CFP: Temporality in Contemporary Music (AC Institute)

TEMPORALITY IN CONTEMPORARY MUSIC

AC INSTITUTE

CALL FOR PAPERS

DEADLINE: 10 JANUARY 2010

The AC Institute is currently accepting papers for an upcoming edition that seeks to take up the issue of temporality as an integral element in contemporary music and the visual arts.Critical writing that addresses this concept from all disciplines will be considered and we encourage the submission of articles that cross disciplinary boundaries. Articles that discuss the temporal relationships between art and music are especially welcome. Please send complete papers (with an abstract) and a brief biography (up to 250 words) by January 10, 2010.

The AC Institute’s mission is to advance the understanding of the arts through investigation, research and education. It is a lab and forum for experimentation and critical discussion. We support and develop projects that explore a performative exchange across visual, sonic,verbal and experiential disciplines. We encourage critical writing that challenges conventional expectations of meaning and objectivity as well as the boundaries between the rational and subjective. For more information on the AC Institute please visit our website at http://www.artcurrents.org.

CFP: 45th Intl. Congress on Medieval Studies (Kalamazoo)

45TH INTERNATIONAL CONGRESS ON MEDIEVAL STUDIES

KALAMAZOO, MICHIGAN

13 -16 MAY 2010

CALL FOR PAPERS

The program committee for Musicology at Kalamazoo is pleased to announce the following sessions for the 45th International Congress on Medieval Studies, May 13-16, 2010:

I. Motets and the Like;

II. Musical Instruments and Performance;

III. The Music Theorist as Polymath;

IV. Text(s) and Music, Music(s) and Text;

V. Chant and Liturgy;

VI. Performances: Indoors and Outdoors;

VII. Music and Visual Culture;

VIII. Medievalisms and Music: Yesterday and Today;

IX. Source Studies

We hope many if not all of these sessions can foster some real dialogue between musicologists and scholars in other areas, so we encourage specialists in fields other than Music to submit proposals. Please keep in mind as well that we intend these session titles mostly as "hooks" on which a multitude of proposals can be placed rather than limitations, so send us your best work (as the editors of JAMS are fond of saying), even if it doesn't precisely seem to fit one of these topics--we may be able to make it work anyway, and we'll try to find a place for as many good proposals as we can.

Abstracts should be sent by 13 September to Cathy Ann Elias, program committee chair, at the address below. Electronic submissions are welcome. Please write in the subject part of the e-mail the following: KZOO 2010 (Please send submissions to musicology.kzoo at gmail.com)

You'll also need to complete and submit the “Participant Information Form” from the conference website, available at http://www.wmich.edu/medieval/congress/submissions/index.html. This is very important, not only because it is your only chance to make A-V requests, but because it is required by the Medieval Institute. Please note that the form appears at the bottom of the page. Be aware that this is a PDF document; if you don't have Adobe Acrobat (the writer, not just the reader) on your computer, you cannot save a completed form, so you'll have to print it and send it via snail-mail or fax.

If you have any questions, please contact Cathy Ann Elias. We look forward to seeing you in Kalamazoo next May.

Cathy Ann Elias

5429 S. Hyde Park Blvd.

Chicago, IL 60615

Phone: 773-955-0558

cathy.elias at gmail.com

Cathy Ann Elias (DePaul University)

Julia Wingo Shinnick (University of Louisville)

Mary Wolinski (Western Kentucky University)

Zombomodernism: the Ends of Practice-as-research (CSSD, London)

ZOMBOMODERNISM: THE ENDS OF PRACTICE-AS-RESEARCH

CENTRAL SCHOOL OF SPEECH AND DRAMA, UNIVERSITY OF LONDON

26 SEPTEMBER 2009

CALL FOR PAPERS

DEADLINE EXTENDED: 6 JULY 2009

The figure of the zombie is the uncanny split par excellence: neither living nor dead, both familiar and unfamiliar. The zombie presents a unmeasurable proximal distance between the known and unknown. The zombie’s movements are human in resemblance (as is its physical form), and yet, in its single-minded determination, its constant pace, and its inability to manoeuvre around obstacles in its path, it is clearly inhuman.

Is not the condition of the zombie also the condition of the modern practice-as-research academic? That is, current PAR can be described as existing within a state of ‘Zombomodernity,’ that post-postmodern state in which the ideas are not dead, but nor are they truly alive. Practice-as-research features a similar uncanny split: is it research or is it art? And the spectacle of the modern practice-as-research academic is analogous to that of the zombie in many ways: we’re single-minded, move slowly and bang our heads against the wall over and over again.

Central School of Speech and Drama’s Research Degree students are pleased to announce a one-day interdisciplinary colloquium exploring practice-as-research from the perspective of its relationship to both professional practice and the institution, aimed at finding the antidote and liberating it from Zombomodernism or cutting its head off and putting it to rest forever. As an institution, CSSD is uniquely placed to explore these issues, being itself an uncanny hybrid of conservatoire and research institution, and this colloquium is part of the Festival of Emergent Art, a high-profile two week festival of new practice-as-research performances and presentations from PhD students, MA Performance Practices and Research students, staff and visiting artists.

We invite 20-minute papers and proposals for workshops that might interrogate the value of PAR and its contribution to new knowledge and professional practice.

What is the relationship between PaR and professional practice?

What is the relationship between PaR and the university?

Does PaR create new knowledge?

Is the university the best place to make experimental practice?

Can we imagine new ways of documenting experimental practice?

Can we imagine new ways of writing about practice?

Can we stop asking ourselves if it’s ok and just get on with it?

Submissions are invited from all researchers and postgraduate students working in theatre, drama, dance, film, puppetry and object-theatre, circus, installation, live art and visual culture. Interdisciplinary work is especially welcome, as well as submissions of experimental writing and documentation.

Please send a 250 word abstract (for papers) or proposal (for workshops)along with a brief biographical statement to colloquium organiser Broderick Chow at dick.chow@cssd.ac.uk by Monday, 6 July 2009. Please send large attachments tozombomodernism@googlemail.com Decisions will be made within three weeks. Any questions can also be directed to the colloquium organiser.

CFP: Correspondances: Exchanges and Tensions Between Art, Theatre and Opera in France (London)

CORRESPONDANCES: EXCHANGES AND TENSIONS BETWEEN ART, THEATRE AND OPERA IN FRANCE, C.1750-1850

NATIONAL GALLERY, LONDON (IN COLLABORATION WITH THE UNIVERSITY OF NOTTINGHAM)

26 - 27 MARCH 2010

CALL FOR PAPERS

This conference will explore a rich field of interdisciplinary research, that of the relation between art, theatre and opera in France from the later 18C to the mid 19C. As key elements in Parisian cultural life, art, theatre and opera all underwent extensive changes during this period, adapting and responding to profound socio-political disruption and transformation from the Revolution to the Second Republic.

We aim:

* to map interchanges between stage(s) and canvas, and the role of imagery in stage productions;

* to identify intermediaries in transmitting design to and from the stage and painting;

* to analyse attitudes and assumptions regarding interplay between media in theoretical and critical writing;

* to assess the recoverability of the visual components of theatre and opera.

Major themes which unite the two art forms include:

* the representation of history

* the nature of spectacle and illusion

* narrative and temporality

* the role of criticism

Invited speakers include:

* Prof Stephen Bann, University of Bristol (also a curator of the exhibition)

* Prof Beth Wright, University of Texas at Arlington

* Prof Tom Grey, Stanford University

* Prof David Charlton, Royal Holloway, University of London

We welcome proposals for papers (30 mins). Abstracts of c.250 words should be sent to both conference organisers, and by **1 September 2009**.

Programme and full conference details will be available at:

www.nottingham.ac.uk/moss and www.nottingham.ac.uk/nirv

CFP: Old Age and Late Works (15th-21st Centuries) (Poitiers, France)

OLD AGE AND LATE WORKS (15TH-21ST CENTURIES) INTERNATIONAL CONFERENCE
POITIERS, FRANCE
10 - 12 DECEMBER 2009
CALL FOR PAPERS

Sponsored by the Université de Poitiers, UFR Sciences Humaines et Arts, GERHICO

Artists’ longevity is a topic that raises question about biography’s impact on creation. Artistic production in old age often coincides with a drastic change of style, resulting from a reconsideration of preceding skills and positions, if not a return to basics. This final season of life has fed the romantic myth of the elderly genius’s absolute liberty of expression, reaching an
incomparable dramatic intensity, as a constant in major artists’ late production throughout history.

The old age of artists has been, however, a subject of debate since the Renaissance, when senility’s consequences on artistic creation were often denounced as a defect. Historiography has long fluctuated between these two interpretative positions, glorifying the liberty of expression of late works or denigrating the imperfections of their workmanship or conception.

Most recently, scholars have considered the status of late works in relation to the psychological, cultural and social conditions that the negative consideration of old age could have on senior artists’ production, independent of its quality. In spite of the attention paid to this topic, we still lack for a comprehensive view that considers late artistic creation over a long period and in different fields of expression, allowing us to question its specificity with respect to the wider spectrum of intellectual and scientific production by those of advanced age.

This conference’s purpose is therefore to treat the topic of old age and its late creations over an extended chronology – from the Renaissance to the modern era – in visual arts, music and literature, establishing a dialogue between those different disciplines.

For more information: http://www.mshs.univ-poitiers.fr/gerhico/accueil.html

Submissions dead-line : 31 march 2009 (text : at most 2.000 characters; curriculum vitae : at most 1 page) Contact : diane.bodart at univ-poitiers.fr