In this section you can find and share links to conference calls. To submit a link to an upcoming conference pleaseemail email@example.com
Call for Papers: Future Craft, University for the Creative Arts, Farnham, 14th March 2018. Deadline: 1 December 2017
Conference Theme: Entrepreneurship or Enterprise?
The University for the Creative Arts invites speakers to take part in the 'Future Craft' Conference. This is the first of a series of biennial conferences will offer an opportunity for discussion, engagement and debate across a broad continuum of jewellery and silversmithing, whilst looking forward to exploring what the future might hold
The conference seeks to provide a framework for discussion around Jewellery and Silversmithing: ‘Entrepreneurship or Enterprise?’ It will celebrate and explore continual innovation within these industries; along with learning, development, business, context and markets.
We invite proposals from scholars, artists and research students and welcome a range of modes and formats, from academic papers, artist talks, performative interventions etc.
Details should include:
- author/s name
- email address/s and number/s,
- type of paper: ‘academic papers’, ‘artist talk’, ‘performative’ etc
- abstract 150-200 words
- statement that this work is your own and that it has not been published elsewhere (or if work has already been published give reference of this publication and how much new original content submitted)
- any proposed costs, health and safety issues, equipment that may be required
- image of self (headshot) image of work (if appropriate).
All submissions will be peer-reviewed by at least two members of the Conference Team.
The team will include jewellery and silversmithing researchers. Submissions are not to be anonymized for review; reviewers will be required to declare any conflict of interest over reviewed work.
Please contact Rebecca Skeels with any queries about submissions firstname.lastname@example.org Successful applications will be notified by December 8th 2017.
Proposal submissions might include (but are not limited to) the following themes:
- Conserving the industry for future generations
- Learning, developing and innovating
- Past, Present and Future
- Global Issues
DESIGN 2018 - The 15th INTERNATIONAL DESIGN CONFERENCE (May 2018, Dubrovnik, Croatia
Deadline for papers: 11 December 2017
The forthcoming DESIGN 2018 Conference will continue to be a great event founded on tradition and excellence. Although we live in a networked world communicating and exchanging ideas by emails, virtual meetings and social networks DESIGN 2018 conference will provide invaluable opportunity to meet colleagues face-to-face, to exchange new ideas and build a personal network in a direct contacts.
We invite high-quality submissions for DESIGN 2018 covering substantial, original and previously unpublished research. Applied, theoretical and results-oriented papers from both academia and industry, based on thorough analysis or argumentation will be considered for the conference programme.
The full DESIGN 2018 CfP for download is available here
Submissions should fit into one of the proposed conference topics:
- THEORY AND RESEARCH METHODS
- ORGANISATION AND MANAGEMENT
- DESIGN PROCESSES
- DESIGN METHODS
- DESIGN SUPPORT TOOLS
- INFORMATION AND KNOWLEDGE
- DESIGN INNOVATION
- HUMAN BEHAVIOUR
- ENGINEERING DESIGN PRACTICE
- SYSTEMS ENGINEERING
- SOCIOTECHNICAL ISSUES
- INDUSTRIAL DESIGN
- DESIGN EDUCATION
Online submission will open on July 1, 2017
- Full paper submission deadline: December 11, 2017
- Final acceptance of papers: February 23, 2018
- Publish ready papers: March 19, 2018
- Final conference program: April 2018
For submission instructions click here
Designing Interactive Systems DIS 2018 (June 2018, Hong Kong), 9-13 June 2018. Deadline for submissions: 8 January 2018
The theme of the 2018 conference is Design and Diversity. The conference looks for papers that explore this question: how to best support designing interactive systems for diversity, or should we aim at universals to support our work? Four subcommittees break this question into: Design Theory, Methods and Critical Perspectives; (User) Experience; Application Domains; and Technological Innovations.
The 2018 conference is organized in a design school, and it welcomes contributions from designers. Its submission formats are: Papers, Notes, Pictorials, Workshops, Provocations and Work-in-Progress (WIP), Demos, and Doctoral Consortium. All submissions use ACM templates and are submitted through Precision Conference System. Submissions are peer reviewed and published in ACM Digital Library.
8 January, 2018 (23:59 PST): Full Papers, Notes, Pictorials and Workshop proposals
12 March, 2018 (23:59 PDT): Provocations & WIP, Demos, Doctoral Consortium and Student Volunteers
5 March, 2018: author notifications
9-10 June: doctoral consortium and workshops
11-13 June: main conference
Queries and contacts:
email@example.com: Ilpo Koskinen and Youn-kyung Lim
firstname.lastname@example.org: Kenny Chow, Teresa Cerratto-Pargman and Will Odom
Call for papers: Pictures of War: The Still Image in Conflict since 1945. Deadline: January 12, 2018
Conference: Pictures of War: The Still Image in Conflict since 1945 Manchester Metropolitan University, Manchester UK 24th & 25th May 2018.
A conference on the intersections of conflict and pictures from the end of WWII until today.
Since the end of World War II, the nature and depiction of geopolitical conflicts have changed in technology, scale and character. The Cold War political landscape saw many struggles for liberation and national identity becoming proxy battlegrounds for the major powers. In the aftermath of anti-colonial conflicts, refugees and migrants who had relocated to the former metropolises joined those already fighting for civil equality in these countries. Wars continue to be waged in the name of democracy and terror, and in the interests of linguistic, theological and racial worldviews. Migration and displacement as a result of conflict are again at the top of the agenda.
As the technologies of war have shifted, so have the technologies of making pictures. This conference seeks to engage with these phenomena through critically engaged approaches to the processes of visualisation, their methodologies and epistemologies that will contribute to our understanding of the ways conflicts are pictured. The intention is to expand the field of enquiry beyond localised, thematic or media-specific approaches and to encourage new perspectives on the material and visual cultures of pictures.
We invite scholars, artists and activists interested in the study of images and pictures in their own right, with their own and admittedly interdependent discourses and visual and material capacities for producing knowledge and meaning (Mitchell, 2005). We are interested in presentations that consider the temporal and physical mobility of pictures and their visual, material, affective, political and economic value from multi and interdisciplinary positions. The subject of the conference will be examined through the following themes:
A Heritage of Images
In looking at and in producing pictures, academics and practitioners are often aware of what Fritz Saxl called A Heritage of Images (1957) in self-conscious or subliminal ways. Pictorial accounts of contemporary conflicts arguably depend for their affectivity and recognisability upon their resonance with already existing historical depictive traditions. Contributions to this strand would seek to interrogate the idea that visibility (Ranciere, 2004; Butler, 2009) is manifested in pictorial images, and to investigate how far what pictures depict and represent is dependent on the ability to recover the past in the present: ‘namely, that images with a meaning peculiar to their own time place, once created, have a magnetic power to attract other ideas into their sphere; that they can suddenly be forgotten and remembered again after centuries of oblivion.’ (Saxl, 1947).
Pictures on the Move, Visualising Solidarities The various expressions of solidarity have created pictures that reflected and inspired affinities and networks of possibilities beyond their intended aims and specific trajectories. Visual and material manifestations across ideological, ethnic and national borders, range from international solidarity in the struggles against totalitarianism in its various forms, colonialism, militarism and racism, as well as in demand for equal rights for women, LGBTQ individuals, refugees, and migrants. What kind of discourses do manifestations of solidarity trigger, and what kind of pictures do they produce? How do they vary across time and from one place to another? What are the different ways that they have shaped individual and collective identities and imaginations? Contributions can include but are not limited to: revolutionary, embodied, spatial and affective solidarities; Cold War official and unofficial networks, the solidarity of/with the displaced; notions of re-framing, undoing and decolonising in relation to visual interpretations of solidarity; failed attempts and their visual and material cultures.
Witnesses to Existence: The ethics of Aesthetics The ethical challenges to the visual representation of conflict are deeply problematic. The ongoing dilemma for photographers of suffering lies in the interplay between the desire to engender a social good – the ending of exploitation, discrimination or extermination – with the desire not to expose the victim to further unnecessary suffering, either in the performative act of being photographed, or the re-performative act of displaying that image to an audience. Concentrating on the practice of imagemakers, contributions will examine the visual strategies deployed by photographers in response to these challenges, including the role of advocacy photography in human rights work, the genre of aftermath photography, the forensic turn, and the role of alternative dissemination spaces like the gallery and museum.
Visual Activism and the Middle East
Conflicts are no longer the major global events they once were. Rather than exceptional events on isolated battlefields major-power conflict have been largely neutralised. Where conflicts do persist, they can become routine and unexceptional, an everyday disruption that people adapt to and endure. How do visual activists record relationships between everyday life and larger forces of domination, disruption and change as a consequence of ongoing conflict as a form of resistance? With an emphasis on the middle-east, this strand will discuss the evolving relationship between visual activism, political resistance and photographic practices. In doing so, it will consider proposals that seek to explore how such acts of visibility making, including but not limited to traditional photographic practices, can exist or meet at a number of social, spatial and artistic intersections and/or can be understood as having multiple functions.
Pictures, Conflicts, Modes of Transmission Pictures of conflict, especially those involving forms of documentation or reportage, have generally been dependent on technologies of transmission. These technologies have enabled pictures of conflict to be moved across geographical distances, to be technically reproduced, and to be circulated amongst spectators. They have included ‘wire’ systems for the rapid movement of images between distant points, different forms of printing and mass reproduction, and more recently, Internet-based social media platforms that have enabled professionals and citizens alike to upload and transmit pictures of contemporary conflict situations. This strand seeks to explore both historical and contemporary situations involving relationships between the visual representation of conflict and modes of transmission, asking how have such modes of transmission shaped the form and politics of pictures of military and political confrontations and struggles?
The Unresolvable Past: Post-Conflict Trauma and Representation The persistence of traumatic memory is a recognisable part of post-conflict culture, often re-emerging long after the events that caused it have ceased. As Bennett (2005) suggests, it is art’s affective power that enables it to go beyond apparent claims to the objective documentation of conflict in that the form of the work itself helps to convey more elliptical forms of understanding. This strand invites papers that engage with the active and selective representation of themes related to post-conflict trauma within visual or material culture. To what extent, for example, can narration or depiction provide a means of dealing with the cataclysmic past, and can this process ever be complete, or even sufficient?
The conference will take place at Manchester Metropolitan University on 24th & 25th May 2018.
Proposals for individual papers of 20 minutes should be sent in MS Word (max 250 words) followed by a short bio (not exceeding 100 words). Please include the title of your proposed paper and indicate the theme it most adheres to as these will be developed into conference panels.
All paper proposals must be submitted by email to: email@example.com by 12 January 2018.
Conference Conveners: Prof. Jim Aulich, Mary Ikoniadou, Fionna Barber and Dr Simon Faulkner, Manchester School of Art, Manchester Metropolitan University. Dr Paul Lowe, London College of Communication, UAL. Dr Gary Bratchford, University of Central Lancashire.
The conference is organised by the Postgraduate Arts and Humanities Centre and the Manchester Art Research Centre at MMU, in collaboration with the MA Photojournalism and Documentary Photography at LCC, and the Photography Research Group at UCLAN. Additional funding has been provided by the Jean Monnet Centre of Excellence.
The accepted papers may be considered for publication in a forthcoming edited volume.
The Pictures of War: The Still Image in Conflict since 1945 conference will offer several bursaries and subsidies, particularly towards travel and stay costs for PhD and ECR speakers whose abstracts have been accepted; more information will be provided in the conference announcement at the beginning of 2018.
Moving Images – Static Spaces: Architectures, Media, Film, Communication, Digital Art and Design. 12-13 April 2018, Altinbaş Foundation / Istanbul Kemerburgaz University
Abstract Submissions: 30 January 2018
Early submissions accepted before 01 June 2017
The relationship between architecture, urban environments and the moving image is deep rooted. It is also mutating. Born in the City Symphony films of the early 20th it was premised on the dynamic and mobile representation of buildings, streets and cities. Caught on celluloid, these architectures were the setting of news-reels and documentaries. They were also settings projected on screen and presented like never before. This complex relationship continues today with interiors, architecture and cities still forming backdrops to action and being the subject of feature films, documentaries, news broadcasts and TV.
Today, however, moving imagery and architecture coexist in multiple other worlds too: iphone screens and locative media; YouTube ‘news’ streaming of war torn cites; virtual reality spaces explored through headsets and haptic sensors; the animated environments of Second Life; the fantastical settings of the gaming industry; fly-through representations of architectural projects; and the real-time algorithmic formation of parametric architecture on a computer screen. This complex traditional and new scenario will be explored at this event.
This conference is international.
It is expressly interdisciplinary.
It welcomes various disciplines: architects, urban designers, press and media specialists, filmmakers, animators, video artists, sociologists, cinematographers, interior designers, journalists, cultural theorists and more.
Potential themes include, but are not limited to:
The representation of cities in film and TV; the metropolis of documentaries, news broadcasts and social media; the creation of animated environments and augmented realities; gaming, architecture and the city; film as a design tool for architects and planners; projection mapping and the moving surfaces of the city; the interactive geography of the moving image; the fictions of film and architecture; virtual reality and the navigation of digitally created environments…
FILM / VIDEO: Reflecting the theme of the conference delegates are encouraged to present their research through pre-recorded films/videos. These films will be published on the event’s YOUTUBE channel and will be available permanently after the conference.
SKYPE: Also reflecting the virtual and mediated theme of the event, delegates are encouraged to present via skype or similar.
Nb. Both film and skype options eliminate the need for delegates to travel to the conference in Turkey.
IN PERSON: In addition to seeking filmic and the virtual presentations, delegates are also welcome to attend the event in person and present directly.
In all cases, delegates can present full written papers and abstracts and will be considered for inclusion in all associated conference publications.
Presentations: Length of film / skype / in person presentation – 20 mins.
Written Papers: Full written papers should be 3,000 words maximum
Further information here
PARADE - Publication and Research in Art, Architecture, Design and Environments is an interdisciplinary collaboration between universities and publishers internationally. Call for abstracts: Deadline 30 January 2018
Artists, designers, filmmakers, journalists, media and communications specialists, architects, urban designers and more are welcome.
Themes: media, communications, film, digital technologies, and the built environment.
Moving Images – Static Spaces? The blurring of Architectures, Film, Animation, Digital Art, Coding and Design
Dates: 12-13 April 2018
Place: Istanbul Kemerburgaz University / Altinbaş Foundation
Publishers include: Routledge Taylor&Francis; UCL Press; Intellect Books; Libri Publishing; Vernon Press.
Universities include: University of East London; the University of Arizona; Abu Dhabi University and Istanbul Kemerburgaz University.
Delegates can attend in person or present virtually, avoiding the need for travel:
FILM / VIDEO: Pre-recorded films published on the event’s YOUTUBE channel
SKYPE: This option allows delegates to engage with the audience directly through Q&A.
IN PERSON: Delegates are also welcome to attend the event and present in-person.
In all cases, delegates can present full written papers for the associated publications. The primary publication related to this event is the Intellect Books series, The Mediated City.