Here’s an insightful post, reblogged from The Feminist Wire, from two USC scholars, Kai M. Green and Treva Ellison, on complexities of difference in light of the recent Supreme Court rulings on DOMA, PROP 8, and Voting Rights Act.
Dispatch from the ‘Very House of Difference’: Anti-Black Racism and the Expansion of Sexual Citizenship – OR – We Need to Do So Much Better at Loving Each Other
Convergence: Special themed issue
Vol 21, no 1 (February 2015)
Digital Archives & Open Archival Practices
Guest Editors: Sarah Atkinson and Sarah Whatley
This special issue aims to bring together researchers, artists, professionals and practitioners from the field of digital archives and the archiving of practice with an emphasis upon Art, Design, Media, Film and Performing arts disciplines. It specifically aims to explore the affordances of digital technologies upon archival practices.
Within digital archival practices, there is a notable shift from the closed to the open and from the traditional single-user archive model to emerging multi-user, collaborative forms of archival practices and scholarship. The digital preservation and presentation of archival materials dramatically impacts upon the nature and notion of access. The types of discoveries, insights and findings that can be made through online digital interfaces can be radically altered.
The call for papers will invite contributions that focus on the widest range of digital archives (film, dance,sound, oral history etc), that consider national and international collections, which might focus on archival strategies,policy, copyright and education, and which consider technological aspects of digital archiving including the semantic web, analytics, meta-data, tagging and time-based meta-data.
The editors are particularly interested in encouraging submissions from a range of contexts, originating from academic research, policy making and from the archival professions. Contributions will be welcomed, but are not limited to,articles and pieces that address the following questions:
· How are digital archives changing our experience of the ‘live’?
· To what extent do digital archives ask us to re-evaluate the value of archival collections; how are digital archives altering our perception of the ‘archive’?
· What are the critical discourses and practices that help us make sense of the role and impact of digital archives in contemporary society?
· How do digital archival practices shift our view of the ‘archive’ and the ‘archivist’?
· How do digital archives participate in artistic practice?
· To what extent does the representation of art and artists in digital archives shift, diminish or support artists’ practice?
· What role does design play in the creation, curation and visualization of artistic practice in digital archives?
· To what extent do digital archives prompt us to reconsider the value, place and purpose of the archive in contemporary society?
· What role does the user have in constructing the archive?
· How do born and re-born digital archives contribute to the discourse of ephemerality and permanence in
contemporary arts practice?
· What is the future of digital archives in contemporary arts practice?
· What are the nature and functions of the digital archive in education, research and scholarship?
· How can digital archives contribute to the notion of a digital public space?
· How can the consideration of digital archives and open archival practices most usefully contribute to the Open Source, Open Educational Resources (OER) and Open Educational Practices (OEP) movements?
Standard articles will be in the range of 4000–8000 words. A more flexible approach may be possible for other formats and styles of submission (for example interviews, reports or reviews) so we encourage contributors to contact the Editors in the first instance to discuss their ideas prior to submission. Full details about how to submit are available here: http://con.sagepub.com
Submission of full papers to the Editors by February 28 2014.
The special issue will follow the Digital Echoes Symposium at Coventry University in January 2014. A call for papers for the Symposium will be issued shortly and confirmation of participation will be in November 2013. Presenters at the Symposium will be invited to consider contributing developed papers for the special issue of the Journal.
Call for Conference Proposals
HIP HOP AND PUNK FEMINISMS
T H E O R Y, G E N E A L O G Y, P E R F O R M A N C E
U N I V E R S I T Y O F I L L I N O I S, U R B A N A – C H A M P A I G N
5 – 6 D E C E M B E R 2 0 1 3
Proposals due: Friday, 23 August 2013
This conference will bring together artists, activists and academics to stage new conversations about women of color and women of color feminisms across cultural forms too often perceived to be wholly distinct – hip hop and punk. Both hip hop and punk have received significant scholarly attention since the 1970s, but despite their near-simultaneous emergence in global cities wrought anew through multiple, devastating wars and global economic restructuring, rarely are the two brought into conversation with each the other.
With this conference, we hope to disrupt status quo narratives and present wholly new analytic and aesthetic investigations about race, sex, and the creation of categories of deviance; race, gender, and sexuality in cultural studies and the politics of aesthetics; queer of color critique and women of color feminist epistemologies; social movements, activism, and art; norms of respectability, morality, and propriety and their politics of value; and, systems and structures of violence and human value. Perceiving a need for a greater nuanced comparative analyses and collaborations across disciplines or fields of inquiry, itself a topic of ongoing scholarship, this conference aims to break ground on what that looks, feels, and sounds like.
We invite presentations, papers, performances, work-in-progress, new media, workshops, panels, related to (or building on) the following themes/issues:
Genealogies and as well multiple origin stories for hip hop and/or punk across diasporas and the globe (against a wholly distinct and discrete genealogy, or singular origin story, for each)
Inter-genre corporeal practices and body aesthetics
Theories of aesthetics and value that emerge from hip hop and/or punk cultures
Critical conversations on hip hop and/or punk organizing and disorganization
New media, web series, blogs, zines, and ciphers
Critiques and political polemics that imagine futurity or negativity (and the uses and challenges to them from women of color feminisms)
Disruptive youth cultures and oppositional activism, or their lack (can we necessarily presume disruption or opposition? what conditions are required? through what measures do we recognize these?)
The ephemeral and haptic qualities of hip hop and punk performances (including the events, actions, and encounters between bodies that shape social and cultural formations within hip hop and punk cultures)
Art and music inspired by hip hop and punk collaborations
Experimental hip hop/punk methodologies and pedagogies
What to send:
For individual proposals: Please send a 350-word (maximum) abstract of your conference contribution. All submissions will be reviewed by the conference co-organizers.
For collective/panel proposals: Please send a 300-word (maximum) description of the overall goal, vision, and content for the collective contribution. In addition, please provide no more than a 250-word abstract of each individual’s contribution. All submissions will be reviewed by the conference co-organizers.
All proposals must also include the following information:
Author(s) name, affiliation(s), and brief bio
Email address or preferred contact
Title of presentation
Send proposals to [email protected] with the following subject heading: abstract submission.
All proposals accepted for and presented at the conference will be considered for publication in a collection, tentatively titled, Hip Hop and Punk Feminisms: Genealogy, Theory, Performance.
for more info, see the conference site: http://hiphopandpunkfeminisms.weebly.com
CALL FOR PAPERS
Doing Women’s Film and Television History
The Second International Conference
Women’s Film and Television History Network – UK/Ireland
10th – 12th April 2014
The University of East Anglia, UK
Conference organisers: Laraine Porter (De Montfort University), Yvonne Tasker (University of East Anglia) and Melanie Williams (University of East Anglia)
Building on the success of the first ‘Doing Women’s Film History’ conference held in 2011, this three-day international conference will bring together researchers in women’s film and television history, archivists, curators and creative practitioners to explore and celebrate all aspects of women’s participation within the visual media industries across the globe and in all periods. The conference will provide a forum for the latest research into women’s work in film and television production (both on and off screen), in film distribution and exhibition, their roles in television ranging from presenters and personalities to commissioners and controllers, as well as women’s activities as film and television critics, consumers and fans.
We welcome papers on any topic related to women’s film, television and media history but we are also interested in hosting panels and strands on the following areas:
· women and documentary: whose voices, which audiences, to whose benefit?
· screenwriters and scriptwriting: the woman writer
· women’s contributions to non-Anglophone film and television industries
· feminist filmmakers and filmmaking collectives
· female film and television fan cultures
· teaching women’s film and television history
Proposals of 300 words for papers should be sent to:
Deadline: no later than 31st October 2013
It would appear from the latest news that this isn’t the best time for feminist optimism for the future. The Steubenville rape case and CNN’s depressingly oblivious coverage of the case might lead us to wonder if we really have made any progress with regard to basic women’s rights issues.
There is little time for despair though given the daily demonstrations of women’s ongoing spirit and strength around the world. If you have seen the amazing documentary and wonderful website for Half the Sky you know that women are doing some pretty awe inspiring work for social change under unbelievably difficult circumstances.
And then there is Malala Yousafzai’s story. Malala is the teenage activist, who blogged in support of women’s educational rights in Pakistan. She survived an attempted assassination in October 2012 and has been in receiving medical care in UK. Here you can see a brief bit of her interview, where she talks about her “new life” devoted to children’s education.
Today, she returned to school in the UK, and feminism 3.0 wishes her a joyful and peaceful path in her new life. With Malala Yousafzai’s courage, we can keep our optimism for women’s future.
As you can tell I have been messing about with the various websites of late and stuff is getting moved around and may be MIA for the time being. My apologies on that. I did just (re)post my interview with Suzanne Leonard on “Celebrity Culture” on my new website here as well as started a Vimeo channel and you can check out here. I have also reposted Joan Myers’s discussion on Virginia Rappe on my website as well as Vimeo. Originally in Garageband, these are looking a bit “old school” but hoping to upgrade the quality now that I am moving from more audio file focus to video. I am also going to rework my own website as it looks rather spare at present, but since these interviews are very popular I just wanted to get them back out in circulation. Hope you enjoy!
Auteuse Theory is a new blog on women’s cinema that looks pretty interesting. It takes a global and expansive historical (from silent to contemporary film) frame of reference to questions of women and media (mainly cinema) authorship. Eylem Atakav and Melanie Williams, UK film and television studies lecturers, are folks behind the blog.
Ashley Judd calls out the misogyny in media when discussing women’s bodies with her op-ed for The Daily Beast. Read it if you haven’t already because it definitely is worth your time — and she uses the f(eminist) word to boot.
Melissa Silverstein and Elisa Kreisinger’s remix for the Oscar season. I guess the more things change…..