Coimbra, Portugal, June 26 - 29, 2017
Deadline: Feb 1, 2017
CALL FOR PAPERS
3rd Annual International Conference of the Immersive Learning Research
Special Track 3: Digital Heritage and the Immersive City
The study of the city, as multifaceted and complex as it is, has gained
recently a new dimension. The digital has permeated the former and has
brought new possibilities and challenges to the scientific and academic
community. Virtual Reality (VR) and immersive environments have
dramatically changed the scope of historical research and its display.
Augmented/Mixed Reality (AR / MR) techniques can be used to provide an
in situ, contextualized and consequently richer experience. Cities that
are long gone or have suffered profound changes are now presented as
visual models open to interaction with different research experts and
wide audiences, often in real time. The way information is presented
and citizens are able to interact and explore these immersive
environments are crucial issues. Documental sources are being collected
and tested at a growing rate enabling the swift construction of working
hypothesis encompassing the different
aspects of cities through time and space. Historical data is no longer
restricted to the analogical sphere, it became also digital in nature
and it is able to reproduce and expand itself very quickly. This
reality has raised technological, methodological and epistemological
issues, which need to be addressed. In this context, the place of
cultural heritage in the contemporary city is also being reexamined.
Its value as a museum and tourism asset is also being questioned and
reevaluated urging the redefinition of concepts as theme parks and
interpretation centres. The memory of the past is being revisited as an
embodied experience in a contemporary social context. The past has
never been so present and so inextricably linked to the future.
This panel seeks papers that examine these topics from a technological
point of view and / or from a methodological and philosophical
standpoint. With regard to the latter, we are particularly interested
in the role of the digital in the widening of human conscience by
allowing the sensorial fruition of dimensions of the past that up until
now only belonged to the sphere of ideas.
We especially welcome papers that address (but are not necessarily
limited to) the following topics:
- The historic city as an immersive digital representation.
- VR, AR and MR in Cultural Heritage and Digital Heritage.
- Virtual exploration of historic spaces: techniques, methods and case
- Digital heritage and the concept of the theme park.
- Digital Heritage and Tourism: challenges and impact.
- Digital Heritage and City Museums.
- Education for Cultural Heritage and Digital Heritage.
- Digital Citizenship and the Knowledge City.
We invite scholars and experts in the fields of heritage studies,
digital humanities, history, history of art and information technology
to submit a paper on their work as a work-in-progress or/and research
- Full papers accepted for Springer publication must not exceed of 14
- Long papers accepted for publication at Online Proceedings must not
exceed of 10-12 pages.
- Short papers accepted for publication at Online Proceedings must not
exceed of 6 – 8 pages.
- Poster submissions must be accompanied with a description not
exceeding of 2 pages, which will be published in the Online Proceedings.
All papers (including papers selected for Springer publication, Online
Proceedings and poster submissions) must follow Springer’s style
More information available at:
All submissions will be evaluated taking into account the following
criteria: appropriate content and relevance of the subject; clarity
and objectivity of the proposal. Each submission will be judged
according to a blind-review process by a Program Committee of experts.
For submitting a paper to this special track, please use the submission
system https://www.easychair.org/conferences/?conf=ilrn2017, log in
account or register, and select the track “Special Track 3: Digital
Heritage and the Immersive City” to add your submission.
Submission deadline: February 1st, 2017
Special Track Chairs:
Alexandra Gago da Câmara – Universidade Aberta, Lisbon; Centre for Art,
History and Artistic Research (CHAIA)/University of Évora, Portugal
Helena Murteira - Centre for Art History and Artistic Research
(CHAIA)/University of Évora, Portugal
Maria Leonor Botelho - CITCEM/Faculty of Arts and Humanities of the
University of Porto, Portugal
Programme Committee (to be expanded):
Jim (CS) Ang, School of Engineering and Digital Arts, University of
Elizabeth Carvalho, Universidade Aberta, Lisbon, Portugal
Luís Magalhães, University of Minho, Portugal
Mauro Figueiredo, University of Algarve, Portugal
António Fernando Coelho, University of Porto, Portugal
Contact: Prof. Alexandra Gago da Câmara (email@example.com)
Monocultural production—the dominance of a single raw material in a regional economy—has figured strongly in the designs and representations of the Global South. From the intimacy of sensory experience to the ravages of war, raw materials have linked disparate territories through transnational circuits of exchange, imperial regimes, and technology transfers. What remains under examined is the relationship of these commodities to aesthetics and the construction of the built environment in connection to the rise of global capitalism. This special issue of Architectural Theory Review will argue that the extraction, processing, storage, and circulation of commodities has shaped images, buildings, and landscapes across Latin America, Asia, and Africa.
What are some of the methodologies required by this shift from the iconic, singular object to the infrastructural network linked to the trade of primary materials and transfer of technologies? In exploring these themes, this special issue will examine architecture’s links to a larger constellation of disciplines, from graphic design to photography to infrastructure. Potential papers might treat the role of cattle, grain, or coffee as architecture and design participate in their commodification. For instance, how does oil figure in the architecture of Iraqi modernism? How does the sugar industry inform the logic of Cuban urbanism? We are interested in research that addresses a wide range of geographical areas and time periods, from the conquests of the fifteenth century to our neoliberal present, paying close attention to the relationship between aesthetics, politics, and economics.
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.
The Architectural Paint Research (APR) Conferences provide a venue for international attendees in the building conservation community and its allied disciplines to take part in disseminating research and engaging in cross-cultural discussions.
The European Architectural History Network (EAHN) is pleased to announce the EAHN’s third thematic conference Urban Histories in Conflict, to be held at the Van Leer Jerusalem Institute on June 13-15 2017. On the 50-year anniversary of the Israeli occupation of East Jerusalem and the contentious unification it legislated, the conference aims to open up questions about the purpose of writing histories of urban conflicts. We ask how historians can account for the predicaments of violence and uneven distributions of power in the built environment, particularly in the face of current worldwide geo-political crises.
At the heart of the conference will be the question of how eruptions of strife shape architectural and urban histories; and reciprocally, how larger architectural and planning processes, along with the histories that register their impact, intervene in the predicament of conflict. The aim of the conference is to bring together different responses to this predicament from both regional architectural and urban historians and worldwide members of the EAHN.
We interrogate the inextricable ties between the history of cities and urban conflict through several complimentary questions. First, we examine how situations of socio-political conflict affect research. How does the temporality of spatial conditions stirred by conflict influence concepts of history, heritage, preservation and urban renewal? Bitter national, ethnic or class conflicts often inspire dichotomized readings of history, or conversely, generate pleas for “symmetry” or “moderation” that put the rigors of research at risk. What are the implications for architectural praxis (historiography, design, and their critical extensions) in either case?
A second set of questions focuses on the architect/ historian/preservationist operating from a particular “side” of conflict, facing palpable restrictions in the form of inaccessible national, physical and moral boundaries that may put them at physical risk, or might raise questions of legitimacy, even as they may strive for scholarly rigor. Can one set claims on a “legitimate” practice from any particular perspective? Reciprocally, should architectural/urban history actively assume a civic responsibility towards conflict? How does the disparity of power affect historical analysis? And how does it affect practice, and the meaning of urban citizenship? Can history become a platform of negotiation regarding urban justice and democracy? Moreover, conflict has lingering effects. How does conflict inspire the post-traumatic histories of places such as Mostar, Famagusta and Dublin? How do these accounts intervene in current realities, such as the one we encountered in embattled Jerusalem?
Situations of conflict often compel interventions that put into question disciplinary autonomies and make the issue of agency particularly pertinent. We therefore wish to explore the seam between the historian and the activist, because this is where architecture/history/heritage are negotiated, contested and pulled apart by different forces. On the one hand are scholars, and on the other hand are the state/ the market/ human rights activists—yet all of them claim a stake in the “public good”. Who is posing the rules of the game, according to which the historian as activist works? The study of this tension necessitates disciplinary exchanges between historiography and political theory, which we aim to address in this conference.
1. The “positioning” vs. the “autonomy” of the historian
2. Agency and the seam between historiography and activism
3. The collapse of former geo-political boundaries between North/ West/ center/
metropole and South/ East/ periphery/ colonies within European cities; alternative conceptualizations of the cross-cultural, beyond the modes of area studies
4. Urban conflict resulting from labor migration and the refugee crisis
5. Preservation of conflictual sites, their impact and interpretation of the “public
6. The persistence of conflict schemas within historiographic/ design practices
that engage with the prospect of consensual peace or halted violence
7. Strategies for advancing research on (and funding for) histories in conflict so that history/historiography can impact the realm of praxis around issues of conflict
We welcome papers that consider urban conflict and urge investigation into its related aspects of change and heterogeneity. Papers should be based on well-documented research that is primarily analytical and interpretative rather than descriptive in nature. Abstracts of 500 words and all queries should be addressed to conference chairs and the organizing committee: Alona Nitzan-Shiftan, Faculty of Architecture and Town Planning, Technion, Technion City, Haifa 32000, ISRAEL; Tel: (+972) 4-8294048, Fax: (+972) 4-8294617, Email: firstname.lastname@example.org; Panayiota Pyla, University of Cyprus, Department of Architecture, PO Box 20537, 1678 Nicosia, CYPRUS; Tel: (+357) 22892963, Fax: (+357) 22895330, Email: email@example.com.
Abstract submission: January 3, 2017
Abstract selection and notification of speakers: January 13, 2017
Full papers due: May 1, 2017
Conference: June 13-15, 2017
Alona Nitzan-Shiftan, Technion
Panayiota Pyla, University of Cyprus
Hilde Heynen, Catholic University Lueven
Mark Crinson, Birkbeck, University of London
Sibel Bozdogan, GSD Harvard and Kadir Has University Istanbul
Daniel B. Monk, Colgate University
Tawfiq Da’adli, The Hebrew University
Haim Yacobi, Ben Gurion University
Alona Nitzan-Shiftan, Technion
Panayiota Pyla, University of Cyprus
Fatina Abreek-Zubiedat, Technion
Petros Phokaides, National Technical University of Athens
Yoni Mendel, Van Leer Institute Jerusalem
Els Verbakel, Bezalel Academy of Arts
The 2017 VAF Conference will be held in Salt Lake City, Utah. The focus of the conference is on the Great Basin and how the vast interior of the western United States was transformed beginning in the nineteenth century into one of the world’s most distinctive regional landscapes.
Our goal, reflected in the Two Utahs conference title, is to highlight the central role the Church of Jesus Christ of Latter-day Saints, more widely known as the Mormon Church, played in this place-making process, while at the same time acknowledging the significant contributions of non-Mormon groups as well. Rather than framing the narrative within a simple Mormon/non-Mormon opposition, however, we have chosen to break the story down into a more fundamental dialogue with religious and secular forces: both Mormons and non-Mormons had to find ways of making a living and they did this by utilizing and exploiting the ample natural resources of the region.
The real duality here may be between idealism (religious utopia, Edenic nature, sustainable development) and pragmatism (individual enterprise, outdoor recreation, economic growth). Conference tours have been designed to introduce attendees to the intricacies of the region’s built environment, and to raise questions about how landscapes are constructed, maintained, contested, and changed.
The 2017 VAF Conference in Salt Lake City features two days of architectural tours.
The Visual Resources Association is pleased to present our 34th Annual Conference, to be held in vibrant Louisville, Kentucky. Join us March 29-April 1, 2017 as we explore “Unbridled Opportunities” in image, media, and data management within the educational, cultural heritage, and commercial environments. You won’t want to miss this conference opportunity to reconnect with colleagues, share your professional experience and expertise, and explore the wonders of Louisville.
Conference organizers Chris Strasbaugh and Ryan Brubacher, working with the Local Arrangements volunteers, Amy Fordham, Stephanie Schmidt, and Heather Potter, have coordinated an exciting array of sessions, workshops, meetings, and events.
Early Bird Registration: Thursday, December 9, 2016 through Tuesday, February 28, 2017.
Full Price Registration: Wednesday, March 1 through Friday, March 17, 2017.
Surface and ornament have been extensively reviewed, admonished, discarded and pursued. More recently there has been a renewed interest in the writing of Aby Warburg and Alois Riegl, while numerous studies have addressed these issues relative to Semper, Adolf Loos, Hermann Muthesius, and Le Corbusier. They have been made prominent by issues of animation (see, for example, Papapetros 2012, Payne 2013, van Eck 2014) and digitation (see for example Spuybroek 2008 and Schumacher 2009).
Incrustations, protuberances, textured expressions, smoothed surfaces, surfaces enlivened as screens, are they ornament or cladding? The 2017 Interstices Under Construction Symposium, “Surface – Pattern” pursues the tension between ornament, adornment, object enlivenment, cladding, surface and pattern, and an exploration into the strange animations inherent in surface-pattern continua.
Thought in one direction, smooth surface tends towards speed and a friction-less gloss; in another, pattern stirs surfaces inciting decelerating, contemplation, and even deviation. Etymologically, ‘surface’ accords with the revealing of an upper or outward layer, but it also points to things that receive a surface through polishing or finishing. Pattern suggests the imposition of a plan or design that ultimately models or leads back to exemplars and the impact of patrons. Conjunctures of surface-patterns thus encompass rich and complex narrative effects.
This call for papers invites considerations, at a range of scales, of surface-pattern complexes like territory and landscapes, built assemblages and ‘cladding’, interior surfaces, décor and furniture, sculpture or objects of the decorative arts.
The symposium is motivated by the renewed fascination with the architectural surface and the expressive effects it mobilises – effects that both eschew and uneasily dabble in the decorative. Material mediation has become a means for experimentation, a way of teasing out smooth geometries, tessellated patterns, iconic figures and textures, which may all also perform technical functions, like joining or harmoniously accommodating incremental and differential movement. If, following Paul Virilio, the built, like the social, is inseparable from a politics of speed (in which surfaces, ways, and conduits at every scale are ‘policed’ in order to arrest impediments to an accelerating commerce of motion and passage), we might wonder what role patterning plays today.
As Giles Deleuze and Felix Guattari have argued, periodic repetition is key to encoding a milieu, founding territoriality and place-specificity. However, it is also a rhythmic vehicle running on difference, a metrical, staggered and reversible time of variable intensities, in which beginning and end are confused (Bogue 2003: 28). Performative and plastic arts in the Pacific and elsewhere use repetition not only as aesthetic device but also “to symbolise and effect relations of mana” (Tomlinson & Tengan 2015: 17), both channelling affective force and representing memory and knowledge to those who understand (Clark 2006: 12; Nepia 2013: 133, 197).
Pattern and rhythm run free of and extend beyond planar fixity, implicating faces and surfaces that may change, reverse or combine, they alter perception and architectural space. Surfaces, beyond their seconding within building hierarchies, open onto movement and shifting states (Taylor 2009: 47). Architecture, then, can be rethought in relation to an outside that is not kept out or apart, in terms of surfaces, flatness, dynamism and movement rather than stasis (Grosz 1995: 135). Patterned and patterning, surfaces provide a saturated environment rich in repetition, difference and an atmosphere by which architecture is more than a machinic structure. As the distinctions between structures and ornaments, function, form, façade and decor are reconceptualised, surfaces are no longer decorative elements but entities in themselves. Surface “turns into architecture [as the] surface becomes weighted, deep, differentiated, tartan, alternating, camouflaged, tonal, gradated, textured, branded, serial” (Bruno 2014: 93).
It is with this sense of the spatial effects potentiated by surface-pattern that we invite you to submit abstracts for the forthcoming Interstices Under Construction Symposium.
Please send a 500-word abstract and a short biographical statement of 100 words to Susan Hedges (firstname.lastname@example.org) by 28th February 2017. Abstracts will be vetted through blind peer review and, if accepted, published on the Interstices website (http://interstices.ac.nz/news-events/). Notifications will be sent out by March 2017. The symposium will be followed by a call for papers for Issue 19 of Interstices: A Journal of Architecture and Related Arts on the same topic in June 2017.
Convenors: Andrew Douglas , Tina Engles—Schwarzpaul, Susan Hedges,
Hillwood Estate, Museum & Gardens announces its 2017 Scholar-in-Residence Program.
PhD candidates and other highly qualified scholars conducting research that may benefit from Hillwood's holdings are encouraged to apply. Applicants should submit a curriculum vitae and a proposal, not to exceed 500 words, stating the necessary length of residence, materials to be used and/or studied, and the project’s relevance to Hillwood’s collections and/or exhibition program, including, but not limited to: art and architecture, landscape design, conservation and restoration, archives, library and/or special collections as well as broader study areas such as the history of collecting or material culture. The project description should be accompanied by two letters of recommendation. Materials will be reviewed by the selection committee. There are three potential types of awards:
Type #1: 1 week - 8 days
Hillwood will arrange and pay for travel costs to and from the museum; housing near campus; shop and café discounts; free access to all public programs.
Type #2: 2-3 weeks
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; a stipend of up to $1,200 depending on length of stay.
Type #3: 1-2 months
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; a stipend of up to $1,500 per month depending on length of stay.
Founded by Marjorie Merriweather Post (1887-1973), heir to the Post Cereal Company, which later became General Foods, the Hillwood Estate, Museum & Gardens houses over 17,000 works of art. Hillwood is in a special class of cultural heritage institution as a historic site, testament to the life of an important 20th -century figure, an estate campus, magnificent garden, and a museum with world renowned special collections. It includes one of the largest and most important collections of Russian art outside of Russia, comprising pieces from the pre-Petrine to early Soviet periods, an outstanding collection of French and European art, and jewelry, textile, fashion, and accessories collections. Scholars will have access to Hillwood’s art and research collections based on accessibility and staff availability. The Library has over 38,000 volumes including monographs, serials, annotated and early auction catalogues, and electronic resources; the Archives contain the papers of Marjorie Merriweather Post, her staff, and family members.
Application deadline: February 15, 2017
Applicants will be notified by March 13, 2017
Please submit applications or inquiries to the following email address: Scholarinresidence@hillwoodmuseum.org
The workshop is supported by the Sydney Environment Institute and the Faculty of Architecture, Design and Planning at the University of Sydney.
We invite proposals for short presentations and participation in an invited workshop at the University of Sydney, convened by Daniel Barber and Lee Stickells.
Proposals due: Monday 15 January 2017
Workshop: Friday 10 March 2017
This workshop will accompany Daniel Barber’s public lecture at the University of Sydney on Thursday March 9th – ” Environmental Histories of Architecture – Case Studies and Consequences”. It will explore the writing of histories that connect architecture and design with the emergence of global environmental culture across the 20th century. There has been an increasing interest amongst architectural historians in addressing environmental concerns on both historical and theoretical terms; simultaneously, other fields have been looking to architectural scholarship to understand the historical relationship between the built and the natural environment. This has also involved correlating the shifting discourse on environment with a history of architectural transformations and disciplinary expansions. Most significantly, the environmental history of architecture does not simply add more objects to the historical database, but also changes the terms of historical analysis, as new issues, such as risk and accumulation, come to the fore.
The burgeoning concern with this area of inquiry has prompted discussion amongst scholars keen to establish a common research and pedagogical agenda. Workshop co-chair Daniel Barber recently led a research group on architecture and climate for the Mellon Foundation funded Global Architectural History Teaching Collaborative, and is part of the Architecture and Environment Interest Group of the European Architectural History Network (EAHN). Workshops held by the EAHN Architecture and Environment group have sought to develop and share methodological insights, pedagogical materials, and to instigate mutually beneficial understanding across fields of inquiry relevant to developing environmental histories of architecture. The Canadian Centre for Architecture has also recently initiated a Mellon Foundation funded project titled “Architecture and/for Environment” that seeks to address compelling environmental concerns emerging from contemporary debates.
The aim of this workshop is to build on the foundations emerging from activity such as that described above. It will bring together a small group of scholars with an interest in historicising architecture-environment convergences. The workshop will be used to host a dialogue, share knowledge, and develop tools that may assist participants in further research projects. We will explore emerging research questions and methodological issues, as well as consider how collaborative projects such as formal session proposals, publications, funding applications, or symposia might be developed. The outcomes will be shared with colleagues.
We look to foster productive exchange rather than simply the presentation of research outcomes. The workshop will run 9am – 5pm; morning and afternoon sessions will focus on activating discussion, building shared dialogue and reference points, and developing shared projects and knowledge. More information about the workshop: http://sydney.edu.au/environment-institute/events/how-to-write-environmental-histories-of-architecture/
We seek abstracts (maximum 300 words) for short, five minute presentations that will provide a question or provocation for collective consideration at the workshop.
Abstracts should be submitted as a Word document to email@example.com by Monday January 15th, 2017. Please also include a CV as Word or PDF document.
The Library of Congress Junior Fellows Summer Intern Program enables undergraduate and graduate students to experience the integrated analog and digital collections and services of the world's largest, all-inclusive library. Working under the direction of Library curators and specialists in various divisions, fellows explore digital initiatives and increase access to the institution’s unparalleled collections and resources. Fellows are exposed to a broad spectrum of library work: copyright, preservation, reference, access, and information technology. In the past, summer fellows have identified hundreds of historical, literary, artistic, cinematic and musical gems representing the Library’s rich cultural, creative and intellectual assets. No previous experience is necessary, but fellowships are competitive and special skills or knowledge are usually desired. Selections are based on academic achievement, letters of recommendation, and an interview with a selection official. Applications for the 2017 Junior Fellows Summer Intern Program will be available December 12, 2016 through January 27, 2017 on USAJOBS.gov.
Public places – our streets, plazas, squares, and green spaces – belong to ALL of us! They are our democratically shared common wealth - the most important aspect of every city. How we treat the public realm demonstrates how we value our fellow citizens, our democratic principles, and our community.
If we treasure our plazas and main squares as beautiful places for community festivals and celebrations, we are embracing our unity and the power of our shared identity as a city.
If we hold a daily farmers market on a square next to city hall, government representatives can demonstrate they value democratic dialogue, and civic engagement flourishes.
If we create lively, hospitable neighborhood plazas, we exhibit our faith in the benefits of social life and community, and the opportunity to raise our children within a village of sustained adult relationships.
If we make our streets safe for walking and biking, and provide good public transit, we show that we recognize that health is important, and that we care for our children and elders as much as for those in cars. If we make our streets beautiful, hospitable, and lively with active street facades, we encourage strolling, lingering at outdoor cafes, and the sociable interaction that can follow.
Public places are the essential key to a livable city. Join us in Santa Fe to share your achievements and learn from others how we can take back our streets and squares - and in the process, strengthen community, civic engagement, health, and equity.
See you in beautiful Santa Fe - “The City Different”!
The Study of Buildings, Landscapes, and Places
IMCL AWARDS SUBMISSION CRITERIA
Every selected project must be of extremely high graphic quality, as well as packed with award-worthy content. The results of the competition will be displayed to represent IMCL aspirations at future Conferences, in publications, or on the IMCL website.
January 31, 2017 – Deadline for application form, statement of project philosophy/design criteria, Electronic Exhibit Boards, photos, and application fee
1. WHO CAN ENTER. Urban designers, landscape architects, architects, planners, developers, cities and other governmental agencies may enter one or more projects.
2. QUALIFYING PROJECTS. To qualify, projects may be already constructed, or in design, but must be real projects commissioned with the intention to build. There are no restrictions as to where these projects may be located.
3. APPLICATION PROCEDURE. Online – see: http://www.livablecities.org/conferences/54th-conference-santa-fe/design-awards-competition
Public places – our streets, plazas, squares, and green spaces – belong to ALL of us! They are our democratically shared common wealth - the most important aspect of every city. How we treat the public realm demonstrates how we value our fellow citizens, our democratic principles, our health, and our community. In our public places we walk and bike, exercise and play, build a shared sense of identity, and develop community.
Public places are the essential key to a livable city. Join us in Santa Fe to share your achievements and learn from others how we can take back our streets and squares - and in the process, strengthen community, civic engagement, health, and equity.
Paper proposals are invited from elected officials, scholars and practitioners concerned with these issues.
If you wish to present a paper, please submit a 250 word abstract for consideration before January 31, 2017. Please submit online, at http://www.livablecities.org/conferences/54th-conference-santa-fe/call-papers .
This is a highly competitive process. Proposals are peer reviewed and selected for presentation at the conference and for inclusion in IMCL eReports published after the conference.
For questions, contact Suzanne.Lennard@LivableCities.org.
Call for Applicants: Bard Graduate Center will host this four-week Institute on American material culture. Our case study is New York City and its immediate environs, focusing on the nineteenth century, when the city emerged as a national center for fashioning cultural commodities and promoting consumer tastes. Institute participants will study significant texts in material-culture scholarship and explore avenues for innovative pedagogy. Visits to rich collections in and around New York City will feature hands-on artifact study with experts in the field. The program also offers opportunities for participants to advance their own projects and workshop their current research with colleagues and senior scholars.
We encourage scholars from any field who are interested in material culture, regardless of disciplinary, regional, or chronological specialization, to apply. Application materials and other information about Institute content, eligibility, stipends, housing, etc. is available at: http://www.bgc.bard.edu/neh-institute.
The application deadline is March 1, 2017.
Project Directors: David Jaffee and Catherine Whalen (Bard Graduate Center), and Katherine C. Grier (University of Delaware)
For more information, please contact:
Bard Graduate Center
38 West 86th Street
New York, NY 10024
212.501.3026 / firstname.lastname@example.org
CALL FOR PAPERS
BITÁCORA 36: BORDERS
March-July 2017. Deadline: February 15, 2017. email@example.com
Throughout earth and throughout history, borders, ramparts, boundaries and walls have been used for various political, economic and military functions. These borders have been established culturally as responses to changing historical and territorial dangers and security threats. Today, gated communities, highways and large shopping centers are being built and ghettos of all types are being created; all of these need to be questioned in order to challenge the structures of power that reveal or hide themselves either through the construction of openly discriminatory and violent walls or through those that conceal delicate mechanisms of oppression behind the veil of alleged architectural or landscape poetics.
Physical or symbolic borders also make evident and protect identities by establishing definitions vis-à-vis the other while, at the same time, generating complex urban, architectural, and socio-geographic imaginaries. Studies about the particular urban landscapes of border cities with their red light district zones and their peculiar interurban mobility, phenomena like migration that transform our notions of taking root, the sense of belonging and becoming attached to the territory, debates on the boundaries between public and private space, or about the alleged disappearance of borders limiting the access to information by way of the internet, among others, have led to the emergence of contemporary concepts touching on political, cultural, economic, architectural, urban, geographical, and ethical issues as well as on human rights. We welcome essays discussing these conditions and other ideas about borders for this edition of Bitácora.
CONVOCATORIA DE ARTÍCULOS
BITÁCORA 36: FRONTERAS
Marzo - julio 2017. Fecha límite: 15 de febrero de 2017. firstname.lastname@example.org
En todo lugar del planeta, a lo largo de la historia, se han usado fronteras, murallas, límites y muros para llevar a cabo diversas funciones políticas, económicas y militares. Estas fronteras se constituyen culturalmente como ideas en torno al peligro y la seguridad que varían sustancialmente en cada época y territorio. Hoy se construyen urbanizaciones cerradas, vías rápidas y grandes centros comerciales; se generan guetos de muchos tipos, los cuales es necesario cuestionar para desafiar las estrategias de poder que se muestran o esconden, ya sea por medio de la construcción de muros abiertamente discriminatorios y violentos, o de aquellos que, detrás del velo de una supuesta poética arquitectónica o paisajística, disimulan delicados mecanismos de opresión.
Las fronteras físicas o simbólicas también evidencian y protegen las identidades al establecer definiciones frente a los otros y, al mismo tiempo, generan imaginarios urbano-arquitectónicos y socio-geográficos complejos. Estudios sobre los paisajes urbanos particulares de las ciudades fronterizas, con sus zonas de tolerancia y su peculiar movilidad interurbana; fenómenos como la migración —que transforma nuestras relaciones de arraigo, de pertenencia y apego al territorio; los debates sobre los límites entre el espacio público y el privado; o la supuesta desaparición de las fronteras de acceso a la información por medio de la red; entre otros, han llevado a la aparición de conceptos contemporáneos que tocan lo político, lo cultural, lo económico, lo arquitectónico, lo urbano, lo geográfico, lo ético y los derechos humanos. Invitamos a reflexionar sobre estos temas para este número de Bitácora.
Organized by the Faculty of Arts and Humanities, Coventry University; the Amsterdam School for Heritage, Memory and Material Culture, in collaboration with the Rijksmuseum, Amsterdam; the Ateneum Art Museum / Finnish National Gallery, Helsinki, and Radboud University, Nijmegen
Confirmed keynote speaker: Prof. Elizabeth Emery (Montclair State University, US)
The ‘Gothic’ has permeated visual and cultural ideas and practices of modernity. Yet the presence of a ‘Gothic Modernity’ or Gothic Modernisms challenges fundamental perceptions of how ‘modernism’ from the late nineteenth-century onwards has been historicized, created, produced and seen. The opposition of a ‘Gothic’ pre-modern past to a modern present, of age/decline or infancy to rebirth/progress, has since Jacob Burckhardt’s The Civilisation of the Renaissance in Italy (1860) presented such dualities as pivotal to narratives of Western modern art, construed as opposing and sublimating the ‘pre-modern’. From these perspectives, the very idea of a ‘Gothic’ becomes reified as a temporal abstraction – a trope, relegated to the ‘middle’, the ‘pre-’, ‘the ‘dark’, as the eminent French medievalist Jacques Le Goff has pointed out. This conference seeks to challenge such polarities, developing Le Goff’s idea of ‘un Gothique noir’ (an ‘unseen’ Gothic), of a modern(ist) Gothic spirit and sensibility, that is insufficiently studied, historicized or understood. The conference proposes, instead, a thorough-going engagement with the pre-modern and Gothic as a disruptive teleology and identity within late 19th- and 20th-century visual and cultural modernisms. Critically implicated in their ideologies and remaking of cultures, communities, sites and identities of art, this reshapes familiar constructs of Naturalism, Symbolism and Modernism. Further, seen from the perspectives of a ‘Gothic modernity’, this conference foregrounds underpinning arguments of history, religion, language, belief, inheritance and geo-political tussles, eclipsed or elided in canonical accounts of this period’s art. For Medieval gothic culture and aesthetics emerges as deeply entwined with modern art, art historiography, art literatures, collection-formation and museum design of the later nineteenth century to the mid-twentieth. From the Gothic revivals and appropriations of 19th-century Romantic artists, writers and historians, to the neo-medievalism of pre-Raphaelite art; from the Gothic alterities of the ‘fin de siècle’, to Expressionism and Surrealism, ‘Gothic’ as histories and recreation, as haunting and present reality, is everywhere manifest. The Gothic inspires founding historiographies of 20th-century art, museums, aesthetics, identities of culture and expressions of ‘nation-hood’, from the 1902 Bruges exhibition Les Primitifs Flamands to rival exhibitions Les Primitifs français (Paris 1904) and Meisterwerke Westdeutscher Malerei (Düsseldorf 1904); from John Duncan’s Anima Celtica (1895) to Wilhelm Worringer’s Formprobleme der Gotik (1911), to Johan Huizinga’s Waning of the Middle Ages (1919).
Gothic Modernisms will focus on the (global) legacies, histories and contested identities of Northern European Gothic/early-modern visual cultures in modernity and, in particular, on identities of modernism, including avant-gardes. It builds on two preceding, related conferences on ‘Primitive Renaissances’ (The National Gallery, London, 2014) and ‘Visions of the North’ (Compton Verney Museum, 2016), which have opened new scholarship on 19th- and early 20th-century responses to Northern Renaissance and early Germanic art. Gothic Modernisms will expand this field of enquiry and its temporal scope. It explores the pivotal, yet still understudied, reception, construction and invention of Northern Gothic art and reception in the period spanning the 1880s to the 1950s, extending interest in Latin and Germanic Gothic to the ‘Nordic’ world. We term these artistic and cultural reinventions ‘gothic modernisms’.
The conference thus aims to develop both a broad perspective in relation to gothic modernisms and a deepening of the issues—methodological, theoretical, aesthetic, archival—pertinent to this subject. In particular, we seek papers which pose fresh questions about the modern reception and practices of medieval art in institutions and museums, as well as in art, art historiographies, art writings and broader visual-cultural contexts.
Further: the conference aims to revisit and examine Gothic/early-modern reinventions and appropriations in later 19th- and early 20th-century modernisms from original, to date unexplored, perspectives. We seek to explore competing ‘Gothic’ identities (Francophone, Flemish, Anglo-Germanic, Nordic, Celtic, Latinate, Slavic, via histories, images and artefacts), crossing national and geo-cultural borders, as well as to shape new nationalisms. The objective is to interrogate multiple routes through which medievalisms were construed disruptively, nationally and transnationally, to reimagine new artistic and cultural identities. These include ideas of community, canonicity, avant-gardes, sites, cults, nature, the spectral, the popular/‘people’, alterity, and aesthetic and political hybridity. We therefore also invite papers that engage with identities of gothic modernity and modernisms which challenge fundamental constructs of periodicity and modernist ‘canons’, crossing cultural and aesthetic boundaries, including to non-Western frameworks.
Papers/panels are invited in (but not limited to) the following suggested areas:
Gothic Identities/Empires: Latin, Germanic, Teutonic, Nordic Gothics at the ‘tournant de siècle’
‘Gothic’ cartographies and national revivals in 19th-/early 20th– century exhibitions, art, art writing
Challenging periodicity; histories, Gothic rewritings, cultural memories/monuments – towards a ‘Gothic present’; the Northern Gothic Modern ‘Genius’
Museal Gothics: Collecting/ Exhibiting/ Photographing/ Displaying Gothic modernities/ Renaissances
Gothic sites and modernity – pilgrimages, rituals of art
(Imagined) Gothic sites in expressionist, surrealist, or other avant-gardist film and photography
Rooted/Transnational-cosmopolitan Gothic modernisms/communities of art (late 19th and 20th centuries)
Nordic Gothic modernities
Cathedrals of art/culture: architectures, design, cities – Gothic Modern citadels/ spaces and avant-gardes
‘Neo-Gothic’ Modernities in architecture/interiors
New ‘Dark Ages’ and Gothic alterities
The uncanny presence of the ‘gothic’ in avant-gardes
Gothic modernist spiritualisms: modernist artist/writer monastics: Zealots, Hedonists, Saints, Martyrs
Gothic Modern bodies in modernist art and visual cultures
Migrating-transitional objects/Gothic relics/taboo
Gothic ‘Others’ and the silences of history
Proposals of max. 300 words should be sent to both:
email@example.com and firstname.lastname@example.org by 20 December 2016.
Please include the following details with your abstract: name and surname; affiliation; contact e-mail address; and short biography, incl. a brief overview of most relevant publications. The organizers warmly welcome proposals from early-career researchers.
Proposals will be selected by peer-review. A publication based on the conference papers is envisaged.
Conference Organizing Committee:
Prof. Dr. Juliet Simpson, Coventry University, UK
Dr. Tessel M. Bauduin, University of Amsterdam, NL
Dr. Jenny Reynaerts, The Rijksmuseum, Amsterdam, NL
Dr. Jan Dirk Baetens, Radboud University, Nijmegen, NL
Prof. Dr. Anna-Maria von Bonsdorff, Ateneum Art Museum/Finnish National Gallery, Helsinki, FI
‘Gothic Modernisms’ forms the culminating event in a trilogy of conferences investigating the modern and modernist reception of Northern medieval and Renaissance masters in Europe, beginning with ‘Primitive Renaissances’ (National Gallery, London: 2014) and continuing with ‘Visions of the North’ (Compton Verney Museum, UK: 2016).
This conference will take place at the Rijksmuseum, Amsterdam
Guest editor: Paolo Girardelli – Boğaziçi University (Istanbul)
For publication in issue 12|2017
This guest-edited section invites contributions that reflect on the role and meanings of embassies, consular buildings and other officially “foreign” structures in the urban fabrics situated “beyond Europe”. Albeit inherently representative objects, embassies are seldom considered as architectural signifiers, or as parts of the cultural landscape of a city. While the architecture of diplomacy displaces literally a fragment of the nation beyond its territorial borders, this movement is never limited to the transfer of technologies and architectural styles. Instead, the making of diplomatic landmarks can be assessed as a dialogic process of space production, entailing negotiation and domestication in the foreign context, appropriation and reworking of local symbolic and material resources, interaction with the surrounding social and physical landscape. The afterlife of such landmarks is also an interesting aspect of the general question of their meaning and symbolic function: how embassies designed in a peculiar geo-political situation may be perceived and used in new ways after crucial disruptions or crises of the local or international order. Not only visual and stylistic, but also functional and social hybridity may be a component of the life of these structures, especially in contexts where the boundaries between diplomacy and international commerce were not yet rigidly established.
Critical and historical studies on empirical cases or broader historical processes, as well as theoretical/conceptual issues, will be considered for inclusion in this issue. Papers studying the formation of districts or environments of diplomacy; evaluations of design policies applied by a state in different regions for the architecture of embassies; as well as monographic studies contextualizing a foreign landmark in a local landscape may be proposed for publication. Aspects of patronage and authorship (in many cases diffused, and exceeding the limits of the individual actor), integration in—or estrangement from—the urban/social fabric, as well as changing or persisting representational strategies affected by global and regional geo-political developments will be valued as important elements of the critical discussion proposed in each paper.
Deadline for submissions: 15 April 2017
Please send submissions to abe[at]inha.fr
This symposium is organized on the occasion of Tod A. Marder’s retirement from active teaching. A generous and insightful scholar, mentor, and colleague, Tod has been a significant influence on the fields of Baroque architecture, Bernini studies, and architectural history and criticism for over forty years. To celebrate Tod’s scholarship and to reflect on the current state and historiography of architectural history and Bernini studies, this symposium brings together colleagues, mentees, and former students who will speak on a range of topics inspired by Tod’s work and example.
Organizers: Karen Lloyd and Stephanie Leone
Host: Erik Thuno, Chair, Department of Art History, Rutgers
Sponsored by the Department of Art History, Rutgers University and the Samuel H. Kress Foundation
Erik Thuno, Chair, Department of Art History
Stephanie C. Leone (Boston College) and Karen J. Lloyd (Stony Brook University); Co-organizers
9:20-10:40 SESSION I: Reconstructions
Joseph Connors, Harvard University. The Krautheimerian Roots of Generation Seventies
Patricia Waddy, Syracuse University. Del Bufalo Fountains at Capo Le Case: Solutions from the Archive
Ingrid Rowland, Notre Dame University. Borromini’s Restorations in Saint John Lateran, Rome
John Pinto, Princeton University. Tod Marder: An Appreciation
11:10-11:40 COFFEE BREAK
11:40-1:00 SESSION II: Dissemination
Nicholas Adams, Vassar College. The Critical Edge: When Historians Met the Present
Heather Hyde Minor, Notre Dame University. Architecture in Print: Obelisks in Baroque Rome
Christy Anderson, University of Toronto. A Talented Man: George Waymouth and The Jewell of Artes
1:00-2:00 LUNCH BREAK
2:00-3:20 SESSION III: Bernini
Karen J. Lloyd (Stony Brook University); Lisa Neal Tice (Lebanon Valley College); Emily Urban (Philadelphia Museum of Art). Golden Ages: The Goat Amalthea and the Young Bernini
Vernon Hyde Minor, University of Colorado Boulder. Tomb of Alexander Chigi, St. Peter’s
Maria Grazia D’Amelio, Università degli studi Roma Tre. Gian Lorenzo Bernini: astrological divinations and professional affairs (1624-1652)
3:20-3:40 VIDEO Susanna Pasquali, Pantheon
3:40-4:10 COFFEE BREAK
4:10-5:15 KEYNOTE LECTURE
John Beldon Scott, University of Iowa. Bernini’s Colonnade: Anxiety and Control in Piazza San Pietro
This is the premier event for art, architecture, design, and visual information professionals.
Please note that there is an option to set up a ‘self-scheduled’ meeting. Janine Henri, the ARLIS/NA Liaison to SAH would be interested to know whether any SAH members planning to attend the ARLIS/NA conference would like her to organize a gathering to meet librarians that are also SAH members. Please contact Janine Henri if this is of interest!