31/8/2019 – CFP: Stage The Future III: International Conference on Science Fiction Theatre

What, when & where

Talos 2019: Science Fiction Theatre Festival of London

Keynote Speaker: Dr. Louise LePage, Lecturer in Theatre (University of York)

Following two successful conferences in the UK, at Royal Holloway, University of London and in Arizona, at Arizona State University, in 2014 and 2015 respectively, Stage the Future returns to the UK for its third conference on science fiction theatre on 6-7 December 2019. We welcome papers, panels, and performances that examine and explore the unique attributes live performance offers to science fiction and those that science fiction offers to live performance.

Science fiction and its related genres, fantasy and horror frequent contemporary stages and every year there seem to be more and more artistic productions of AI Theatre, cyborgs in theatre, VR and AR technologies on stage. The Internet Science Fiction Theatre Database lists several recent examples, and major UK theatre festivals such as Edinburgh Fringe and Vault Festival host several plays with sf elements, while genre-specific festival such as the Talos Sci-Fi theatre festival and the London Horror Festival also promote speculative fiction on stage.

In fact the conference is taking place in the same week as the third Talos: Science Fiction Theatre Festival of London (2-9 December 2019), so participants will have many opportunities to watch and discuss sci-fi performances earlier that week.

In addition to science fiction theatre, we welcome papers on sci-fi performance more broadly (sci-fi dance, immersive shows, VR theatre, AI theatre) and genre theatre more broadly (Afrofuturist performances, horror theatre, fantasy theatre.)

The conference welcomes proposals for papers, presentations, and performances from any discipline and theoretical perspective. Topics might include but are not limited to:

Post-Apocalyptic Theatre, Utopian Theatre, Dystopian Theatre
Afrofuturist Theatre, Queer Science Fiction
Cyberpunk Theatre, Steampunk Theatre (and other -punk dramas)
Political Science Fiction Theatre, Time Travel, Alternate History
Non-human and post-human characters, androids, metahumans
Space Opera and Science Fiction Opera
Ecological science fiction
Science Fiction and Dance
Theatrical Adaptations of Science Fiction
Contemporary Fantasy Theatre, Horror Theatre, Weird Theatre

Deadline & how to apply

Please send a title and a 200-300 word abstract (as a Word document) for a 15 minute paper or a reading / performance, along with your name, affiliation and 100 word biography to stagethefuture@gmail.com by 31 August 2019, specifying in the subject title of your email what you are proposing.

Other info, Links & conditions

The conference is organised by Dr Christos Callow Jr, Lecturer, University of Derby; Marita Arvaniti, PhD Candidate, University of Glasgow; the theatre company Cyborphic and the London Science Fiction Research Community.

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31/8/2019 – CFP: Histories and Cultures of Latinas: Suffrage, Activism and Women’s Rights

What, when & where

The XV Recovery conference will convene in Houston from February 20 to 22, 2020 to continue the legacy of scholars meeting to discuss and present their research. The conference theme invites scholars—including archivists, librarians, linguists, historians, critics, theorists and community members–to share examples of the cultural legacy they are recovering, preserving and making available about the culture of the Hispanic world whose peoples resided here, immigrated to or were exiled in the United States over the past centuries. This conference foregrounds the work of Latinas that focuses on women’s rights, suffrage and education as we usher in a new phase of feminist critical genealogies. We seek papers, panels and posters in either English or Spanish that highlight these many contributions, but also offer us critical ways to rethink issues of agency, gender, sexualities, race/ethnicity, class and power. Of particular interest are presentations about digital humanities scholarship, methods and practices on these themes.

The end date for Recovery research and themes will now be 1980 in order to give scholars, archivists, linguists and librarians the stimulus needed to begin recovering the documentary legacy of the 1960s and 1970s, which is fast disappearing. We encourage papers or panels that make use of archival research that provokes a revision of established literary interpretations and/or historiographies. Papers or posters on locating, preserving and making accessible movement(s) documents generated by Latinas and Latinos in those two decades will be welcome. Studies on the following themes, as manifested before 1960, will be welcome:

Digital Humanities
Analytical studies of recovered authors and/or texts
Critical, historical and theoretical approaches to recovered texts
Curriculum development: Integrating recovered texts into teaching at university and K-12 levels
Religious thought and practice
Folklore/oral histories
Historiography
Language, translation, bilingualism and linguistics
Library and information science
Social implications, cultural analyses
Collections and archives: accessioning and critical archive studies
Documenting the long road/struggle toward equality
1960-1980 only movement(s)-related research

Deadline & how to apply

Submit your 250-word paper/poster abstract and vitae by email to recovery@uh.edu by August 31, 2019.

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31/7/2019 – CFP: Constellations. Connections, Disruptions, and Imaginations in Cinema and Beyond

What, when & where

Division of Cinema and Media Studies
University of Southern California

Constellations: Connections, Disruptions, and Imaginations in Cinema and Beyond.

Thursday, October 10 and Friday, October 11, 2019

When gazing at the sky, one turns to the billions of specks occupying the universe, an infinite space where visible and invisible galactic matter creates multidimensional shapes and figures. Throughout history, the cosmos has served as a site of epistemological enunciation. In connecting and linking disparate star systems, societies have advanced knowledge and created constellations. Constellations as metaphor moves one beyond discussions of the universe. In this regard, cinema, media, and visual culture have mediated our imagination on constellations. From planetariums and large screens projecting images of the enigmatic universe, to films imagining worlds outside of our own galaxy, to television and radio networks sending out sound and image via wavelengths, and to transmedia organizing, constellations are projections and imagined networks.

One can add that constellations have guided people to situate themselves within the universe; to shift their geographical and migratory positions; to measure and keep track of time; to sync to nature; and to preserve history and culture. Discrete points are the vital infrastructure supporting constellations; effacing points would compromise the integrity of the figure and radically transform its meaning and image.

Constellations are created when mapping and charting geographies, struggles, and movements. This allows one to rethink how their positionality and temporality link and relate disparate spaces, objects, and peoples. For example, sentient and non-sentient beings have formed their own social constellations, creating networks, circles, communities, and support systems. One can argue that media creates its own constellations, especially when mediums rely on other media systems: transmedia, intermedia, social media, and “cloud” sharing devices.

While constellations consist of connections that create imaginary shapes, objects, and figures, one must nuance the specificity of each point and raise questions that help one confront the precarity of constellations. Disruption enters the picture, threatening the integrity of the shape.

Imagining new constellations is hermeneutical. The act of imagining opens the possibility for third spaces, making room for new worlds, and forming connections that were otherwise impossible. When imagining constellations, one leaves open the possibility of adapting to new changes, allowing new points to enter and emerge, and respect the existence of other constellations in the vicinity. Cinema, media, and visual culture has been generative in this endeavor.

What happens when points are not granted their specificity? Can a point disengage from one constellation and align itself with others to create new constellations? What are the consequences when external forces seek to erase points in order to undo the power of unity in constellations? What is lost when constellations cease to exist? How is sound, moving images, and other media implicated in the creation and disruption of constellations?

The First Forum 2019 organizing committee welcomes papers, artwork, and creative projects that expand, complicate, and reconsider the metaphor of constellations in relation to sound and moving images. Papers outside the field of cinema and media are strongly encouraged.

Deadline & how to apply

Deadline: Wednesday, July 31, 2019 by 11:59 p.m.
Decision notification by Wednesday, August 14, 2019

Please e-mail an abstract of 250-300 words for a 15 to 18 minute presentation; a biography of 150 words; and institutional affiliation to firstforum2019@gmail.com

Samples of artwork and creative projects for exhibition accompanied by a 250-300 word abstract and a biography of 150 words can be e-mailed to firstforum2019@gmail.com

Other info, Links & conditions

Please direct queries to Michael Anthony Turcios at maturcio@usc.edu or to the conference organizing committee at firstforum2019@gmail.com

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Photo by Greg Rakozy on Unsplash
 

15/08/2019 – Grants: 25th AISNA Conference – 8 BORSE PER GIOVANI STUDIOSI

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