Tag Archives: conference

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

Call for Panels: Anthropology and Photography

 

The Royal Anthropological Institute will host an international conference on Anthropology and Photography at the British Museum, 29-31 May, 2014.

The aim of the Conference is to stimulate an international discussion on the place, role and future of photography.  Panel proposals are therefore welcome from any branch of anthropology. We welcome contributions from researchers and practitioners working in museums, academia, media, the arts and anyone who is engaged with historical or contemporary production and use of images.

Panels can draw upon (but are not limited to) the following themes:

  • The use of photography across anthropological disciplines
  • The changing place of photography in museums and exhibitions
  • Photography and globalisation
  • Photography, film and fine art
  • Revisiting and re-contextualising archival images
  • Photography and public engagement
  • Ethics, copyright, access and distribution of images
  • Technological innovation and its impact
  • Regional photography practices
  • Visual method and photo theory

The call for panels opens on 1 August 2013 and closes on 31 October 2013

Call for Papers International Workshop on: ECONOMY, MORALITY AND MATERIALITY

Date: 26 – 27 September 2013

Venue: University of Pardubice, Czech Republic

Long-held convictions about the immoral or amoral nature of capitalism have recently lost some of their force in light of illustrations of how moral conflicts unfold in the economic realm and examples of how religious and non-religious morality works its ways in the capitalist economy. Subsequently, the articulation of economy and morality has returned as a topic of interest in the academia. Depictions of how moral meanings are implicated in economic choices have been added to descriptions of the individualistic, economistic, immoral and amoral behaviours fostered by capitalism in societies all over the world. In addition, the mutual entanglement of capital, Islam and the market has become an active sub-field of enquiry in response to recent transformations. While capitalism and Islam have long intersected in Muslim societies across time and space, in the last decades their articulation has intensified under the impact of the concomitant spread of Islamic revivalist movements and neoliberal capitalism.

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The Future of Ethnographic Museums

Pitt Rivers Museum & Keble College

University of Oxford, United Kingdom

19th – 21st July 2013

 Ethnographic museums have a long and distinguished history but they have also been the subject of criticism and complaint. During the second half of the twentieth century they therefore underwent something of an identity crisis. More recently however, many of these institutions have been remodeled or rethought and visitor numbers have only increased. This conference seeks to analyze these shifts and to ask what the remit of an ethnographic museum should be in the twenty first century. Keynote lecturer: Prof. James Clifford. Other distinguished speakers include: Ruth Phillips, Sharon Macdonald, Wayne Modest, Corinne Kratz, Kavita Singh, Annie Coombes and Nicholas Thomas. Join us for lectures, debate and a series of art and music events in the unique environment of the Pitt Rivers Museum. For more information visit here:

Contact: conference@prm.ox.ac.uk

CFP: “Consumer Culture Theory: Building Community Across Borders”

8th Annual Consumer Culture Theory Conference, Tucson Arizona, June 13-16th, 2013

Submissions Deadline:  12 a.m. EST on January 30th, 2013

Send submissions to: llprice@eller.arizona.edu

Conference Theme:  Building Community Across Borders

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The Power of Objects: Materiality – Forms – Ritual Action

International Conference, Toulouse: May 30th – June 1st 2013

Université de Toulouse-Le Mirail Maison de la Recherche 5 allées A. Machado 31058 TOULOUSE CEDEX 9 Téléphone 05 61 50 24 30

Ethnographers, whether their research results in producing texts or in curating museum collections, seem to share an interest in material artifacts whose symbolic and social functions might be easier to describe than to find their common denominator. Among such artifacts, some are written about as ritual, magical, or power objects, or “idols,” “relics,” and “fetishes,” and given, by the cultures that create them, specific names: agalmata and xoana in ancient Greece, churinga in Australia, boli and basi among the Mande, etc. Others might, despite the strangeness of their power, pass almost unnoticed, like so many materials consecrated by the early Christians, for example, or as certain objects and substances used both within religious contexts and in everyday life as well. Indeed, in analyzing rites, one may observe an ordinary knife becoming the instrument for sacrifices, water the liquid for ablutions, a pan the indispensable receptacle for the communal meal, and a shirt the outfit for the priest. Truly great, then, is the number of elements necessary for the transformation of the universe, for the transition from the day-to-day into this different realm, which is generally saturated with religious meanings. In this realm and in the spaces of transition, things seem to possess more power than a reasonable mind would normally allocate to them. What makes them so potent and how do they attain such a status? How are these powerful artifacts produced? And how exactly does one manipulate or interact with them in order to affect such a transformation?

2013 Conference: Brave New Worlds – Transforming Museum Ethnography through Technolog

CALL FOR PAPERS:
Deadline for Submissions: 7 December 2012

We invite papers from curators, conservators, artists, makers, anthropologists, art and design historians, digital media practitioners, researchers and others that explore the impact of technology upon the development and interpretation of museum ethnography, historically and today.

See further details at: www.museumethnographersgroup.org.uk/index.php?option=com_content&view=article&id=29&Itemid=41

Materiality Matters at the Association of Internet Researchers Conference

In October I attended the 13th annual Association of Internet Researchers conference (AoIR or IR13) which was held in Salford, England at the University of Salford in the heart of the new home of the BBC, Media City UK. As a conference, AoIR has always been at the cutting edge scholarship on internet research and digital cultures. This year, the presence of Conference Chair Lori Kendall – author of Hanging Out in a Virtual Pub, one of the very first ethnographies of online communities — significantly shaped conversation by productively highlighting issues of gender and the changing relationship between various dichotomies (real/virtual, online/offline) emerging in everyday practice.

While I was not able to attend all of the sessions (there were up to seven simultaneous tracks on October 19th and 20th!! See the programme), a few key themes emerged that are worth sharing with the Material World community. The first was the centrality of ‘materiality’ as a concept for understanding digital media and technology. From Mary L. Gray’s discussion gay youth in rural America and the politics of visibility to Larissa Hjorth’s metaphor of the caravan as a way to rethink and move away from domestication theory to Susanna Paasonen’s analytical paper focused upon defining the ‘object’ of study in internet studies in an age of networked technologies, there was a concerted effort to understand the relationship between the qualities, properties and affordances of new media as they emerge through use. Subsequent talks by Daniel Miller, Zizi Papacharissi and an impassioned talk by Theresa M. Senft further highlighted how materiality matters in current debates in Internet studies.

Throughout the conference it became evident that part of the reason why materiality is so consequential to researchers at AoIR  revolves around the fact that what we previously understood as ‘internet research’ is changing. The dilemma of the object of inquiry in Internet research is no longer only about whether to study “online” or “offline” (although there are still important arguments for taking these perspectives and positions – see the recently released book Ethnography and Virtual Worlds). Rather, the various sessions and papers focusing upon mobile phones, mobile media, locative media (e.g. Jason Farman’s Mobile Interface Theory: Embodied Space and Locative Media won the annual book prize), mobile internet, mobile markets, mobile apps and so on (over 200 mentions of “mobiles” in the conference program) highlighted how ‘the Internet’ and digital media generally have become intertwined in everyday practice. How we understand, move between and relate to the various apps on our phones, what significance the places that are created through mobile phones, webcams, social network sites or virtual worlds mean for our varied relationships and sense of being human, and how the platforms, apps, data plans, regulatory environments and so on we use to access our friends, colleagues and acquaintances mediate our publics and politics – these all demand attention to the materiality of the various objects, tools and relationships we develop and maintain.

As someone who sees their work embedded within material culture studies, the focus upon materiality was an unexpected but welcome addition to the study of internet and digital media at AoIR this year. Indeed, there is a growing sense of revitalisation and excitement around our understanding of materiality, immateriality and material culture across a range of disciplines. These include the emergence of Platform and Software Studies, conversations around infrastructure in Ubiquitous Computing by scholars such as Paul Dourish and Genevieve Bell, media and digital anthropology (e.g. the AAS Conference entitled “Culture and Contest in a Material World”), Cultural Studies (CSAA’s forthcoming conference “Materialities: Economies, Empiricism and Things”), to name but a few recent events, books and conversations. What was quite clear at an interdisciplinary conference like AoIR, however,  was that the concept of ‘materiality’ in play embodied a diverse set of debates and histories from Actor Network Theory, Critical Studies, Material Culture Studies and elsewhere. These debates and histories, of course, define how we approach the study of materiality, what the relationship between materiality and immateriality might be for digital media and the internet (and whether this dichotomy, as Tom Boellstorff suggested in the plenary discussion at AoIR, should persist at all) and the consequences of focusing upon ‘materiality’ for our practice. One hopes such a conversation might begin here.

Note: Next year’s conference, chaired by Lynn Schofield Clark (who has done fabulous work on media, religion and families), will be held in Denver in October 2012.

Art & Anthropology – A Parallel Universe Day Seminar, Arnolfini, Bristol

WEDNESDAY 28TH NOVEMBER, 2-5pm

It is increasingly common for contemporary artists to explore anthropological and ethnographic concerns in their practice. At the same time, artists themselves have become a subject for study for contemporary anthropologists. In this symposium, researchers working in and between both fields will come together to explore links, friction and potential in a celebration of cross-disciplinary exchange.

The tracing of connections between anthropological and artistic practice, the extent to which the two disciplines are distinct, and their shared grounding in discourses of alteriety have been significant concerns for theorists and practitioners alike for many years now.  Though given definite shape through Marcus and Myers’ The Traffic in Culture (1995), such discussions have now progressed far beyond beyond the “ethnographic turn” of Foster (1995) or anthropology’s own “crisis of representation”. Now, through the work of anthropologists such as Arnd Schneider, Christopher Wright and others, a rich, shared space of methodological and theoretical practices is – problematically – shared between these disciplines.  Issues of subjectivity, identity, “the other”, even “modernism” itself, inform and are informed by both art and anthropology in complex ways.

Coordinated in response to Arnolfini’s Parallel Universes season, the event will include presentations and facilitated discussion, and is open to all.  It aims to bring together artists, creative practitioners, researchers, anthropologists and everyone in between in order to highlight, inform and illuminate these complex interactions.

CALL FOR PAPERS/PRESENTATIONS/PERFORMANCES
Proposals are invited exploring any aspect of cross-over between art and anthropology, from postgraduate students and early-career independent practitioners.
Please send up to 200 words outlining your proposal, up to 3 images, and a CV to mw1311@my.bristol.ac.uk by October 31st 2012.

Performative presentations are very welcome. However, any technical requirements beyond the use of a projector will need discussion.

www.arnolfini.org.uk/