[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.
Paper Submission Deadline: January 7 2019
The overall goal of this event is to identify the opportunities and challenges for animated content in AVR environments.
Topics of interest include (but are not limited to):
- Animated reality vs. mixed reality content
- Animation techniques in AVR environments
- Hardware/Software support for animation in AVR
- Interdisciplinary and intermedia approaches (e.g. games, film, theatre, fine arts etc.)
- Motion and/or performance capture
- Tools/methods/use cases for Interactive dissemination of animated AVR content
- Use Cases and Applications of animated content in AVR environments
- User Acceptance of animated AVR contents
For more information go to: https://anivae.fhstp.ac.at/call-for-papers/
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.
The Crafty Animator: A Conference on Handmade and Craft-based Animation
Proposals are invited for an interdisciplinary one-day conference at Rich Mix Cinema, Shoreditch, London, on Thursday 7th September 2017
Animation is famously diverse, incorporating as it does a range of production methods, techniques and practices. This one-day conference focuses on any technique that could be considered to be handmade or craft-based, from cut outs to models and puppets, from sand-on-glass to ink-on-glass, and beyond. The role of the animator is key to such techniques where we can often see her/his imprints or finger marks etc. or even hands in the animation; the ‘presence of the artist’ is often highly visible in such craft-based practices and is a presence this conference seeks to explore from numerous perspectives. The conference aims to consider: the kinds of animation techniques that might fall into the category of the handmade; the ways that handmade and craft-based animation might be framed as gendered practices, or not; the kinds of cultural value that handmade and craft-based might animation carry. A range of disciplinary approaches is encouraged and the conference aims to include papers from practitioners, practitioner/scholars and scholars.
I am delighted to confirm Dr Birgitta Hosea, Head of Animation at the RCA, as our Keynote Speaker.
Possible approaches include but are not limited to:
- Historical examples of handmade animation`
- Contemporary practices
- Gender politics and production practices
- Audience engagement
- Spectacle and visual effects
- Space and place
- Production cultures
- Narrative and storytelling
- Children’s television animation
- Digitising the handmade
- The cultural value of craft-based/handmade animation
- Craft-based practices and the community
- The ‘presence of the artist’
- Craft-based/handmade animation and advertising
The conference will be held at the Rich Mix Cinema in Shoreditch, London on Thursday 7 September 2017. Please send abstracts of 300 words plus 100-word bio by Friday 23 June 2017 to:
Dr Caroline Ruddell (firstname.lastname@example.org)
Dr Caroline Ruddell
Lecturer in Film and TV Studies
Department of Social Sciences, Media and Communications
College of Business, Arts and Social Sciences
Brunel University London
Associate Editor Animation: An Interdisciplinary Journal
animation: an Interdisciplinary journal is the first cohesive international refereed publishing platform for animation that unites contributions from a wide range of research agendas and creative practice.
Ecstatic Truth II: Lessons of Darkness and Light
“Fact creates norms, and truth illumination” Werner Herzog
Date: Saturday 27th May, 2017
Location: Stevens building, Royal College of Art, Kensington Gore
The second animated documentary symposium at the RCA is back!
We want to continue with the examination of how animation can contribute to, challenge and push the boundaries of what documentary film can be. We will consider animation in the most expanded sense and are interested in proposals that may challenge and redefine the boundary of animation itself. We can also confirm that Annabelle Honess Roe, author of ‘Animated Documentary’, will be one of our keynote speakers.
In the last symposium, one of the themes that emerged was one of archaeology and excavation. According to Herzog: “There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.”
We invite speakers to present projects that roam the landscape (whether real or imagined), dig through the sediments of reality, explore vertical time of poetry, examine hidden histories, project visions of future, or trace new connections between concepts, use fabrication and imagination to touch upon vital issues: whether these are social, political, philosophical, or personal.
At a time of polarised political views and a deep sense of division, it seems to be a relevant moment to question the concept of darkness and light, aesthetically, politically, ethically, imaginatively. How can our work be of relevance, help us understand where we have been, where we are, and where we might go? How can the notion of ecstatic truth cast light on the shadowy concept of post-truth and what contribution can animated documentary bring to this debate? How can animation documentary, in its most expanded form, illuminate us?
We are opening this call for paper to PhD students, researchers (within animation but also beyond), filmmakers and other practitioners, who use animation as part of their methodology, their way of trying to understand the world.
Proposals should be for either:
- a 20 minute conference paper;
- an alternative discussion/presentation format as appropriate for practice-based research (this can include practice based work in a form of short films, images etc.)
Vertical time and poetic image, landscape and memory, shared or personal history, embodiment
Visions of Future
Imagination and fabrication, science-fiction, art & science dialogue, role of technology
Lessons of Darkness and Light
Human condition, social issues, society, social commentary, religious or spiritual, re-contextualizing documentary footage, post-truth/ecstatic truth/animated form
To submit your proposal or any related questions please contact dr Tereza Stehlikova:
The deadline for submissions is 7th April 2017
Facebook event: https://www.facebook.com/events/1326409527421972/
International Conference at Radboud University, Nijmegen, 22-23 June 2017
Confirmed keynote speakers
• Dr. Annabelle Honess Roe, University of Surrey
• Professor Suzanne Buchan, Middlesex University London
• Ülo Pikkov, animator and PhD candidate at the Estonian Academy of Arts
Call for Papers
The past thirty years have witnessed the emergence of memory studies as a field that has yielded a rich body of research into practices of remembering and forgetting in art, popular culture, and everyday life. While live action cinema and documentary films have been studied extensively, the interrelation between animation and memory has so far received much less attention. This lacuna in scholarship is particularly pertinent in light of the increasing number of animation films dealing with various forms, methods, and contexts of remembering and forgetting.
Our conference seeks to address this lacuna. We use the word animation in the broadest possible sense, from stop motion to computer animation and gif files, from cell animated cartoons to painted animation. Cognizant of the medium’s inherent differences from (as well as similarities to) live action cinema, we are particularly interested in the ways in which animation can operate as a medium and a technology of memory and forgetting.
The main questions we will explore are as follows: How do animation films bring forth personal and collective pasts, as well as traumatic, repressed or tabooed memories? What role does the materiality (or immateriality) of the medium play in representing the past and processes of remembering and forgetting? What is the role of found footage, objects, and sound in animation? What role does animation play in disseminating information about the past and how does it serve political ends?
We welcome proposals for 20-minute papers, as well as three-paper panels. Although the conference focuses on animation and memory in a broad sense, we especially seek contributions that address animation in relation to:
Ø the archive
Ø aide mémoire
Ø lieux de mémoire
Ø communicative / cultural memory
Ø multidirectional memory
Ø prosthetic memory
Ø performances of memory
Ø real and imagined pasts
Ø commemoration, memorials and monuments
Ø personal and collective trauma
Ø forgetting and amnesia
Ø found footage / objects
Ø tabooed and repressed memories
Ø affect, nostalgia and melancholia
Ø materiality and new materialism(s)
Ø theories of memory studies
Ø the history of the medium
Ø museums, exhibitions, education
Ø miniaturization and enlargement
Ø festivals and distribution of films
Please send an abstract of about 250 words and a bio of 100 words to the organisers at <email@example.com> by February 15, 2017.
Conference website: www.ru.nl/animationandmemory
Selected papers will be considered for publication.
Conference committee Maarten van Gageldonk, László Munteán, Ali Shobeiri, Cansu Soyupak, Josette Wolthuis