[Image by Dryden Goodwin]
MOVING POPULATIONS, SCANT RESOURCES, CHANGING COMMUNITIES: with this one-day symposium we want to have some dialogue about artistic practice that engages with radical and mobile approaches to geography that could include gentrification, colonialism or environmentalism.
Here is the call for papers.
SPATIAL MUTUALITY SYMPOSIUM:
ARTISTS and MIGRATION, MATERIALS and URBAN CHANGE
Date: Thursday 23rd May 2019
Location: University for the Creative Arts, Falkner Road, Farnham, Surrey, GU9 7DS
Times: 10:00 – 19:00
Spatial mobilities of people and materials are emerging as important political and cultural issues (of our time). These mobilities may be related to conflicts, urbanisation, material resource extraction and the pressure of economic inequalities of North and South (all of or in any combination of the above). The work of artists in researching and collecting narratives and accounts of migration, uncovering material processes, and charting urban change is crucial in making our world of spatial mutuality visible.
The late Doreen Massey contended that space is constructed by narrative and the unfolding of personal and community identity. She suggested work foregrounding spatiality and mobility offers new frameworks for understanding the social world and the financial and political forces that shape it. The narrative and analytical potentiality of mobility and our material environment have been particularly of interest to lens based practitioners and those working with socially engaged practice. More recent analyses have explored data and material constitution of spatiality. (cf Faizal & Weizmann 2017, Harvey 2012, Kurgan 2013, Paglen 2018) Artists have used all these approaches and more in their work.
Call for papers: Experimental & Expanded Animation: Current Perspectives & New Directions
Proposals are invited for an interdisciplinary one-day conference with an evening reception, screening and exhibition.
At the University for the Creative Arts, Farnham, Surrey, UK.
Conference date: February 13th, 2019.
With their recent volume: Experimental and Expanded Animation: Current Perspectives & New Directions, Hamlyn and Smith aimed to reach further into understandings of what experimental animation is, and has been, since Robert Russett and Cecile Starr defined it in 1976. This conference aims to further focus our project and to develop findings from the publication through more immediate methods of open dialogue and/or film practice. The prompts listed below have been condensed from themes emerging in the volume. However we welcome proposals that respond to these areas and also those that pursue other lines of enquiry. A range of disciplinary approaches is encouraged and the conference aims to include papers from practitioners, practitioner/scholars and scholars. As well as traditional 20 min papers we encourage alternative methods for sharing ideas and materials through, for example, performed presentations, artistic works, mini-workshops and lightning talks.
Transparency of process and use of materials has been central to experimental/ materialist film practice and theory. To what extent has the homogenization of media today prompted a rise in more recent craft theory? How do Marxist materialist theories relate to post-human and new materialist discourse and in which ways do these more recent methodologies impact upon our understandings of experimental expanded animation?
Feminism/women in experimental animation
It’s understood that the privacy of animation production conditions facilitates exploration into issues relating to feminism. Female animators today are translating concerns, such as the domestic, sexuality and the body, into large scale, expanded and performed animation. Does such work, installed in spaces beyond the gallery/cinema, and in which the female animator is visible on stage, impact upon expression of the female experience, or has this become less crucial to articulate, and how does feminist theory offer insights into this area?
Critically reworked commercial animation is occurring today within the purview of experimental film. Outwardly appearing as traditional cartoons, how does this material sit within a field that has tended to emphasise the auteur and has avoided the graphic, the narrative and the popular?
Increasingly we see interdisciplinary approaches employed to analyse animation, including for example post-humanist scholarship; aesthetics; phenomenology; feminism and critical theory. To what extent do these methods cast light on animated texts, or do they detract from fundamental questions concerning form and the medium?
Media including photography, dance, and performance for example have been central to animation since vaudeville, and then through the expanded cinema of the 60s. How is experimental animation advanced through media ‘impurity’, and to what extent are theories such as inter-mediality, which suggests that individual qualities of distinct media are enhanced through their interlocking, of value?
Animation that is articulated beyond the single screen could be said to emphasise a perceptual and phenomenological engagement. Flicker for example, is located in the physiology of the viewer, while animated installation demands a mobile spectator. Both modes of spectatorship are contingent and situated in the present of their apprehension. How is animation in the expanded field continuing to elicit new modes of spectatorship?
3D-CG and internet animation has the capacity to invent and manipulate the extant world in myriad ways. How is CG being used in the context of experimental expanded animated film?
Gene Youngblood hailed expanded cinema as reflecting a utopian expansion of both consciousness and technology. Today much experimental expanded animation, made through contracted means of found or old materials, can be regarded as a response to resources made scarce through either forced obsolescence, unsustainable practice and/or as a creative resistance to media acceleration. How does the trend toward a careful ecology of materials impact on experimental animation languages?
Please submit an abstract (up to 500 words), 3–5 bibliographical sources, 3-5 keywords as well as a short bio by 15th of November 2018 to:
with the subject heading: ‘Experimental Animation Conference’. The selected abstracts for the conference will be announced by late November 2018.
Expanded Animation V:
Daydreams and Nightmares: Amalgams of Technology and Aesthetics in Animation
A fascinating symposium on September 8th – 9th 2017 that looks at hybrid technologies and collapsing boundaries in digital animation will take place at the Central Linz in Austria as part of the Ars Electronica Festival.
Organised by Hagenberg Campus of the University of Applied Sciences Upper Austria, the Ars Electronica Festival and Central Linz.
For more details about the event and the speakers: http://www.expandedanimation.com.
“Fact creates norms, and truth illumination” Werner Herzog
Date: Saturday 27th May, 2017
Location: Stevens building, Royal College of Art, Kensington Gore
This second animated documentary symposium at the RCA will to continue with the examination of how animation can contribute to, challenge and push the boundaries of what documentary film can be.
Our keynote speakers are Annabelle Honess Roe, author of ‘Animated Documentary’ and filmmaker Lei Lei.
For more information and to book a FREE ticket: https://www.eventbrite.co.uk/e/ecstatic-truth-lessons-of-darkness-and-light-animated-documentary-symposium-tickets-33257461964