CFP: Iteration as Persuasion Symposium: ‘Redirecting the potentials of the digital age’ (Deadline April 30th 2019)
June 12th 2019 11:00-17:00, SG2 (and other locations). CRASSH, University of Cambridge.
The internet and new digital media technologies are increasingly talked about as “dangerous”, “deadly” even, in terms of their imagined or felt societal implications. These conversations have tended to limit our ability to talk about what developments in digital culture are actually doing, in their present moment, and what they could do for us in the future. This interdisciplinary symposium is an attempt to engage each other in more complex discussions about where we see technological affordances taking us. How does digital repetition trigger emotions, nudge behaviours, (re-)form habits, construct identities, (re)perform traditions, (re)produce beliefs? The underlying question to be addressed is how the digital environment itself persuades. We welcome papers that address these or any other aspects of the digital environment, and/or how we could harness those same negative structures to a positive end. The proceedings are to be published as a special issue of AI and Society journal.
Students and researchers of all disciplines and levels, including creative artists, are encouraged to submit 200-300 word proposals, with a short biography. Informal enquiries can be addressed to email@example.com. Deadline for final abstracts is Tuesday April 30th 2019. Accepted applicants will be notified on May 14th.
More information can also be found on our website.
Part of the ‘Iteration as Persuasion’ series at CRASSH, held by the ‘Re-‘ Interdisciplinary Network, A Mellon-Newton Faculty Research Network.
CALL FOR PARTICIPANTS (Deadline December 21st 2018)
The Story Collider – an international science storytelling show and podcast series – is coming to Cambridge (after events in Washington, New York, Toronto and Vancouver) on Feb 19th 2019.
“Stories are powerful. Whether hilarious or heartbreaking, subversive or soothing, they reflect who we are and what matters to us. As a community, it deeply matters who takes the stage and what stories are told. We want to hear yours! We’re seeking true stories about your personal experiences with science, to be included in the show. These must be stories – not lectures – with a beginning, middle, and end, in which you undergo a change. They are typically eight to ten minutes long and can be about anything from how you first fell in love with science to how your work has affected your personal life to challenges you’ve faced in your work to something else completely different.”
For examples of great stories, you can hear our podcast at www.storycollider.org/podcast
If you’re interested, please email us at firstname.lastname@example.org by 8pm on Friday 21 December 2019 with a short (1-2 paragraphs) summary of your story and “Cambridge” in the subject line. If we think it might be a good fit for the show, we’ll get in touch.
CFP: Theatre Historiography Working Group ‘Theatre, Performance and Urbanism’ (Deadline Jan 7th 2019)
International Federation For Theatre Research, 8th July-12th July 2019, Shanghai, China/ Shanghai Theatre Academy
The IFTR Historiography Working Group will be meeting during the IFTR conference in Shanghai, China, 8-12 July 2019. The working group welcomes papers from new and existing members dealing with any possible period or topic in theatre history, but as the group is dedicated to theatre historiography, authors are asked to focus on methodological and epistemological problems related to the history of theatre and performance. Historiographical questions discussed by participants may be illustrated through specific case examples, and there are no restrictions on the historical time or place a proposal might involve or on the kind of historiographical approach explored.
The Historiography Working Group welcomes, but does not confine itself, to papers addressing the theme of the conference. The general theme of the 2019 conference, “Theatre, Performance, and Urbanism”, has various critical implications for theatre historiography, which in recent years has seen an interrogation into the roles theatre plays in urban processes, and the myriad ways by which urbanism has shaped and influenced theatre and performance, throughout historical periods and across geographical, social and cultural lines.
As presented in the convenors’ description, this year’s conference theme aims to address the topic of Theatre and Urbanism in broad terms, asking: how does urbanism affect theatrical and performance spaces, styles, and audiences? What is the role of theatre in development and nation building, and how does it shape urban culture? Taking its cue from this year’s conference theme, we also invite papers that focus on urbanisation processes—rural-to-city paths, and other migration movements—in both the developing post-colonial sphere and in developed countries.
See the announcement of the conference for a full elaboration of the topic and subthemes, on the IFTR website at: iftr.org.
The Historiography Working Group works by circulating papers to members in advance of the conference for in-depth discussion in sessions at the conference. The aim of the group’s discussion is always to be constructive. Submissions are normally linked to a research project that the author currently has in progress. There are two possibilities:
- a) Scholars share a work in progress, usually an article or book chapter excerpt (5000-word limit), framed by historiographical questions. They are invited to speak for not more than ten minutes about the context in which they have written their pieces, and about historiographical points where they would particularly welcome a response. (Participants take care to read all the papers carefully, so an oral summary of the paper is discouraged.) The group spends about 20 minutes discussing each paper, and the emphasis of the discussion is upon historiographical method rather than the detail of the content.
- b) Scholars share a short essay (2000-word limit) that takes up a specific historiographical problem, possibly in response to the conference or convening theme. This might be a think piece or provocation. The shorter papers will be grouped together in panels within the working group with each presenter invited to speak about their topic for no more than five minutes, with 15 minutes of discussion within the group to follow.
Abstracts of no more than 300 words should be submitted by the deadline of January 7th, 2019 via the Cambridge Core website, indicating that you are submitting to the Historiography Working Group. Please indicate whether you are proposing a 2,000 word or 5,000-word paper and include in your abstract a clear statement about the historiographical questions raised by the work.
The Working Group convenors will select proposals that best fit the historiographical theme of our group. We particularly welcome proposals from new scholars and from scholars outside Europe. If we cannot accommodate your paper, we will refer it to the conference organizers for possible placement on a general panel.
The full text of the selected paper (a) no more than 5000 words / (b) no more than 2000 words should be emailed to the conveners by May 15, 2019, for uploading to the group’s website.
Information about the group can be found on: http://theaterhistoriography.wordpress.com/
Please share this call for papers with any colleagues or research students whom you think may be interested.
For further information, please contact the group’s convenors. The current conveners of the Historiography Working Group are:
Jo Robinson, University of Nottingham, UK (email@example.com)
Rashna Darius Nicholson, University of Hong Kong (firstname.lastname@example.org)
Ruthie Abeliovich, University of Haifa, Israel (email@example.com)
A new co-edited volume GREEK TRAGEDY AND THE DIGITAL: Poetics and Adaptive Transformations (deadline for abstracts Jan 5th)
(Dr. George Rodosthenous & Dr. Angeliki Poulou eds.)
would like to invite 7000-word contributions.
We are interested in chapters on:
* Greek Tragedy as a performative phenomenon and as a dromenon through immersive/interactive technologies on theatre stage
* The digital fragmentation of the community/polis in digital theatre
* New ways/tools of documenting and archiving Greek Tragedy Productions
* The technology as pharmakon, through analysis of Greek Tragedy performances, texts, heroes, myths, raising questions about digital technology and the Logos.
* Re-appropriating Greek tragedy’s notions + conventions in the digital and VR theatre
* Intertextuality of Greek Tragedy and intermediality of the digital era
* Title Abstracts (200 words) and Bio by 5 January 2019
* 1 Draft 1 July 2019
* Feedback 1 August 2019
* Second Draft 15 Nov 2019
The volume’s objective is to explore the encounter between the digital culture and the universal ancient drama, in the way this is developing in contemporary performing arts and digital art. And at the same time, raising artistic – philosophical – anthropological issues:
* In what ways does augmented reality (digital fragmentation/hybridity) work within interactive and immersive environments?
* What approaches can we utilize in documenting ancient theatre with new media tools?
* How is Greek Tragedy representing the digital body, the sound mask and avatars?
* In what ways does mythology and tradition meet their digital equivalents?
* How can we investigate the tragic in the digital era (myth, stage, ruins)?
* Can video or sound function as a modern substitute for the Tragic Chorus?
Please email both Dr. George Rodosthenous (firstname.lastname@example.org<mailto:email@example.com>) and Dr. Angeliki Poulou (firstname.lastname@example.org) to discuss this further and receive the full rationale for the book.
George Rodosthenous and Angeliki Poulou
Dr George Rodosthenous
Associate Professor in Theatre Directing
Programme Leader for BA(Hons) Theatre and Performance
School of Performance and Cultural Industries
University of Leeds
T: +44 (0)113 343 8725
Fellow of Advance HE
Editor of Re:Act section of “Studies in Musical Theatre” (Intellect)
Rodosthenous, George (ed.) “Theatre as Voyeurism: The Pleasures of Watching” (Palgrave)
Rodosthenous, George (ed.) “Contemporary Adaptations of Greek Tragedy: Auteurship and Directorial Visions” (Bloomsbury Methuen Drama, 2017)
Call for Papers and Symposia
EUROPEAN PHILOSOPHY OF SCIENCE ASSOCIATION 2019 CONFERENCE (deadline Jan 14th 2019)
The EPSA invites contributed papers and proposals for symposia for its next conference, EPSA19, to be held in Geneva (Switzerland) on 11-14 September 2019. The conference will feature contributed talks, symposia, and posters covering all subfields of the philosophy of science, and will bring together a large number of philosophers of science from Europe and overseas. We also welcome philosophically-minded scientists and investigators from areas outside the philosophy of science, for example, as symposium participants; and we particularly welcome submissions from women, ethnic minorities, and other under-represented groups in the profession.
The conference has ten sections:
- General Philosophy of Science
- Philosophy of the Physical Sciences
- Philosophy of the Life Sciences
- Philosophy of the Cognitive Sciences
- Philosophy of the Social Sciences
- Philosophy of Technology and Philosophy of Interdisciplinary Research
- Philosophy of Science in Practice
- Formal Philosophy of Science
- Integrated History, Philosophy, and Social Studies of Science
- Ethical Issues in the Sciences
The EPSA19 Programme Committee, headed by Anouk Barberousse and Richard Dawid, will strive for quality, variety, and diversity on the programme. A selection of accepted contributed and symposium papers will appear in the European Journal of Philosophy of Science (EJPS).
We invite submissions of both a short abstract (max. 1000 characters) and an extended abstract through EasyChair, our online submission system, by 14 January 2019. The extended abstract should include the number and title of the relevant section, the title of the paper, and an abstract of 1000 words maximum. The allocated time for delivering contributed papers at the conference will be 30 minutes, including discussion. Please prepare your abstracts for blind review, and submit your extended abstract as a PDF file.
Authors who want their paper to be considered for the poster session in case of non-acceptance as a talk should tick the appropriate box in EasyChair. Authors whose papers could not be accepted for presentation as a talk but who are offered a place in the poster session will be notified in the decision email.
We invite submissions of both a short abstract (max. 1,000 characters) and a full proposal through EasyChair, our online submission system, by 14 January 2019. The full proposal should include the number and title of the relevant section, the title of the proposed symposium, the contact details of the organizer(s) (who may or may not be a speaker) and the names and short CVs of all speakers (max. 1 page in total), a general description of the topic and its significance (max. 1,500 words), and titles and abstracts of all papers (max. 300 words for each paper). Accepted symposia will be allocated 120 minutes, including discussions. They can have any format but the maximum number of speakers is five. Symposium proposals that explore connections between different areas or research programs in philosophy of science or between philosophy of science and sciences are encouraged. Please submit the full proposal as a PDF file.
We invite contributions of posters, which will be presented in a dedicated poster session. Posters can be submitted either as a second option for papers that are also submitted as contributed talks or specifically for the poster session. For poster submissions, please follow the guidelines for contributed papers, add the word Poster below the title on both abstracts, and submit your abstracts either by ticking the Poster box in the contributed paper track or by uploading your material in the poster track in EasyChair.