Time Travel in the Media for McFarland: CFP

Volume rendering of log baryon density of the entire 1.5 billion light year cube, viewed from an angle. Created by Matthew Hall of NCSA’s Advanced Visualization Laboratory

2013 Hagley Fellows Conference “Ways of Knowing the World: History and the Senses”

image source: here

2013 Hagley Fellows Conference
“Ways of Knowing the World: History and the Senses”
Saturday April 20, 2013, Hagley Museum and Library, Wilmington, DE

On Saturday April 20, 2013, the Hagley Museum and Library will host,
“Ways of Knowing the World: History and the Senses,” a conference
sponsored by the Hagley Fellows of the University of Delaware.

The conference will bring together a diverse group of scholars and the
public to explore the historical and cultural role of sensory
perception in the human experience—including those that look beyond
the Aristotelian conception of the five senses.

Mark Smith, Carolina Distinguished Professor of History, University of
South Carolina, will deliver the keynote address. He will discuss his
new work on sensory history and the American Civil War.

PROGRAM
INDUSTRY AND THE SENSES (9:00am-11:00 am)
Nadia Berenstein (University of Pennsylvania), “Tasting Success:
Training for a Job in Flavors, 1954-1984”
Gerard J. Fitzgerald (George Mason University), “‘Lots of folks nearly
drove ‘em crazy…’ Soundscapes, Sensory Experience, and the Lives of
Southern Mill Hands, 1915-1940”
Anna Thompson Hajdik (University of Wisconsin, Whitewater), “Stock
Yard Panoramas and Superlative Spectacles of Animal Disassembly:
Chicago’s Packing House Tourism at the Turn of the 20th Century”

EXTRA-SENSORY PERCEPTIONS (11:00am-1:00pm)
Alicia Puglionesi (John’s Hopkins University), “The Astonishment of
Experiment: Negotiating the Extra-Sensory in Early-Twentieth-Century
America”
Richard Steven Nash (John’s Hopkins University), “Bat Bombs and
Interphones: Donald Redfield Griffin’s Research during World War II”
Matthias Klestil, “In the Eyes of the Slaves: On the Visual Regimes
and Rhetorics of the Antebellum Slave Narrative”

DESIGNING SENSORY EXPERIENCE (2:00pm-4:00pm)
Jeremy Blatter (Harvard University) and Lee Vinsel (Stevens Institute
of Technology) , “Light, Signal, and Semaphore: Psychology, Senses,
and Safety in the Age of Mechanical Transportation”
Sarah Tracy (University of Toronto), “Democratizing Delicious? MSG and
Post-Humanist Rumination on Taste”
Paul Gansky (University of Texas, Austin), “Palpable Privacy:
Telephony and Sensory Regulations in Public”

KEYNOTE ADDRESS (4:00pm-5:00pm)
Mark Smith, Carolina Distinguished Professor of History, University of
South Carolina

To register, please visit our website:
http://www.udel.edu/hagley/events/conferences/fellowsconference.html

If you have any questions, please contact Hagley Fellows
(hagley.fellows@gmail.com).

CFP: Pro-vocare, A New Collection of Sonically-Inspiring Projects

CFP: Pro-vocare, A New Collection of Sonically-Inspiring Projects

Call for Provocations

Pro-vocare: Sound Ideas
a new collection of sonically-inspiring projects

Deadline for Proposals: April 1, 2013

 http://www.fhi.duke.edu/opportunities/soundbox-cfp

Over the next year, Soundbox will stage a series of provocations – from the Latin pro-vocare, “to call forth” — that confront the current sound of knowledge. Collectively, these provocations will showcase some of the most innovative uses of sound in scholarly settings, both creative and critical. Documentation of these collected works will be published on the web as a multimodal open-access book. This resource aims to provoke more noisy t(h)inkering within the fields of sound studies, digital humanities, and the audio arts and sciences writ large.

For the full CFP, please visit: http://sites.fhi.duke.edu/soundbox/2013/02/28/call-for-provocations-pro-vocare-a-new-collection-sonically-inspiring-projects/

Send questions to soundboxproject@gmail.com.

CINEJ Cinema Journal:::::book reviews and festival reviews::::::April 4, 2013

CINEJ Cinema Journal is a peer-reviewed semiannually published international Cinema Journal.

It is published by the University Library System, University of Pittsburgh and is cosponsored by the University of Pittsburgh Press.

CINEJ invites new and provoking ways of looking at cinema. We invite book reviews and festival reviews.  CINEJ Cinema Journal is committed to publishing fresh and original research in the fields of film and media studies. Areas include but are not limited to:

- Film historiography and methodology

- Film festival studies,

- Documentary and nonfiction cinema

- Transnational/global cinema(s)

- Television studies

-Representations of ethnic/cultural diversity and intercultural dialogue

- Photography/cinema/digital media

- Production studies

Please send a copy of your article to Murat Akser at makser@khas.edu.tr and also create your cinej account to upload your article for evaluation purposes. Please refer to this link for Author Submission Guidelines:

http://cinej.pitt.edu/ojs/index.php/cinej/about/submissions#onlineSubmissions 

Deadline for Submissions: April 4, 2013  

Deep Listening: Art/Science - Call for Submissions (April 1st deadline)

OFF THE PAGE CALL FOR SUBMISSIONS / PAPERS (Montreal)

installations by artist jung lee

OFF THE PAGE CALL FOR SUBMISSIONS

Public Access Poetry was a short-lived TV program recorded in 1977 and 1978. There are only forty-six open-reel recordings of this project, consisting of short, simple snippets of poets performing into the camera.  Each episode brought poetry out of its text and into a live cultural moment.  If we investigate this phenomena now, what does it mean for poetry to engage with the public? Whose public and what public?  Television was the medium in the late 70s, when Public Access Poetry first aired. Does the onslaught of recent technologies make the relationship between poetry and the public easier, more problematic, more political, less so? How do online archives of sound and image impact the way we understand contemporary and historical literary arts? Does poetry’s interaction with accessible public mediums change what we qualify as poetry? Off The Page, partnered with Public Poetics, is looking for engaging, dynamic work that examines the relationship of poetics to the public to be featured at an event at Montreal’s VAV Gallery as well as in the Concordia English department this April 2013.

SUBMISSION GUIDELINES

Poetry: 5 poems max.

Fiction, Essay and Non-Fiction: 1500 words max.

DEADLINE: March 21st, 2013

We prefer online submissions. Please send to: offthepageconcordia@gmail.com with the header “submission” and the type of genre you’ll be working with. For more information visit www.publicpoetics.ca as well as www.poeticevent.wordpress.com.

Note that we are looking to excerpt approximately 10 minutes of your submission for reading.

OFF THE PAGE CALL FOR PAPERS

Public Access Poetry was a short-lived TV program recorded in 1977 and 1978. There are only forty-six open-reel recordings of this project, consisting of short, simple snippets of poets performing into the camera.  Each episode brought poetry out of its text and into a live cultural moment.  If we investigate this phenomena now, what does it mean for poetry to engage with the public? Whose public and what public?  Television was the medium in the late 70s, when Public Access Poetry first aired. Does the onslaught of recent technologies make the relationship between poetry and the public easier, more problematic, more political, less so? How do online archives of sound and image impact the way we understand contemporary and historical literary arts? Does poetry’s interaction with accessible public mediums change what we qualify as poetry?

Public Poetics, partnered with Off The Page, is looking for engaging, dynamic papers that examine the relationship of poetics to the public to be presented at Montreal’s Public Poetics Conference in the Concordia English department on April 3rd, 2013.

The presentation should be between 15-20 minutes in length. A poetry reading will follow the panels.  Feature panelists include: Erin Mouré, Michael Nardone, Sue Sinclair and Kate Eichhorn.

Proposals should be no more than 250 words and should be accompanied by a 100-word abstract and a 50-word biographical note. Please send proposals to publicpoetics@mta.ca by March 21st, 2013. For more information visit www.publicpoetics.ca as well www.poeticevent.wordpress.com

International Network for Alternative Academia::::7th International Symposium: Reinventing Citizenship

8th International Documentary Film Festival of Mexico City

8^th International Documentary Film Festival of Mexico City

1. The 8^th International Documentary Film Festival of Mexico City (DocsDF) will take place from October 24^th to November 3^rd2013.

2. Each participant may present one or more documentary films to the following categories:

• International Feature
• Ibero-American Feature
• Mexican Feature
• Feature for Television
• International Short Film
• Mexican Short Film

Submissions

3. In order to participate, each contestant must fill in the online application form, available at: www.docsdf.org and then send two (2) screening copies on DVD to the following address:

DocsDF
International Documentary Film Festival of Mexico City
República de Cuba 43, primer piso. Centro Histórico
CP 06010, México DF.

3.1. Also, participants might send on-line screeners through the platform: www.movibeta.com.

3.2 No film will be completely registered until the reception of the screening copies, through any of the two sending ways available. Once the copies are received and the application form is properly filled, the applicant will receive, via e-mail a notification and a reference number, indicating the proper submission of the film.

4. The submission has no cost.

5. Deadline for submission is April 30^th 2013.

5.1 The date in which the film was sent will be considered for registration.

6. The films must be produced after January 1^st 2012.

7. In order to participate in the «Mexican Feature» category, the films shouldn’t been exhibited or screened on commercial cinemas, festivals, television or web in Mexico City, prior to the last day of the 8^th edition of the festival (November 3^rd).

8. Documentaries presented to the «International Short Film» or «Mexican Short Film» categories, most not exceed 30 minutes in length. Nevertheless, in case they do, they can be consider for all the other categories.

9. Films submitted to the «feature for television» category should have been produced or co-produced to or by a TV broadcaster, regardless whether they have been broadcasted or not.

10. Submitted documentaries whose original language isn’t Spanish or English must be subtitled in either of those two languages.

11. By no means, the screening copies will be returned, and they will become part of the festival’s archives.  They might be use strictly with cultural purposes only and free or any charge within the DocsDF Videotheque, as well as in any other events organized by DocsDF, with previous consent by the responsible of the documentary.

Selection

12. In case the film is selected, the person who registered the film will be notified and informed with the instructions for the delivery of the screening copy, as well as the additional materials required for its participation.

13. DocsDF members and experts in the documentary genre will form the Selection Committee, who will perform their work according to quality and creativity parameters previously set by the Direction of the Festival.

14. The Selection Committee reserves the right to change a film to a different category than the one presented to, if it is consider convenient, always informing the participant of such action.

Participation

15. The selected films will have twenty (20) days from the date of notification, to deliver the screening copies.

15.1 After the Official Selection notification, the participants will receive further information regarding the digital formats and necessary materials to complete the participation.

16. In the case the producing company or the documentary applicant doesn’t have a NTSC copy, Spanish subtitles or neither, DocsDF will be able to provide those services.

17. The filmmakers selected must send along with the screening copy or via e-mail the following materials:

• Two (2) stills of the film, one for the catalogue (900 x 900, 300 dpi) and another one for web (525 x 300, 72 dpi).
• A short synopsis of the film (500 characters including spaces)
• Promotional materials (Press Kit), which will be distributed to the media and press during the festival, as well as other additional materials (posters, postcards, etc.)

18. Any expenses generated by the delivery of materials will be cover by the sender. DocsDF won’t be responsible for any possible damage the materials might suffer during the delivery.

19. All the parcels sent, must be clearly marked: «With no commercial value, for cultural purposes only».

20. The festival organization assumes that the producers or filmmakers applying to this call for entries hold the exhibition rights to the piece they are presenting, exempting DocsDF of any civil or penal responsibilities.

21. In case of selection, those films in post-production stage (work in progress) will be accepted as long as they can guarantee the delivery of the screening copy within the requested dates. This guarantee will be resume in a letter extended by the festival at the appropriate moment.

22. DocsDF does not pay screening fees.

Jury

23. The jury is formed by national and international personalities from the audiovisual and cultural area. The members will be announced before the celebration of the festival.

24. No member of the jury will be able to participate in any of the categories of the festival under any title.

25. No member of the DocsDF organizing committee can be part of the jury.

26. The jury’s decision isunappealable.

Final clause

27. The submission of the films implies the total acceptance of this call for entries and its regulations, and its interpretation and application it’s responsibility of the DocsDF organizers.

28. For any doubts or further information regarding this call for entries, please write to programacion@docsdf.org or call: (+52 55) 55 10 36 89.

México City, December 2012

 Registration Form

The Scholar & Feminist 2013: Utopia Barnard Center for Research on Women

The Scholar & Feminist 2013: Utopia 
Barnard Center for Research on Women 
Friday, March 1, 2013 at 6:30 PM - Saturday, March 2, 2013 at 6:00 PM (EST) New York, NY
http://bcrw.barnard.edu/event/utopia/

“It was part of women’s long revolution. When we were breaking all the old hierarchies.”
—Marge Piercy, Woman on the Edge of Time

“I write because life does not appease my appetites and hunger. I write to record what others erase when I speak, to rewrite the stories others have miswritten about me, about you.”

—Gloria Anzaldúa,“Speaking in Tongues: A Letter to Third World Women Writers”

“We are impossible people… We’re being told that we’re politically unviable and impossible, we’re told that constantly, and yet I think there’s a space of possibility that exists in part because we are not yet included or recognized.”
—Dean Spade, “Trans Politics on a Neoliberal Landscape”

Utopia challenges us to imagine the impossible. Feminists have for years spoken of dreams, of excess, of revolution. Creating a space outside of what society makes available can be an act of survival in a culture that selectively grants and withholds the designation of full humanity. While many have shied away from the term “utopia,” wary of its uses as a cover for eugenics and other distinctly dystopian endeavors, this year’s Scholar & Feminist Conference argues that there is a consistent power that comes from confronting our desire–our “appetites and hunger”–for “spaces of possibility,” making “women’s long revolution… breaking all the old hierarchies.”

In concert with this theme, the conference format this year focuses on participation and collaboration. We’ll kick off the weekend with ascreening of Wu Tsang and Roya Rastegar’s film Wildness, a magical and explosive exploration of “safe space,” queer community, creativity, and class, followed by a conversation with the filmmakers. In Saturday’s workshops, community leaders from a wide range of fields facilitate opportunities for creativity and organizing through discussion and brainstorming. Workshop topics include:

• community design
• coalition & justice
• remix culture
• open education
• feminist parenting
• sci-fi/fantasy
• prison abolition ending poverty
• desiring change
• climate change
• food justice
• intentional housing

Plenary presentations will be collaboratively produced and will intertwine academic, activist and artistic work and presentation-styles. Shaowen Bardzell, a pioneer in the field of feminist Human Computer Interaction, pairs with visual artist Youngsuk Altieri to present a feminist vision for the future of our lived environment. Pam McMichael of the Highlander Center teams up with social justice printmaker Melanie Cervantes of Dignidad Rebelde to show us what coalitional organizing could be at its best. And Marisa Rius, Director of the Program of Gender Studies of the National Autonomous University of Mexico, comes together with director and performer Jennifer Miller of Circus Amok! to explore feminist and queer pedagogies.

Participants include: Youngsuk Altieri, Indiana University, Human Computer Interaction-Design; Shaowen Bardzell, Indiana University School of Informatics & Computing; Melanie Cervantes, Dignidad Rebelde; Pam McMichael, The Highlander Center; Jennifer Miller, Circus Amok!; Marisa Belausteguigoitia Rius, Universidad Nacional Autonoma de Mexico; Wu Tsang, Filmmaker; Gwendolyn Beetham, Independent Scholar; K. Tempest Bradford, Writer; Francesca Coppa, Organization of Transformative Works; Design for America, Barnard College Chapter; Reina Gossett, Writer and activist; Amber Hollibaugh, Queers for Economic Justice; Ileana Jiménez, FeministTeacher.com; Simone Kolysh, CUNY Graduate Center; Elisa Kreisinger, PopCulturePirate.com; Victoria Law, Writer; Rickke Mananzala, Activist; Pamela Phillips, Barnard Center for Research on Women; Kavitha Rao, The Common Fire Foundation; Roya Rastegar, Bryn Mawr College; Dean Spade, Seattle University School of Law …and more!

And at the end of the day, we’ll gather for a reception and party. Barnard students will provide a “utopian” playlist as soundtrack. Join us to offer your thoughts and energies too.

This event is open to the public. Registration is required; there is a sliding scale fee – no one will be turned away due to lack of funds.

Scholarships: A small number of $40 scholarships are available to defray costs associated with attending the conference. Emailajonas@barnard.edu for more information.

Venue is wheelchair accessible.