provided by Yannis Scarpelos
GLIMPSE vols 2.1 and 2.2, "China Vision, Parts I and II"
Stimulus Respond is currently soliciting contributions for the next edition of the next issue called Icon.
Contributions might be literally or abstractly related to Icon, and we encourage, as always, creative and experimental approaches to the theme. In congruence with Stimulus Respond’s undisciplined approach, we welcome submissions from new and established contributors from within, between, and beyond such fields as cultural studies, anthropology, literary criticism, fashion, creative writing, politics, visual cultures, architecture, theatre, film and screen studies, sociology, media and communications and philosophy.
Fashion editorials and photography should be sent as low resolution jpegs including credits where necessary. The deadline for expressions of interest is 4 September, with the final deadline being 25 September.
This issue we are working with guest editors Phil Sawdon and Marsha Meskimmon. Potential contributors to the Literature section are to send an abstract of 200-300 words and an indication of the anticipated word length of the final article (within the parameters of 1000-4000 words) by 4 September. Authors of successful abstract submissions will be required to submit the final piece by 18 September and to be available to make any minor corrections by Friday 25 September.
The editorial contacts are:
Literature: Phil Sawdon
phil@stimulusrespond.com
Fashion: Christos Kyriakides
christos@stimulusrespond.com
Poetry: Ellen Sampson
ellen@stimulusrespond.com
For more information on Stimulus Respond and to download the current issue, Numbers, please visit www.stimulusrespond.com.
The Visual Culture Division of Cultural Studies Association invites submissions for the 8th annual meeting of the Cultural Studies Association (US) to be held at the University of California, Berkeley, 18-20 March 2010.
Deadline for abstracts (500 words): 4 September 2009
1. Visual Culture and Privacy
Privacy is generally understood as being alone, freedom from intrusion, or the right of freedom from public attention. With advances in new media, privacy issues have become more pertinent and prevailing to everyday life. For example: governments since 9/11 are using biometric technology for surveillance purposes; DVR and TiVo offer consumers the freedom to watch TV on their own schedules and to fastforward' through commercials, but also allow media companies to track consumer preferences and financial transactions; the use of work related devices such as iPhones, Blackberriesand laptops to conduct work-related activities at home in the 'private sphere' and personal activities at work in the 'public sphere'; the widespread use of social-networking sites to store and share personal information; and the ability to use camera phones to take photos of individuals without their consent or awareness and to circulate personal images in the public sphere.
Considering these new modes of living, does the modern definition of privacy still make sense? How is visual culture changing our understanding of what constitutes privacy? Is privacy possible in the Information Age? What are some of the legal and political ramifications of shifts in the notion of privacy?
Chair: Elizabeth Patton, Doctoral Candidate/Adjunct Instructor Department of Media, Culture and Communication NYU-Steinhardt
2. Open Session on Visual Culture
This session is broadly defined around the theme of current debates in visual culture studies. Papers addressing the theoretical, aesthetic and political limitations of current models and/or new directions in visual culture studies are invited.
Chair: Randal Rogers, Associate Professor Department of Visual Arts University of Regina Regina, Canada
Please include the following with your abstract:
1. Name, email address, phone number, departmental and institutional affiliation.
2. A 500-word (max.) abstract for the 20-minute paper, including title.
3. Audio-visual equipment needs.
Forward proposals to the chair of the division, Randal Rogers, by 4 September 2009 at randal.rogers@uregina.ca
International Visual Sociology Association's recent conference took place in Cumbria, UK, and is now available online at http://www.ustream.tv/recorded/1851234. Enjoy.
Richly illustrated with 85 photographs by the author, the book presents the homeless man as an individual who "drank, migrated, and worked at day labor" rather than the stereotype of a victim of alcoholism. The tramps with whom Harper shared boxcars and hobo jungles were the labor force that harvested the crops in most of the apple orchards in the Pacific Northwest. They were drawn to the harvest from across the United States and migrated primarily on freight trains, as had hobos in the 1930s. Although not without its problems, the tramp way of life is a fierce and independent culture that has been an integral part of our American identity and an important part of our agricultural economy.
Since the first edition of this classic book was published by the University of Chicago Press, the tramp has virtually disappeared from the American social landscape. The agricultural labor force is now made up of Hispanic migrants. This significantly revised and updated edition contrasts this disappearing lifestyle with the homelessness of the modern era, which has been produced by different economic and sociological forces, all of which have worked against the continuation of the tramp as a social species. The new edition richly documents the transition in our society from "tramps" to urban homelessness and the many social, political, and policy changes attendant to this transformation. It also includes an additional thirty-five previously unpublished photographs from the original research.
Douglas Harper, Professor and Chair of Sociology, Duquesne Univeresity, is the author of Working Knowledge (University of Chicago Press, 1987) and Changing Works: Visions of a Lost Agriculture (University of Chicago Press, 2001).
In ten chapters, MacDougall explores the relations between photographic images and the human body-the body of the viewer and the body behind the camera as well as the body as seen in ethnography, cinema, and photography. In a landmark piece, he discusses the need for a new field of social aesthetics, further elaborated in his reflections on filming at an elite boys' school in northern India. The theme of the school is taken up as well in his discussion of fiction and nonfiction films of childhood. The book's final section presents a radical view of the history of visual anthropology as a maverick anthropological practice that was always at odds with the anthropology of words. In place of the conventional wisdom, he proposes a new set of principles for visual anthropology.
These are essays in the classical sense--speculative, judicious, lucidly written, and mercifully jargon-free. The Corporeal Image presents the latest ideas from one of our foremost thinkers on the role of vision and visual representation in contemporary social thought.
The Smithsonian's 18 museums, nine research centers, and the National Zoo collectively preserve some 13 million photographs which now, thanks to the Smithsonian Photography Initiative, will begin to be made accessible to researchers online. The images found in some seven hundred collections throughout the Smithsonian are organized by museum and discipline -- for instance, the National Museum of Natural History holds natural science images in its collections, the National Air and Space Museum houses images of flight in its archives, and the National Museum of African Art holds photographs of Africa in its collections. The Smithsonian Photography Initiative is devoted to the presentation and study of these photographic images, viewing photography as an art form, a record keeper, and a cross-disciplinary medium that encompasses science, history, popular culture, and more. Beyond offering more information about where to find photography collections throughout the Smithsonian, a new website aims to be an educational tool, serving anyone who wishes to study, explore, and enjoy photographs of many kinds. To view the website go to: http://www.spi.si.edu/ where you will be provided access to some 1,800 digital images, the work of 100 photographers, who used 50 different processes.
South East Film & Video Archive presents its new identity - Screen Archive South East and is delighted to announce the launch of its new online catalogue - Screen Search.
The Screen Archive South East was established at the University of Brighton in 1992 and the name change signifies a new beginning for the collection. The archive's function is to locate, collect, preserve, provide access to and promote research and use of screen material related to the South East of England. The name change captures a wider collection interest for the archive - now focusing not only on film and video but also on the magic lantern and on the new digital media of the 21st Century.
The Screen Archive South East's new website is available at: http://www.brighton.ac.uk/screenarchive
The launch of a new e-resource, Screen Search, also means that for first time the archive's unique collection is searchable online. The resource can be found at: http://www.brighton.ac.uk/screensearch
Funded by the Arts & Humanities Research Council, Screen Search aims to be a key resource for learning, teaching and research in the South East region. It contains an enhanced catalogue of selected films from the Screen Archive South East, plus over 100 film clips and over 250 stills. The resource, which is being added to every week, combines extensive contextual information on the films, with links to reference resources around the region and the UK.
Users can search the collection and find films ranging from temperance protests in Brighton in the early 1900s to 21st century surfers on the South coast. Films from around the South East of England including Sussex, Surrey, Kent, Brighton & Hove and Medway are represented in the archive. Users of the site can also browse the collection, looking at themes such as 'family life' in the region or 'the seaside' on film.
Dr Frank Gray, Director of Screen Archive South East said: "Films connect with living memory and this archive brings the past to life in an exciting and innovative way. This collection represents a unique social, cultural and historical record of the region on film and we are contributing to people's knowledge as well as plugging into the new digital world".
