On 6-9 July 2016, Performance Studies international travels to Melbourne Australia. Join us for an exciting event on Performance Climates with keynote addresses from Bruno Latour, Rebecca Schneider, and Peta Tait. Call for papers and more information at: www.psi2016.com. Deadline for submissions is 1 December 2015.
Performance events have long served as potent sites for the creation of atmospheres and affects. Today, performance arts and inter-disciplinary scholarship are increasingly reflecting on the climactic conditions within which societies function, and under which life can best flourish. Activism, art-science collaborations and new theatre aesthetics provide provocative means of interpreting and acting upon such circumstances. And innovative research methodologies and new conceptual paradigms offer ways of re-thinking this radically inter-connected world across many scales of human and non-human activity. We invite papers and performative presentations exploring how performance creates, illuminates and participates in climates of all scales and compositions.
Being a member of PSi is a condition of attending PSi conferences. To become a member, visit http://www.psi-members.org/register
The conference “Presenting the Theatrical Past. Interplays of Artefacts, Discourses and Practices” addresses questions concerning our relationship to theatre history, i.e. the relation between present and past. How and why do we deal with history? What do we do with history? To what extent is historical research an exploration of our present?
Departing from the 250th anniversary of the Drottningholm Court Theatre, IFTR 2016 focuses on critical perspectives on theatre history. The theatre of the past is accessible to us via historical objects, theoretical discourses and archive materials. But we can also experience it through performance practices that keep traditions alive or engage in re-enactments of theatre events and representations.
Critical investigation of historiographical issues in the field of Theatre Studies touches upon the interplay between theatrical artefacts, practices anddiscourses. In our view such historical artefacts in relation to theatre can be theatre sites/venues, historical objects (props, scenery, costumes), historical materials and documents, historical locations for re-enactments, etc. Practices comprise performances such as theatre, drama, dance, opera, performance, installation art, laboratory experiments, educational curricula etc. The notion of discourse relates to historical ideas as well as contemporary theories, questions of ‘historically informed productions’ (HIP) andhistoriographical concepts, reconstructions of past performances etc.
This perspective could be applied to the following themes:
- Historiography – methods, theories
- Turning points in history
- Genealogies and traditions
- Cultural heritage and policies
- Oral history, performing history, re-enactments
- Diversity/hegemony of histories
- Archives, digital humanities and historical research
- Traces, commodities, materialities of history
- Crisis and trauma
- Theatre, Philosophy and the History of Ideas
DELEUZE + ART: MULTIPLICITIES |THRESHOLDS |POTENTIALITIES
8 – 10 April 2016, Trinity College Dublin, Eire
Conference co-hosted by School of Drama, Film and Music at Trinity College Dublin and Trinity Long Room Hub Arts and Humanities Research Institute
Conference venue: Trinity Long Room Hub
Conference organisers: Radek Przedpełski, Prof. Stephen Elliot Wilmer
Conference website: deleuzeart.wordpress.com
Drawing on Henri Bergson, Gilles Deleuze elaborates the notion of qualitative multiplicity escaping the dialectical opposition of the one and the many. As Deleuze points out in Bergsonism, this type of multiplicity “divides up and does so constantly, but does not divide up without changing in kind, it changes in kind in the process of dividing up” (Think Friday night at a Dublin pub, or Beckett’s “sand flowing between the shingle and the dune”). The philosophical notion is taken up in A Thousand Plateaus where intensive multiplicities are plotted onto psychic, biological and socio-political planes. Those weaponised multiplicities are important for Gilles Deleuze and Félix Guattari because they engender qualitative change, embodying difference-in-itself. According to the French thinkers, intensive multiplicities are defined by their borderline zones inhabited by the anomalous which under auspicious conditions may serve as a threshold according to which transformation occurs.
The intensive properties of multiplicities make them a perfect medium for art. Furthermore, as Peter Hallward points out, Deleuze puts forward an affirmative philosophy that “equates being with unlimited creativity”. This co-implication of aesthetics and ontology has been mapped out by the work of scholars such as Éric Alliez, Dan Smith, Anne Sauvagnargues, Brian Massumi, Ronald Bogue, Stephen Zepke and Simon O’Sullivan.
The conference invites you to reconsider the notion of art and Deleuze/Guattari’s art philosophy as intensive multiplicities gravitating towards ever-new fields and contexts, “continually transforming [themselves] into a string of other multiplicities, according to [their] thresholds and doors”. The key concern here is how we can articulate a politics of art in these turbulent times. The conference seeks to zoom in on those mo(ve)ments of generation of new worlds at the threshold of the virtual and the actual. As Brian Massumi points out, „it is the edge of the virtual, where it leaks into actual, that counts. For that seeping edge is where potential, actually, is found.” Deleuzian onto-aesthetics is seething with such generative thresholds – suffice it to mention zones of indiscernibility, crystal-images, prosthesis-organs or the diagram in Francis Bacon’s paintings. At the same time many contemporary artists harness the power of multiplicities. For example, in his 3rdi project the Iraqi-American Wafaa Bilal had a camera surgically implanted at the back of his head that would automatically take snaps as he revisited Iraq, the site of his brother’s untimely death in an airstrike.
The conference seeks to approach the onto-aesthetic fields of emergence and their generative thresholds from two interpenetrating and co-implicated angles: philosophical concepts and singular art universes. Consequently, we would both encourage submissions charting connections between Deleuze’s onto-aesthetics and other philosophies, but at the same time we would like to hear from practitioners „on the ground“ starting with the particular – anthropologists, art critics, and artists themselves.
Therefore, we are interested in submissions drawing on intensive multiplicities, their thresholds and potentialities in a variety of ways.
In particular, we are looking for submissions opening up Deleuzoguattarian aesthetic thought to various multiplicities, such as the immediate, the local, the culture-specific. This, for example, could take the form of an engagement with aboriginal belief systems, fractal worlds emanating out of specific art-works, or various paths of bodily mutation in complicity with anonymous materials.
We are also very interested in submissions making transversal connections with other philosophies across time and space. These, for example, could entail investigation of internal resonances within Deleuzoguattarian onto-aesthetics, or between the latter and various strands of Speculative Realism or philosophies of technology.
Keynote speakers will include:
• Mieke Bal, Amsterdam University (NL)
• Barbara Glowczewski, CNRS, Paris (FR)
• Erin Manning, Concordia University, Montreal (CA)
• Simon O’Sullivan, Goldsmiths, University of London (UK)
• Dan Smith, Purdue University (US)
• James Williams, University of Dundee (UK)
• Stephen Zepke, independent scholar, Vienna (AT)
• Audronė Žukauskaitė, Lithuanian Culture Research Institute, Vilnius (LT)
Creativity, Culture and Identity in Africa and the African Diaspora: Africa Conference 2016
University of Texas, Austin, March 24-27, 2016
Closely allied to the idea of genius, the discourse of creativity has privileged the individual subject whose Promethean determination, originality, and passion bring into being art, innovation, and excellence. This humanist understanding of creativity still has considerable currency in disciplines such as literature and the arts, psychology, mathematics and the sciences. Related accounts of creativity and the imagination have emerged in numerous other areas, including business, popular psychology, the social sciences, and engineering and technology. The discourse of creativity that surfaces within multiple fields reveals that the notion of the individual creator is not simply widespread, but omnipresent; indeed, it is a fundamental ideology of Western culture.
Challenging the individualist and depoliticized ideology of creativity, the conference calls for papers that present alternative accounts of the social and political dimensions of creativity as they relate to invention, technology, work, artistic and cultural production, the body, desire, pedagogy and social change. The conference aims to reach a multidisciplinary academic audience; artists and grassroots activists; the political, journalistic, and information technology communities, and interested members of the general public. The conference promises to create a provocative space for comparative critical dialogue between scholars and dancers, actors and writers, songwriters and singers. The conference invites papers on all aspects of creativity, identity and culture from the artistic to the scientific, to business and the humanistic. Scholars in all disciplines are invited to propose papers on various aspects, including but not limited to any of the following:
- Creativity, identity and culture profile: What is novel and original among Africans and Black people generally?
- Value added to progress: development ideas, new thinking
- Globalized modernity and its consequences on cultural performances, rhetoric and other forms of expressions.
- The creative process in Africa and the African Diaspora
- Creative thought processes
- Creativity and the everyday
- Creativity, religion and the performance of rituals
- Gender, imagination, and creative space
- Histories of creativity and inventions.
- The politics of creativity: creativity and resistance, anti-colonial genres, creativity and apartheid, creativity and democratic movements.
- Nollywood: (production, text, marketing, impact, etc.)
- Technology, Information, Innovation.
- The business of creativity; creativity as business
- “Beyond Art” and an exploration of the current range of artistic and cultural practices, especially in the wake of the drastic shifts in critical paradigms associated with women’s studies, multiculturalism, cultural studies, and queer studies.
- Social movements: developments in new social movements and their creative strategies for political organizing, protest, and autonomy; how activists and communities had been imagining and enacting their political aspirations and organizing.
- Ethical issues in creativity: The questions of technological innovations, and stunning improvements in our knowledge of and mastery over the natural world vs. global environmental destruction
- Creativity and performance
- The expanding body: widespread experimentation and new theorizations with regard to the body and its relation to subjectivity. Papers can theorize the creative interfacings between the body, mind, and spirit, as well as the outside world.
- The pedagogy of creativity: the strategies, agents and locations that have sought to transcend the hierarchies and limits of traditional pedagogy.
We expect papers that inform new ways of thinking while engaging critical perspectives. Selected papers will be published in book form. Joint panels are welcome. For this year, we welcome presentations that seek to demonstrate theoretical paradigms through the medium of performance. Graduate students are especially encouraged to attend, present papers and interact with senior scholars to build their own growth process as scholars. This conference encourages interaction between scholars across disciplines, locations and special interests. Ample time will be provided for interactivity between participants.
The deadline for submitting paper proposals is November 30, 2015. Proposals should include a 250-word abstract and title, as well as the author’s name, address, telephone number, email address, and institutional affiliation.
Please submit all abstracts to email@example.com
A mandatory non-refundable registration fee of $150 for scholars and $100 for graduate students must be paid immediately upon the acceptance of the abstract. This conference fee includes admission to the panels, workshops, and special events, as well as transportation to and from the conference from the hotel, breakfast for three days, dinner on Friday night, lunch on Saturday, and a banquet on Saturday evening. All participants must raise the funding to attend the conference, including registration fee, transportation and accommodation. The conference does not provide any form of sponsorship or financial support. The University of Texas at Austin does not provide participants with any form of funding support, travel expenses, or boarding expenses.
Convened by: Professor Toyin Falola, firstname.lastname@example.org
Coordinated by: Abimbola Adelakun & Daniel Jean-Jacques, email@example.com