Avant-Garde Pedagogies Conference

AVANT-GARDE PEDAGOGIES

Higher Education and Theory (HEAT) Network

The Institute for Modern and Contemporary Culture, and

The Philosophy of Education Research Centre, University of Winchester 

At: University of Westminster, London

309 Regent Street, London , W1B 2HW - View Map

8^th and 9^th July, 2016

CONFERENCE SCHEDULE

To book your seat for the Avant-Garde Pedagogies conference, please follow this link: Book Now!

Schedule (tbc)

FRIDAY 8TH JULY 2016

1.15pm – Registration (Foyer, 309 Regent Street)

1.30pm – Panel 1 (Room UG04)

–          Michael Kindellan, University of Sheffield, ‘Charles Olson’s pedagogical poetics’

–          Alan Golding, University of Louisville, ‘“Poetic Ambition on the Semester System”: Ezra Pound’s Avant-Gardism and Teaching Institutions’

2.45pm – Break (Room 209)

3.00pm – Panel 2 (Room UG04)

–          Kerstin Stutterheim, Bournemouth University, ‘Die Idee der Methode: Walter Gropius and the Bauhaus pedagogy’

–          Allan Parsons, University of Westminster, ‘You are Here Now: Design is (not) Dasein’

4.15pm – Break (Room 209)

4.30pm – Panel 3 (Room UG04)

–          Emile Bojesen, University of Winchester, tbc

–          Aislinn O’Donnell, Mary Immaculate College, University of Limerick, ‘How Things Teach Us: Experience and Experimentation in Spinoza’

5.45pm – Drinks reception (Foyer, 309 Regent Street)

SATURDAY 9TH JULY 2016

10.00am – Registration (Foyer, 309 Regent Street)

10.15am – Panel 4 (Room UG04)

–          Zlatina Nikolova, Royal Holloway, ‘Development of the Self: Women’s education in Bryher’s Early Prose’

–          Maria Teresa Cruz, New University of Libson (NOVA), ‘Avant-garde and Experimentation in the Age of Hyper Industrialization of Culture’

11.30am – Break (Room 209)

11.45am – Panel 5 (Room UG04)

–          Richard Miles, Leeds College of Art, ‘The School of the Damned: Autonomous Art education and the University Struggles’

–          David Blacker, University of Delaware, ‘The formula of inhumanity: moral challenge and neoliberal nihilism’

1.00pm – Lunch

2.00pm – Panel 6 (Room UG04)

–          Hannah Proctor, Birkbeck, University of London, tbc

–          Steven Cranfield, University of Westminster, ‘“Battles for the mind”: military psychiatry and pedagogic innovation in the ‘Cambridge English’ School

3.15pm – Break (Room 209)

3.30pm – Panel 7 (Room UG04)

–          Alys Moody, Macquarie University, ‘Learning with Brecht and Coetzee’

–          Gary Peters, York St John University, ‘The Music Teacher: The Pedagogy(s) of 20th Century Avant-garde Music’

4.45pm – Coffee Break (Room 209)

5.00pm – Panel 8 (Room UG04)

–          Peter Roberts, University of Canterbury, NZ, ‘Doubt, Despair and Education’

–          Closing Remarks

6.15pm – Conference Ends

Registration: https://www.eventbrite.co.uk/e/avant-garde-pedagogies-tickets-25238609360

***END***

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Ruth Rikowski @ Academia: http://lsbu.academia.edu/RuthRikowski

Volumizer: http://glennrikowski.blogspot.com

Ruth Rikowski at Serendipitous Moments: http://ruthrikowskiim.blogspot.co.uk/

How I Learnt To Love The Seagulls - A photography exhibition by Neil Whitehead

HOW I LEARNT TO LOVE THE SEAGULLS

Photography Exhibition

How I Learnt To Love The Seagulls

By

Neil Whitehead

The Window Gallery

Jubilee Library

Brighton

Saturday 9^th January 2016

2.30-4.30pm

How I Learnt To Love The Seagulls is a whimsical yet in-depth study of the birds that are hard to avoid seeing. The series combines genres of photography using studio, street, and nature photography and experiments with ways of displaying photography. The work is humorous, emotive, beautiful and even political, and is an untypical look at our most noticeable wildlife.

114 framed C-Prints printed on Matt Fujicolor Professional, 1 Hard Back Silk Lustre Book.

Brighton Jubilee Library.

Window Gallery, inside and out.

There will be snacks, wine, and a nice time on
Saturday 9th 2:30pm til 4:30.

If you can't make it to that, the exhibition will be on show
4th January 2016 until 10th of January 2016.

10am to 7pm - Monday to Thursday

10am to 5pm - Friday to Sunday.

RSVP to: gulls@neilphilipwhitehead.co.uk

See more @: http://heyevent.uk/event/re6p3rgdhth4ca/photography-exhibition-how-i-learnt-to-love-the-seagulls

***END***

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Ruth Rikowski @ Academia: http://lsbu.academia.edu/RuthRikowski

The Making of the Humanities V

THE MAKING OF THE HUMANITIES V

CALL FOR PAPERS AND PANELS

Johns Hopkins University, Baltimore

5–7 October 2016

The fifth conference on the history of the humanities, ‘The Making of the Humanities V’, will take place at Johns Hopkins University in Baltimore (USA), from 5 till 7 October 2016.

Goal of the Making of the Humanities (MoH) Conferences

The MoH conferences are organized by the Society for the History of the Humanities and bring together scholars and historians interested in the history of a wide variety of disciplines, including archaeology, art history, historiography, linguistics, literary studies, musicology, philology, and media studies, tracing these fields from their earliest developments to the modern day.

We welcome panels and papers on any period or region. We are especially interested in work that transcends the history of specific humanities disciplines by comparing scholarly practices across disciplines and civilizations.

Please note that the Making of the Humanities conferences are not concerned with the history of art, the history of music or the history of literature, etc., but instead with the history of art history, the history of musicology, the history of literary studies, etc.

Structure of the Conference

MoH-V will feature three days of panel and paper sessions, next to three keynote speakers and a closing panel on the Status of the Humanities. A reception will take place on the first day in the magnificent Peabody Library, and a banquet on the second day. An overview of the previous conferences and resulting publications is on the Society’s homepage.

Keynote Speakers MoH-V

Karine Chemla (ERC project SAW, SPHERE, CNRS & U. Paris Diderot): “Writing the history of ancient mathematics in China and beyond in the 19th century: who? for whom?, and how?”

Anthony Grafton (Princeton U.): "Christianity and Philology: Blood Wedding?"

Sarah Kay (New York U.): "Inhuman Humanities and the Artes that Make up Medieval Song"

Abstract Submissions

Abstracts of single papers (25 minutes including discussion) should be in Word format and contain the name of the speaker, full contact address (including email address), the title and a summary of the paper of maximally to historyhumanities@gmail.com.

Deadline for abstracts: 30 April 2016

Notification of acceptance: End of June 2016

Panel Submissions

Panels last 1.5 hours and can consist of 3-4 papers including discussion and possibly a commentary. Panel proposals should be in Word format and contain respectively the name of the chair, the names of the speakers and commentator, full contact addresses (including email addresses), the title of the panel, a short (150 words) description of the panel’s content and for each paper an abstract of maximally 250 words. Panel proposals should be sent (in Word) to historyhumanities@gmail.com.

Deadline for panel proposals: 30 April 2016 Notification of acceptance: End of June 2016

Registration and Accommodation

Registration for the conference will be possible from April 2016. The conference fee will be kept as low as possible (the exact fee and information on student discount will be published in April 2016). Details about the conference fee and accommodation will also be posted in April 2016.

Organization and Support

Amsterdam Centre for Cultural Heritage and Identity

The Humanities Center, JHU

The Sheridan Libraries, JHU

Institute for Logic, Language and Computation

Huizinga Institute of Cultural History

MoH International Committee

Rens Bod (U. of Amsterdam), Christopher Celenza (JHU, Baltimore), Hent de Vries (JHU, Baltimore), Julia Kursell (U. of Amsterdam), Fenrong Liu (Tsinghua University), Jaap Maat (U. of Amsterdam), Helen Small (U. of Oxford), Thijs Weststeijn (U. of Amsterdam)

MoH Local Organizing Committee

Stephen Nichols (JHU), Hent de Vries (JHU), Christopher Celenza (JHU)

History of Humanities Journal

Selected conference papers will be published in the new journal History of Humanities. The first issue is due to appear in March 2016.

History of Humanities Journal: http://www.press.uchicago.edu/ucp/journals/journal/hoh.html

The Making of the Humanities Conferences: http://makingofthehumanities.blogspot.co.uk/

Society for the History of Humanities: http://www.historyofhumanities.org/2015/10/29/call-for-papers-and-panels-the-making-of-humanities-v/

***END***

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Ruth Rikowski @ Academia: http://lsbu.academia.edu/RuthRikowski

Volumizer: http://glennrikowski.blogspot.com

Ruth Rikowski at Serendipitous Moments: http://ruthrikowskiim.blogspot.co.uk/

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

Mediated Cities

MEDIATED CITIES

Mediated Cities Book Series

Open Call for Contributions

Intellect Books will launch its Mediated Cities book series April 01-03, 2016 with three books.

Digital Futures and the City of Today:  New Technologies and Physical Spaces. ISBN: 978-1-78320-560-8
Filming the City: Urban Documents, Design Practices & Social Criticism Through the Lens. ISBN: 978-1-78320-554-7
Imaging the City: Art, Creative Practices and Media Speculations. ISBN: 978-1-78320-557-8

This is a call for chapter contributions for the following book in the series from the perspective of all disciplines that engage with issues of the city, its design, mediation, representation and experience.

Contributions are welcome from urban design, planning, cultural studies, digital art, emerging technologies, social media, film, photography  etc.

The next book in the series will be drawn from the conference: Digital-Cultural Ecology and the Medium-Sized City.

For details: http://architecturemps.com/bristol-uk/

ABSTRACT DEADLINE: 15th NOVEMBER, 2015

This conference is organised by the journal Architecture_MPS, Intellect Books, the University of the West of England and the Centre for Moving Image Research. The publication series is a joint AMPS / Intellect Books initiative. See: http://architecturemps.com/publications-2/

***END***

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

Ruth Rikowski @ Academia: http://lsbu.academia.edu/RuthRikowski

Ruth Rikowski at Serendipitous Moments: http://ruthrikowskiim.blogspot.co.uk/

Affects and Aesthetics of the Undercommons

AFFECTS AND AESTHETICS OF THE UNDERCOMMONS

Call for Papers: Affects & Aesthetics of the Undercommons

As part of the 8th Art of Management & Organization Conference
1st-4th September 2016 @ Bled, Slovenia
Conference theme: Empowering the intangible: exploring, feeling and expressing through the arts
See: http://www.artofmanagement.org/bled-slovenia-2016/

What affects circulate within the undercommons today (Harney & Moten, 2013)?

What is the relation between affective spaces and aesthetics in the construction of forms of collective intelligence and subjectivities, particularly in the ways this relation is worked with to expand forms of political action? The undercommons are organized through “engaging aesthetic rationality in the process of political transformation, of turning politics into art, everyday life into an aesthetically governed domain” (Katsiaficas 2001) – a “minor politics” (Thoburn 2003): one that is not based upon calling forth an already existing identity or position, but rather a politics based on a continual intensive and affective engagement of constant self-institution.

Might it be possible that we are already enmeshed in a world of unidentified autonomous organizations, a milieu of potential liberation that has remained imperceptible because of a narrow understanding of what organizations are? And might it not be that this imperceptibly, rather than being a condition to be addressed as a problem, could rather be part of building of what Robin D.G. Kelley and James Scott (2002) call an infrapolitical sphere: a space for politics coming out of people’s everyday experiences that do not express themselves as radical political organization at all.

As a conference stream “Affects & Aesthetics of the Undercommons” proposes to explore the these temporary and constantly shifting, yet always renewed, forms of organizing: the organizing that takes beneath and below as well as outside of formal organizations. These relations and their affectivity embody and express the movement of the social imaginary, or the constant process of becoming. Revolutions of everyday life, whether unseen or encoded in a hidden transcript, exists as a privileged location for political analysis and action precisely because it is where forms of collective intelligence, creativity, and social wealth are manifested.

Please send proposals / abstracts to s.shukaitis@essex.ac.uk by December 7th, 2015.
This stream is welcoming of non-standard forms of presentation, performance, and intervention.

***END***

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Ruth Rikowski @ Academia: http://lsbu.academia.edu/RuthRikowski

Ruth Rikowski at Serendipitous Moments: http://ruthrikowskiim.blogspot.co.uk/

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

DAVID MABB

DAVID MABB

At the William Morris Gallery

Lloyd Park, Forest Road

Walthamstow, London, E17 4PP

020 8496 4390 

London, United Kingdom

27 June to 27 September 2015

Open Wednesday to Sunday, 10am - 5pm; free

William Morris and Russian artist El Lissitzky both wanted to change people’s lives through their art. Whilst Morris saw beauty in the past, Lissitzky sought a new visual language for the future.

In his latest work, British artist David Mabb celebrates the utopian ideas of these two men through their seminal book designs: Morris's Kelmscott Chaucer and Lissitzky's For the Voice, a revolutionary book of poems by Vladimir Mayakovsky considered one of the finest achievements in Russian avant-garde bookmaking.

Comprising 30 canvasses, Announcer takes over the gallery space, interweaving and contrasting the two designs so that Morris and Lissitzky's graphic s are never able to fully merge or separate.

William Morris Gallery: http://www.wmgallery.org.uk/

***END***

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Volumizer: http://glennrikowski.blogspot.com

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

CROCHET

CROCHET

For the last four months, Ruth Rikowski has been doing a lot of crochet work. Her grandmother, Elsie Vickery, was very creative and skilled regarding crochet, and Ruth has a number of examples of her grandmother’s work – some of which we have framed and hung up in our home.

Ruth maintains that, not only does her crochet work produce pleasing products which she can wear or display in the home, but the experience of doing the work is soothing and relaxing whilst also stimulating her imagination and thinking about many topics.

Here are some examples of her work:

You see further examples of Ruth’s crochet work at: http://ruthrikowskiim.blogspot.co.uk/2015/04/crochet.html

Glenn Rikowski

**END**

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Glenn’s article Fuel For the Living Fire: Labour-Power! is now available at Academia, at: http://www.academia.edu/11923648/Fuel_for_the_Living_Fire_Labour-Power_

THE GLASS FORTRESS

THE GLASS FORTRESS

Presented by the Rémi Orts Project and Alan B

A free adaptation of Zamyatin’s prospective novel “We”, this concept album will take you in the wake of D–503 and I–330, two freedom-and-passion loving people.

A Dystopia tinged with Revolutionary Romanticism, first of its kind.

Album available from January 15^th 2015

Rémi Orts

Brave New World, 1984, The Wall, Equilibrium and more recently The Hunger Games: modern culture is haunted by the spectre of extremely well-organized societies whose apparent perfection conceals dark dictatorial worlds.

If this formal exercise is known to all, what is the intimate origin, the true source of its inspiration?
In fact, everything comes from a small Russian sci-fi novel published in 1920 by Yevgeny Zamyatin, "We ".

Rémi Orts Project and Alan B wish to pay tribute to this counter-utopia, first of its kind, by revisiting it in their concept album, “The Glass Fortress”.

Let yourself be taken in the wake of Daniel and Iris, two human beings opposed in every way, that nonetheless will rejoin in the same destiny, the choice of Life, even at their own peril...

Adapted from this album, a short film, innovative and moving, will be released in April 2015 with the collaboration of the talented photographer, Fanny Storck.

Lyrics : Alan B
Music : Rémi Orts
Photos : Fanny Storck
https://www.youtube.com/watch?v=cPuAwNUSLI8&list=PL5KtMvKvWwKDcTibMWVLeKg5YoHuCsZZ-&index=1 

See:

http://www.remiorts.com/index.php/albums-remiorts/41-remi-project/96-the-glass-fortress

**END**

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski  

Joyful Forever: Political Economy of Social Creativity

JOY FOREVER: POLITICAL ECONOMY OF SOCIAL CREATIVITY

Edited by Michał Kozłowski, Agnieszka Kurant, Janek Sowa, Krystian Szadkowski, Kuba Szreder

Joy Forever refers to the false promise of a common happiness, constantly played out by the proponents of the creative class and creative economy – the very promise that since Romanticism has been ascribed to art itself, a vow which remains unfulfilled. The aim of Free/Slow University’s publication is to scrutinize the false promises of distributed creativity as an ideology of cognitive capitalism. The authors devote themselves to critical examination of the structural links between art, creativity, labour and the creation of value under contemporary relations of production. Some of them do not stop at a critical diagnosis but go further, reflecting upon potential alternatives to the status quo.

The book covers more than the issues of a narrowly understood art world, despite the fact that it pays a lot of attention to them. Art is conceived here as a social lab, where innovative ways of organizing of
labour, socializing both for labour and through labour, as well as different types of production, speculation, generation and accumulation and appropriation of value are experimented with and tested.

Authors: Hans Abbing, Joanna Bednarek, Luc Boltanski, Isabelle Bruno, Neil Cummings, Diedrich Diederichsen, Freee Art Collective, Isabelle Graw, Alex Neumann, Precarious Workers Brigade, John Roberts, Gigi Roggero, Martha Rosler, Stevphen Shukaitis, Massimiliano Tomba, Marina Vishmidt.

Electronic version freely accessible at: http://mayflybooks.org/?page_id=107

Publishers: Free/Slow University of Warsaw (http://www.wuw-warsaw.pl), MayFly Books (http://www.mayflybooks.org) and Bęc Zmiana Foundation (http://www.funbec.pl)

Print version is available from MayFly Books and other distributors.

**END**

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Glenn Rikowski @ ResearchGate: http://www.researchgate.net/profile/Glenn_Rikowski?ev=hdr_xprf

Online Publications at The Flow of Ideas: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

Volumizer: http://glennrikowski.blogspot.com

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

Organization and Collaborative Practice in the Arts

ORGANIZATION AND COLLABORATIVE PRACTICES IN THE ARTS

Call for Papers:  Organization & Collaborative Practices in the Arts
Organizers: Mark Banks (University of Leicester), Mandy Earley (University of Leicester), Stevphen Shukaitis (University of Essex / Autonomedia)

As a part of the 9th Critical Management Studies Conference, 8-10 July 2015, University of Leicester
Theme: Is there an alternative? Management after critique

Artists work in groups. This is a primary fact of artistic production. Collective work is an a priori, a reality of creative life. At nearly every moment artists are working together in one way or another and under many different arrangements. Without the others no one can succeed. Artists’ groups have helped them to survive in a capitalist system which values art primarily as branded commodity, and in which agents seek to accumulate art as cheaply as possible. The history of artists’ collaborations describes a flow of both resistant and protective cultural formations that moves through time. These contingent practices change shape according to the necessities of artists’ lives – maximizing their chances to live cheaply with time to work on their art, and to escape alienated labour, first in the industrial shop, and now in the service and information industry.

The social organization of artistic production is generally considered to be extraneous to the forms of art. Indeed, the analysis of each has come to concern different scholarly disciplines, with formal criticism at one end, and the sociology of art – and increasingly arts administration and management of creative production – at the other. The questions of artistic collectivity and collaboration per se cuts across disciplinary lines. Different adaptations of the collaborative practice within artistic production have diverse outcomes, generating
institutions, programs and works of art, as they have ever done.

Artists’ work within groups in the fine arts is very different than work within most businesses, and even most cultural institutions. While the results may seem the same – exhibitions, installations, spectacles, publications, recordings, films, designed objects and architecture – the processes of self-organized collective work proceed from different premises and toward different goals. The organizational structure of artistic work in groups has not been much studied.

This conference stream invites contributes that engage analytically with the questions of collectivity and collaboration among artists. A materialist point of view on the question might find that collaboration among cultural workers is contingent, circumstantial, and practical – an outgrowth of cultural economies and a necessary condition of many kinds of cultural work. Working collectively is about making a living. But modalities of collaboration are also a prime concern of those who want to remake the world, to join the great issues of the day, and to find a reason to work at all.

Please send proposals / abstracts of up to 500 words to Stevphen Shukaitis (sshuka@essex.ac.uk) by 31 January 2015. Papers selected for the panel will receive confirmation by 15 February 2015.

Please note that there will be a registration fee for the conference (the amount of which has not been confirmed yet), although there is a reduced rate for PhD students.

More information about the overall conference can be found here: http://www2.le.ac.uk/conference/cms15

**END**

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Glenn Rikowski @ ResearchGate: http://www.researchgate.net/profile/Glenn_Rikowski?ev=hdr_xprf

Online Publications at The Flow of Ideas: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

Volumizer: http://glennrikowski.blogspot.com

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

Romantic Remains

ROMANTIC REMAINS

MICHAEL NICHOLSON (CHAIR)

SPECIAL SESSION – NASSR 2015

North American Society for the Study of Romanticism

Remain(s):

To be left behind after the removal, use, or destruction of some part, number, or quantity.

To continue in the same place or with the same person; to abide, to stay.

The survivors of a war, battle, or other destructive event.

A relic of some obsolete custom or practice; a surviving trait or characteristic.

A part or the parts of a person’s body after death; a corpse.

The literary works or fragments (esp. the unpublished ones) left by an author after death

[OED]

Romantic culture’s most familiar rhetorics of revolution are progressive, teleological, messianic, and apocalyptic. Building upon the etymology of the term “remain(s)” as a term that denotes survival and persistence as much as death and decay, “Romantic Remains” will consider the whole range of “remain(s)” in relation to “rights” (political, cultural, literary, scientific, environmental, corporeal, and otherwise). This panel will therefore theorize the era’s less critically prominent forms of protest such as stasis, resistance, delay, disappearance, survival, and/or endurance. In a moment whose most prominent poetic works, embodied individual lives, and grand political narratives focus on vigor, life, growth, evolution, and development — Wordsworth’s “Bliss was it in that dawn to be alive,” Barbauld’s “Little Invisible Being Who is Expected Soon to Become Visible,” and Shelley’s “Life, Joy, Empire, and Victory”—who or what gets left behind? What radical possibilities lie on the other side of Romanticism’s forward thinkingforms of enthusiasm, passion, utopianism, and optimism?

As the necessary consequence of works such as Wordsworth’s Tintern Abbey and Volney’s Ruins, Romantic critics have always taken an interest in Europe’s physical remains. Yet in our present moment of environmental catastrophe and ruin, a diverse array of eighteenth- and nineteenth-century scholars have drawn new attention to the possibilities and anxieties of contingent, biodegradable, unhurried, and uncertain forms of existence and aesthetics: Kevis Goodman and Jonathan Sachs (slow time), Jonathan Bate and James C. McKusick (Romantic ecology and green writing), Paul Fry (ontological radicalism), Anahid Nersessian (nescience), Anne-Lise François (recessive agency), Timothy Morton (dark ecology), and Jacques Khalip (anonymity and dispossession). In its focus on natural rhythms, formal omissions, and vanishing acts rather than developmental narratives or confident subjects, this panel will turn toward a critique of the idea that Romanticism always proceeds though rapid movement and productive presence. With this end in mind, we will study the period’s conservationist energies in the realms of ontology, politics, and aesthetics—how the positions of remaining behind, moving slowly, and entirely disappearing often allowed Romantic writers to contest the excesses of an increasingly accelerating age focused on imperial expansion, economic development, and sociocultural improvement.

Papers may consider “Romantic Remains” in relation to a wide range of formal, historical, theoretical, and critical concerns, that might include:

--necromanticism / material remains: corpses, ruins, relics, residues, wastes, wrecks, dust, rubble, and debris

--formal remains: elegies, epitaphs, scraps, elisions, gaps, fragments, caesurae, ellipses, and repetitions

--biological / natural processes: decomposition, defilement, deterioration, erosion, putrefaction, and decay

--the poetics of nostalgia / memory and ephemerality / forgetting

--outmoded, suspended, superseded, and left over genres, modes, and personae

--spatial remains: localism, dispossession, immovability, and immobility

--temporal remains: anachronism, haunting, and gradualism

--textual / authorial negotiations of invisibility, abjection, anonymity, disappearance, obscurity, and reanimation

--memorialization and categories of identity such as gender, race, class, sexuality, and disability

--biodegradable / sustainable aesthetics

--scientific and antiquarian analyses of extinction, rebirth, evolution, and survival

--the ruins of Romantic criticism and theory / the remains of Romantic literary history / the afterlives of Romantic writing

General Call for Papers: http://nassr2015.wordpress.com/cfp/

Special Sessions Call for Papers: http://nassr2015.wordpress.com/sessions/

GENERAL CALL FOR PAPERS:

North American Society for the Study of Romanticism (NSSR)

The 23rd Annual NASSR Conference Winnipeg, Manitoba, August 13-16, 2015

Sponsored by University of Manitoba and The University of Winnipeg, NASSR 2015 will meet at the historic Fort Garry Hotel near The Forks in downtown Winnipeg, Manitoba, from August 13 to 16, 2015.

The theme of the conference is “Romanticism & Rights,” broadly construed to include:

·         Human Rights (racial, indigenous, economic; right to freedom and autonomy [slavery])

·         Animal Rights; Natural Rights, Nature’s rights (the environment)

·         Sexual Rights (alternative genders, women’s rights, procreative rights)

·         Author or Authorial Rights (intellectual property, copyright)

·         State/Sovereign Rights

·         Children’s Rights

·         Right to be heard; Freedom of Speech

·         The Right to Philosophy / Thinking

·         Right to Religion

·         Rights and Wrongs

·         The Right to Die

·         What is left of Rights?

For information on the 2015 NASSR call for papers, including special sessions, click on the “Call for Papers” menu item above.

Conference Co-Chairs:
Michelle Faubert, University of Manitoba
Peter Melville, The University of Winnipeg

Conference Committee:
Linda Dietrick, The University of Winnipeg
Murray Evans, The University of Winnipeg
Joshua D. Lambier, Western University
Dana Medoro, University of Manitoba
Pam Perkins, University of Manitoba
Kathryn Ready, The University of Winnipeg
Armelle St. Martin, University of Manitoba

Contact NASSR 2015: nassr15@umanitoba.ca

NASSR Main Website: http://publish.uwo.ca/~nassr/

**END**

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Glenn Rikowski @ ResearchGate: http://www.researchgate.net/profile/Glenn_Rikowski?ev=hdr_xprf

Online Publications at The Flow of Ideas: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

Volumizer: http://glennrikowski.blogspot.co.uk

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com  

Glenn Rikowski’s latest paper, Crises in Education, Crises of Education – can now be found at Academia: http://www.academia.edu/8953489/Crises_in_Education_Crises_of_Education

Glenn Rikowski’s article, Education, Capital and the Transhuman – can also now be found at Academia: https://www.academia.edu/9033532/Education_Capital_and_the_Transhuman

the medes

THE MEDES

the medes is a volunteer collective of academic writers, artists, photographers and videographers advocating for social change

About

the medes [thəmēds]

We are an online multimedia publication that seeks to bring honest reporting and emotive art together through innovative media to promote social equality within our community.

Founded in Denver, Colorado in early 2012, the medes is a project of the nonprofit organization, Media Action Network (MAN) and was originally started out of frustration with the lack of coverage in mainstream media on the myriad of social justice issues facing our communities today.

We are run entirely by a volunteer collective. This collective consists of a wide-variety of contributors: writers, researchers, graphic designers, artists, photographers, and videographers. By blending the academic pursuit of social equality with artistic ability, we focus on social justice both from a written and visual perspective. We seek to bring awareness to the gamut of issues – including many in the human rights and environmental categories – which receive little to no attention through conventional media outlets.

the medes is run entirely on volunteer time and donation dollars.  If you would like to be a part of this effort in any form other MAN projects, please visit our contact page or our donate page.

the medes: http://themedes.org/

**END**

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski @ Academia: http://independent.academia.edu/GlennRikowski 

Glenn Rikowski @ ResearchGate: http://www.researchgate.net/profile/Glenn_Rikowski?ev=hdr_xprf

Online Publications at The Flow of Ideas: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

The Flow of Ideas: http://www.flowideas.co.uk

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

The Dark Arts of Finance

THE DARK ARTS OF FINANCE

The Dark Arts of Finance: Speculation, Collaboration and Artistic Labour

Wednesday March 19th @ 3-5PM, University of Essex Room 5B.202

Unlike his contemporaries, and unlike so many of today’s commentators, Marx was unsatisfied with approaches to the financial sector that saw it as merely parasitic (or as any more parasitic than other forms of capitalist accumulation). Rather, he suggested that finance represented one important means by which a key crisis endemic to capitalism might be (temporarily) averted: it provided a forum within which otherwise competitive capitalist actors might pool their wealth in the interests of their class and of the system as a whole. Such an approach to finance, and to the important but often overlooked forms of inadvertent cooperation at the heart of capitalist accumulation, may help us explore the politics and potentialities of artists’ collectives amidst today’s “financialization” of art. What might be gained if we imagined the infiltration of “art” by financial methods, measures and metaphors not as a parasitic imposition, but as new grounds for collaboration? Can we not imagine increasingly individuated and competitive artists as unwittingly enrolled in some form of (re)productive collectivity by the speculative currents of the art market? And, if so, how might this open up new ways to imagine radical collectivities that do not merely seek to return art to its allegedly pre-financialized pedestal, but that seize upon this new situation dialectically?

Max Haiven is an assistant professor in the Division of Art History and Critical Studies at the Nova Scotia College of Art and Design in Canada. His book Cultures of Financialization: Fictitious Capital in Popular Culture and Everyday Life is forthcoming from Palgrave MacMillan in 2014. His book Crises of the Imagination, Crises of Power: Capitalism, Creativity and the Commons will be published by Zed Books in March 2014. More information can be found at http://maxhaiven.com.

Sponsored by the Centre for Work, Organization, and Society.
This seminar is part of an ongoing workshop series on artist collectives.
For more information contact Stevphen Shukaitis: sshuka@essex.ac.uk

**END**

‘Human Herbs’ – a song by Cold Hands & Quarter Moon: http://www.youtube.com/watch?v=Au-vyMtfDAs

Posted here by Glenn Rikowski

Glenn Rikowski at Academia: https://independent.academia.edu/GlennRikowski

Glenn Rikowski on Facebook at: http://www.facebook.com/glenn.rikowski

Volumizer: http://glennrikowski.blogspot.com

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

Artistic Lives

ARTISTIC LIVES

Artistic Lives
Kirsten Forkert, Birmingham City University
Tuesday February 25th @ University of Essex
3-5PM, Room LTB B
http://www.essex.ac.uk/ebs/news_and_seminars/seminarDetail.aspx?e_id=6277

Kirsten Forkert will talk about her recently published book, Artistic Lives (Ashgate 2013), which is based on interview material with artists and arts professionals in London and Berlin, together with ethnographic descriptions and analyses of social and urban policy. The book examines how artists support themselves within rapidly changing urban environments – and how they contend with the effects of property bubbles, precarious employment, uncertain funding and policies that position cultural workers at the centre of economic development with little concern for they actually make ends meet. The book examines the myth that artists can create something from nothing, and engages with
debates surrounding Post-Fordism, gentrification and the nature of authorship, to raise challenging questions about the function of culture and the role of artists within contemporary capitalism.

Kirsten will discuss her motivations for starting the project, share the main findings of the research (which was carried out during the first phase of the recession) and reflect on the implications in the present context.

Kirsten Forkert is a researcher and activist, and lecturer in media theory at Birmingham City University. Prior to working at BCU, she taught at a number of institutions during and after completing her PhD in the department of Media and Communications at Goldsmiths. Her work is based within cultural studies, but draws on other disciplines, including sociology, urban studies and critical theory. It has been published in CITY, Third Text and various edited collections, as well as in Mute and Variant. Prior to academia, she worked in media art, new media and community media in Canada and the US, as a freelance practitioner. She is now developing new research on the cultural politics of austerity, and is involved in a collaborative, ESRC funded project mapping the controversies around Home Office campaigns.

Sponsored by the Centre for Work, Organization, and Society

This seminar is part of an ongoing workshop series on artist collectives.

Further events this spring will include the Nanopolitics group (March 5th), Max Haiven from the Nova Scotia College of Art and Design (March 19th), Jeremy Gilbert from the University of East London (April 29th), and others.

For more information contact Stevphen Shukaitis: sshuka@essex.ac.uk

**END**

'Cheerful Sin' – a song by Victor Rikowski: http://www.youtube.com/watch?v=tIbX5aKUjO8

Posted here by Glenn Rikowski

Glenn Rikowski at Academia: https://independent.academia.edu/GlennRikowski

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com

The Flow of Ideas: http://www.flowideas.co.uk

Online Publications at: http://www.flowideas.co.uk/?page=pub&sub=Online%20Publications%20Glenn%20Rikowski

Glenn Rikowski on Facebook at: http://www.facebook.com/glenn.rikowski