In 2016, SESAH will return to New Orleans for the first time since 1994. Poised between the tenth anniversary of Hurricane Katrina and the city’s tricentennial, New Orleans offers a built environment in which the past, present, and future are palpable. Its culturally complex and aesthetically diverse architectural fabric engages, challenges, and charms. The 2016 SESAH conference will invite new perspectives on the architecture of the city, the region, and beyond. Come enjoy the collegiality and conviviality that distinguish SESAH gatherings and explore this one-of-a-kind urban landscape. With addresses by expert speakers, multiple walking and bus tours, and of course great food, it promises to be a good time for all!
Aquarius Redux seeks to revisit, reconsider, reimagine and expand histories of countercultural architecture.
The ambition of the symposium is to begin a wider conversation about developing insightful, innovative histories that broaden the geographies of countercultural spatial production and consider its consequences anew. We hope to move beyond extant readings of psychedelic design, communal dome building and failed utopian dreamers. We also wish to avoid a simple redemption of 1960s and 1970s experimentation and to instead pick up on opportunities for rethinking accounts of countercultural design and its legacies.
There is now a significant body of intellectual history that has recalibrated conventional countercultural tropes, particularly caricatured narratives of hippiedom’s decline and inevitable failure, and its concentration in a limited set of transatlantic locations. More nuanced accounts have traced the continuity of Anglo-American countercultural thinking and practices – discerning their long-term migration into the mainstream – and offered a more expansive mapping. A more ambiguous legacy has been identified; one that sees the counterculture’s cultural, political, technological and aesthetic experimentation as important to contemporary environmentalism, lifestyle branding, business thinking or cyberculture. It has even been proposed that the reinvention of everyday life within countercultural experiments was the pivot in a deep transformation of society and the market economy. A more detailed picture has also emerged of an international, or transnational, counterculture that extended to South America, Asia and Eastern Europe, with distinctive manifestations.
Such scholarship has indicated a more pervasive, though diffuse, influence for the counterculture. It has contributed to deepening and recalibrating collective understandings of the dramatic social, political, economic and cultural shifts centred in the 1960s. Architecture was affected and implicated in those shifts. Recent scholarly work in architecture has begun to similarly theorize the discipline’s relation to the tumult of the period. This symposium hopes to further this work, and with it our understanding of the discipline’s transformations, through expanding extant histories of countercultural architecture.
We welcome contributions seeking to question the historical relationship between countercultural experiments and architecture’s knowledge base, pedagogical structures, technologies, territories, and its representational and practice forms. We are especially interested in tracing the broader geographies and discourses of this activity, given the burgeoning global interest in the history and continuing influence of alternative architectures, such as radical ecological, participatory and activist design practices.
Our aims for the symposium raise wide-ranging questions, including: What were the intersections of architectural and countercultural networks across the globe? How were architecture and the counterculture engaged in refining and popularizing ecological ideals? How did countercultural experiments reconfigure the role of the architect? What alternative set of historical projects, events and figures are brought into focus through an examination of countercultural architecture? How were questions of disciplinary boundaries articulated through countercultural projects? How did countercultural modes of political participation inhabit and transform urban space? What are the connections between countercultural architecture and phenomena such as advocacy planning, the appropriate technology movement, and systems thinking? How might methodological and disciplinary innovations like actor-network theory, Cold War studies, ecofeminism, postcolonialism and queer theory reconfigure narratives about countercultural architecture and its legacies?
Felicity D. Scott
Associate Professor of Architecture, Graduate School of Architecture, Planning and Preservation, Columbia University
Associate Professor of Architecture, University of California, Berkeley
Through a U.C. Berkeley Arts Research Center Fellowship (2014) and an Associate Professor Fellowship from the Townsend Center for the Humanities at U.C. Berkeley (2011/12), Castillo has investigated the Bay Area legacy of California counterculture design. His research informed an exhibition in 2014, funded by a U.C. Berkeley Committee on Research Faculty Research Grant, entitled Design Radicals: Creativity and Protest in Wurster Hall, which reviewed “outlaw design” enterprises undertaken by faculty and students in the late-1960s and early-‘70s. For the catalogue of the upcoming Walker Art Center exhibition on counterculture design, Castillo contributed the essay “Counterculture Terroir: California’s Hippie Enterprise Zone,” in Andrew Blauvelt, ed., Hippie Modernism: The Struggle for Utopia (Minneapolis: Walker Art Center, 2015). His essay “Hippie Modernism, ca. 1970: How Bay Area Design Radicals Tried to Save the Planet” is slated to appear in Places, the online journal of environmental design (https://placesjournal.org).
Professor of Design, University of California, Davis
We invite proposals for 20 minute papers from architectural historians, theorists, designers and practitioners, as well as those working on the issues identified in the synopsis from other fields, including art, media and politics.
The proposals should be no more than 300 words and be should be submitted to firstname.lastname@example.org no later than November 1st, 2015. Please send the proposal as a PDF file without identifying information and a separate document with your name, title of paper, institutional affiliation and short CV.
The organising committee will invite selected presenters to develop their papers for publication in an edited book or journal special issue.
Notifications of acceptance will be sent on November 28th, 2015.
Symposium: Monday 4th and Tuesday 5th of July, 2016
CALL FOR PAPERS for the Richard E. Greenwood Award for younger scholars, to be presented at the VAF-NE Annual Meeting on Saturday, April 2, 2016, in Sturbridge, Massachusetts.
The Board of the New England Chapter of the Vernacular Architecture Forum invites submissions of abstracts for papers from younger scholars no more than 5 years beyond the terminal degree. Subject matter includes all aspects of vernacular architecture and everyday urban, suburban, and rural landscapes seen through interdisciplinary and multidisciplinary methods. We are particularly interested in papers that incorporate field work as a component of the research, that have engaging visual images, and that investigate topics within New England. (Agendas with paper titles from recent Annual Meetings can be found at http://www.vernaculararchitectureforum.org/about/chapters-NE-meetings.html)
VAF’s Pamela H. Simpson Presenter’s Fellowships offer a limited amount of financial assistance to students and young professionals presenting papers at VAF’s annual conference. Awards are intended to offset travel and registration costs for students, and to attract developing scholars to the organization. Any person presenting a paper who is currently enrolled in a degree-granting program, or who has received a degree within one year of the annual conference is eligible to apply. Awards cannot exceed $500. Previous awardees are ineligible, even if their status has changed. Recipients are expected to participate fully in the conference, including tours and workshops.
To apply, submit with your abstract a one-page attachment with "Simpson Presenter’s Fellowship" at the top and the following information: 1) name, 2) institution or former institution, 3) degree program, 4) date of degree (received or anticipated), 5) mailing address, 6) permanent email address, 7) telephone number, and 8) paper title.
The Vernacular Architecture Forum (www.vafweb.org) invites paper proposals for its 36th Annual Conference in Durham, North Carolina, June 1-4, 2016.
Papers may address vernacular and everyday buildings, sites, or cultural landscapes worldwide. Submissions on all relevant topics are welcome but we encourage papers exploring African-American life, including slavery, the rise of a black middle class, the Civil Rights movement, and the relationship of race and the built environment; the transformation and industrialization of agricultural landscapes; and the architecture of institutions, including churches, schools, and hospitals.
SUBMITTING AN ABSTRACT
Papers should be analytical rather than descriptive, and no more than twenty minutes in length. Proposals for complete sessions, roundtable discussions or other innovative means that facilitate scholarly discourse are especially encouraged. Proposals should clearly state the argument of the paper and explain the methodology and content in fewer than 400 words. Please include the paper title, author’s name, and email address, along with a one-page c.v.. You may include up to two images with your submission. Note that presenters must deliver their papers in person and be VAF members at the time of the conference. Speakers who do not register for the conference by March 1, 2016, will be withdrawn. Please do not submit an abstract if you are not committed to attending the papers session on Saturday, June 4th.
In this panel discussion, Sergei Tochoban and Andrew Zago will discuss the role of the
architectural drawing–both analog and digital–as a tool in the design process and as an object worth collecting and putting on display. Event location is in the Cantor Auditorium at the Cantor Arts Center, Stanford University. The event begins at 5:30pm.
A presentation by Peter Jaszi, Lead Principal Investigator of CAA’s Fair Use Project
Monday, November 9, 2015
Columbia College Chicago
The College Art Association, in conjunction with the Business & Entrepreneurship Department and Art & Art History Department at Columbia College Chicago, are proud to announce that Peter Jaszi, Professor of Law at Washington College of Law, American University and co-facilitator of the Code of Best Practices in Fair Use for the Visual Arts, will be speaking about the code, and answering questions on Monday, November 9th at Columbia College Chicago.
The Code of Best Practices http://www.collegeart.org/fair-use/best-practices provides visual-arts professionals with a set of principles addressing best practices in the fair use of copyrighted materials. It describes how fair use can be invoked and implemented when using copyrighted materials in scholarship, teaching, museums, archives, and in the creation of art.
A reception will be held after the event in the adjacent Hokin Gallery, where an exhibition of interdisciplinary work from BA & BFA Students from across the country juried by Buzz Spector, organized by the Art & Art History Department and mounted by the Gallery Management Practicum is ongoing.
Attendance is free and open to the public; this un-ticketed event will be held in a space limited to 160 attendees. Light refreshments will be served.
This event is made possible by the College Art Association with a grant from the Andrew W. Mellon Foundation.
Location: Columbia College Chicago
HAUS / Quincy Wong Center for Artistic Excellence
623 S. Wabash Ave. First Floor – Chicago, IL
More Information about Code of Best Practices
Radboud University Nijmegen, June 16 - 17, 2016
Deadline: Dec 1, 2015
Daniëlle Slootjes (Department of History, Radboud University Nijmegen) Mariëtte Verhoeven (Department of Art History, Radboud University
In recent decades many new studies on the Byzantine world have appeared that have offered us new perspectives on existing views of the Byzantine Empire. For instance, Judith Herrin in Byzantium. The Surprising Life of a Medieval Empire (2009) and Margins and Metropolis (2013) made an appeal for Byzantium to be saved from its negative stereotype of an autocratic, completely ritualized and almost fossilized empire. Averil Cameron has demonstrated in her recent Byzantine Matters (2014) that – although we have made progress in the past few decades – Byzantine Studies is still left with many questions on issues such as Byzantine identity, the Hellenistic influence or our understanding of religious practices and orthodoxy in the Byzantine world.
However, whereas both Herrin and Cameron encourage Byzantine scholars to continue to deal with these issues, to take up new avenues and to unite the various disciplines that work on the Byzantine field, Norman Davies in his Vanished Kingdoms (2011) has been more pessimistic. In his discussion of the rise and fall of various kingdoms in Europe he offered his readers a gloomy view on our possibilities of understanding Byzantium. In fact, in the chapter on Byzantium he concluded that “describing or summarizing Europe’s greatest ‘vanished kingdom’ is almost too much to contemplate. The story is too long, too rich and too complex” (p. 322).
This rather negative point of view of being overwhelmed by Byzantium’s complexities almost seems to suggest that we should refrain ourselves from attempting to analyze Byzantium and its history. Our conference likes to object to this suggestion as it will take up the challenge of demonstrating that Byzantine Studies is far from dead. We want to show how the diversities and complexities have made Byzantium into a fascinating world worth of our attention, encouraged by the studies of Herrin and Cameron. We are very pleased to announce that Averil Cameron will give the key note lecture of the conference.
We would like to bring together both junior and senior scholars from various disciplines such as Byzantine history, art history, literature and archaeology in our attempt to unlock the importance of the Byzantine world for our current generations.
We welcome proposals for papers on the following two themes:
1) Byzantium as a key player in the relationship between East and West, A.D. 330 -1453 Byzantium can be seen as a leading catalyst in the political, cultural, economic and religious exchange between East and West, to be detected in the relationship both between Byzantium and Latin Western Europe and Byzantium and the Islamic world.
Keywords: contacts, interchange, imitation, competition, confrontations
We especially welcome the papers on this theme to include analyses on
(a) Agents of exchange such as rulers, bishops, popes, diplomats, pilgrims, writers or artists
(b) Objects of transcultural encounter and transfer such as,
(religious) monuments, texts (hagiography, historiography, liturgical texts, travel accounts) decorations, liturgical objects, relics or diplomatic gifts.
These agents and objects can be regarded as part of the larger historical context within which Europe took shape in the Middle Ages and beyond.
2) The position of Byzantine heritage, 7th Century - present day The definite end of the Byzantine Empire is marked by the conquest of Constantinople by the Ottomans in 1453. Through its history, however, the dimension and identity of the Empire was not one identical continuum. In different phases of development (Arab conquests, iconoclasm, Crusaders period) Byzantine monuments and artefacts were appropriated or under threat, a phenomenon that continued after the Ottoman conquest.
Keywords: appropriation, transformation, identity, continuity, rupture.
We especially welcome the papers on this theme to include analyses on:
(a) Appropriation and transformation of Byzantine heritage (objects, monuments, cities)
(b) Display of Byzantine heritage in museum collections
(c) Preservation and restoration of Byzantine heritage
(d) Byzantine heritage under threat
Abstracts, no more than 400 words, can be submitted to email@example.com and firstname.lastname@example.org before the 1st of December, 2015.
Receipt Deadline February 17, 2016 for Projects Beginning August 2016 Brief Summary
In recent years, research published by Humanities Indicators
, among others, has revealed that humanities PhDs pursue careers in many different professions—both inside and outside academia. Yet most humanities PhD programs in the United States still prepare students primarily for tenure-track professor positions at colleges and universities. The increasing shortage of such positions has changed students’ expected career outcomes. NEH therefore hopes to assist universities in devising a new model of doctoral education, which can both transform the understanding of what it means to be a humanities scholar and promote the integration of the humanities in the public sphere.
Next Generation Humanities PhD Planning Grants support universities in preparing to institute wide-ranging changes in humanities doctoral programs. Humanities knowledge and methods can make an even more substantial impact on society if students are able to translate what they learn in doctoral programs into a multitude of careers. Next Generation PhD Planning Grants are designed to bring together various important constituencies to discuss and strategize, and then to produce plans that will transform scholarly preparation in the humanities at the doctoral level. Students will be prepared to undertake various kinds of careers, and humanities PhD programs will increase their relevance for the twenty-first century. Grantee institutions must provide funds (either their own funds or funds raised from nonfederal third parties) equal to the grant funds released by NEH.
Information about Next Generation Humanities PhD Implementation Grants is available here
Animal, mineral, vegetable? For Plato, the answer to such a question lay in the relative beauty of organisms that were divided by their chemical constitution and their notable lack of a spiritual soul. In classic philosophy, definitions across these three kingdoms were often vigorously contested: Aquinas classified plants as being created solely for the consumption of animals while in the Great Chain of Being (scala naturae), Aristotle defined human beings as rational animals who existed in a different moral realm than their lower counterparts. Even in the contemporary sphere, the underground notion of theorizing the animal extends from Stanley Cavell, Jacques Derrida, Emannuel Levinas, Ludwig Wittgenstein, and Slavoj Zizek to current scholars like Brian Massumi and Cary Wolfe.
The animal condition in its disciplinary iterations returns to the question of life, whether an object should be considered inanimate or animate. Even the muteness of substances such as stone possesses its own internal dynamism, unknown to the human eye. Beyond metaphysics, animality provokes issues of identity and difference linked to discourses surrounding colonialism, race, and sexuality. Across empires controlled by Western nations, the subjugation of slaves and women has long been coupled with the “animalization” of human beings and points to the animal condition as one of hierarchical economy and coercive power.
Alongside the animal condition, biological models of architecture have drawn upon the mineral and vegetable worlds to provide inspiration for industrial design and architectural buildings – to name a few, Owen Jones’s botanical prints, Victor Ruprich Robert’s Flore ornamentale (1866-76) on the decorative arts, Claude Bragdon’s projective arabesques, and Karl Blossfeldt’s Urformen der Kunst. Organic architecture, despite its sometimes eccentric origins, has been radically reinvented since the days of modernists Hans Scharoun and Eero Saarinen. Design computation and digital fabrication have pushed these metaphors to new heights, creating sinuous forms through material properties.
As artist Jim Dine states, “I trust objects so much. I trust disparate elements going together.” For this thematic issue, we invite contributions that examine new definitions of the animal, mineral, or vegetable in light of architectural history/theory, art history, literature, history, and philosophy, including but not limited to the following topics: animal studies, animality and race/sexuality, anthropomorphism, artistic collections that deal with animals/minerals/plants, biological models and architecture, contemporary art and the bestiary, discourse of species, labor and slavery, natural history and museum design, historical models of organicism, and posthumanism.
Architectural Theory Review, founded at the University of Sydney in 1996 and now in its twentieth year, is the pre-eminent journal of architectural theory in the Australasian region. Published by Routledge in print and online, the journal is an international forum for generating, exchanging, and reflecting on theory in and of architecture. All texts are subject to a rigorous process of blind peer review.
Enquiries about this special issue theme, and possible papers, are welcome, please email the editor, Jennifer Ferng at email@example.com. The deadline for the submission of completed manuscripts is Wednesday, 31 December 2015. Please submit manuscripts via the journal’s online submission system. When uploading your manuscript please indicate that you are applying for this special issue, for example: vol. 21.1 – Animal, Mineral, Vegetable.
Manuscript submission guidelines can be found on the Architectural Theory Review website.
This year's national preservation conference, PastForward, TrustLive presentations will focus on urban strategies including Main Street approaches to saving historic places, federal innovation and excellence in historic preservation, and telling a more inclusive story of preservation by featuring multiple voices and experiences. Finally, we will launch a rich and engaging discussion about the future as we approach the 50th anniversary of the National Historic Preservation Act.
Modernism in New England
Saturday, March 5th, 2016
Collins Cinema, Wellesley College, Wellesley, Massachusetts
A symposium funded by the Barra Foundation and co-sponsored by the Grace Slack McNeil Program for Studies in American Art at Wellesley College and Historic Deerfield, Inc.
The Buildings-Landscapes-Cultures doctoral program is now accepting applications! A collaborative effort between the school of Architecture at Milwaukee and the Department of Art History at Madison, BLC is a leader in innovative field-based learning. We pride ourselves on our classes getting students in the field as they expand their methods and hone their research interests. We offer innovative field schools and methods courses and take advantage of the strengths of both of our campuses.
BLC PhD Students
• Attain skills to explore buildings, landscapes, and cultures as process, lived, and representation
• Utilize a range of methods including formal analysis of architecture, fieldwork and documentation, archival research, oral history
• Develop multiple forms of literacy such as spatial/architectural, landscape, cultural and visual literacy
Applicants may apply to UW-Madison’s Department of Art History (PhD Art History) or UW-Milwaukee’s School of Architecture & Urban Planning (PhD in Architecture).
For more about the program and how to apply, visit blcprogram.weebly.com
Like us on Facebook at https://www.facebook.com/groups/331499171288/ or follow us on Twitter at twitter.com/BLCProgram.
Docomomo US is pleased to announce registration for this educational travel tour of modern architecture in Havana, Cuba. Guests will experience the rich architectural past of this long elusive Caribbean island located just 90 miles south of U.S. soil. Modern Cuba offers a unique travel opportunity in a small group setting featuring access to modern homes and buildings considered off the beaten path or not ordinarily open to the public.
Proposals are invited for papers and posters on topics relating to the conference themes. Abstracts of up to 300 words should be sent to Ambrose Gillick (firstname.lastname@example.org) by 16 November 2015, along with contact details and a CV/biographical information (1-2 pages).
The conference is supported by the Leverhulme Trust. A limited number of travel bursaries are available.
We must make our cities healthy, just and sustainable for all humans and for the earth. We must adopt wiser strategies and practices in architecture, urban design, landscape architecture, planning, transportation planning that lead to genuine social, environmental and economic sustainability, a healthy environment for humans and for the earth. We must do this NOW. We can wait no longer.
At this conference, we will share knowledge of the effects of the built environment on the health of humans and the earth; foster interdisciplinary collaboration on real sustainable and equitable practices; and define a universal charter (or road map) for improving the built environment.
Paper proposals are invited from elected officials, scholars and practitioners concerned with the following issues:
Topics for Caring for Our Common Home:
· Achieving Healthy, Just, Sustainable Cities
· Prioritizing Urban Health Equity
· Healing Forgotten Neighborhoods
· Sociable Squares and Special Places
· Making Poor Neighborhoods Beautiful
· Regeneration Projects
· Caring for Green and Blue in the City
· Strategies to Improve Air and Water Quality
· Lifetime Communities
· Constructing Cities to Last
· Ensuring a Truly Sustainable Urban Fabric
· Impact of the Built and Natural Environment on Health
· Strategies to Achieve a Green Healthy City for Children
· The Common Good, Urban Design, and the Public Realm
· How Public Health and Urban Design Collaborate
· Prioritizing Low Energy Use Cities
· The City of Short Distances
· Community-led Neighborhood Planning
· Integrated Strategies to Combat Poverty and Protect Nature
The aim of the call for applications is to create an international team formed of three scholars, either PhD candidates at the end of their research or postdoctoral fellows, to work together for three months to explore different notions of antiquarian culture and artistic patronage in different areas in Europe during the early modern period. Working on the assumption that a universal and monolithic
Renaissance is increasingly seen to be a superseded concept, the research group will be encouraged to investigate the idea of “local Renaissances”, as well as crucial historiographical concepts such as “antiquity”, “identity” and “style”.
Over a very long period the idea that Florence and Rome represent the canon of Renaissance art and architecture has led to a deep misunderstanding of the specific artistic cultures found in other contexts, which have often been relegated to the margins of scholarship as backward-looking peripheries. It is now well known that different local all’antica styles developed across Italy, such as those in Venice and Milan, and more attention has been devoted to the multiple ‘antiquities’ which informed also the artistic and literary cultures of Florence and Rome. The ERC-HistAntArtSI project has been working for four years on rediscovering the specific character of antiquarian culture and artistic patronage in the Kingdom of Naples between the fifteenth and sixteenth centuries and on redefining the concept of Southern Renaissance. This concept, once used in local historiography to indicate a phenomenon of uniformity and backwardness, is gradually being reshaped and revised, reinforcing the idea of another Renaissance, one which belongs more coherently to the regional histories presently being uncovered throughout Italy and the rest of Europe.
Furthermore, recent research has demonstrated how a new fascination with the classical past was a widespread phenomenon in early modern Europe. While work has been done on the reception of antiquity in France, Germany and the Netherlands, there are other contexts that still remain at the margins of Renaissance historiography and need to be investigated.
As a result of collaboration between the ERC/HistAntArtSi project and the Kunsthistorisches Institut, three research scholarships are being offered to investigate the reception of the classical past in selected areas and regions of Europe. We seek for proposals that, taking an interdisciplinary and comparative approach, look at single regions or areas which for historical or cultural reasons were connected to southern Italy, such as Spain, Dalmatia, Greece or Flanders. It is possible that other areas in northern or eastern Europe will also be considered. A particular requirement will be that the candidates investigate not only single examples of local Renaissances but also the possible connections, networks and dialogues which existed among different contexts.
Scholars are encouraged to present proposals which explore local concepts of the antique in the form of archaeological excavations, works of art, architecture, antiquarian literature, and history, and which address the problem both of how the contemporary “identity” of cities and regions was formed by a local notion of the “antique” as well as how local antiquities were used to construct a sense of identity for civic institutions or individuals. We welcome cases which question the idea of a “single antiquity”, considering instead how the idea of antiquity varied widely, including not only Roman, but also Greek and pre-classical indigenous antiquities, as well as monuments and objects from the more recent medieval past. Proposals may consider aspects of the local reception of antiquity, such as the notion of competing ‘antiquities’, the character and priorities of local conceptions of the antique, the merge and clash of imported modes of classical revival with local idioms or relationships between concepts of antiquity in various regions.
Candidate profile: Potential candidates will be scholars who are already working on a European area at a doctoral or postdoctoral level. In line with the approach and methodology of the HistAntArtSI research project, the selected group of scholars would work together sharing an interdisciplinary and comparative approach and maintaining constant contact with the research team hosted at the University of Naples Federico II.
In addition to their individual and specific research skills, each candidate should be able to demonstrate her/his capacity to cooperate as part of a research group. Candidates should also have a good knowledge of spoken and written Italian and English.
Work description: Scholarships will begin in January 2016 and end in March 2016.
Fellows will be expected to live in Florence and to work at the Kunsthistorisches Institut.
Each scholar will work individually on her/his research topic, but will be expected to engage closely and continuously in seminars and discussions with the other two selected scholars and with the ERC HistAntArtSI research group. The group of scholars will be expected to organize a workshop in which they will present the results of their work at the Kunsthistorisches Institut and to submit a proposal for a panel to be held in the following RSA (2017).
Stipend: Each scholar will receive circa 2000 € monthly. There are no additional funds for travel to Florence.
Application: Applicants must submit a thousand-word length project proposal, together with a curriculum vitae and a cover letter. The names of two established scholars ready to support the application must be listed at the end of the cover letter.
Applicants are required to merge all the documents in a single PDF (max. 2 MB) and submit it via e-mail to email@example.com + firstname.lastname@example.org
CALL FOR PAPERS, AAS-in-ASIA 2016 Conference, KyotoCities by Experts for the People: In search of spaces of hope in the intersections of power and knowledge * Critical urban theorists have often given short shrift to bureaucracies as possible sites for emancipatory politics. Since Max Weber?s rendition of the ?iron cage of bureaucracy? and Herbert Marcuse?s critique of the ?one-dimensional man,? academic writing tends to portray professional experts working within bureaucracies as extensions of the coercive state and increasingly as collaborators of corporate powers amidst accelerating neoliberalization. Against this context, ?spaces of hope? have been largely couched in the informal and the autonomous, where ?local knowledge? and ?bottom-up? initiatives are seen as key for generating alternative futures that resist the top-down, generic solutions imposed by technical experts.
Recent studies on the nature of expertise suggest that the assumed dichotomy between expert and indigenous knowledge has at times been overstated. Although expert practices have been central to the rise of modern statecraft and hence the normative configuration of power/knowledge, experts are constantly required to make pragmatic accommodation in projects and policies in actual operations. Despite being increasingly subjected to managerialist initiatives and market-based solutions, growing skepticism about the ?reach of the state? has also promulgated new forms of reflexivity and aspirations amongst professionals and bureaucrats.
This panel will examine the roles of professional experts whose agencies are both augmented and restricted by bureaucratic structures. These may include urban planners, architects, development consultants, systems analysts and others whose epistemologies and interventions are spatial in nature. Research that explores the techno-politics of practice, the cultural world of expertise and performativity of administrative apparatuses are especially welcome. By examining how expertise has been reconfigured in ongoing reshaping of political formations, we ask whether there are potentials for emancipatory politics in the unlikeliest of places.
Interested participants should submit a 250-word abstract to Lee Kah-Wee ( email@example.com), National University of Singapore and to Cecilia L.
Chu (firstname.lastname@example.org), The University of Hong Kong, by *25 October 2015*. We hope to hear from you!
For more information on AAS-in-Asia 2016, please visit http://www.aas-in-asia.org/2016-Call-for-Proposals-Main.htm
Boston University and Museum of Fine Arts, Boston, February 26 - 27,
Deadline: Nov 21, 2015
The 32nd Annual Boston University Graduate Symposium on the History of
Art & Architecture
Submissions Due: November 21, 2015
Symposium Dates: February 26 – 27, 2016
Serious Fun: Expressions of Play in the History of Art and Architecture
In all of its forms, play is a vital expressive force. Whether
theatrical or athletic, rollicking or subversive, play has enacted a
pivotal role in shaping cultural life. The 32nd Annual Boston
University Graduate Student Symposium on the History of Art &
Architecture invites submissions that consider aspects of play as form,
content, process, and methodological framework.
Possible subjects include, but are not limited to, the following:
representations of play; entertainment, games, and toys; spaces of
play, leisure, and recreation; play as practice; political control of
play; play as dissent or activism; word play; the naughty and the
bawdy; revelry and whimsy; play and performance; and play as creative
We welcome submissions from graduate students at all stages of their
studies, working in any area or discipline.
Please send an abstract (300 words or less), paper title, and a CV to
the Symposium Coordinator, Catherine O’Reilly, at
email@example.com. The deadline for submissions is
Saturday, November 21, 2015. Selected speakers will be notified before
January 1, 2016. Papers should be 20 minutes in length and will be
followed by a question and answer session.
The Symposium will be held Friday, February 26 – Saturday, February 27,
2016, with a keynote lecture (TBD) on Friday evening at the Boston
University Art Gallery at the Stone Gallery and graduate presentations
on Saturday in the Riley Seminar Room of the Museum of Fine Arts,
This event is generously sponsored by The Boston University Center for
the Humanities; the Boston University Department of History of Art &
Architecture; the Museum of Fine Arts, Boston; the Boston University
Graduate Student History of Art & Architecture Association; and the
Boston University Art Gallery at the Stone Gallery.
An opportunity has arisen to include one extra chapter in this book. The section of the book for this chapter is "Digital Technologies and the Architecture of the 21st Century"
Below are the book details and contact information.
Publisher: Ashgate publishing, UK
Editor: Dr. Graham Cairns
Copy: hardback followed by paperback and online.
Chapter Word limit (including footnotes): 5-7000 words Those interest contact: Dr. Graham Cairns: firstname.lastname@example.org<mailto:email@example.com>
Visioning Technologies - The Architectures of Sight is a collection of texts from theorists that examine how architecture has been, and is, reframed and restructured by the visual and theoretical frameworks introduced by different ?technologies of sight? ? understood to include orthographic projection, perspective drawing, telescopic devices, photography, film and computer visualization etc. Each author will deal with their own area and historical period of expertise.
The premise of the book is that ?visioning technologies? have tended, in their incipient moments, to repeat one aim ? the reproduction of reality. Perspective froze space visually, photography captured it momentarily, film presented it in time, and virtual reality immerses us in it holistically. Even parametricism can be said to reproduce a ?reality? on screen ? it allows us to watch the real time process of form formation (what we previously called design).
However, more than just reproducing reality, these technologies influence architectural design, theory, and intellectual / spatial conceptualisations in a way that evolves over time. In the case of perspective drawing, the influence of the ?new mechanical drawing technique? would manifest itself in single point perspective images of Brunelleschi. In the context of photography, architecture had at its disposal a technology of hi-fidelity realism whose reproductive potential was, for Reyner Banham, what made the International Style, international. In turn, photography?s position as the visioning technology of ?the real? soon superseded by film and its introduction of ?movement and time? into the lexicon of architectural theory. Contemporary digital technologies in their turn continue this evolution, mimicking the design process, prefiguring the experience of spaces yet to be built and fundamentally alter the way we actually design.
This call is primarily for papers that will deal with the contemporary ?digital turn?. Authors of papers on perspective, photography or film may also enquire.
More details: firstname.lastname@example.org<mailto:email@example.com