Author: Cheryl

CFP: HEX Conference 2024 – Memory, Temporality and Experience

Call for Papers
Date: September 18, 2023 – November 28, 2023
Location: Finland

The new history of experience seeks to comprehend the complex, multidimensional relationships between history and experience. As a burgeoning field of study, it is self-reflective and dynamic, with scholars constantly refining their approaches, and indeed reassessing the notion of experience itself. To develop the history of experience into a robust historical approach, scholars continually ask probing questions regarding sources, concepts, methods, and methodologies. In this vein, the organisers of the sixth annual HEX conference have chosen to interrogate the concepts of memory and temporality as modes of experience. This thematic focus aims to encourage scholars to reflect on experience beyond its external traces, and to mine the more elusive spheres of the internal, the cognitive, and the unconscious. We are looking for panels and papers that consider how, or even if, memory and temporality are complicit in processes of experiencing; that is, how memory and temporality might influence, nurture, define, or disrupt individual and group experiences.

This theme will provoke some important and challenging questions, for example:

  • how might experience influence ephemeral concepts such as memory and temporality?
  • how might structures and understandings of time and memory shape experience?
  • how does experience, or remembered experience, change over time and what conditions impact on the changes?
  • how might one experience memory and temporality (materially, visually, physically, psychologically, emotionally, collectively, individually, institutionally – the list could go on) and what evidence can historians effectively use to capture this?
  • what is the impact of situated contexts on what is remembered (or deemed worth remembering)?
  • what role does historical consciousness have in selective memory, challenges to memory or experiences of the past?
  • how might temporality affect ways of remembering and the experience of what is remembered (including forgetfulness, situated trauma, silence, repression, and lying or truth telling)?
  • what methodologies are best suited to exploring the intersection of experience, memory, and temporality?

Panel Proposals and Individual Paper Proposals

The organisers invite scholars working both within the history of experiences (ancient, mediaeval, modern, from all regions of the world) to submit proposals. Contributions from disciplines other than history are warmly welcome, as long as they take a view on historical experience. We anticipate that a diversity of perspectives will be most effective in broadening our current conceptions of experience, gaining insight into the broader processes that impact it and expanding the pool of source materials deemed effective in the pursuit of historical experience. We encourage proposals for both coherent panels comprising three to four papers, or individual paper proposals.

Please submit your proposal by 28 November 2023 via this link according to the following instructions. All proposals MUST address the concept of experience in addition to memory and/or temporality. The conference will take place in person only.

  1. For complete panels, send a joint 400-word abstract, together with brief bios and paper titles for each proposed speaker.
  2. For individual papers, send a 250-word abstract together with a brief bio.

Online Video Poster Competition

We also invite submissions for an online video poster session and competition. We especially encourage submissions from doctoral students and early career researchers who cannot make it to Finland but who would like both to share their ideas and to discuss them with scholars working in the field. As per the conference theme, posters must directly engage with the concept of experience along with memory and/or temporality. The posters will be strictly 5 minutes maximum in length. Posters that fit the criteria will be uploaded to the HEX website before the conference where an associated discussion board will be available for commentary and critical discussion. A selection of posters will be chosen by a committee for a hybrid screening and discussion session at the conference. €To participate in the poster video competition, please send an email to hexconference@tuni.fi. We will send you detailed information on how to make and submit the video. The deadline for video posters is 1 February 2024.

For questions and more information, please write to hexconference@tuni.fi.

Keynote speakers

Professor Rebecca Clifford, Transnational and European History, Durham University

Professor Bart van Es, English Literature, St Catherine’s College, Oxford University

Dr Ulla Savolainen, Folklore studies, Department of Cultures, University of Helsinki

Bart van Es has also kindly agreed to direct a workshop on writing creative non-fiction as part of the conference program.

Contact Information

Conference Coordinator Mikko Kemppainen

Contact Email

hexconference@tuni.fi

URL

https://events.tuni.fi/historyofexperience/

CFP: Queer New England, 2024 Deerfield-Wellesley Symposium

CALL FOR PAPERS : Queer New England

A one-day symposium sponsored by Historic Deerfield, and the Grace Slack McNeil Program for Studies in American Art at Wellesley College

Date: Saturday, March 9, 2024

CFP Deadline: December 11, 2023

Location: Historic Deerfield, Deerfield, MA

This symposium will explore the textual, visual, and material cultures of queer New England from the time of European settlement to the present. Conceptions of sex, gender, and sexuality changed dramatically from the seventeenth to the twentieth centuries, and scholars continue to assess the consequences of those changes for diverse historical subjects. Ideas about sex operated in tandem with ideas about race and class and these perceptions shaped the ways some New Englanders created queer spaces and places by blurring normative boundaries. The symposium will address echoes of queerness where it was expressed explicitly and implicitly and consider the implications of locating queer pasts among more traditional narratives of America’s history, art, literature, and built environment.

We invite paper proposals that evaluate some of the terminological and methodological challenges inherent in scholarly approaches to determining queer expressions in the past. Is it fruitful to question the apparent shift from conceiving of same-sex eroticism as based in acts as opposed to individual identities? What comprised queerness in visual and literary sources, and how did that differ from its resonance in design, architecture, and social spaces? How did New Englanders’ race, class, ethnicity, or disability factor into conceptions and expressions of queerness? How did New Englanders leverage notions of queerness both to restrict and to amplify individuals’ self-expression? How should twenty-first-century museums and historical sites interpret queer pasts for public audiences?

The symposium aims to attract scholars from various disciplines and those working in public-facing cultural organizations who are undertaking work on topics as varied as the New England resonances of particular queer identities (such as indigenous two-spirit people), intersections between queer artists, authors, and architects and their creative work (such as same-sex relationships and the Colonial Revival), and ways in which New Englanders imbued landscapes and social spaces with queer meanings (as in queer resort towns).

Papers should be theoretical or analytical in nature rather than descriptive and should be approximately 20 minutes long.  All proposals will be peer-reviewed. Speakers invited to present papers will receive overnight accommodation and are expected to participate fully in the in-person symposium program on site.

Please submit via email a 250-word proposal and a two-page c.v. to Erika Gasser egasser@historic-deerfield.org and Martha McNamara mmcnamar@wellesley.edu. Proposals should include the title of the paper and the presenter’s name. The deadline for submissions is December 11, 2023.

Contact Information

Erika Gasser egasser@historic-deerfield.org and Martha McNamara mmcnamar@wellesley.edu

Contact Email

egasser@historic-deerfield.org

URL

Home

Soliciting DEIA Curriculum Resources for Graduate Archival Education

The Graduate Archival Education Subcommittee (GAES) is leading the effort on a strategic priority of the Society of American Archivists to advocate for Diversity, Equity, Inclusion, and Accessibility (DEIA) informed curriculum in graduate archival education programs. For this effort, we are developing a resource kit that archival educators can use to integrate DEIA concepts into their courses. These resources might include readings, videos, lesson plans, and rubrics for activities and assignments. A beginning list of these resources, compiled by GAES and the 2022-2023 Archival Educators’ Section Steering Committee, is available at https://bit.ly/deia-in-archival-ed.

We are soliciting suggestions for resources to include in this kit from practitioners and educators in archives and adjacent fields. We are organizing the resource kit around the core archival functions (as articulated in the Guidelines for a Graduate Program in Archival Studies) to facilitate instructors in using the resource kit to supplement their existing courses. We believe that DEIA concepts are integral to all aspects of archival curriculum.

Please submit citations, URLs, or files for materials not available online using this form. Feel free to share this form with colleagues who may know of additional resources that should be included in the kit.

If you have any questions, please contact Colin Post (ccpost@uncg.edu), a member of the GAES.

CFP: BitCurator Forum

BitCurator Forum 2024 – 10 Years of BCC

Please note that the 2024 Forum will be virtual. We encourage in-person satellite events to be organized in conjunction with the virtual forum, see below for more information. We will be adding information to the Event page as it becomes available. We hope to see you there!

The BitCurator Consortium (BCC) invites proposals for the 2024 BitCurator Forum to be held virtually the week of March 18-22, 2024 (final dates TBD). An international, community-led organization with 39 member organizations representing 53 institutions, the BCC promotes and supports the application of free and open-source digital archives tools and practices in libraries, archives, museums, and other cultural heritage organizations.

2024 marks the 10th anniversary of the BitCurator Consortium. As we take a moment to celebrate our achievements from the past 10 years, we also take a step back to reflect on our journey so far.

How have things changed?

  • How has your practice changed? (i.e., shifting away from digital forensics to other methods of transfer and acquisition)
  • How have you faced the challenges of working with born-digital material in the cloud?
  • How  do you make the decision to use AI and machine learning in your work?
  • How have the existential issues facing digital archives changed and how has that changed your work?

Lessons learned?

  • How are you working to reevaluate past work and reflect on your failures and successes?
  • How do you measure your successes and failures?
  • How are you incorporating changes into your existing workflows?

Where do we go from here?

  • How do we sustain and foster a healthy community of practice?
  • How do you achieve buy-in and support for your work?
  • How to onboard folks new to the field of digital archives?

The BCC Forum Committee recognizes that the field of digital archives is broad and diverse, and accepts proposals that focus on any related topic from any areas of interest. We particularly encourage proposals to consider the themes mentioned above.

The Forum Committee welcomes participation from organizations and individuals working outside of academic and special collections libraries and archives, members from BIPOC communities, students, and new professionals.

The BitCurator Forum is open to all. You do not need to be a BCC member or BitCurator user to submit a proposal and/or attend the event. See examples of past Forum presentations here.

Deadlines

  • Submission Deadline: Friday, November 17
  • Acceptance Notification: Friday, December 8
  • Speaker confirmation/changes: Friday, December 22
  • Program Posted: Week of January 8

Session Types

The Forum Committee encourages participant-focused session formats that incorporate interactivity. This can include any type of non-traditional session format, such as peer-to-peer learning sessions, collaborative working sessions, roundtables, goal-oriented hack-a-thons, etc

Demos / How-to’s

Sessions facilitated by individuals or groups are welcome. 60 minutes

Please submit a 250-word (maximum) abstract describing the session format and topic(s), as well as learning objectives if applicable.

These sessions are intended to replace workshops and have a broad audience, but serve as an opportunity to share workflows or demonstrate a new tool or process you are working on or have used at your institution.

To encourage participation and access for all attendees, these sessions will not have registration limits.

Panels Presentations or Short Papers

Panel: 40 minutes

Short Papers: 20 minutes

Please submit a 250-word (maximum) abstract. If submitting a short paper, individual panelists may be matched by the BCC Forum Committee based on the complementarity of subjects or overarching themes. 

We encourage presentations to move beyond the case study (see Lightning Talks for this format) and address pressing issues, best practices, opportunities for collaboration, visions, and expanded uses for digital archives in libraries, archives, museums, and beyond. The Forum Committee strongly encourages proposals from underrepresented groups, and/or those that feature the perspectives of a variety of roles — including students — organizations, or fields. For group presentations, we strongly discourage proposals from all white male presenters. We particularly welcome alternative panel formats that will facilitate engagement, including group discussions.

Lightning Talks

1 presenter, 5 minutes

Please submit an abstract of no more than 250 words.

Lightning talks are a great format for case studies, digital archives “success stories” or “tales of woe,” research updates, and short demos or how-tos.

BitCurator Satellites and Other Formats

Other types of formats can be proposed, and we welcome formats that incorporate in-person elements.

This year we again encourage community members to host BitCurator Satellites, local on-site events held in conjunction with the online BitCurator Forum. This is an experimental hybrid conference model, intended to complement the online BitCurator Forum by supporting partners and friends so they can host sessions, workshops and talks for a local audience. Here are some examples of events from 2023.

A call for satellite hosts will be sent out later this fall.

All sessions will be hosted live on Zoom. Final time length of sessions may be adjusted in the final program. The Forum Committee will communicate any changes about this with speakers as early as possible.

CFP: Archiving 2024

The focus of Archiving 2024 is Science, Sustainability, Security.

2024 PROGRAM TOPICS

Authors are invited to submit a minimum 2-page abstract (not including references and bio) using the Archiving Submission Template as a base (all sections MUST be addressed) for peer-review describing original work in technical areas related to 2D, 3D, and AV materials.  Papers may also address business and cost models; collaborations and partnerships; best practices, lessons learned, and case studies. Submissions are welcome in, but not limited to, the following areas:

Digitization / Imaging

  • New developments in digitization technologies and workflows
  • Advanced imaging techniques and image processing, e.g., multispectral imaging, 3D imaging, software
  • Large scale/mass digitization and workflow management systems
  • Quality assurance and control of digitization workflow, e.g., data, targets, software, automation, integration

Preservation / Archiving

  • Standards and guidelines for secure and sustainable preservation and archiving methods
  • Management of metadata, formats, specifications, and systems
  • Archival and preservation models and workflows
  • Techniques for analyzing and processing collections at scale

Access / Presentation

  • Dissemination/use of digitized/imaged materials, e.g., rights management, crowdsourcing, data mining, data visualization
  • Deep learning algorithms to improve search results; AI, machine learning, etc.
  • Data visualization and automated programming interface
  • Open access and open data strategies
  • Integration of linked open data and source solutions

Management and Assessment

  • Sustainability in archiving and digitization
  • Policies, strategies, plans, and risk management; repository assessment
  • Work models: adaptation and opportunities in a hybrid model
  • Remote collaboration and hybrid work

In recognition of some continued limitations within lab and in-person environments, we will still consider a selection of submissions that may be more focused on significant updates or additions to existing projects or projects in progress; lessons learned are also welcome, including approaches that turned out to be less than optimal (lessons of what not to do).

All papers presented at Archiving 2024 are published Open Access. For reference, papers from past Archiving conferences are published on the IS&T Digital Library/Archiving.

PEER REVIEW PROCESS AND PUBLICATION

All submitted proposals are peer-reviewed to ensure that the program provides significant, timely, and authoritative information. 

  • Papers presented at the conference should be complete in regard to advancing the state of knowledge in the area of cultural heritage archiving.
  • All papers presented at Archiving 2024 are published Open Access in the conference proceedings, indexed with various services, filed with the US Library of Congress, and made available as downloadable PDFs through the IS&T Digital Library. Authors may also post the authoritative version of accepted papers in repositories and on websites.
  • Authors are expected to adhere to the guidelines and ethics found in the IS&T Publication Policy .
  • To help support free access to manuscripts, a paid conference registration is required for each paper presented.
  • The conference language is English.

How to Submit

Prospective authors are encouraged to review all the details below, as well as the IS&T Publication Policy.

Authors have the option to submit either a traditional conference paper, which will be published in the Archiving proceedings, or a Journal-first paper, which appears in the journal prior to the meeting start date, and as a reprint in the Archiving proceedings, giving the author a journal citation. Journal-first is available for the Journal of Imaging Science and Technology (JIST) or the Journal of Perceptual Imaging (JPI).

JOURNAL-FIRST PAPER

Submit via: jist.msubmit.net OR jpi.msubmit.net
Submission Deadline: 15 Nov 2023
Submission Format: Standard-length, publication-ready paper
Review Format: Standard journal peer-review

Why Journal-First?

  • Gain an Open Access journal citation, plus conference presentation.
  • Guaranteed presentation slot if accepted with minor revisions. Papers requiring major revisions may or may not have a speaking slot depending on timing.
  • Fast-tracked review.

Visit the Journal of Imaging Science and Technology or the Journal of Perceptual Imaging pages for more details on how to submit to the journal of your choice. 

Initial decisions and requests for revision, if required, will be sent to authors by 10 January. Final papers are due by 29 February 2024, following the final decision letter.

Submit JIST-first

Submit JPI-first

Upon acceptance of papers, authors will pay page charges and register for Archiving per the individual journal’s requirements. Rejected papers will be reviewed for possible inclusion in Archiving using the conference submission criteria.

Final papers are due by 29 February 2024.

Questions? Contact us at either jist@imaging.org or jpi@imaging.org

CONFERENCE PROCEEDINGS PAPER*

Prospective authors are encouraged to review all the details below, as well as the IS&T Publication Policy .

Submit: Archiving Submission Site
Submission Deadline: 20 December 2023
Submission Format: minimum 2-page extended abstract (excluding bio and references) using the Archiving Submission Template (MS Word)
Review Format: Peer-review

REQUIREMENTS

  • Extended abstract (minimum 2-pages of content excluding references and bio) describing original work in any technical areas related to the program topics. This may include updates to existing projects or projects in progress, as well as completed projects.
  • Only abstracts submitted according to the IS&T guidelines and template will be considered.
  • The abstract should clearly explain the technical content, including how the material is new or distinct from previously presented/published work on the same topic, or whether it is an update or addition to previous work. Submission may also include “lessons learned”, approaches that turned out to be less than optimal that can be shared as learning experiences of what not to do. The paper may speculate on how your research ideas will impact the field in the future.
  • List primary author and all co-authors with a maximum 50-word bio for each.
  • Provide complete contact info (address, phone, e-mail) for the primary author.
  • Agree to register for the conference and present the paper during the technical program as scheduled.
  • Agree to submit a final paper by 4 March 2024, if accepted. While IS&T encourages 4-6 page proceedings papers, we also accept 1-2 page extended abstracts. Extended abstracts are provided to registrants, but not posted with the Archiving Proceedings in the IS&T Digital Library.

PRESENTATION FORMAT

  • Authors may request a 20-minute oral presentation (includes Q&A) or 40-minute interactive poster session presentation format; both are considered of equal value, importance, and merit.
  • The interactive poster option enables presenters to engage with other conference delegates and get more feedback during an interactive poster session.  

DECISION NOTIFICATION

Final decisions on acceptance and presentation format (oral or interactive poster paper) are at the discretion of the Technical Program Committee. Notices of acceptance will be sent 16 January 2024. 

Upon notice of acceptance, authors are sent detailed instructions for submitting the revised 1-2 page extended abstract for inclusion in the final program to registrants, or the full text of the final 4-6 page paper for publication in the conference proceedings, including forms for “transfer of copyright,” which includes CC-BY and government employee options. Please note that each author is responsible for obtaining appropriate clearance as necessary.

Final papers and extended abstracts are due 4 March 2024.

Questions?  Contact arch-papers@imaging.org

Submit Now

Call for Papers: The Business of Music Symposium 2024

Call for Papers

The Business of Music Symposium 2024
Charles H. Templeton, Sr. Ragtime & Jazz Festival
Mississippi State University, Starkville, MS

Wednesday and Thursday, February 21-22, 2024 

Mississippi State University Libraries is pleased to announce the second annual Business of Music Symposium to be held as part of the 18th Annual Charles H. Templeton, Sr. Ragtime & Jazz Festival. The Symposium will take place on Wednesday and Thursday, February 21-22, and the Ragtime Festival will follow on February 22-24, 2024.

The Symposium is a free multidisciplinary gathering that aims to encourage and support research and scholarship on topics related to the Charles H. Templeton, Sr. “Business of Music” Collection at the Mitchell Memorial Library on the campus of Mississippi State University. 

The Templeton Collection focuses on music business during the Ragtime era (1890-1930), but paper proposals may cover any era of the sheet music and recording industries. The Templeton Music Collection includes approximately 20,000 pieces of sheet music, over 200 instruments, 2,000 cylinders and 14,000 flat discs. More information about the collection, as well as digitized material from the collections, is available here: https://scholarsjunction.msstate.edu/charles-h-templeton/

The first day of the symposium will be in-person; the second day will be reserved for virtual presentations. Submissions are now open for proposals for individual presentations and panels. Presentations based on research conducted using the Templeton Collections are encouraged, although use of the collections is not a requirement for acceptance.

Possible topics include:

  • Careers of individual singers, composers, or people otherwise involved in creating music
  • Role and impact of individual publishing houses or record labels
  • Art and design themes of sheet music and record sleeve covers
  • Approaches to teaching with sheet music
  • Intersections of art, design, and commerce: musical instruments and machines as home décor
  • Music and advances in recording and playback technology
  • Issues of race, gender, class, and ethnicity in the sheet music and recording industries

Please submit an abstract (with title) of no more than 300 words and a brief professional bio to msstate.libwizard.com/f/BusinessofMusic2024 by November 15, 2023. Pre-selected panels of 3-4 presenters are welcome; individual presentations will be assembled into panels by the program committee. Individual papers should be no longer than 20 minutes and complete panels should not exceed 60 minutes. Please also indicate if you are able to present virtually, in-person, or both and if you would like your presentation to be recorded and/or streamed.

We welcome proposals from scholars at all stages of their professional and academic careers.

Chip and Connie Templeton Research Scholarship

The Chip and Connie Templeton Scholarship, which is $500 to be applied towards the costs of presenting at the Symposium, will once again be offered for the 2024 Symposium. To apply, please complete the scholarship entry form at https://msstate.libwizard.com/f/BusinessofMusic2024_Scholarship and include your name, affiliation, proposed session title, and a brief summary (not more than 500 words) on how the funds would positively affect your participation in the symposium. Deadline for applications for the scholarship is November 15, 2023. While the use of the Templeton Collection is not a requirement of the award, preference is given to scholars who have utilized the collection in their research.

About the Charles H. Templeton Ragtime and Jazz Festival

The Charles Templeton, Sr. Ragtime & Jazz Festival is sponsored by the MSU Libraries and the Charles Templeton Sr. Music Museum as a means of enhancing the research in the area of ragtime music, increasing the awareness of the Templeton collection housed in the MSU Library and introducing people to the sounds of Ragtime being performed by world-renowned ragtime musicians.

The festival is comprised of a blend of major concerts, mini-concerts, seminars and tours of the Music Museum. Seminars are held in Mitchell Memorial Library and major concerts are held at the Bettersworth Auditorium in Lee Hall on the MSU Campus. For more information about the festival visit http://festival.library.msstate.edu. 

CFP: Feminist Media Histories – Special Issue on Gender, Media, and DevelopmentalismCFP:

Guest Editors: Dalila Missero & Masha Salazkina 

With this special issue of Feminist Media Histories we invite contributions that explore the historical role of gender within media production explicitly engaged in developmentalist projects. As an ideological and political framework, developmentalism became especially prominent between the 1950s and the 1990s to conceptualize, discuss, and tackle global inequality. Based on the certainty that economic growth inevitably leads to social progress and modernization, it has been a dominant paradigm driving state and inter-governmental support for various institutional media projects, especially in the context of Asia, Africa, and Latin America on both sides of the Iron Curtain. In a more latent way, developmentalist discourses and representational regimes—as well as their critiques—have also been central to much film and media production in these regions, from radical, grassroots, or independent media collectives to commercial filmmaking. With the inauguration of the United Nations Decade of Women (1975-1985), the issue of gender inequality became increasingly central in developmentalist debates and policies, in tandem with and in response to the agenda of the international women’s movement. Media representations and infrastructures have played a key role in shaping these intersecting processes in a way that remains to be fully explored in media history.  

Analysis of developmentalist media, especially with regards to questions of gender, are also in continuity with post-colonial and intersectional inquiry across and beyond film and media studies. The rejection of the basic tenets of developmentalism embedded in the colonial matrix of power (key among them universalism and the belief in economic indicators as a measure of progress) form the core of the decolonial critique, which emerged around the same period. The status of indigeneity as a distinct epistemological  position, political project, and a way of life likewise stands in sharp conflict with developmentalist projects promoted by states and international institutions intended to  overcome “underdevelopment.” Bringing these perspectives together, decolonial feminism’s attention to patriarchal, misogynistic, and homophobic tensions at work in anti-colonial and anti-capitalist struggles has foregrounded intersectional forms of oppression and shifted the locus of knowledge production to the concrete experiences of women’s struggles across the Global South, with indigenous women often offering the most compelling alternatives to the dominant epistemological paradigms.  

Investigating media projects that resulted from the inevitably contradictory intersection of global developmentalist politics (which have increasingly focused on women and indigenous communities) and on-the-ground women’s movements in Asia, Africa, and  Latin America therefore presents a particularly productive area of transnational decolonial feminist media scholarship. Such gendered understandings and narratives of developmentalism, diverse venues of media production, circulation and reception  advancing these notions, and local and transnational responses to them, however, have certainly not been limited to the recent decades. Research on the broader history of  intersections of gender, media, and developmentalism is yet to be integrated within feminist media historiographies. 

To this end, this special issue seeks to foster new knowledge and develop shared theoretical and methodological frameworks for exploring this topic. We welcome scholarship on different types of media (film, television, radio, digital media, etc), situated within a wide historical period, and from a variety of geographic and geopolitical positions. Contributions may focus on specific case studies as well as on broader methodological and theoretical questions. Possible topics include: 

  • Representations of gender, indigeneity, coloniality, and global inequality in developmentalist media 
  • Feminist (mediated) responses to developmentalism 
  • Queer and trans activism and developmentalist media 
  • Developmentalist media and social, political, and anti-colonial movements
  • Differences and similarities in gender politics of developmentalism across the Cold War divides and their corresponding media forms and ideologies 
  • Archives, counter-archives, technologies, and infrastructures of developmentalist media  
  • Developmentalism and mediated representations of the future 
  • Institutions and agencies (United Nations, UNESCO, the World Bank) as well as governments and NGOs as production sites of media content on gender and  development  
  • Developmentalism in the context of contemporary sustainability and environmental programs (i.e., SDG 2030 agenda), and its intersections with today’s ecofeminist movements and digital media practices 
  • Comparative and/or transnational studies of developmentalism and media

Interested contributors should contact guest editors Dalila Missero and Masha Salazkina directly, sending a 500-word proposal and a short bio no later than February  1, 2024 to d.missero@lancaster.ac.uk and salazkina.masha@gmail.com; contributors will be notified by March 1, 2024; article drafts will be due by October 1, 2024 and will then be sent out for peer review.

Contact Information
Yumo Yan, Managing Editor of Feminist Media Histories: An International Journal

Contact Email
yy2887@uw.edu

URL: https://online.ucpress.edu/fmh/pages/cfp

New Issue: Journal of Folklore and Education

“Teaching with Folk Sources,” now available at https://jfepublications.org

This 10th Volume of the Journal of Folklore and Education offers two issues packed with resources and content. Expanding mainstream notions that primary sources are historical documents housed in hard-to-access archives, this volume showcases archival items that expand our vision of community, self, the past, the future, art, pedagogical opportunities—and, yes, history.

Vol. 10 Issue 1: Teaching with Folk Sources

What if young people saw themselves in an archive? Recognized their families and the arts of their communities in a folklife collection? Grew curious about documenting what is going on in their communities? Explore these possibilities in Issue 1: “Teaching with Folk Sources: Listen, Observe, Connect.”

Vol. 10 Issue 2: The Curriculum Guide

Issue 2 features work by our consortium project Teaching with Folk Sources, funded by the Library of Congress Teaching with Primary Sources (TPS) program. Find frameworks and detailed lesson plans from Local Learning’s TPS consortium project members and their educator partners, organized as a Curriculum Guide.

CFP: 2024 Oral History Australia Biennial Conference

Call for Presentations

Deadline  1 April 2024

Oral history can be powerful in so many ways. Interviews generate potent emotions. Recordings capture the power of voice as well as the power of silence. Multimedia productions engage and connect new audiences with the complexities of the past.

Fundamentally, oral history transforms the historical archive and challenges mainstream histories. It can shift traditional power dynamics, bring forth new voices and perspectives, reshape policies and politics, and shake up old certainties.

Yet those possibilities come with risk as well as reward. Recording sensitive subjects is never easy. Creating an oral history production takes time, skill and care, and sometimes goes wrong. Imaginative re-uses of oral history recordings can raise ethical and legal complexities. And oral histories that disrupt accepted narratives can generate pain and conflict, in families, communities and nations.

Our conference welcomes participants who use oral history in their work across the many fields and disciplines that contribute to community, professional and academic histories. We welcome presenters from Victoria and around Australia, from across the Tasman and throughout the oral history world, from First Nations and culturally diverse backgrounds. We invite proposals for individual presentations, workshops, performances and thematic panels that speak to The Power of Oral History– Risks, Rewards and Possibilities.

Join us in Melbourne in November 2024 for a celebration of the power of oral history. Our conference venue is the state-of-the-art Trinity College Gateway Centre on the campus of the University of Melbourne, in inner city Parkville, close to cafes, restaurants, parks, public transport and accommodation. The venue is accessible with a dedicated lift.

On Thursday 21 November oral history training workshops will be followed by the conference welcome reception in the evening. The main conference will be on Friday 22 and Saturday 23 of November, and on Sunday 24 participants may enjoy a variety of history tours in Melbourne and Victoria.

Conference sub-themes

Conference sub-themes may include, but are not limited to:

  • Indigenous oral histories and oral traditions
  • Oral history, culture and language
  • Interpreting memory in oral history
  • Transgressing boundaries with oral history
  • Documenting diverse voices with oral history
  • Histories of protest, activism and rights
  • Contested memories and histories
  • Oral histories of working lives and social class
  • Migrant and refugee history
  • Gender and oral history
  • LGBTIQA+ oral histories
  • Ethical issues in oral history
  • Technology and oral history
  • Archiving and oral history
  • Giving voice to history through music
  • Oral histories of family, community or place
  • Creative uses of oral history recordings
  • Oral history in galleries, libraries and museums

Requirements

All proposals to present at the conference must be submitted using the conference EasyChair submission portal (see below) no later than 1 April 2024.

We welcome proposals for presentations in a variety of formats and media, including standard paper presentations (typically 20 minutes); short ‘lightning’ accounts of work in progress (typically 5 minutes); participatory workshops; performances; or thematic panels comprising several presenters. Presentations should involve oral history. Contact the Chair of the Conference Program Committee, Professor Alistair Thomson, (alistair.thomson@monash.edu) if you would like to discuss the format or focus of your presentation before you submit it.

Proposals for presentations / papers / panels / posters should be no more than 200 words (single space, 12 point font in Times New Roman) and must include at the top of the page, your name, institutional affiliation (if applicable), postal address, phone number and email address, the title for your presentation/panel, the sub-theme/s your work best connects to, and the presentation format (standard 20 minute paper; 5 minute ‘lightning’ account of work in progress; thematic panel; performance; or participatory workshop).

Presenters will be encouraged to submit papers to the refereed, online Oral History Australia journal, Studies in Oral History.

Submission

New proposals should be uploaded to EasyChair via this link: https://easychair.org/conferences/?conf=oha2024.

To use this online conference management system, you will need to create an author account (a simple process that we have used in previous conferences) and then submit your proposal by uploading it as a PDF document (with full details as listed above).

If you are unfamiliar with EasyChair, please follow the instructions available via a downloadable PDF available at: https://oralhistoryaustralia.org.au/wp-content/uploads/OHA_conference_2024_EasyChair-instructions.pdf.

If you are unable to use this system, please email your proposal as a PDF attachment to ohavictoria2024@gmail.com.

Further information

In launching this website we are also inviting submissions for Presentations. Go to our Call for Presentations to find out more about the conference theme and the guidelines for submitting a proposal.

For conference information or to join the conference mailing list, email our Oral History Victoria hosts at: ohavictoria2024@gmail.com.

CFP: Record, Document, Archive: Constructing the South Out of Region

Record, Document, Archive: Constructing the South Out of Region [edited collection]

Under advance contract with Louisiana State University Press
Editors: Stephanie Rountree, Lisa Hinrichsen, and Gina Caison
Proposals (500 words): November 1, 2023
Completed Chapters (7,000 words): March 15, 2024

As the double meaning of our title suggests, this collection intends “record, document, archive” as a triad of both verbs and nouns. Record, Document, Archive seeks projects investigating processes that record, document, or archive “event in place and time” as well as projects examining artifacts themselves, those records, documents, and archives that evince various souths within the region. Through examining the technologies and traces of recording, documenting, and archiving the U.S. South across disciplines and historical context, this collection asks what it means for the region to be both defined and imagined as a place of documentation.

In particular we welcome contributions that engage with processes and products that are im/material, un/documented, un/collected, or more-than-/human. We invite a wide temporal and disciplinary array of studies on, in, or about multiple iterations and scales of the South (American, Hemispheric, Global, U.S.): whether in recorded time (e.g., archival or media studies), time immemorial (e.g., Indigenous studies), and/or deep time (e.g., geology). 

Guiding questions might include:

  • What un/recorded, un/documented, or un/archived souths exist within or beyond hegemonic concepts? 
  • Within what constitutive or erasing systems have records, documents, and/or archives emerged or endured? 
  • How is “region” a humanist heuristic, one that scholars have perhaps reverse-engineered in our methodologies (broadly defined)? 
  • What alternate ways of knowing the region emerge when earth, life, and information sciences are brought in conversation with southern studies? 
  • What can documentary arts tell us about the dialectics of seeing as they apply to the region? 
  • What do archives cataloged as “southern” reveal about the limits of colonial and capitalist knowledge regimes of nation? 
  • What does the archive, as a collection of documents, a set of practices, and an institution, illuminate about the formation and continued domination of certain ways of understanding the South? 
  • How might the archive (broadly conceived) be a site for reclamation, narrative storytelling, ancestral recalling, and historical revisioning? 
  • How have queer, feminist, and postcolonial studies called into question southern archives or necessitated new documentary practices?

We encourage submissions that challenge Eurocentric documenting practices in disciplines with hegemonic legacies – such as studies in U.S. history, archive, anthropology, geography, literature, and media, and we prioritize scholarship from interdisciplinary approaches such as Indigenous, diasporic, transnational, queer, and environmental studies, among others. We especially welcome contributions interrogating un/documentation and immigration in context of what John-Michael Rivera calls in Undocuments (2021) “the spectral logic of undocumentality” (9). Contributions that engage with “un/documenting” in the broadest sense – conceptually, materially, organically, politically, bureaucratically, technologically, and otherwise – are highly encouraged.

Other Possible Topics Include: 

  • Artifacts and relics (im/material or un/collected); un/written or un/recorded correspondence; oral histories; etc.
  • Archival collection development, acquisitions, and access (copyright, paywalls, open access)
  • Activism in archival studies, museum studies, and information sciences; “liberatory memory work”; community archives
  • Indigenous archives and counter-archives, Indigenous data sovereignty, Indigenous earthworks
  • Undocumented souths and southerners
  • Geological or ecological formations that complicate dominant notions of “the South” or “southern”
  • Lost, erased, ephemeral, speculative or contested archives
  • Ecologies of the archive, the archive as an ecosystem, documenting climate change in the South, archive as conservation, archival migration/assemblage
  • Social and psychological acts of collecting, the emotional and affectual labor of documentary work, ethical and practical issues of curation
  • Digital documentary practices in the South
  • Diverse forms of documentary arts, including but not limited to television, feature and short documentaries, audio recordings, documentary photography and other audiovisual archives about the South
  • Data recovery and digital restoration, archive hacking
  • Recording corporeal testimonies and trauma, the body as archive
  • Disability justice, medical recordkeeping, accessibility issues, the archive as a space of resistance (i.e. the reclamation of knowledge systems, ontologies, and identities structured by disability)
  • Documentary as activism: feminist, trans*, and queer archives in the South, Civil Rights archives, labor archives, documenting the BLM movement, documenting environmental racism
  • Fake archives, mockumentaries, forgery and fabrication, hoaxes, archival appropriation
  • Interactive archives, documentary performances
  • Legal and financial documents, documenting evidence; contracts, policy memos, public records, and balance sheets as archive
  • Official government and/or historical records or recording systems 
  • Memorials and monuments, artifacts and material histories, museums, archival sites and spaces
  • Pedagogies of archival research
  • The role of literature in cataloging, archiving, remembering, and documenting, the memoir as documentary, auto-ethnography
  • Unruly or accidental archives, radical or revolutionary recordkeeping, anarchives, living archives

500-word proposals should be sent to Stephanie Rountree, Lisa Hinrichsen, and Gina Caison at Record.Document.Archive@gmail.com by November 1, 2023. Please also direct any questions about possible submission topics to this email.

For those asked to contribute to the collection, completed essays of approximately 7,000 words will be due by March 15, 2024. Submissions from both established and emerging scholars are welcomed, as is work from multiple perspectives and disciplines. Anticipated publication year is 2025.

Contact Information
Stephanie Rountree (she/her/hers)
Associate Professor of English
University of North Georgia

Contact Email: Record.Document.Archive@gmail.com