[Humanist] 24.268 events: books & reading; memory & experience
Humanist Discussion Group
willard.mccarty at mccarty.org.uk
Fri Aug 20 23:42:04 CEST 2010
Humanist Discussion Group, Vol. 24, No. 268.
Centre for Computing in the Humanities, King's College London
Submit to: humanist at lists.digitalhumanities.org
 From: Ray Siemens <siemens at uvic.ca> (12)
Subject: CFP: Research Foundations for Understanding Books and
Reading inthe Digital Age
 From: Shawn Day <day.shawn at GMAIL.COM> (30)
Subject: Call for Proposals : PSi #17 - Camillo 2.0: Technology,
Date: Fri, 20 Aug 2010 12:51:18 -0700
From: Ray Siemens <siemens at uvic.ca>
Subject: CFP: Research Foundations for Understanding Books and Reading inthe Digital Age
Research Foundations for Understanding Books and Reading in the Digital Age:
Textual Methodologies and Exemplars
15 December 2010
Koninklijke Bibliotheek (National Library of the Netherlands), The Hague
in conjunction with the conference Text & Literacy (16-17 December)
Proposals due 30 September 2010
Digital technology is fundamentally altering the way we relate to writing, reading, and the human record itself. The pace of that change has created a gap between core social/cultural practices that depend on stable reading and writing environments and the new kinds of digital artefacts--electronic books being just one type of many--that must sustain those practices now and into the future.
This one-day gathering explores research foundations pertinent to understanding those new practices and emerging media, specifically focusing on work in textual method, in itself and via exemplar, leading toward  theorizing the transmission of culture in pre- and post-electronic media,  documenting the facets of how people experience information as readers and writers,  designing new kinds of interfaces and artifacts that afford new reading abilities,  conceptualizing the issues necessary to provide information to these new reading and communicative environments, and  reflection on interdisciplinary team research strategies pertinent to work in the area.
The gathering is offered in conjunction with the Text & Literacy conference (16-17 December) and is sponsored by the Koninklijke Bibliotheek (the National Library of the Netherlands), the Book and Digital Media Studies department of Leiden University, and the Implementing New Knowledge Environments research group.
We invite paper and poster/demonstration proposals that address these and other issues pertinent to research in the area. Proposals should contain a title, an abstract (of approximately 250 words) plus list of works cited, and the names, affiliations, and website URLs of presenters; fuller papers will be solicited after acceptance of the proposal. Please send proposals before 30 September 2010 to siemens at uvic.ca.
R.G. Siemens, English, University of Victoria, PO Box 3070 STN CSC, Victoria, BC, Canada. V8W 3W1. Ph.(250)721-7272 Fax.(250)721-6498 siemens at uvic.ca<mailto:siemens at uvic.ca> http://web.uvic.ca/~siemens/
Date: Fri, 20 Aug 2010 14:19:08 +0100
From: Shawn Day <day.shawn at GMAIL.COM>
Subject: Call for Proposals : PSi #17 - Camillo 2.0: Technology, Memory,Experience
Call for Proposals
Camillo 2.0: Technology, Memory, Experience
Performance Studies international #17
25-29 May 2011, Utrecht, the Netherlands
Camillo 2.0: Technology, Memory, Experience combines science, scholarly pursuit and art in a five-day program consisting of lectures, presentations of current research (both theoretical and practical), performances, debates, and workshops. In addition, hybrid program components, or 'shifts', introduced by participants or inititiated by the organisers will pave the way to unconventional presentation situations. This PSi conference is an initiative of the Theatre Studies department at Utrecht University and Utrecht's annual Theatre Festival aan de Werf. The conference will be organized in collaboration with the Utrecht School for the Arts (HKU).
Camillo's Theatre of Memory is a 16th-century invention meant to allow the spectator access to all existing knowledge via a wooden theatre-shaped construction. Once world-renowned, Camillo's theatre was forgotten after the death of its inventor, only to make an impressive comeback in the second half of the 20th century as a foreshadowing of both computers and the World Wide Web. Today, technological developments allow more people access to more information than ever before. These technologies alter what and how much can be stored; they also transform how memory is shaped, how what is stored is experienced, how memories become entangled in the here-and-now, and, finally, even the processes of thinking and imagination. Camillo 2.0: Technology, Memory, Experience approaches this co-evolution from the vantage point of performance as a triad of artistic practice, embodiment of culturally specific symbolic systems, and functional technology.
Within this overarching notion the following focal points are distinguished:
The performing arts haves a long history as a memory machine while also functioning as a means for questioning the various processes of individual or collective remembering. What can performance, in both theory and practice, teach us about the relationship between technology, memory, and experience? How do the performing arts give space to intermedial explorations of the possibilities, implications, and consequences of how divergent technologies mediate the way we remember and experience?
Camillo's invention took place as developing printing technology allowed for storage of knowledge and information to move outside the brain. Today the 'performative turn' and the developments of Web 2.0 make the restrictions of the archive as memory machine tangible and pay homage to the processual, embodied and (inter)active nature of memory. How do performance and notations such as repertoire and performative remains provide a perspective into the possibilities and restrictions of the archive as memory machine? What can we learn, at this point in time, from re-enactment both as performative practice and as a mode of thinking?
Technologies of memory facilitate new psychic entities and objects of belief that, under appropriate circumstances, emerge as self-enunciating entities. Theatre is haunted by such ghosts, but they populate other media as well. How might theatre and performance illuminate how these medial 'ghosts' act as agents of memory and experience, both produced by and emerging from media technology?
No Match Found
Contemporary technological developments that allow for endlessly expanding memory storage conceal that memory machines are always simultaneously technologies of forgetting. This forgetting can be traumatic, and can also be part of (conscious or unconscious) strategies of exclusion. It can be an active choice, an act of resistance, or a strategy for survival. How does performance mediate processes of forgetting? How does it focus its attention on that which is not or cannot be remembered (trauma and exclusion); to blind spots, or black holes; to what is lost in translation?
Presently, science and art (re)connect in exploring the possibilities that new technologies provide in storing and transferring knowledge. Makers, in collaboration with scholars, develop new technological means of archiving and re-experiencing divergent forms of live art. New insights concern not only archival practices but also reflect upon how technology mediates how knowledge and experience are transferred, how we think, and what is considered knowledge. What are the possibilities for and the potential of a renewed collaboration?
A more extensive description of conference themes and topics can be found at www.psi17.org.
The organizing committee of PSi #17 invites proposals for individual papers (20 minute presentations), panels (consisting of 3-4 paper presentations) and 'shifts'.
Proposals for individual papers should include a 350-word abstract, title, and a 150-word bio of the presenter. Proposals for papers are due October 1, 2010.
Panel proposals and proposals for other discursive formats (roundtable discussions, position papers, etc.) should include a 350-word abstract describing the rationale of the panel, 350-word abstracts and titles of the individual papers (if applicable), and the names and 150-words bios of participants. Proposals for panels are due October 1, 2010.
Continuing the explorations of PSi #15 and #16, we invite proposals for 'shifts' i.e., alternative presentational models that push the boundaries of the conference presentation. Shifts take the notion of performance in the broad sense (aesthetic, cultural, durational, etc.) as their organizing principle. They can accommodate a wide range of formats: various kinds of performative presentations, round-table discussions on performances presented, lecture performances, workshops, interactive events, seminars, etc. They are non-conventional investigations into the themes of the conference and are designed to accomplish a higher level of interaction between the conference participants and especially between artistic and theoretical work. Proposals for shifts should include a 350-word description of the proposed events and 150-word bios of the organizers of the proposed shift as well as a clear description of the (technical) facilities required. Proposals for shifts are due October 1, 2010.
All proposals should be submitted online by filling out the submission form at: www.psi17.org by October 1, 2010.
All proposals will be evaluated by the Organizing Committee of PSi # 17 by December 15, 2010.
Questions can be directed to conference manager Laura Karreman (L.L.Karreman at uu.nl). More information can be found atwww.psi17.org.
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