DASH Archives - September 2018

European Commission prolongs and expands support for Erasmus+ master =?UTF-8?Q?=E2=80=9CMedia_Arts_Cultures=E2=80=9D?=

From: Image Science <Image.Science@DONAU-UNI.AC.AT>

Date: Sun, 2 Sep 2018 15:26:36 +0200

MEDIA ARTS CULTURES
Erasmus Mundus Joint Master Degree
Erasmus+ funded - European Master of Excellence
KREMS / AALBORG / LODZ / SINGAPORE
Call for 2019 applications open soon
www.mediaartscultures.eu
 
With support extended to 3.7 million Euro, the European master of excellence program “Media Arts Cultures – Media AC” will broaden in 2019-2024. This distinctive award is based on offering high-quality international learning opportunities for students in an emerging field and also affirms the importance of Media Art research and practice for the cultural and educational future of Europe.
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
Media Arts Cultures is organized jointly by
Danube University Krems (Austria, lead)
Aalborg University (Denmark)
University of Lodz (Poland) and
Lasalle College of the Arts (Singapore).
 
Associated partners: Archive of Digital Art, Ars Electronica Linz, DAM, Europeana, FACT, Het Nieuwe Instituut, Instrument Inventors Initiative, imai, Impakt Festival, MOCAK, monochrome, Neural Magazine, SPEKTRUM, WRO Art Center, ZKM
 
The language of instruction is English and includes taught semesters, internship a master's thesis supervised by lecturers from the partner universities.
MediaAC faculty include:
Andreas Broeckmann, Wendy Coones , Palle Dahlstedt, Steven Dixon, Oliver Grau, Jens Hauser, Elizabeth Jochum, Ryszard W. Kluszczyński, Wolfgang Muench, Maciej Ożóg, Christiane Paul, Ana Peraica, Katarzyna Prajzner, Jeffrey Shaw, Morten Søndergaard, Audrey Wong and many others.
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
MediaAC is one of the few culture-centered Erasmus Mundus programs, and the only program connecting culture to the digital arts. Digital media art plays a major role at international festivals and in contemporary culture. But, in part due to the obsolescence of presentation equipment and storage formats, media art has not yet fully arrived in archives and museums. The collection, exhibition and conservation strategies of digital art, as well as their mediation, are necessary for the modernization of art institutions.
 
The joint Master of Arts MediaAC aims to generate a better understanding of the image revolution. It addresses the needs of the evolving fields related to the futures and histories of Media Art. MediaAC provides education and training for future specialists in Media Arts Cultures and prepare them for emerging careers in the creative and cultural sectors, research and academia.
 
Selected topics like Media Cultural Histories & Heritage, Archiving, Experience Design, Media Arts Theory, New Media Aesthetics, Curating & Arts Management, or Media Arts Futures provides students both internationally-advanced theoretical as well as practical knowledge in the Media Arts, through a singular combination of pedagogical foci, trans-disciplinary approaches, and critical thinking in connection to the needs of both academic and non-academic stakeholders.
 
Media Arts Cultures is a 2-year mobility program, enabling students to study across Europe and in Asia. Students spend three semesters at different universities and write a Master Thesis at the best-suited partner during the final semester. Upon completion, students receive a 120 ECTS joint master degree in Media Arts Cultures from three universities allowing graduates to further pursue a PhD within Europe or other international higher education regions.
 
Each year, 19 of the best EU and non-EU candidates will be offered Erasmus+ fully-funded scholarships for the duration of the program. Other funding from the MediaAC Consortium and external-sources are also available.
 
The MediaAC Consortium invites dedicated and energetic applicants from all countries and all relevant fields to apply.
 
Contact:
Media Arts Culture Consortium Coordination
Department for Image Science
Danube University, Austria
 
 
 
 



To unsubscribe from the DASH list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=DASH&A=1





MEDIA ARTS CULTURES
Erasmus Mundus Joint Master Degree
Erasmus+ funded - European Master of Excellence
KREMS / AALBORG / LODZ / SINGAPORE
Call for 2019 applications open soon
www.mediaartscultures.eu
 
With support extended to 3.7 million Euro, the European master of
excellence program “Media Arts Cultures – Media AC” will broaden in
2019-2024. This distinctive award is based on offering high-quality
international learning opportunities for students in an emerging field
and also affirms the importance of Media Art research and practice for
the cultural and educational future of Europe.
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
Media Arts Cultures is organized jointly by 
Danube University Krems (Austria, lead)
Aalborg University (Denmark)
University of Lodz (Poland) and
Lasalle College of the Arts (Singapore).
 
Associated partners: Archive of Digital Art, Ars Electronica Linz,DAM,
Europeana,FACT, Het Nieuwe Instituut, Instrument Inventors Initiative,
imai, Impakt Festival, MOCAK,monochrome, Neural Magazine, SPEKTRUM, WRO
Art Center, ZKM
 
The language of instruction is English and includes taught semesters,
internship a master's thesis supervised by lecturers from the partner
universities. 
MediaAC faculty include:
Andreas Broeckmann, Wendy Coones , Palle Dahlstedt, Steven Dixon,
Oliver Grau, Jens Hauser, Elizabeth Jochum,Ryszard W. Kluszczyński,
Wolfgang Muench, Maciej Ożóg, Christiane Paul, Ana Peraica,Katarzyna
Prajzner, Jeffrey Shaw, Morten Søndergaard, Audrey Wongand many others.
 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
MediaAC is one of the few culture-centered Erasmus Mundus programs, and
the only program connecting culture to the digital arts. Digital media
art plays a major role at international festivals and in contemporary
culture. But, in part due to the obsolescence of presentation equipment
and storage formats, media art has not yet fully arrived in archives and
museums. The collection, exhibition and conservation strategies of
digital art, as well as their mediation, are necessary for the
modernization of art institutions.
 
The joint Master of Arts MediaAC aims to generate a better
understanding of the image revolution. It addresses the needs of the
evolving fields related to the futures and histories of Media Art.
MediaAC provides education and training for future specialists in Media
Arts Cultures and prepare them for emerging careers in the creative and
cultural sectors, research and academia. 
 
Selected topics like Media Cultural Histories & Heritage, Archiving,
Experience Design, Media Arts Theory, New Media Aesthetics, Curating &
Arts Management, or Media Arts Futures provides students both
internationally-advanced theoretical as well as practical knowledge in
the Media Arts, through a singular combination of pedagogical foci,
trans-disciplinary approaches, and critical thinking in connection to
the needs of both academic and non-academic stakeholders.
 
Media Arts Cultures is a 2-year mobility program, enabling students to
study across Europe and in Asia. Students spend three semesters at
different universities and write a Master Thesis at the best-suited
partner during the final semester. Upon completion, students receive a
120 ECTS joint master degree in Media Arts Cultures from three
universities allowing graduates to further pursue a PhD within Europe or
other international higher education regions.
 
Each year, 19 of the best EU and non-EU candidates will be offered
Erasmus+ fully-funded scholarships for the duration of the program.
Other funding from the MediaAC Consortium and external-sources are also
available.
 
The MediaAC Consortium invites dedicated and energetic applicants from
all countries and all relevant fields to apply.
 
Contact:
Media Arts Culture Consortium Coordination
Department for Image Science
Danube University, Austria
www.mediaartscultures.eu
 
www.donau-uni.ac.at/dbw
www.digitalartarchive.at
www.mediaarthistory.org
 
 
 


########################################################################

To unsubscribe from the DASH list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=DASH&A=1


Submissions open for The Web that Was (June 2019, Amsterdam)

From: Anne Helmond <a.helmond@UVA.NL>

Date: Thu, 6 Sep 2018 11:25:05 +0200

The Web that Was: Archives, Traces, Reflections

A three-day conference, University of Amsterdam, the Netherlands, June 19-21, 2019. The third biennial RESAW (Research Infrastructure for the Study of Archived Web Materials) conference. Organized by the University of Amsterdam.

*** Submissions Open ***

Submissions are now open for The Web that Was (RESAW19) and you can upload your submission here: https://easychair.org/my/conference.cgi?conf=resaw19.

Please read the conference-specific instructions linked at the top of the submission form. Help with the conference tool can be found here: https://easychair.org/help/how_to_submit.

The deadline for submissions is October 19, 2018.

*** Keynote speakers ***

Megan Ankerson, Assistant Professor of Communication Studies, University of Michigan
Wendy Chun, Canada 150 Research Chair, Simon Fraser University
Florian Cramer, Professor of Applied Research, Rotterdam University of Applied Sciences
Olia Lialina, Professor of New Media, Merz Akademie
Fred Turner, Harry and Norman Chandler Professor and Chair of the Department of Communication, Stanford University

*** Special event ***

The conference will host a lecture-performance by Geert Lovink (Institute of Network Cultures, Hogeschool van Amsterdam) and guests on the history and preservation of Amsterdam’s early internet culture.

*** Call for contributions ***

As the first generation of web users goes grey, it’s clear that the internet they remember is no longer around. The early web is now simply another object of nostalgia. Tech anniversaries are a dime a dozen, while once cool digital aesthetics have made several ironic comebacks. All of this reinforces a sense that we’ve left behind a digital history that was as clunky and slow as it was idealistic and naïve.

How can we rethink this relationship to the web’s past and the past web? This question is crucial today as the open web continues to lose ground to platforms and apps. How can this history be reconstructed and re-evaluated, and how are web archives and web histories impacted by technological change? What do traditional problems of preservation and historiography look like at scale? And what stories capture the diverse transformations and continuities that mark nearly 30 years of web history?

There is of course no single web history, materially or conceptually speaking. There is instead a politics of archives, technologies and discourses that needs to be uncovered. How can we expand our view of web history beyond Silicon Valley and celebrated cases? And how can we reveal the technological, social and economic contexts that have shaped not just the present web, but how we access its past? What role do archives play in uncovering the histories of the web, platforms and apps, as well as their production and usage contexts?

This conference aims to bring together scholars, archivists and artists interested in preserving, portraying and otherwise engaging with the web that was. In addition to paper submissions, we invite proposals for audiovisual installations, posters, software demos, or other media that connects to the conference themes.

Submissions in the form of an abstract may relate to, but are not limited by, the following topics:

* Web and internet histories
* Historicizing the web and digital culture
* Web 1.0, Web 2.0 and critiquing periodizations
* Past futures and paths not taken
* Platformization and the changing structure of the web
* Social imaginaries of the early web
* Archives and access
* Research methods for studying the archived web
* Methods for platform and app histories
* Ethics of (studying) web archives
* Technicity of web archives
* Software histories
* Archived audiences and histories of internet use
* Identity, intersectionality and web history
* Digital activism and web history
* Histories of net criticism
* Media industries and their online histories
* Web histories elsewhere: forgotten and marginalized web cultures
* Realtime, time travel and other web temporalities
* Future histories and the archive of tomorrow

*** Submissions ***

Submissions are welcomed from all fields and disciplines, and we would particularly encourage postgraduate students and early career researchers to participate.

* Individual papers of 20 minutes length (750-word abstract and a short author bio of 100-150 words).
* Panel sessions consisting of three individual papers, introduced by a chair (750-word abstract for each paper, a brief description of 300 words of the purpose of the panel, and a short author bio of 100-150 words for each speaker).
* Posters, demonstrations, and audio/video/interactive installations (short abstract of no more than 500 words, a list of A/V or other requirements, and a short author bio of 100-150 words)
* Workshops (a 500-word rationale for the workshop, including discussion of why the topic lends itself to a workshop format, and a short author bio of 100-150 words for the workshop organiser(s)).

Acceptance will be on the basis of double-blind peer review.

*** Timetable ***

May 2018 – dates out
June 2018 – first call for papers
July 2018 – second call for papers
August 2018 – third call for papers
September 2018 – final call for papers and submissions open
19 October 2018 – deadline submission of abstracts
December 2018 – notification of acceptance
19–21 June 2019 – conference

*** Organizing Committee ***

Anne Helmond, University of Amsterdam, NL
Michael Stevenson, University of Amsterdam, NL

In collaboration with the RESAW Conference Committee:
Niels Brügger, Aarhus University, DK (organiser 2015)
Jane Winters, University of London, UK (organiser 2017)
Valérie Schafer, University of Luxembourg, LU (coming organiser 2021)

*** Program Committee ***

Susan Aasman, University of Groningen, NL
Gerard Alberts, University of Amsterdam, NL
Megan Ankerson, University of Michigan, USA
Anat Ben-David, The Open University of Israel, IL
Josephine Bosma, independent art critic and theorist, NL
Sally Chambers, Ghent University, BE
Frédéric Clavert, C2DH Luxembourg
Annet Dekker, University of Amsterdam, NL
Matthew Fuller, Goldsmiths, UK
Sophie Gebeil, Aix-Marseille University, FR
Robert W. Gehl, University of Utah, USA
Daniel Gomes, arquivo.pt, PT
Stefania Milan, University of Amsterdam, NL
Ian Milligan, University of Waterloo, CA
Francesca Musiani, CNRS, FR
Claude Mussou, Ina, FR
Janne Nielsen, Aarhus University, DK
Camille Paloque-Berges, CNAM, FR
Thomas Poell, University of Amsterdam, NL
Bernhard Rieder, University of Amsterdam, NL
Marta Severo, University of Paris Nanterre, FR
Kees Teszelszky, Koninklijke Bibliotheek/Royal Library, NL
Fred Turner, Stanford University, USA
Peter Webster, Webster Research & Consulting, UK
Katrin Weller, GESIS Leibniz Institute for the Social Sciences, DE

*** Sponsors ***

The conference is financed in part by the Netherlands Organisation for Scientific Research (NWO) as part of the research program Innovational Research Incentives Scheme Veni in connection with the projects “The Web that Was” (275-45-006) and “App ecosystems: A critical history of apps” (275-45-009).

*** Contact ***


---

Dr. Anne Helmond | Assistant Professor of New Media and Digital Culture
University of Amsterdam | Turfdraagsterpad 9 | 1012 XT  Amsterdam | The Netherlands
http://www.uva.nl/profile/a.helmond | http://www.annehelmond.nl/ | @silvertje

Highlighted publication:

Helmond, Anne. 2015. “The Platformization of the Web: Making Web Data Platform Ready.” Social Media + Society 1 (2). doi:10.1177/2056305115603080.



To unsubscribe from the DASH list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=DASH&A=1












































The Web that Was: Archives, Traces, Reflections

A three-day conference, University of Amsterdam, the Netherlands, June
19-21, 2019. The third biennial RESAW (Research Infrastructure for the
Study of Archived Web Materials) conference. Organized by the University of
Amsterdam.

*** Submissions Open ***

Submissions are now open for The Web that Was (RESAW19) and you can upload
your submission here: https://easychair.org/my/conference.cgi?conf=resaw19.

Please read the conference-specific instructions linked at the top of the
submission form. Help with the conference tool can be found here:
https://easychair.org/help/how_to_submit.

The deadline for submissions is October 19, 2018.

*** Keynote speakers ***

Megan Ankerson, Assistant Professor of Communication Studies, University of
Michigan
Wendy Chun, Canada 150 Research Chair, Simon Fraser University
Florian Cramer, Professor of Applied Research, Rotterdam University of
Applied Sciences
Olia Lialina, Professor of New Media, Merz Akademie
Fred Turner, Harry and Norman Chandler Professor and Chair of the
Department of Communication, Stanford University

*** Special event ***

The conference will host a lecture-performance by Geert Lovink (Institute
of Network Cultures, Hogeschool van Amsterdam) and guests on the history
and preservation of Amsterdam’s early internet culture.

*** Call for contributions ***

As the first generation of web users goes grey, it’s clear that the
internet they remember is no longer around. The early web is now simply
another object of nostalgia. Tech anniversaries are a dime a dozen, while
once cool digital aesthetics have made several ironic comebacks. All of
this reinforces a sense that we’ve left behind a digital history that was
as clunky and slow as it was idealistic and naïve.

How can we rethink this relationship to the web’s past and the past web?
This question is crucial today as the open web continues to lose ground to
platforms and apps. How can this history be reconstructed and re-evaluated,
and how are web archives and web histories impacted by technological
change? What do traditional problems of preservation and historiography
look like at scale? And what stories capture the diverse transformations
and continuities that mark nearly 30 years of web history?

There is of course no single web history, materially or conceptually
speaking. There is instead a politics of archives, technologies and
discourses that needs to be uncovered. How can we expand our view of web
history beyond Silicon Valley and celebrated cases? And how can we reveal
the technological, social and economic contexts that have shaped not just
the present web, but how we access its past? What role do archives play in
uncovering the histories of the web, platforms and apps, as well as their
production and usage contexts?

This conference aims to bring together scholars, archivists and artists
interested in preserving, portraying and otherwise engaging with the web
that was. In addition to paper submissions, we invite proposals for
audiovisual installations, posters, software demos, or other media that
connects to the conference themes.

Submissions in the form of an abstract may relate to, but are not limited
by, the following topics:

* Web and internet histories
* Historicizing the web and digital culture
* Web 1.0, Web 2.0 and critiquing periodizations
* Past futures and paths not taken
* Platformization and the changing structure of the web
* Social imaginaries of the early web
* Archives and access
* Research methods for studying the archived web
* Methods for platform and app histories
* Ethics of (studying) web archives
* Technicity of web archives
* Software histories
* Archived audiences and histories of internet use
* Identity, intersectionality and web history
* Digital activism and web history
* Histories of net criticism
* Media industries and their online histories
* Web histories elsewhere: forgotten and marginalized web cultures
* Realtime, time travel and other web temporalities
* Future histories and the archive of tomorrow

*** Submissions ***

Submissions are welcomed from all fields and disciplines, and we would
particularly encourage postgraduate students and early career researchers
to participate.

* Individual papers of 20 minutes length (750-word abstract and a short
author bio of 100-150 words).
* Panel sessions consisting of three individual papers, introduced by a
chair (750-word abstract for each paper, a brief description of 300 words
of the purpose of the panel, and a short author bio of 100-150 words for
each speaker).
* Posters, demonstrations, and audio/video/interactive installations (short
abstract of no more than 500 words, a list of A/V or other requirements,
and a short author bio of 100-150 words)
* Workshops (a 500-word rationale for the workshop, including discussion of
why the topic lends itself to a workshop format, and a short author bio of
100-150 words for the workshop organiser(s)).

Acceptance will be on the basis of double-blind peer review.

*** Timetable ***

May 2018 – dates out
June 2018 – first call for papers
July 2018 – second call for papers
August 2018 – third call for papers
September 2018 – final call for papers and submissions open
19 October 2018 – deadline submission of abstracts
December 2018 – notification of acceptance
19–21 June 2019 – conference

*** Organizing Committee ***

Anne Helmond, University of Amsterdam, NL
Michael Stevenson, University of Amsterdam, NL

In collaboration with the RESAW Conference Committee:
Niels Brügger, Aarhus University, DK (organiser 2015)
Jane Winters, University of London, UK (organiser 2017)
Valérie Schafer, University of Luxembourg, LU (coming organiser 2021)

*** Program Committee ***

Susan Aasman, University of Groningen, NL
Gerard Alberts, University of Amsterdam, NL
Megan Ankerson, University of Michigan, USA
Anat Ben-David, The Open University of Israel, IL
Josephine Bosma, independent art critic and theorist, NL
Sally Chambers, Ghent University, BE
Frédéric Clavert, C2DH Luxembourg
Annet Dekker, University of Amsterdam, NL
Matthew Fuller, Goldsmiths, UK
Sophie Gebeil, Aix-Marseille University, FR
Robert W. Gehl, University of Utah, USA
Daniel Gomes, arquivo.pt, PT
Stefania Milan, University of Amsterdam, NL
Ian Milligan, University of Waterloo, CA
Francesca Musiani, CNRS, FR
Claude Mussou, Ina, FR
Janne Nielsen, Aarhus University, DK
Camille Paloque-Berges, CNAM, FR
Thomas Poell, University of Amsterdam, NL
Bernhard Rieder, University of Amsterdam, NL
Marta Severo, University of Paris Nanterre, FR
Kees Teszelszky, Koninklijke Bibliotheek/Royal Library, NL
Fred Turner, Stanford University, USA
Peter Webster, Webster Research & Consulting, UK
Katrin Weller, GESIS Leibniz Institute for the Social Sciences, DE

*** Sponsors ***

The conference is financed in part by the Netherlands Organisation for
Scientific Research (NWO) as part of the research program Innovational
Research Incentives Scheme Veni in connection with the projects “The Web
that Was” (275-45-006) and “App ecosystems: A critical history of apps”
(275-45-009).

*** Contact ***

Website: https://www.thewebthatwas.net
Email: organizers@thewebthatwas.net

---

Dr. Anne Helmond | Assistant Professor of New Media and Digital Culture
University of Amsterdam | Turfdraagsterpad 9 | 1012 XT  Amsterdam | The
Netherlands
http://www.uva.nl/profile/a.helmond | http://www.annehelmond.nl/ |
@silvertje

Highlighted publication:

Helmond, Anne. 2015. “The Platformization of the Web: Making Web Data
Platform Ready.” Social Media + Society 1 (2). doi:10.1177/2056305115603080.

########################################################################

To unsubscribe from the DASH list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=DASH&A=1


CFP: International Conference on the Histories of Media Art, Science and Technology

From: Oliver Grau <Oliver.Grau@DONAU-UNI.AC.AT>

Date: Mon, 24 Sep 2018 21:21:54 +0200

 MEDIA ART HISTORIES 2019 – RE:SOUND

    The 8thInternational Conference in the Histories of Media Art,
Science and Technology.

    Aalborg University, Denmark, August 20-23, 2019


    The 8th International Conference on the Histories of Media Art,
Science and Technology – RE:SOUND – will be hosted by RELATE (Research
Laboratory for Art and Technology), Aalborg University and will be held
at the CREATE campus, Aalborg, Denmark, August 20-23, 2019 in
partnership with the STRUER Sound Art Festival and CATCH – Center for
Art & Tech in Elsinor. 

    RE:SOUND will host four days with 10 tracks of paper sessions,
panels, workshops, practice-based interventions, exhibitions,
performances, poster sessions, a PhD workshop and keynotes. The tracks
were generated based on the first call for topics contextualized under
the wide frame of media art history and sound. Each track has several
smaller thematic sessions for submissions that are chaired by experts in
the field.

    Through the 10 tracks (listed below), RE:SOUND MAH2019 calls for
proposals that revisit and (re)investigate, through a variety of prisms
and on a multiplicity of trajectories, the ontologies and epistemologies
of Media Art History as a field of practice and research. Moreover,
there are also specific calls for proposals investigating sound in Media
Art + theories + histories + practices.

    Based on the first call for topics, the call is now open for
individual submissions within the following tracks (all of which are
further detailed and specified at
http://www.mediaarthistory.org/resound-maincall)


    1.    Track: Resounding Media Art: Archaeologies, Indeterminate
Textualities, and Possible Futures
    This track will revisit the foundations and formulations, the
contextual and epistemological entanglements, of the histories of Media
Art.


    2.     Track: Sounding Difference: Gender, Sound, and Technology
    This track calls for proposals that investigate and discuss the
histories of women in sound art through academic papers and
performances.


    3.     Track:  Sound and Voice: Art Practices and Politics
    This track calls for proposals and participants that explore the
histories and contemporaneity of art practices working with sound and
voice as a vehicle for memory and political agency.


    4.    Track: Art and Technology: Histories, Methodologies, Practices
    The track calls for proposals that explore and contextualize the
histories, methodologies and practices of art and technology.


    5.    Track: Sound Art Curating. Critical Histories, Strategies and
Practices.

    The track calls for proposals that addresses sound curation, which
areinvestigating the critical histories of sound art exhibitions and/or
exploring the role and influence of the curator on sound art.


    6.    Track: Sound within Bodies, Moist Media Practices, Environment
and Life-World: Organisms, Geology and Ecological Niches.
    The track calls for proposals looking closer at the wide area of
sound-art based practices and theories that are concerned with embodied,
fleshy, moist, medical, scientific, environmental approaches and
formulations. The topics may address sound in relation to bodies of
biological organisms (human and non-human), natural environment, ecology
and geology.


    7.    Track: The Return of the Sonic Real.
    The track calls for proposals that explore New Materialism,
Speculative Realism and the phenomenology of sound in sonic practices
experimenting and operating in-between the sound object as a vital
sonic/material hybrid and the psychology of the sonic real.


    8.    Track: Archive Archives Archiving
    This track calls for proposals that address the situation,
histories, and current / future challenges of archives of media art,
Topics might include: the challenges of archiving sound, archiving v.
collecting, the material/medial condition of archives in general and of
sonic objects in particular, leaking archives, post-digital and
po    This track call for proposals that do not fit into any of the tracks
above, and that are addressing general topics within the field of the
histories of media art, science and technology


    10.  Track: Matters in Flux – Ph.d. Summer Camp in collaboration
with CATCH – Centre for Art and Tech
    This track calls for proposals from Ph.D. students working
in-between practice and theory for a summer camp at CATCH culminating at
the MAH2019.


    DEADLINE for abstracts: 1 November, 2018.
    Notification of acceptance will be announced by 15 December, 2018.


    Individual proposals should consist of a 300-word abstract.
    Submitters should upload a short bio file (Word), no longer than ½
page per person.

    Further details regarding the call and the tracks, including link to
the submission page: www.mediaarthistory.org/resound-maincall/

    * * *
    There will be a call for full papers for a special issue of the
Seismograf Journal (www.seismograf.org), edited by Laura Beloff and
Morten Søndergaard, camera ready papers, deadline 1 September 2019.

    There will be other publication opportunities, TBA.

    * * *

    The conference will be complemented by a variety of affiliated

    events, including STUER Sound Art Festival, special talks in the B&O
Lab, a special track of performances and workshops in the CREATE
building, and a Ph.D. workshop at CATCH

    * * *

    MAH2019 RESOUND Conference Main Chair: Morten SØNDERGAARD.
Conference Co-Chair: Laura BELOFF

    ***

    Conference Advisory Board:

    Jens HAUSER, Jacob WAMBERG, Ryan NOLAN, Geoff COX, Tanya TOFT AG,
Dieter DANIELS, Jan THOBEN, Jacob ERIKSEN (Sound Studies and Sonic Arts,
Berlin University of the Arts), Gabriela Aceves SEPÚLVEDA, Luz Maria
SANCHEZ CARDONA (UAM, Mexico), Falk HEINRICH, Elizabeth JOCHUM, Palle
DAHLSTEDT, Daniel Cermak SASSENRATH, Magdalena ZDRODOWSKA, Jason van
EYK, Liora BELFORD, Dolores STEINMAN, Michelle LEWIS-KING, Anna NACHER,
Trace REDELL, Eduardo ABRANTES, Birgit Wandahl BUNDESEN, Anita JENSEN,
Jakob JAKOBSEN, Dr. Rahma KHAZAM, Carlos ROSAS, Jeppe UGGERHØJ (Artistic
Director House of Music, Aalborg), Jacob KREUTZFELT (Director, Struer
Sound Festival), Majken OVERGAARD (Program Chair, CATCH), Florian WEIGL
(Curator, V2, Rotterdam) and more tba

    ***

    Media Art Histories Board (Steering Committee):

Dr. Andreas BROECKMANN (Leuphana University Lüneburg, GER); Dr. Andres
BURBANO (Universidad de los Andes, CO); Prof. Dr. Sean CUBITT
(Goldsmiths University of London, UK); Univ.-Prof. Dr. Oliver GRAU, MAE
(Danube University, AT); Prof. Dr. Inge HINTERWALDNER (Humboldt
University, GER); Prof. Dr. Erkki HUHTAMO (University of California Los
Angeles, US); Prof. Dr. Machiko KUSAHARA (Waseda University Tokyo, JP);
Prof. Dr. Katja KWASTEK (Vrije Universiteit Amsterdam, NL);  Prof. Dr.
Gunalan NADARAJAN (Ann Arbor Art and Design,University of Michigan, US);
Prof. Dr. Chris SALTER (Concordia University and Hexagram, Montreal,
CA); Prof. Dr. Paul THOMAS (University of New South Wales, AU)


    MAH Honorary Board:
    Linda Dalrymple HENDERSON; Douglas KAHN; Martin KEMP, Tim LENOIR;
Jasia
    REICHARDT, Itsuo SAKANE, Peter WEIBEL, Rudolf ARNHEIM †, Douglas
DAVIS †

   

    

########################################################################

To unsubscribe from the DASH list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=DASH&A=1