Xcp Website is collecting STREETNOTES for its WINTER 2006 Exhibition.
Heterotopia: Festival & Disaster
Streets and public places are not always stable environments. Signals, codes, mores and customs change. Space is socially constructed. At times, extraordinary change brings cataclysmic disruption. Normalcy can be suspended and the apparent meanings of social spaces can be altered. In times of festival and other effervescent assemblies, the normative patterns of the streets can also dramatically change. New rules and new roles may appear. However, because the street is a dynamic social place, its normative patterns, and the concept of normalcy itself are always in contention and social mediated. This issue of Streetnotes looks at how disruptions and interventions can both disintegrate and renew social conceptions of public place. We are interested in accounts of slow and procedural disasters as well as the instant. We are concerned with momentary revelries and micro-social fissures in the status quo as well as the wider carnivalesque. In the Winter 2006 issue, we seek documentary, poetic, and ethnographic accounts of the “street” as heterotopia, a concept Michel Foucault described as a place "capable of juxtaposing in a real place several spaces, several sites that are incompatible." ("Of Other Spaces" Diacritics v16 n1)
About Xcp: Streetnotes:
Xcp: Streetnotes is a biannual online exhibition of the socially descriptive arts. We accept essays, experimental documentary, photography and poetry. We are especially interested in ethnographic and geographic description, interviews, and other products of field work conducted in and about the street or public places. Exhibitions of Streetnotes have been published on the internet biannually since 1998. Past exhibits have been saved and are accessible.
Guidelines:
Please send text documents as rich text format documents (*.rtf), MS Word (*.doc) or as ascii files (*.txt).
Images should be sent as jpeg file (*.jpg) set to 72 dpi and sized no larger than 800 x 600 pxls. html files are also ok, but please do not include animation, javascripts, or other programming. We are unable to publish video or sound at this time. Please visit our site to see past contributions: http://www.xcp.bfn.org or write the editor with questions, David Michalski: michalski@ucdavis.edu
Deadline: November 15, 2005.
Estimate publication date : January 1, 2006.
Please send electronic materials to:
David Michalski, michalski@ucdavis.edu
Please also place “Xcp” is the subject line.
Diskettes (PC) and Hardcopies can be sent to:
David Michalski
Humanities and Social Sciences Dept.
288 Shields Library, 100 NW Quad
University of California,
Davis, CA 95616
---
Xcp: Streetnotes is part of the Xcp: Cross Cultural Poetics Website.
We are hosted by the Buffalo Freenet, a not-for-profit, community based information service.
Tuesday, September 13, 2005
Monday, September 12, 2005
Diasporic Hegemonies Project
Diasporic Hegemonies Project
Symposium: Gendering the Diaspora, Race-ing the Transnational
Diasporic Hegemonies is a three-year scholarly and pedagogical project designed by Women’s Studies Associate Professor Tina Campt, and Assistant Professor of Cultural Anthropology, Deborah Thomasto facilitate communication between those doing transnational feminist research and feminist scholars of African Diaspora. They have developed this project in order to study with other scholars the ways transnational feminist scholarship might benefit from a more engaged dialogue with those who work on the African diaspora, and how the study of diaspora and diasporic communities might be transformed through a more directed engagement with feminist transnationalism, and particularly the work of feminists theorizing other models of diaspora (for example, South Asian or Asian American diasporas). Campt and Thomas believe a gendered transnational analysis of the relations of Diaspora could ultimately transform the ways scholars, students, and policy-makers conceptualize current processes of globalization, and could therefore help to undergird critically engaged responses to these processes.
Fall Symposium, November 17-19: Gendering Diaspora and Race-ing the Transnational
Panels and keynotes in the Richard White Auditorium on East Campus. For more information please contact Pat Hoffman at phoffman@duke.edu. Admission is free, but registration is required.
Symposium: Gendering the Diaspora, Race-ing the Transnational
Diasporic Hegemonies is a three-year scholarly and pedagogical project designed by Women’s Studies Associate Professor Tina Campt, and Assistant Professor of Cultural Anthropology, Deborah Thomasto facilitate communication between those doing transnational feminist research and feminist scholars of African Diaspora. They have developed this project in order to study with other scholars the ways transnational feminist scholarship might benefit from a more engaged dialogue with those who work on the African diaspora, and how the study of diaspora and diasporic communities might be transformed through a more directed engagement with feminist transnationalism, and particularly the work of feminists theorizing other models of diaspora (for example, South Asian or Asian American diasporas). Campt and Thomas believe a gendered transnational analysis of the relations of Diaspora could ultimately transform the ways scholars, students, and policy-makers conceptualize current processes of globalization, and could therefore help to undergird critically engaged responses to these processes.
Fall Symposium, November 17-19: Gendering Diaspora and Race-ing the Transnational
Panels and keynotes in the Richard White Auditorium on East Campus. For more information please contact Pat Hoffman at phoffman@duke.edu. Admission is free, but registration is required.
Friday, September 09, 2005
Expo for the Artist| Expo for the Musician : Sixth Annual Expo for the Artist & Musician
Sixth Annual Expo for the Artist & Musician
What?
The Sixth Annual Expo for the Artist & Musician
EXPO FOR THE ARTIST & MUSICIAN supports the arts at the community level by offering free and very-low-cost networking events, workshops, exhibitions, performances, discussion groups, community advocacy, and arts promotions via print and online resources.
Neither a job fair nor a business convention, the Expo is the only event of its kind, each year bringing together more than 90 galleries, radio stations, recording studios, performance troupes, schools, nonprofits, small businesses and service groups to meet the community, share resources, and cultivate the arts from the grassroots up.
How Much?
$2 suggested donation -- no one turned away for lack of funds.
When?
Saturday, September 10, 2005, 11:00 am-6:00 pm
Where?
SomArts Gallery, 934 Brannan St. (x 8th St.), San Francisco CA 94103
What?
The Sixth Annual Expo for the Artist & Musician
EXPO FOR THE ARTIST & MUSICIAN supports the arts at the community level by offering free and very-low-cost networking events, workshops, exhibitions, performances, discussion groups, community advocacy, and arts promotions via print and online resources.
Neither a job fair nor a business convention, the Expo is the only event of its kind, each year bringing together more than 90 galleries, radio stations, recording studios, performance troupes, schools, nonprofits, small businesses and service groups to meet the community, share resources, and cultivate the arts from the grassroots up.
How Much?
$2 suggested donation -- no one turned away for lack of funds.
When?
Saturday, September 10, 2005, 11:00 am-6:00 pm
Where?
SomArts Gallery, 934 Brannan St. (x 8th St.), San Francisco CA 94103
Friday, September 02, 2005
Word For/ Word: A Journal of New Writing
Please visit this important online journal for new writing...
Word for/ Word
Word for/ Word
Wednesday, August 31, 2005
Tout-Fait: Marcel Duchamp Studies Online journal
Tout-Fait: Marcel Duchamp Studies Online journal
In November 1999, CyberBOOK Press, the publishing arm of Art Science Research Laboratory, a 501(3)(c) not-for-profit organization, announced the arrival of Tout-Fait: The Marcel Duchamp Studies Online Journal, the first academic journal in electronic format devoted to Marcel Duchamp (1887-1968) and his peers. The term "tout fait," the standard French translation for "ready-made", was a phrase used by the French mathematician Henri Poincaré (1854-1912), whose influence on Duchamp was crucial. Thus, Tout-Fait not only represents the intersection between art and science, but serves as a site promoting the interdisciplinary study across diverse fields of scholarship.
Tout-Fait brings together international scholars and writers from art and science backgrounds and many other fields of study. An interdisciplinary project, Tout-Fait is committed to presenting a variety of news features, articles, interviews, and short notes relating to Duchamp, one of modern art's most important figures, and his circle of contemporaries. Without the restrictions of the print media, Tout-Fait presents an expanded field for art and science writers, permitting a fluidity of thought as well as form, while generating a dialogue among established thinkers, young scholars and the interested public.
Tout-Fait's appearance has received worldwide attention in the fields of art history and humanities, with a four-year visitor count of 200,000, and growing. Tout-Fait has become an intellectual asset with historical value for the study of modern art and culture. Its Internet presence also has proven indispensable, with its free accessibility and scholarly excellence. Beginning in 2005, Tout-Fait has transformed into a perpetual publication; the site will be updated constantly, with each new peer-reviewed and accepted submission, as well as with newly equipped features, such as extensive Search, posted Comments, daily News Headlines, and a virtual Auditorium.
A strictly not-for-profit journal, Tout-Fait is made possible by a team effort of writers, editors, programmers and web designers. The continuation of Tout-Fait relies upon the commitment of our readers and the kind support of contributors. We welcome financial donations as well as submissions of scholarly research and creative projects. To make a donation, please visit Help Tout-Fait; Help Scholarship . For submissions, please see the Call for Papers/Submissions page for guidelines.
In November 1999, CyberBOOK Press, the publishing arm of Art Science Research Laboratory, a 501(3)(c) not-for-profit organization, announced the arrival of Tout-Fait: The Marcel Duchamp Studies Online Journal, the first academic journal in electronic format devoted to Marcel Duchamp (1887-1968) and his peers. The term "tout fait," the standard French translation for "ready-made", was a phrase used by the French mathematician Henri Poincaré (1854-1912), whose influence on Duchamp was crucial. Thus, Tout-Fait not only represents the intersection between art and science, but serves as a site promoting the interdisciplinary study across diverse fields of scholarship.
Tout-Fait brings together international scholars and writers from art and science backgrounds and many other fields of study. An interdisciplinary project, Tout-Fait is committed to presenting a variety of news features, articles, interviews, and short notes relating to Duchamp, one of modern art's most important figures, and his circle of contemporaries. Without the restrictions of the print media, Tout-Fait presents an expanded field for art and science writers, permitting a fluidity of thought as well as form, while generating a dialogue among established thinkers, young scholars and the interested public.
Tout-Fait's appearance has received worldwide attention in the fields of art history and humanities, with a four-year visitor count of 200,000, and growing. Tout-Fait has become an intellectual asset with historical value for the study of modern art and culture. Its Internet presence also has proven indispensable, with its free accessibility and scholarly excellence. Beginning in 2005, Tout-Fait has transformed into a perpetual publication; the site will be updated constantly, with each new peer-reviewed and accepted submission, as well as with newly equipped features, such as extensive Search, posted Comments, daily News Headlines, and a virtual Auditorium.
A strictly not-for-profit journal, Tout-Fait is made possible by a team effort of writers, editors, programmers and web designers. The continuation of Tout-Fait relies upon the commitment of our readers and the kind support of contributors. We welcome financial donations as well as submissions of scholarly research and creative projects. To make a donation, please visit Help Tout-Fait; Help Scholarship . For submissions, please see the Call for Papers/Submissions page for guidelines.
Tuesday, August 30, 2005
The Seventh Annual Graduate Symposium on Women's and Gender History
The Seventh Annual Graduate Symposium
on Women's and Gender History
"Mobility"
University of Illinois at Urbana-Champaign
March 9-11, 2006
SUBMISSION DEADLINE: NOVEMBER 1, 2005
The Executive Committee of the Seventh Annual Graduate
Symposium on Women's and Gender History at the University of
Illinois at Urbana-Champaign announces a call for papers.
The Symposium, which is part of activities on campus in
recognition of Women's History Month, is scheduled for March
9-11, 2006. To celebrate and encourage further work in the
field of women's and gender history, we invite submissions
from graduate students from any institution or discipline on
topics in women's and gender history that address the theme
of "Mobility." Papers or panels may address, but should not
be limited to the following:
? Performativity and the Body
? Cosmopolitanisms
? Boundaries and Restraints: Material and Imagined
? Intra- and Trans-national flows of goods and ideas
? Social Mobility
? The Construction and Experience of Public and Private
Spaces
? Globalization and Feminist Theory
We welcome papers on any historical subject that might grow
out of a variety of disciplines and engage diverse
methodologies. We also invite panel submissions consisting
of three papers, although each of the three papers will be
judged on its individual merit. In addition, we encourage
papers and panels analyzing the state of the field in
women's and gender history. Preference will be given to
scholars who did not present a paper at last year's Sixth
Annual Graduate Symposium on Women's and Gender History.
We are pleased to announce that Jennifer L. Morgan,
Associate Professor of History and Women's and Gender
Studies at Rutgers and author of Laboring Women:
Reproduction and Gender in New World Slavery (University of
Pennsylvania Press, 2004) will deliver the keynote address
on Thursday, March 9th.
Presenters at the conference will have the opportunity to
publish their work in the on-line proceedings volume.
We have limited funds available to assist with the cost of
travel for presenters who have limited conference
experience. These funds will be allocated based on the
quality of the proposal and the distance to be traveled.
All submissions must be received by November 1, 2005.
To submit a paper or panel in a hard copy format, please
send five (5) copies of a 250-word abstract AND a one-page
curriculum vitae for EACH paper presenter, commentator, or
panel chair to:
Programming Committee
Graduate Symposium on Women's and Gender History
309 Gregory Hall, MC 466
810 South Wright Street
Urbana, Illinois 61801
To submit a paper or panel by email, please send ONLY ONE
attachment in Word format containing all abstracts and
curriculum vitae. The subject line of the email must
read "Attn: Programming Committee" and should be sent to
gendersymp@uiuc.edu. We cannot be responsible for
submissions that do not meet these conditions.
Panel submissions are highly encouraged to find chairs and
commentators best suited to comment on the work presented
and should include a one-paragraph description of the panel
as well as curriculum vitae for all participants including
the commentator and/or chair.
We also invite graduate students to serve as commentators
and professors to serve as chairs for panels. These
individuals should submit curriculum vitae to
gendersymp@uiuc.edu with the subject line: Attn: Programming
Committee.
For more information:
Please contact Programming Committee Chair James Warren at
gendersymp@uiuc.edu
Visit our website at http://www.history.uiuc.edu/hist%20grad%
20orgs/WGHS/index.htm
on Women's and Gender History
"Mobility"
University of Illinois at Urbana-Champaign
March 9-11, 2006
SUBMISSION DEADLINE: NOVEMBER 1, 2005
The Executive Committee of the Seventh Annual Graduate
Symposium on Women's and Gender History at the University of
Illinois at Urbana-Champaign announces a call for papers.
The Symposium, which is part of activities on campus in
recognition of Women's History Month, is scheduled for March
9-11, 2006. To celebrate and encourage further work in the
field of women's and gender history, we invite submissions
from graduate students from any institution or discipline on
topics in women's and gender history that address the theme
of "Mobility." Papers or panels may address, but should not
be limited to the following:
? Performativity and the Body
? Cosmopolitanisms
? Boundaries and Restraints: Material and Imagined
? Intra- and Trans-national flows of goods and ideas
? Social Mobility
? The Construction and Experience of Public and Private
Spaces
? Globalization and Feminist Theory
We welcome papers on any historical subject that might grow
out of a variety of disciplines and engage diverse
methodologies. We also invite panel submissions consisting
of three papers, although each of the three papers will be
judged on its individual merit. In addition, we encourage
papers and panels analyzing the state of the field in
women's and gender history. Preference will be given to
scholars who did not present a paper at last year's Sixth
Annual Graduate Symposium on Women's and Gender History.
We are pleased to announce that Jennifer L. Morgan,
Associate Professor of History and Women's and Gender
Studies at Rutgers and author of Laboring Women:
Reproduction and Gender in New World Slavery (University of
Pennsylvania Press, 2004) will deliver the keynote address
on Thursday, March 9th.
Presenters at the conference will have the opportunity to
publish their work in the on-line proceedings volume.
We have limited funds available to assist with the cost of
travel for presenters who have limited conference
experience. These funds will be allocated based on the
quality of the proposal and the distance to be traveled.
All submissions must be received by November 1, 2005.
To submit a paper or panel in a hard copy format, please
send five (5) copies of a 250-word abstract AND a one-page
curriculum vitae for EACH paper presenter, commentator, or
panel chair to:
Programming Committee
Graduate Symposium on Women's and Gender History
309 Gregory Hall, MC 466
810 South Wright Street
Urbana, Illinois 61801
To submit a paper or panel by email, please send ONLY ONE
attachment in Word format containing all abstracts and
curriculum vitae. The subject line of the email must
read "Attn: Programming Committee" and should be sent to
gendersymp@uiuc.edu. We cannot be responsible for
submissions that do not meet these conditions.
Panel submissions are highly encouraged to find chairs and
commentators best suited to comment on the work presented
and should include a one-paragraph description of the panel
as well as curriculum vitae for all participants including
the commentator and/or chair.
We also invite graduate students to serve as commentators
and professors to serve as chairs for panels. These
individuals should submit curriculum vitae to
gendersymp@uiuc.edu with the subject line: Attn: Programming
Committee.
For more information:
Please contact Programming Committee Chair James Warren at
gendersymp@uiuc.edu
Visit our website at http://www.history.uiuc.edu/hist%20grad%
20orgs/WGHS/index.htm
Tuesday, August 23, 2005
CFP: NATIONAL ASSOCIATION FOR ETHNIC STUDIES
NATIONAL ASSOCIATION FOR ETHNIC STUDIES, INC.
CALL FOR ABSTRACTS/PROPOSALS
2006 NAES CONFERENCE
34th Annual National Conference
March 30-April 1, 2006
San Francisco, California
ETHNIC COMMUNITIES IN TRANSITION
The National Association for Ethnic Studies invites abstracts/proposals for papers, panels, workshops, or media productions from people in all disciplines and interdisciplinary areas of the arts, business, social sciences, humanities, science and education.
The conference will create a lively forum for the discussion of issues related to ethnic communities, including, but not limited to the following: Race relations in the Pacific Rim, ethnic voices in literature, art and music, coalition building, allied communities, transforming communities, transnational communities, pan-ethnicity, bisexual/transgendered/gay/lesbian communities, intermarriage, language, definitions of family, interracial adoption, hybrid and biracial communities of children, scientific communities, environmental racism and city planning, housing, racially segregated families, disappearance of ethnic communities through outmarriage, ethnic business ventures, community institutions, schools, ethnic military communities, *federal communities* (Los Alamos, reservations), ethnic sex workers and mail order brides.
Two-hundred-fifty-word abstracts/proposals should be submitted by October 15, 2005, which relate to any aspect of the conference theme, with the participant*s institutional affiliation and mailing address, telephone and fax numbers, and e-mail address. The abstract/proposal must indicate whether the presentation is an individual paper or a complete panel
presentation and if a/v equipment is needed. Complete panel proposals must include abstracts for each individual presenter.
All program participants must pay full conference registration and 2006 NAES membership dues.
Send abstracts/proposals to:
Dr. Maythee Rojas
Department of Women*s Studies
California State University, Long Beach
1250 Bellflower Blvd.
Long Beach, CA 90840-1603
Telephone: (562) 985-2604
Fax: (562) 985-1868
E-mail: mrojas2@csulb.edu
Deadline for receipt of 250-word abstracts/proposals: October 15, 2005
CALL FOR ABSTRACTS/PROPOSALS
2006 NAES CONFERENCE
34th Annual National Conference
March 30-April 1, 2006
San Francisco, California
ETHNIC COMMUNITIES IN TRANSITION
The National Association for Ethnic Studies invites abstracts/proposals for papers, panels, workshops, or media productions from people in all disciplines and interdisciplinary areas of the arts, business, social sciences, humanities, science and education.
The conference will create a lively forum for the discussion of issues related to ethnic communities, including, but not limited to the following: Race relations in the Pacific Rim, ethnic voices in literature, art and music, coalition building, allied communities, transforming communities, transnational communities, pan-ethnicity, bisexual/transgendered/gay/lesbian communities, intermarriage, language, definitions of family, interracial adoption, hybrid and biracial communities of children, scientific communities, environmental racism and city planning, housing, racially segregated families, disappearance of ethnic communities through outmarriage, ethnic business ventures, community institutions, schools, ethnic military communities, *federal communities* (Los Alamos, reservations), ethnic sex workers and mail order brides.
Two-hundred-fifty-word abstracts/proposals should be submitted by October 15, 2005, which relate to any aspect of the conference theme, with the participant*s institutional affiliation and mailing address, telephone and fax numbers, and e-mail address. The abstract/proposal must indicate whether the presentation is an individual paper or a complete panel
presentation and if a/v equipment is needed. Complete panel proposals must include abstracts for each individual presenter.
All program participants must pay full conference registration and 2006 NAES membership dues.
Send abstracts/proposals to:
Dr. Maythee Rojas
Department of Women*s Studies
California State University, Long Beach
1250 Bellflower Blvd.
Long Beach, CA 90840-1603
Telephone: (562) 985-2604
Fax: (562) 985-1868
E-mail: mrojas2@csulb.edu
Deadline for receipt of 250-word abstracts/proposals: October 15, 2005
Friday, August 19, 2005
Streetnote: street music and musicians
Not Streetnotes.... but an exciting web site documenting the music of the streets
Streetnote
STREETNOTE
Streetnote is interested in addressing cultural and social concerns in the musical idiom. By bringing the street to the listener, streetnote tries to encapsulate an essence... 'a hopeful slice of urban life.'
streetnote is a genuine grassroots record label which educates the general public on issues from a point of view not often shared by the mainstream media.
streetnote is an empowerment project. It helps streetmusicians achieve a measurable degree of dignity and independence by giving them personalized and mastered demos of their work. Moreover, streetnote allows their music to travel to places beyond the streets they play in.
streetnote is a showcase for music and poetry, as well as a forum for streetmusicians in which to express themselves.
Streetnote
STREETNOTE
Streetnote is interested in addressing cultural and social concerns in the musical idiom. By bringing the street to the listener, streetnote tries to encapsulate an essence... 'a hopeful slice of urban life.'
streetnote is a genuine grassroots record label which educates the general public on issues from a point of view not often shared by the mainstream media.
streetnote is an empowerment project. It helps streetmusicians achieve a measurable degree of dignity and independence by giving them personalized and mastered demos of their work. Moreover, streetnote allows their music to travel to places beyond the streets they play in.
streetnote is a showcase for music and poetry, as well as a forum for streetmusicians in which to express themselves.
Tuesday, August 16, 2005
Hyphen | Asian America Unabridged
What is Hyphen?
Hyphen is a news and culture magazine that illuminates Asian America through hard-hitting investigative features on the cultural and political trends shaping the fastest growing ethnic population in America. We offer in-depth profiles of change-makers in our community and a glimpse into the world of artists and writers who are re-envisioning and rewriting what it means to be Asian American. Through balanced and incisive reporting and sometimes irreverent commentary, we hold a mirror to the enormous richness, contradiction, and vitality that define the Asian American experience to stimulate debate, raise awareness, and build bridges within and beyond our community.
Hyphen | Asian America Unabridged
Submission Guidelines
We're looking for writers who can depart from the predictable daily-news structure and tell a story well, with keen observations and strict accuracy. We welcome investigative reporting as well as literary journalism, thoughtful pieces as well as tongue-in-cheek ones.
We've got a bit of a split personality, so we want both fun and serious writing. As long as it's well written and solidly reported, we're very open. Bonus points if the story takes place in the South or Midwest. Asian America doesn't exist only on the coasts, you know.
We are interested in issues that affect Asian Americans, but, please, no Asian American Studies 101. We are also interested in tangentially Asian American stories, in quirky stories, and in stories about emerging artists rather than established ones. Do not send ideas about people and events in Asia. We cover Asian America, not Asia.
Absolutely no reprints, though substantially revised or expanded stories will be considered. And please, don't send us anything that uses the phrase "East meets West."
WRITERS
Send your query letter, three clips and a resume to editorial(at)hyphenmagazine.com. Or snail mail to:
Hyphen
Editorial
P. O. Box 192002
San Francisco, CA 94119-2002
We read each and every query, but we may not be able to respond right away. Please be patient with us.
Payment: Unfortunately, we will not be able to pay contributors at this time. This nonprofit magazine is a labor of love for all of us. Please accept copies of Hyphen and our gratitude.
HYPHEN DEPARTMENTS
Features: We want substantive, solidly-reported stories. These can be investigative pieces, or cultural explorations on Asian American issues, or issues that may not be specific to Asian Americans, but affect Asian Americans significantly. We'll also consider in-depth profiles and think-pieces. Politics. Business. Culture. Ethnography. No first-person. 1,500 to 3,000 words.
Redux: See something in the media that pissed you off? An ad, magazine cover or TV show that made use of stereotypes? Sound off here on all those "American Beats Kwan" moments. Or, were you surprised by a positive portrayal? We're looking for careful analysis, not rants. 300 to 650 words.
Policy Watch: Keeping an eye on the politics and policies that shape our everyday lives. 400 to 650 words.
Matter: News items about social justice issues, politics, arts, and pop culture. Can be quirky or serious. Also, pieces that explore trends. No first-person. 200 to 750 words.
Atypical: Brief profiles. Yes, there are Asian Americans who don't care about science and math! Interviews with artists, musicians, athletes, writers, actors, filmmakers, politicians and other people who don't have "Dr." in their names. 400 to 550 words.
Take Out: Cool stuff you want to take home. Zines, gadgets, boy bands, art projects and other stuff that rocks your world. 150 words.
Gifted: Art features and reviews. We're more interested in identifying trends and themes in books, zines, music, films, and performing arts rather than just giving a thumbs up or thumbs down. 400 to 750 words.
Sports: Searching for the next Yao Ming. Or at least the next story about our athletes, icons, personalities, trends and issues in the game. Please pitch sports that will be in season when we hit the stands. Bios, Q&As, charts, stories, news. 250 or 450-650 words.
Inner View: A personal essay. 1000 words.
Recipe: A step-by-step how-to on skills every Asian American should know. With photos or illustrations. Funny or tongue-in-cheek.
Dialects: The best in fiction, poetry and other creative writing. Contact claire(at)hyphenmagazine.com for guidelines.
PHOTOGRAPHERS AND ILLUSTRATORS
Hyphen seeks talented photographers, illustrators and digital artists to fill our pages with daring, eye-popping artwork to accompany our articles. Ideas for photo essays are welcome. Send us links to online portfolios and websites so we can view your work. Contact: design(at)hyphenmagazine.com
Or snail mail at:
Hyphen
Art
P. O. Box 192002
San Francisco, CA 94119-2002
Please note that we are an all-volunteer organization and cannot pay contributers at this time. Please accept copies of Hyphen and our gratitude.
Hyphen is a news and culture magazine that illuminates Asian America through hard-hitting investigative features on the cultural and political trends shaping the fastest growing ethnic population in America. We offer in-depth profiles of change-makers in our community and a glimpse into the world of artists and writers who are re-envisioning and rewriting what it means to be Asian American. Through balanced and incisive reporting and sometimes irreverent commentary, we hold a mirror to the enormous richness, contradiction, and vitality that define the Asian American experience to stimulate debate, raise awareness, and build bridges within and beyond our community.
Hyphen | Asian America Unabridged
Submission Guidelines
We're looking for writers who can depart from the predictable daily-news structure and tell a story well, with keen observations and strict accuracy. We welcome investigative reporting as well as literary journalism, thoughtful pieces as well as tongue-in-cheek ones.
We've got a bit of a split personality, so we want both fun and serious writing. As long as it's well written and solidly reported, we're very open. Bonus points if the story takes place in the South or Midwest. Asian America doesn't exist only on the coasts, you know.
We are interested in issues that affect Asian Americans, but, please, no Asian American Studies 101. We are also interested in tangentially Asian American stories, in quirky stories, and in stories about emerging artists rather than established ones. Do not send ideas about people and events in Asia. We cover Asian America, not Asia.
Absolutely no reprints, though substantially revised or expanded stories will be considered. And please, don't send us anything that uses the phrase "East meets West."
WRITERS
Send your query letter, three clips and a resume to editorial(at)hyphenmagazine.com. Or snail mail to:
Hyphen
Editorial
P. O. Box 192002
San Francisco, CA 94119-2002
We read each and every query, but we may not be able to respond right away. Please be patient with us.
Payment: Unfortunately, we will not be able to pay contributors at this time. This nonprofit magazine is a labor of love for all of us. Please accept copies of Hyphen and our gratitude.
HYPHEN DEPARTMENTS
Features: We want substantive, solidly-reported stories. These can be investigative pieces, or cultural explorations on Asian American issues, or issues that may not be specific to Asian Americans, but affect Asian Americans significantly. We'll also consider in-depth profiles and think-pieces. Politics. Business. Culture. Ethnography. No first-person. 1,500 to 3,000 words.
Redux: See something in the media that pissed you off? An ad, magazine cover or TV show that made use of stereotypes? Sound off here on all those "American Beats Kwan" moments. Or, were you surprised by a positive portrayal? We're looking for careful analysis, not rants. 300 to 650 words.
Policy Watch: Keeping an eye on the politics and policies that shape our everyday lives. 400 to 650 words.
Matter: News items about social justice issues, politics, arts, and pop culture. Can be quirky or serious. Also, pieces that explore trends. No first-person. 200 to 750 words.
Atypical: Brief profiles. Yes, there are Asian Americans who don't care about science and math! Interviews with artists, musicians, athletes, writers, actors, filmmakers, politicians and other people who don't have "Dr." in their names. 400 to 550 words.
Take Out: Cool stuff you want to take home. Zines, gadgets, boy bands, art projects and other stuff that rocks your world. 150 words.
Gifted: Art features and reviews. We're more interested in identifying trends and themes in books, zines, music, films, and performing arts rather than just giving a thumbs up or thumbs down. 400 to 750 words.
Sports: Searching for the next Yao Ming. Or at least the next story about our athletes, icons, personalities, trends and issues in the game. Please pitch sports that will be in season when we hit the stands. Bios, Q&As, charts, stories, news. 250 or 450-650 words.
Inner View: A personal essay. 1000 words.
Recipe: A step-by-step how-to on skills every Asian American should know. With photos or illustrations. Funny or tongue-in-cheek.
Dialects: The best in fiction, poetry and other creative writing. Contact claire(at)hyphenmagazine.com for guidelines.
PHOTOGRAPHERS AND ILLUSTRATORS
Hyphen seeks talented photographers, illustrators and digital artists to fill our pages with daring, eye-popping artwork to accompany our articles. Ideas for photo essays are welcome. Send us links to online portfolios and websites so we can view your work. Contact: design(at)hyphenmagazine.com
Or snail mail at:
Hyphen
Art
P. O. Box 192002
San Francisco, CA 94119-2002
Please note that we are an all-volunteer organization and cannot pay contributers at this time. Please accept copies of Hyphen and our gratitude.
Monday, August 15, 2005
Remain Human: The Slatter’s Court Project
Remain Human: The Slatter’s Court Project
at
Richard L. Nelson Gallery at the University California, Davis
Slatter’s Court started life as a motel serving the old Lincoln Highway. The auto camp closed and a community emerged even though (make that because) this remained a place of transition.
Slatter’s probably qualifies as a “heterotopia”—a counter-arrangement within the “normal” organization of a studiously normal town. Slatter’s accommodates people who don’t match the norms of college-town living; Slatter’s residents are pretty typical Californians.
Slatter’s Court casts a little shade in California’s sunny expanse of property development. Californians bypassed by the Equity Rush have to live somewhere, and some are comfortable with this. As the Slatter’s Court documentary project asks what criteria are employed when somewhere is officially designated “blight,” it gently levers the lid on the conservatism of a liberal town (liberal ordinariness is an exclusive commodity in California). Compassion shouldn’t come into a discussion of Slatter’s fate: cut Slatter’s, and the City of Davis cuts itself.
All representations are artificial, but I think the Slatter’s project does the most honest job possible. It avoids the “heroism” that besets many artistic adventures into urban activism. The organizers collected the pictures, thoughts and biographies of other residents as though they were postcards to send to the rest of town. Then they edged them into the public realm by opening a show (no guest list, lots of Slatter’s people) at a disused Slatter’s bike shop, co-opted for the occasion as a gallery.
To a great extent places exist through their representation. Looking at this show, even the residents of Slatter’s Court might have been startled to witness Slatter’s existence. This documentation affirms that Slatter’s Court is a close neighbor, physically and figuratively, to the center of town.
Simon Sadler is Associate Professor of Architectural and Urban History, University of California, Davis.
Richard L. Nelson Gallery
at
Richard L. Nelson Gallery at the University California, Davis
Slatter’s Court started life as a motel serving the old Lincoln Highway. The auto camp closed and a community emerged even though (make that because) this remained a place of transition.
Slatter’s probably qualifies as a “heterotopia”—a counter-arrangement within the “normal” organization of a studiously normal town. Slatter’s accommodates people who don’t match the norms of college-town living; Slatter’s residents are pretty typical Californians.
Slatter’s Court casts a little shade in California’s sunny expanse of property development. Californians bypassed by the Equity Rush have to live somewhere, and some are comfortable with this. As the Slatter’s Court documentary project asks what criteria are employed when somewhere is officially designated “blight,” it gently levers the lid on the conservatism of a liberal town (liberal ordinariness is an exclusive commodity in California). Compassion shouldn’t come into a discussion of Slatter’s fate: cut Slatter’s, and the City of Davis cuts itself.
All representations are artificial, but I think the Slatter’s project does the most honest job possible. It avoids the “heroism” that besets many artistic adventures into urban activism. The organizers collected the pictures, thoughts and biographies of other residents as though they were postcards to send to the rest of town. Then they edged them into the public realm by opening a show (no guest list, lots of Slatter’s people) at a disused Slatter’s bike shop, co-opted for the occasion as a gallery.
To a great extent places exist through their representation. Looking at this show, even the residents of Slatter’s Court might have been startled to witness Slatter’s existence. This documentation affirms that Slatter’s Court is a close neighbor, physically and figuratively, to the center of town.
Simon Sadler is Associate Professor of Architectural and Urban History, University of California, Davis.
Richard L. Nelson Gallery
Herring Award
The PACIFIC COAST COUNCIL ON LATIN AMERICAN STUDIES 2005 Conference
NOVEMBER 3-5, 2005
LOS ANGELES, CALIFORNIA
Hosted by Loyola Marymount University
The Latin American Struggle for Justice:
Yesterday and Today
(La Lucha Latinoamericana por La Justicia: Ayer y Hoy)
The Hubert Herring Award
This award recognizes outstanding work on Latin America in each of the following categories:
non-fiction book
article
Ph.D. dissertation
M.A. thesis
and non-print media (such as video, film, painting, etc.)
The material must have been published between January 2003 and June 2005.
Please note that no award will be given in a category with less than three submissions. Co-awards are also possible.
Award certificates will be presented at the Conference luncheon.
The author must reside or be based in the PCCLAS geographical area that consists of the Pacific Coast states and provinces of Canada, the U.S., and Mexico, but also includes Nevada and Arizona.
Entries in all categories should be mailed no later
than September 10, 2005 to:
Dr. Robert Kirkland
Department of History
Claremont McKenna College
Claremont, CA 91711-6400
Email: robert.kirkland@claremontmckenna.edu
For more information on the conference, kindly contact
Dr. Ernesto Sweeney, S.J. (esweeney@lmu.edu)
NOVEMBER 3-5, 2005
LOS ANGELES, CALIFORNIA
Hosted by Loyola Marymount University
The Latin American Struggle for Justice:
Yesterday and Today
(La Lucha Latinoamericana por La Justicia: Ayer y Hoy)
The Hubert Herring Award
This award recognizes outstanding work on Latin America in each of the following categories:
non-fiction book
article
Ph.D. dissertation
M.A. thesis
and non-print media (such as video, film, painting, etc.)
The material must have been published between January 2003 and June 2005.
Please note that no award will be given in a category with less than three submissions. Co-awards are also possible.
Award certificates will be presented at the Conference luncheon.
The author must reside or be based in the PCCLAS geographical area that consists of the Pacific Coast states and provinces of Canada, the U.S., and Mexico, but also includes Nevada and Arizona.
Entries in all categories should be mailed no later
than September 10, 2005 to:
Dr. Robert Kirkland
Department of History
Claremont McKenna College
Claremont, CA 91711-6400
Email: robert.kirkland@claremontmckenna.edu
For more information on the conference, kindly contact
Dr. Ernesto Sweeney, S.J. (esweeney@lmu.edu)
Thursday, August 04, 2005
Career Waitresses - Rethinking Work and Identity
CAREER WAITRESSES: RETHINKING WORK & IDENTITY is a multimedia project that profiles some of the healthiest, most independent and vibrant women in the U.S. Most of these waitresses are 50-83 years old and have worked in the same restaurant for up to 55 years. Despite the social stigma attached to 'just being a waitress,' this project honors the hardworking women who have raced to our tables, quarreled with the cooks and brought meaning to the American Roadside dining experience.
Career Waitresses - Rethinking Work and Identity
Career Waitresses - Rethinking Work and Identity
Monday, August 01, 2005
Wiyot Sacred Site Project on Indian Island
Near Eureka, CA in 1860, whites massacred women and children of the Wiyot people in three separate incidents. Today the Wiyots are working to restore their culture and bring the world back in balance-- find out how you can help.
Wiyot Sacred Site Project
Wiyot Sacred Site Project
Thursday, July 28, 2005
CeMoRe: Centre for Mobilities Research: Lancaster University
The study of 'mobilities' is a newly emerging interdisciplinary field in which Lancaster University is developing particular strengths. The concept of 'mobilities' encompasses both the large-scale movements of people, objects, capital, and information across the world, as well as the more local processes of daily transportation, movement through public space, and the travel of material things within everyday life. Recent developments in transportation and communications infrastructures, along with new social and cultural practices of mobility, have elicited a number of new research initiatives for understanding the connections between these diverse mobilities.
CeMoRe
CeMoRe
Wednesday, July 27, 2005
CFP: Asian American Lit and Postcolonial Theory
We are seeking essays for an edited collection on "Asian American Literature and Postcolonial Theory," which should be both an exploration and a mapping of the debates around these two terms and their corollaries. Such corollary debates have erupted over the use of terms such as diaspora, cultural memory, racial melancholy and trauma, nationalism, ethnicity, and hybridity in Asian American cultural critique. Essays that consider these genealogies and/or question the usefulness of theories derived from colonial and postcolonial discourse are especially welcome. Also of interest would be specific author, period, regional, national, and textual studies that appropriate the tools of postcolonial theory or consider the inadequacy of such tools for Asian American contexts. We are concerned with the interdisciplinary dimensions of these debates in Asian American literature for ethnic studies, history, other cultural production, and political activism and theory. As the revision and updating of an established project, the collection has solid publication potential and interest.
Abstracts, proposals, and inquiries are welcome asap and before Sept. 1,
2005; email preferred. Submissions of 20-30 pg. manuscripts with brief CV
by Dec. 31, 2005, via Word attachment.
Contacts:
Wenxin Li, Ph.D.
English Department
Suffolk Community College
The State University of New York
wli79@yahoo.com
Katherine Sugg
Department of English
Central Connecticut State University
Abstracts, proposals, and inquiries are welcome asap and before Sept. 1,
2005; email preferred. Submissions of 20-30 pg. manuscripts with brief CV
by Dec. 31, 2005, via Word attachment.
Contacts:
Wenxin Li, Ph.D.
English Department
Suffolk Community College
The State University of New York
wli79@yahoo.com
Katherine Sugg
Department of English
Central Connecticut State University
Critical Realism in Contemporary Art: around Allan Sekula's photography
Critical Realism in Contemporary Art: around Allan Sekula's photography
Leuven, Belgium
2-4 September 2005
Nineteenth century social realist thought translated itself into a
figurative-realistic painting and sculpture of which Constantin Meunier was one of the greatest exponents in Belgium. The Meunier exhibition that takes place from April to September 2005 in Leuven under the title "Meunier, a dialogue. Contemporary art meets Constantin Meunier in Leuven" is open to the grand public but also has a stong research aspect [organisation Stedelijk Museum in cooperation with K.U.Leuven]. Through the confrontation
between Meuniers work and contemporary visual art this exhibition has the ambition to discover how new forms of social realism are present in the current art field. It shows that photography today has taken over several key functions from the traditional artistic disciplines. This is particularly the case for the work of the American artist and critic Allan Sekula. His body of work is widely considered the most important international representative of what can be labelled as critical realism. In 2005 Sekula exhibits on a regular basis in Leuven, next to other artists such as Sven 't Jolle and Vincent Meessen.
The symposium attempts to create a dialogue between artistic researchers and theorists. One of its most central topics will be the possibility to (re)invent a socio-critical art in a globalised visual culture. Do the visual arts still have the potential to critically question the socio-political reality of today? Allan Sekula fulfills a key role within this discussion. He and other speakers will search a middle way in this dialogue.
Conference chairs:
Saturday: Hilde Van Gelder (K.U.Leuven)
Sunday: Jan Baetens (K.U.Leuven)
PROGRAMME
Friday September 2
18.00 World première of Allan Sekula's new film The Lottery of the Sea
[2005], accompanied by a keynote lecture by the artist
Saturday September 3
09.30-10.00 Opening Speech
Ludo Melis (Dean, Faculty of Arts, K.U.Leuven)
10.00-10.45 Postindustrial Topographics: Places of Labour in Contemporary
Urban Photography
Steven Jacobs (University of Ghent / Sint-Lukas Brussels)
10.45-11.15 Break
11.15-12.00 Photography: Seeing Time
Maarten Vanvolsem (K.U.Leuven)
12.00-12.45 "Painting through Photography". Critical reflections on the work
of Dirk Braeckman, Luc Tuymans and Anne-Mie van Kerckhoven in the early
1990s
Liesbeth Decan (K.U.Leuven / Sint-Lukas Brussels)
12.45-14.15 Lunch
14.15-15.00 Suspended Judgement: Photography in the Time of the Archive
David Green (University of Brighton)
15.00-16.30 Cloning Terror: The War of Photo Ops, 2001-2004
William J.T. Mitchell - Lieven Gevaert Chair Speaker (University of Chicago)
17.30 Official Opening of the exhibition of new photowork by Allan Sekula,
STUK by Denise Vandevoort (Alderman of Culture of the City of Leuven), Hilde
Van Gelder (K.U.Leuven) and Allan Sekula
18.00 Reception
Sunday September 4
09.30-10.15 Beyond compassion. How to escape the victim frame in social
documentary photography today. Some notes on the making of a
multi-disciplinary project on the situation of refugees in Belgium
Inge Henneman (Photomuseum Antwerp - Editor in chief Fotomuseum Magazine)
10.15-11.00 Depicting the Contemporary Artist's Studio
Wouter Davidts (University of Ghent)
11.00-11.30 Break
11.30-12.15 Against Affirmative Culture: René Block's Appropriation of
Capitalist Realism
Catharina Manchanda (CUNY)
12.15-13.00 Horizontal Montage and the Subjects of Labour
Steve Edwards (Open University)
13.00-14.15 Lunch
14.15-15.30 Plenary Session 1: Debate on the historical impact of social
realism on contemporary art
Moderator: Hilde Van Gelder (K.U. Leuven)
Discussants: Allan Sekula, Steve Edwards, Inge Henneman, Steven Jacobs, Eva
Brems (University of Ghent) and Frits Gierstberg (Photomuseum Rotterdam)
16.00-17.15 Plenary Session 2: Debate on the theoretical aspects of critical
realism today
Moderator: Jan Baetens (K.U.Leuven)
Discussants: William J.T. Mitchell, David Green, Wouter Davidts, Catharina
Manchanda, Liesbeth Decan and Maarten Vanvolsem
17.15 -17.30 Concluding remarks by Hilde Van Gelder
___________________________________________
REGISTRATION
Entrance is free. Please register by sending an e-mail to:
rein.desle@arts.kuleuven.be
CONFERENCE BROCHURE
http://www.lievengevaertcentre.be/symposium_sekula.pdf
ORGANISATION
Lieven Gevaert Research Centre for Photography and Visual Studies
[KULeuven]. For more information: rein.desle@arts.kuleuven.be or 32 (0)16
32 48 79.
Leuven, Belgium
2-4 September 2005
Nineteenth century social realist thought translated itself into a
figurative-realistic painting and sculpture of which Constantin Meunier was one of the greatest exponents in Belgium. The Meunier exhibition that takes place from April to September 2005 in Leuven under the title "Meunier, a dialogue. Contemporary art meets Constantin Meunier in Leuven" is open to the grand public but also has a stong research aspect [organisation Stedelijk Museum in cooperation with K.U.Leuven]. Through the confrontation
between Meuniers work and contemporary visual art this exhibition has the ambition to discover how new forms of social realism are present in the current art field. It shows that photography today has taken over several key functions from the traditional artistic disciplines. This is particularly the case for the work of the American artist and critic Allan Sekula. His body of work is widely considered the most important international representative of what can be labelled as critical realism. In 2005 Sekula exhibits on a regular basis in Leuven, next to other artists such as Sven 't Jolle and Vincent Meessen.
The symposium attempts to create a dialogue between artistic researchers and theorists. One of its most central topics will be the possibility to (re)invent a socio-critical art in a globalised visual culture. Do the visual arts still have the potential to critically question the socio-political reality of today? Allan Sekula fulfills a key role within this discussion. He and other speakers will search a middle way in this dialogue.
Conference chairs:
Saturday: Hilde Van Gelder (K.U.Leuven)
Sunday: Jan Baetens (K.U.Leuven)
PROGRAMME
Friday September 2
18.00 World première of Allan Sekula's new film The Lottery of the Sea
[2005], accompanied by a keynote lecture by the artist
Saturday September 3
09.30-10.00 Opening Speech
Ludo Melis (Dean, Faculty of Arts, K.U.Leuven)
10.00-10.45 Postindustrial Topographics: Places of Labour in Contemporary
Urban Photography
Steven Jacobs (University of Ghent / Sint-Lukas Brussels)
10.45-11.15 Break
11.15-12.00 Photography: Seeing Time
Maarten Vanvolsem (K.U.Leuven)
12.00-12.45 "Painting through Photography". Critical reflections on the work
of Dirk Braeckman, Luc Tuymans and Anne-Mie van Kerckhoven in the early
1990s
Liesbeth Decan (K.U.Leuven / Sint-Lukas Brussels)
12.45-14.15 Lunch
14.15-15.00 Suspended Judgement: Photography in the Time of the Archive
David Green (University of Brighton)
15.00-16.30 Cloning Terror: The War of Photo Ops, 2001-2004
William J.T. Mitchell - Lieven Gevaert Chair Speaker (University of Chicago)
17.30 Official Opening of the exhibition of new photowork by Allan Sekula,
STUK by Denise Vandevoort (Alderman of Culture of the City of Leuven), Hilde
Van Gelder (K.U.Leuven) and Allan Sekula
18.00 Reception
Sunday September 4
09.30-10.15 Beyond compassion. How to escape the victim frame in social
documentary photography today. Some notes on the making of a
multi-disciplinary project on the situation of refugees in Belgium
Inge Henneman (Photomuseum Antwerp - Editor in chief Fotomuseum Magazine)
10.15-11.00 Depicting the Contemporary Artist's Studio
Wouter Davidts (University of Ghent)
11.00-11.30 Break
11.30-12.15 Against Affirmative Culture: René Block's Appropriation of
Capitalist Realism
Catharina Manchanda (CUNY)
12.15-13.00 Horizontal Montage and the Subjects of Labour
Steve Edwards (Open University)
13.00-14.15 Lunch
14.15-15.30 Plenary Session 1: Debate on the historical impact of social
realism on contemporary art
Moderator: Hilde Van Gelder (K.U. Leuven)
Discussants: Allan Sekula, Steve Edwards, Inge Henneman, Steven Jacobs, Eva
Brems (University of Ghent) and Frits Gierstberg (Photomuseum Rotterdam)
16.00-17.15 Plenary Session 2: Debate on the theoretical aspects of critical
realism today
Moderator: Jan Baetens (K.U.Leuven)
Discussants: William J.T. Mitchell, David Green, Wouter Davidts, Catharina
Manchanda, Liesbeth Decan and Maarten Vanvolsem
17.15 -17.30 Concluding remarks by Hilde Van Gelder
___________________________________________
REGISTRATION
Entrance is free. Please register by sending an e-mail to:
rein.desle@arts.kuleuven.be
CONFERENCE BROCHURE
http://www.lievengevaertcentre.be/symposium_sekula.pdf
ORGANISATION
Lieven Gevaert Research Centre for Photography and Visual Studies
[KULeuven]. For more information: rein.desle@arts.kuleuven.be or 32 (0)16
32 48 79.
Tuesday, July 26, 2005
WHAT COMES AFTER: CITIES, ART AND RECOVERY
WHAT COMES AFTER: CITIES, ART AND RECOVERY
An International Summit
September 8-11, 2005
How do people make sense of their daily lives after catastrophe? How do art
and culture return meaning to places of devastation? How have artists
contributed to renewal, hope, and reconciliation while insisting on
remembrance? Over three days of roundtable discussions, performances, films,
and arts installations in all media, Cities, Art and Recovery will consider
how people remember and rebuild after tragedy and how the arts have been
crucial to such recovery.
Join Lower Manhattan Cultural Council this September 8-11 in the first of
two international summits focused on the arts and culture after catastrophe.
Artists, performers, writers, architects, lawyers, scholars, activists,
community and political leaders from a range of contexts that have been
directly affected and transformed by violence will gather in downtown
Manhattan in a public exchange of stories, strategies, ideas and memories.
Over three days of roundtable discussions, performances, films, and arts
installations in all media, Cities, Art and Recovery will consider how
people remember and rebuild after tragedy and how the arts have been crucial
to such recovery.
Roundtables:
The Design of Recovery
What are the political and aesthetic challenges of rebuilding after
disaster? How do architects and planners balance utilitarian, economic and
technological issues against those of environment, cultural heritage and
local practice?
Afterword: The Language of Recovery
What are the demands placed on language and writing by disaster? How does
writing after catastrophe work as advocacy, witness, mirror, mourning, elegy
or indictment?
The Arts of Emergency
How are artists provoked by the mechanisms of destruction and terror? How
does photography, painting and performance intervene to restore face and
voice, expose the erasures of history and demand recognition?
Revenge, Reparation, Reconciliation
How can artistic media be used by formerly hostile groups to reconcile
opposing points of view, recognize divergent historical narratives and
promote trust? What cultural strategies do advocates, jurists and activists
employ to effect accountability and foster healing?
Remembrance, Repetition, Residue
What is the relationship of memory and forgetting to the recovery of daily
life after trauma? How are the arts of memory - museums, memorials,
archives - sentinels of the future?
The Arts of Possibility
Can cultural and symbolic forms help to imagine a future while always
remembering the past and mourning loss? Can artistic strategies serve as
antidotes to revenge, sorrow and despair to restore hope, encourage safety,
and return the promise of tomorrow?
Schedule:
Thursday, September 8
6:00 pm Opening Reception
8:00 pm Performance: Diamanda Galas Defixiones (NY Premiere)
Friday, September 9
9:00 am Keynote Breakfast
10:30 am Arts Tours: What Comes After
2:00 pm Roundtable: The Design of Recovery
4:30 pm Homage to Susan Sontag
7:30 pm Film screening
Saturday, September 10
9:00 am Keynote Breakfast: United Nations speaker
10:15 am Roundtable: Afterword: The Language of Recovery
1:30 pm Roundtable: The Arts of Emergency
3:45 pm Homage to Edward Said
4:30 pm Roundtable: Revenge, Reparation, Reconciliation
7:30 pm Film screening
8:00 pm Performance: Diamanda Galas Defixiones
Sunday, September 11
9:00 am Keynote Breakfast
10:15 am Roundtable: Remembrance, Repetition, Residue
Remembrance of 9/11: Performance/Readings
3:00 pm Roundtable: The Arts of Possibility
9:00 pm Performance: Political Cabaret, Joe's Pub
11:00 pm Closing party: Joe's Pub
Registration information announced on August 22, 2005.
For details and additional programming, visit www.lmcc.net/recovery
Contact:
Lower Manhattan Cultural Council
120 Broadway
31 Floor
New York NY 10271
An International Summit
September 8-11, 2005
How do people make sense of their daily lives after catastrophe? How do art
and culture return meaning to places of devastation? How have artists
contributed to renewal, hope, and reconciliation while insisting on
remembrance? Over three days of roundtable discussions, performances, films,
and arts installations in all media, Cities, Art and Recovery will consider
how people remember and rebuild after tragedy and how the arts have been
crucial to such recovery.
Join Lower Manhattan Cultural Council this September 8-11 in the first of
two international summits focused on the arts and culture after catastrophe.
Artists, performers, writers, architects, lawyers, scholars, activists,
community and political leaders from a range of contexts that have been
directly affected and transformed by violence will gather in downtown
Manhattan in a public exchange of stories, strategies, ideas and memories.
Over three days of roundtable discussions, performances, films, and arts
installations in all media, Cities, Art and Recovery will consider how
people remember and rebuild after tragedy and how the arts have been crucial
to such recovery.
Roundtables:
The Design of Recovery
What are the political and aesthetic challenges of rebuilding after
disaster? How do architects and planners balance utilitarian, economic and
technological issues against those of environment, cultural heritage and
local practice?
Afterword: The Language of Recovery
What are the demands placed on language and writing by disaster? How does
writing after catastrophe work as advocacy, witness, mirror, mourning, elegy
or indictment?
The Arts of Emergency
How are artists provoked by the mechanisms of destruction and terror? How
does photography, painting and performance intervene to restore face and
voice, expose the erasures of history and demand recognition?
Revenge, Reparation, Reconciliation
How can artistic media be used by formerly hostile groups to reconcile
opposing points of view, recognize divergent historical narratives and
promote trust? What cultural strategies do advocates, jurists and activists
employ to effect accountability and foster healing?
Remembrance, Repetition, Residue
What is the relationship of memory and forgetting to the recovery of daily
life after trauma? How are the arts of memory - museums, memorials,
archives - sentinels of the future?
The Arts of Possibility
Can cultural and symbolic forms help to imagine a future while always
remembering the past and mourning loss? Can artistic strategies serve as
antidotes to revenge, sorrow and despair to restore hope, encourage safety,
and return the promise of tomorrow?
Schedule:
Thursday, September 8
6:00 pm Opening Reception
8:00 pm Performance: Diamanda Galas Defixiones (NY Premiere)
Friday, September 9
9:00 am Keynote Breakfast
10:30 am Arts Tours: What Comes After
2:00 pm Roundtable: The Design of Recovery
4:30 pm Homage to Susan Sontag
7:30 pm Film screening
Saturday, September 10
9:00 am Keynote Breakfast: United Nations speaker
10:15 am Roundtable: Afterword: The Language of Recovery
1:30 pm Roundtable: The Arts of Emergency
3:45 pm Homage to Edward Said
4:30 pm Roundtable: Revenge, Reparation, Reconciliation
7:30 pm Film screening
8:00 pm Performance: Diamanda Galas Defixiones
Sunday, September 11
9:00 am Keynote Breakfast
10:15 am Roundtable: Remembrance, Repetition, Residue
Remembrance of 9/11: Performance/Readings
3:00 pm Roundtable: The Arts of Possibility
9:00 pm Performance: Political Cabaret, Joe's Pub
11:00 pm Closing party: Joe's Pub
Registration information announced on August 22, 2005.
For details and additional programming, visit www.lmcc.net/recovery
Contact:
Lower Manhattan Cultural Council
120 Broadway
31 Floor
New York NY 10271
Chris Jordan
Check out the work of Chris Jordan
He was featured this Sunday in the NYT.
ARTS / ART & DESIGN | July 24, 2005
A Great Big Beautiful Pile of Junk
By PHILIP GEFTER (NYT) News
Here is a statement from his website.
As I explore around our country’s industrial yards and waste facilities, where the accumulated detritus of our consumption is exposed like eroded layers in the Grand Canyon, I find evidence of a slow-motion apocalypse in progress. I am appalled by these scenes, yet also drawn into them with awe and fascination. The immense scale of our consumption can appear desolate, macabre, oddly comical, full of irony, even strangely beautiful; for me its consistent feature is a staggering complexity. Perhaps our vast piles of junk can serve as visual metaphors for the difficult questions that we Americans face as the earth's most voracious resource gluttons. Chris Jordan
He was featured this Sunday in the NYT.
ARTS / ART & DESIGN | July 24, 2005
A Great Big Beautiful Pile of Junk
By PHILIP GEFTER (NYT) News
Here is a statement from his website.
As I explore around our country’s industrial yards and waste facilities, where the accumulated detritus of our consumption is exposed like eroded layers in the Grand Canyon, I find evidence of a slow-motion apocalypse in progress. I am appalled by these scenes, yet also drawn into them with awe and fascination. The immense scale of our consumption can appear desolate, macabre, oddly comical, full of irony, even strangely beautiful; for me its consistent feature is a staggering complexity. Perhaps our vast piles of junk can serve as visual metaphors for the difficult questions that we Americans face as the earth's most voracious resource gluttons. Chris Jordan
Friday, July 22, 2005
Tim Edensor - British Industrial Ruins
In the past three decades of the 20th century, the Western world has witnessed massive industrial restructuring. New service and information technology industries have replaced the old heavy industries which saw countries such as Britain, workshop of the world and home of the industrial revolution, export its products worldwide. The buildings which house these new industries – the large retail sheds and factory units on new industrial estates – are replacing the often capacious stone and brick-built factories and warehouses which accommodated the assembly lines of mass production. These structures, nestling alongside railways and canals, are suddenly obsolete. Very often they are quickly demolished or converted into upmarket living spaces for the new middle classes, ironically the very personnel who work in the new cultural, service and information industries which are replacing the manufacturing production which was housed in the buildings in which they now live. However, across the old industrial nations, many old factories are evacuated and then left to decay. In the old industrial districts of cities and towns, derelict mills, foundries, engineering workshops and storage depots slowly crumble into disrepair. Especially in those urban areas which lack inward investment to demolish, replace or convert such buildings, these ruins linger, thwarting the attempts of city imagineers and marketers to create new visions that might help to sell their city to potential investors.
Tim Edensor - British Industrial Ruins
Tim Edensor - British Industrial Ruins
Tuesday, July 12, 2005
AIDS in Culture
AIDS in Culture is an annual conference organised by Enkidu Magazine in Mexico City in cooperation with CENSIDA the national Mexican AIDS-organisation, CONAPRED (the national Mexican Anti-Discrimination Council) and ADETEA (the Association of Anthropology Students at the Autonomous University of the State of Mexico in Toluca). In 2004 the conference was organised in CENADEH, the National Center for Human Rights in Mexico City. In 2005 the conference will be held in Puerto Vallarta on the Mexican Pacific Coast.
AIDS in Culture
AIDS in Culture
Subscribe to:
Posts (Atom)
