyrne@horniman.ac.uk

All submissions should be sent by 30 September 2014 to: Amanda Vinson, Royal Anthropological Institute, 50 Fitzroy Street, London W1T 5BT (emailadmin@therai.org.uk).

Copies, Copyright and Preservation

Special Issue co-edited by Ines Weizman and Jorge Otero-Pailos

Future Anterior invites essays that explore the relationship between copyright and preservation from a historical, theoretical and critical perspective. Both copyright and preservation laws are aimed at protecting unique human achievements, but they point to different, even opposing threats. Whereas copyright is meant to protect private interests from public encroachments, preservation mostly aims to safeguard the public interest against private forces. But as the categories of private and public are redrawn under the pressures of globalization, what challenges and opportunities lay ahead for preservation?

Both preservation and copyright law attempt to answer a basic question: Who has the right to make a copy? This question has a long but unexplored history within preservation. Carlo Fea, the Italian neo-classical jurist and preservationist, passed laws to forbid overzealous collectors form taking original sculptures from churches and using poor replacement copies as payments for cash-strapped priests. But as copying techniques improved, it became common to place copies outdoors and to move original works of architecture and sculpture inside museums (think of the copies that replaced the original capitals of the Doge’s Palace, or the replica of Michelangelo’s David in Piazza della Signoria). These days, preservation and copyright are both challenged by new modes of digital production, which put new pressure on the notion of absolute authorship and ownership.

What makes mechanical architectural copies so interesting is that, even though they emerge at the same time as reproductions in other fields, they escaped the same association as representative phenomena of modernity. Yet, just like the print, the photograph, the film or the digital file, architectural copies are a product of architecture and a media form in themselves, part of an endless series of ‘aura-less’ multiplications. Legal scholar Bernard Edelman has shown how in nineteenth-century France photographs were at first considered to be mere mechanical reproductions of reality, and hence in the public domain. It was only when photography became accepted as an artistic practice that it received legal protection and ‘the real as object in law [became] susceptible to appropriation, sale and contracts’. To what degree does contemporary art still serve as the measure and instrument for the regulation of copies? Can copyright law help explain the opposition to consider preservationists as artists, or even authors? Essays may investigate these questions, as well as critically analyze modes and practices of appropriation in preservation as they compare to other fields.

As the production of architectural copies is becoming more digital, networked and diffused, we are witnessing more aggressive legal attempts to control the right to reproduce architecture. As Winnie Won Yin Wong wrote (Future Anterior 9.1) recent legal attempts to define “trade dress” signal an attempt to regulate, not just architectural form, but also ambiance and atmosphere as property. From the perspective of preservation, which relies heavily on design guidelines to implement legally binding decisions, what is the future of aesthetic regulation? We welcome essays that explore how objects (and specifically architectural interiors, buildings and cities) have been and are today presented, discussed and contested (in court, or other legal debates) as a dispute over authorial, private or public property.

In preservation, intellectual copyright is hard to define and regulate – harder than in most other arts. Its potential scope is also overwhelming, implying that almost every gesture in the construction of space would have to be protected. What sorts of architectural and urban copies are subject to copyright? If copyright is the right to copy, replicate, duplicate and receive the financial benefits of this act, could one argue copyright law in fact enabled architecture to be copied, replicated, mass produced and exported across the world? How did the circulation of copies help or undermine the idea of preservation in-situ? How could the history of national and international copyright laws inform that of modern preservation?

Future Anterior invites papers from scholars in preservation and its allied fields (juridical studies, architectural history, art history, anthropology, archeology, geography, political science, urban studies, and planning) that explore these and related questions from a variety of disciplinary perspectives.

Future Anterior is a peer-reviewed journal that approaches the field of historic preservation from a position of critical inquiry. A comparatively recent field of professional study, preservation often escapes direct academic challenges of its motives, goals, forms of practice and results. Future Anterior invites contributions that ask these difficult questions from philosophical, theoretical, and practical perspectives.

Articles submitted for peer review should be no more than 4000 words, with five to seven illustrations. Text must be formatted in accordance with the Chicago Manual of Style, 15th Edition. All articles must be submitted in English, and spelling should follow American convention. All submissions must be submitted electronically. Text should be saved as Microsoft Word or RTF format, while accompanying images should be sent as TIFF files with a resolution of at least 300 dpi at 8” by 9” print size. Figures should be numbered and called out clearly between paragraphs in the text. Image captions and credits must be included with submissions. It is the responsibility of the author to secure permissions for image use and pay any reproduction fees. A brief author biography (around 100 words) must accompany the text.

For further manuscript guidelines, please visit:

www.upress.umn.edu/journal-division/Journals/future-anterior/manuscript-submission-guidelines-future-anterior

Acceptance or rejection of submissions is at the discretion of the editors.

Please do not send original materials, as submissions will not be returned.

Please email all submissions to:

Future.Anterior.Journal@gmail.com

CFP: Studies and Dialogues between Anthropology and Art

We are pleased to announce the Call for Papers and Visual Projects for the Conference Studies and Dialogues between Anthropology and Art organized by the Pontificia Universidad Católica del Perú. The conference will take place in Lima on November 19 -21, 2014.

The keynote speakers for our conference will be Dr. George Marcus, Chancellor´s Professor of Anthropology at University of California Irvine, and Dr. Fred Myers, Silver Professor of Anthropology at New York University.

The deadline for submissions is August 05, 2014. The language of the Conference will be Spanish. For more information and conference updates, please visit our website at seminario.pucp.edu.pe/antropologia-arte/

We look forward to submissions!

Regards,

Giuliana Borea, Conference coordinator

Theorising Personal Medical Devices: New Perspectives

CfP, Symposium hosted by the Social Analysis of Health Network, Cantab

Closes Monday 14 July

Having worked with Professor Julienne Hanson at the Bartlett School of Graduate Studies for some time, I became increasingly aware of the relationships between materiality and social well-being. Indeed, there is currently some fascinating scholarship on the issues dealing with ethnography and technology as well as the home, the indi-vid(s)ual and collective forms of medical care.

This current symposium CfP is a fine example of this, featuring medical anthropologists known in the UCL community as well as within EASA and other networks.

For further info please see:

Social Analysis of Health Network (SAHN) website:
sahncambridge.wordpress.com/

 

18-19 September 201, Post-doctoral Suite, 16 Mill Lane, University of Cambridge.

Fuelled by the accelerating pace of technological development and a general shift to personalised, patient-led medicine alongside the growing Quantified Self and Big Data movements, the emerging field of personal medical devices is one which is advancing rapidly across multiple domains and disciplines – so rapidly that conceptual and empirical understandings of personal medical devices, and their clinical, social and philosophical implications, often lag behind new developments and interventions. Personal medical devices – devices that are attached to, worn by, interacted with, or carried by individuals for the purposes of generating biomedical data and/or carrying out medical interventions with/on the person concerned – have become increasingly significant in clinical and extra-clinical contexts owing to a range of factors including the growth of multimorbidity and chronic disease in ageing populations and the increasing sophistication and miniaturisation of personal devices themselves.

Paper proposals should of: a paper title, authors/co-authors, a short abstract of fewer than 300 characters, a long abstract of fewer than 250 words.

Submissions from both early career and more established researchers are welcome, with a small number of the presentation slots reserved for early-career researchers (i.e. doctoral students or researchers in their first post-doctoral position). Thanks to Wellcome Trust funding we are also able to offer a limited amount of funding towards travel costs and cost of attendance for three early career presenters. Please specify if you would like to be considered for this.

 

CfP Materialities of Religious Engagement

CfP for papers to be included as part of panel proposal called ‘materialities of religious engagement’ for this year’s British Association for the Study of Religions conference.

Where: This year’s BASR conference will be held at The Open University, Milton Keynes, UK.

When: 3rd-5th September, 2014.

250 word abstracts may be sent by 16.06.’14

to jaspreet.kaur@wolfson.ox.ac.uk.

Announcing the Heritage Jam

11th of July 2014 at
the University of York

We’ve just launched a new heritage visualisation project at the University of York & I’m hopeful you might be keen to participate and/or spread the word. Thank you in advance for your interest!

Are you concerned with the way the past is presented? Have you ever worked with (or wished you could work with) art, photos, video, diagrams, websites or other forms of graphic and performance pieces in the context of interpreting the archaeological and heritage records? Are you interested to innovate with the visualisation of history and prehistory?

If so, we invite your participation in The Heritage Jam (www.heritagejam.org), a collaborative global event in heritage visualisation, taking place both online and in-person on the 11th of July 2014 at the University of York.
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Media Worlds and the Ethnographic Imagination Workshop

MediaWorldsWorkshop copy

Media Worlds and the Ethnographic Imagination

A workshop organised by the Goldsmiths Media Ethnography Group and the Department of Media and Communications, Goldsmiths University of London

June 16th 2014, 10:00am – 6pm

LG01 and 314 Stuart Hall Building (formerly New Academic Building)

Goldsmiths, University of London

This one-day event launches the Goldsmiths Media Ethnography Group, an interdisciplinary network of scholars who use ethnography to understand our mediated worlds. The workshop is organised around a series of talks, panels and round-table discussions which will trace the diverse traditions and future trajectories of media ethnography. Apart from showcasing the richness of ethnographic research on media practices, broadly defined, speakers will also address questions of ethnographic practice. The workshop aims to encourage an interdisciplinary dialogue through which we will consider different types of ethnography (including auto-ethnography and digital ethnography) and the challenges and opportunities of conducting ethnographic research in digital environments. Speakers will address questions of ethnographic writing, self-reflexivity and ethics as well as the ways in which ethnography relates to other modes of inquiry, both qualitative and quantitative.

The event will begin with a keynote talk by Professor David Morley entitled ‘Towards an Ethnography of Media Audiences (Part 2)’. The workshop will end with a plenary round-table discussion on the contribution of ethnography for understanding digital practices.

Confirmed participants include: Julie Archambault (Oxford); Veronica Barassi (Media, Goldsmiths); Somnath Batabyal (SOAS); Marianne Franklin (Media, Goldsmiths); Richard MacDonald (Media, Goldsmiths); Miranda McLachlan (Media, Goldsmiths); Mirca Madianou (Media, Goldsmiths); Isaac Marrero-Guillamón (Anthropology, Goldsmiths); Evelyn Ruppert (Sociology, Goldsmiths); Anamik Saha (Media, Goldsmiths); Gareth Stanton (Media, Goldsmiths); Olivia Swift (Anthropology, Goldsmiths)

Registration is free but please RSVP here: www.eventbrite.co.uk/e/media-worlds-and-the-ethnographic-imagination-tickets-11597547577

You can find more information about the group here: www.gold.ac.uk/media-communications/research/goldsmiths-media-ethnography-group/

Programme

10:00 – 10:15 Registration

10:15 Welcome and Introduction

10:30 – 11:30 Opening Keynote David Morley (Media & Communications, Goldsmiths): Towards an Ethnography of Media Audiences (Part 2)

11:30 – 11:45 Coffee Break

12:45-13:15 Panel I

Chair: Olivia Swift (Anthropology, Goldsmiths)

Julie Archambault (University of Oxford): Mediated intimacy, ethnography and the search for authenticity in Mozambique.

Richard MacDonald (Media & Communications, Goldsmiths): Projecting films for the spirits: researching the use of media apparatus in ritual practice

Isaac Marrero-Guillamón (Anthropology, Goldsmiths) Ethnography beyond representation: media artefacts and the politics of invention

13:15 -14:15 Lunch break

14:15-15:15 Panel II

Chair: Miranda McLachlan (Media & Communications, Goldsmiths)

Gareth Stanton (Media & Communications, Goldsmiths): Movies, Melodramas and Murderers: the Journey of Media Anthropology

Somnath Batabyal (SOAS) Minding the Gap: practitioners as ethnographers

15:15- 15:30 Coffee break

15:30 – 17:00 Plenary Round Table Discussion: Ethnography for understanding digital practices

Chair: Anamik Saha (Goldsmiths)

Speakers: Veronica Barassi (Media and Communications, Goldsmiths); Marianne Franklin (Media and Communications, Goldsmiths); Evelyn Ruppert (Sociology, Goldsmiths); Mirca Madianou (Media and Communications, Goldsmiths).

17:00 Reception