Category: Call for Papers

Call for submissions: De Gruyter Brill’s Technology and Change in History book series

Call for submissions: De Gruyter Brill’s Technology and Change in History book series

Series editors: Adam Lucas and Phillip Reid

The role played by technology in transforming human societies has been a preoccupation of the modern period. Technology and Change in History is a peer-reviewed series of monographs and edited volumes which surveys the development of technology from a variety of different historical perspectives.

Since 1997, the series has published eighteen volumes, with the nineteenth due out in June 2025. The current editors seek to increase the pace of publication while maintaining the highest standard of original scholarship. 

We invite scholars at all postdoctoral career stages to submit monographs or edited volumes in the history of technology for consideration. We encourage submissions from archaeologists and material culture specialists as well as historians. We are currently exploring the feasibility of commissioning monographs and edited volumes featuring the technologies and techniques of Indigenous people, and welcome proposals that meet those criteria. 

Information and a list of previous publications may be found here. 

Proposals and manuscripts should be submitted to Helena Schöb, Acquisitions Editor, at helena.schoeb@degruyterbrill.com. 

General queries about appropriate topics may be submitted to the series editors at alucas@uow.edu.au and phillipfrankreid@gmail.com. 

Contact Information

Proposals and manuscripts should be submitted to Helena Schöb, Acquisitions Editor, at helena.schoeb@degruyterbrill.com. 

General queries about appropriate topics may be submitted to the series editors at alucas@uow.edu.au and phillipfrankreid@gmail.com. 

Contact Email

helena.schoeb@degruyterbrill.com

URL: https://brill.com/display/serial/TCH

CFP: Library Trends Special Issue, “Cultural Heritage in Crisis”

CFP – Special issue, “Cultural Heritage in Crisis” to be published in Library Trends, 75(1), 2026.

In a recent issue of Nationalism and Ethnic Politics, Aronson et al write: “Cultural heritage represents the physical manifestation of the culture and history of a social group and forms a major component of its identity.”1 A people’s culture, history, and social identity can be destroyed, censored, suppressed, purged, or rewritten through attacks on their cultural heritage as well as the institutions and systems that support and preserve the creation of knowledge, free speech, and artistic expression. Within the last three years alone, we have witnessed attempts by individuals, governments, and extremist groups to destroy a people’s culture and identity – whether through deliberate action or ignorance – with the invasion of Ukraine in February 2022, war in Gaza in October 2023, and in 2025 the intentional removal and revision of content about the history of women, LGBTQIA+ people, immigrants, and people of color from government pages in the United States.

For this special issue of Library Trends, we interpret cultural heritage broadly, it may include physical tangible artifacts, such as books, manuscripts, art, sculpture, monuments, or buildings, as well as intangible artifacts, such as language, knowledge, folklore, and traditions. We also include digital cultural heritage, which may include websites, data, digital images, 3D models or visualizations, multimedia, etc. Proposals for this issue should focus on how cultural heritage professionals working in organizations with a mission to preserve and make cultural heritage accessible have engaged in activities such as digital activism, culturally responsive curation, preservation of physical or digital cultural heritage, or community-centered archives and collections within the context of cultural heritage in crisis. We are also interested in approaches, case studies, or theoretical approaches on how cultural heritage is created, preserved, or reconstructed before, during, or after crises within the library and archives profession.

Potential topics may include:

  • Activism and community engagement
  • Supporting open culture
  • Culturally responsive curation/metadata practices
  • Centering community and care in preservation of cultural heritage
  • Anti-colonial practices in approaches to digital curation, metadata, archives, etc.
  • Digital approaches to preserving or reconstructing cultural heritage (e.g. 3D modeling, machine learning, AI, linked data, etc.)
  • Developing institutional collaboration and partnership with damaged libraries and archives
  • Digital repatriation of cultural heritage
  • Crisis documentation and rapid response archiving
  • Countering disinformation

Prospective authors are invited to submit an abstract outlining their proposed article by July 25, 2025. Decisions about the abstracts will be communicated by August 1, 2025. Final articles should be 7,500-9,500 words (including bibliographic references). The issues will use an open peer review process in which article authors review two manuscripts by other contributors. As part of submitting an article proposal, authors will be asked to commit to participation in this process as both an author and a reviewer.

Inquiries about the planned issues and ideas for articles should be directed to Anna Kijas (Tufts University) and Andreas Segerberg (University of Gothenburg), Guest Co-Editors of Library Trends (anna.kijas at tufts.edu / andreas.segerberg at gu.se). Proposals for articles should be submitted via an online proposal form. 

Full CfP with details is available at https://annakijas.com/news/cfp_2026-librarytrends/. 

Contact Information

Guest Co-Editors of Library Trends 

Anna Kijas (Tufts University), anna.kijas@tufts.edu

Andreas Segerberg (University of Gothenburg), andreas.segerberg@gu.se

Contact Email

anna.kijas@tufts.edu

URL

https://annakijas.com/news/cfp_2026-librarytrends/

CFP: Methods for Archival Silence in Early History, American Historical Review

The American Historical Review seeks proposals for a special issue illustrating a range of methodological approaches to archival silence developed by scholars of early history. Articles may be grounded in any part of the world and address any topic as long as they are method-driven, focused on archival silence, and situated early within the periodization of your field.

About the Issue
What should historians do when our sources do not tell us what we want to know? Although this may be a universal experience of historical research, the problem arises in various forms. Some silences are intentional, others unintentional. Some sources are minimal, others extensive but off-topic. Some sources are inaccessible, some have not been preserved, some were never created. Sometimes we do not or cannot know whether our desired sources ever existed, or, if they did, what happened to them. Silences cluster around certain topics, places, and periods more than others.

Historians have articulated this problem in a variety of ways. This call uses the language of archival silence and silencing developed by Michel-Rolph Trouillot and Marisa Fuentes. It could have drawn on the concept of the subaltern (Ranajit Guha, Gayatri Spivak), strategically produced silence and plausible stories (Natalie Zemon Davis), records designed for jettison (Marina Rustow), hidden transcripts (James Scott), living oral traditions (Bethwell A. Ogot), or writing off the radar (James Lockhart), to name only a few.

Faced with archival silence, historians have developed a range of methods for working in, through, and around it. Some techniques and approaches have become characteristic of expertise in early periods. Others are applied by historians across specializations. These include but are not limited to reading against the grain; creative combination of well-known sources; creative use of unusual or little-known sources; oral and other forms of non-written record; technical skills in the so-called ancillary disciplines (numismatics, paleography, codicology, epigraphy, and more); interdisciplinary approaches to method (anthropology, archaeology, literature, linguistics, and more) and to what constitutes a source (climate data, aDNA, physical objects, art, and more); critical fabulation or disciplined imagination; and reframing our questions to build on our sources’ strengths.

Proposals should be submitted via Google Form by September 16, 2025. Proposals should be no more than 800 words in length and should address the following questions:

  • What is your field of historical research? In the context of your field, why is your project considered early?
  • Briefly describe the archive(s) or bod(ies) of sources on which your project is based. In what sense are these sources silent?
  • Briefly describe the method(s) that you use to work with these sources. What methodological intervention does your project make, and why is it significant?
  • What form will your project take in the journal?

We invite projects in a wide variety of forms. They can include, but are not limited to:

  • Traditional research articles (no more than 8,000 words, excluding footnotes)
  • Image- or video-centered projects
  • Digital history/humanities projects
  • Public history projects or virtual exhibitions
  • Pedagogical projects that examine approaches to methodology and archival silence in the classroom

Decisions on proposals will be announced in November 2025. A positive decision does not guarantee publication in the journal but is rather an invitation to submit a full and complete version of the proposed project for peer review. The submission deadline for complete projects for peer review is May 1, 2026. We anticipate publication of the special issue in 2027.

Please contact the special issue editor, Hannah Barker (hannah.barker.1@asu.edu), with questions.

Call for Contributions: Panoramic and Immersive Media Studies (PIMS) Yearbook

The Panoramic and Immersive Media Studies Yearbook (PIMS Yearbook) invites contributions for publication consideration in its third yearbook. The PIMS Yearbook is the annual yearbook of the International Panorama Council (IPC), published by De Gruyter. It surveys the historical and contemporary landscape of panoramic and immersive media. This open call invites scholarly, creative, and practical contributions in seven areas including scholarly essays (peer-reviewed) and creative essays.

Panoramic and Immersive Media Studies (PIMS) Yearbook 3 (2026)

The Panoramic and Immersive Media Studies Yearbook (PIMS Yearbook) invites contributions for publication consideration in its third yearbook. The PIMS Yearbook is the annual yearbook of the International Panorama Council (IPC), published by De Gruyter. It surveys the historical and contemporary landscape of panoramic and immersive media. This open call invites scholarly, creative, and practical contributions in seven areas including scholarly essays (peer-reviewed) and creative essays.

Panoramic & Immersive Media Studies (PIMS) Yearbook 3 (2026)

The Panoramic & Immersive Media Studies (PIMS) Yearbook is the annual yearbook of the International Panorama Council (IPC, Switzerland), published by De Gruyter Oldenbourg (Germany). It surveys the historical and contemporary landscape of panoramic and immersive media. This interdisciplinary field includes—but is not limited to—optical and haptic devices; 360-degree paintings; long-form paintings, photography, and prints; dioramas; museum displays; games; gardens; literature; maps; music; printed matter; still and moving images; virtual and augmented reality; and theatrical productions. Whereas the notion of the panoramic describes extensive, expansive and/or all-embracing vistas, immersion refers to porous interfaces between representation and the real, observer and observed, nature and culture, and past, present, and future. Together, the concepts of panorama and immersion have catalyzed time- and space-bending strategies for creating, experiencing, and transforming culture, ideas, and built and social space across the arc of human history.

This open call invites scholarly, creative, and practical contributions in seven areas including scholarly essays (subject to double-blind peer review); visual and creative essays; restoration, management, and field reports; opinion forum pieces; IPC conference reports & papers (this section is open only to IPC conference presenters; contributions subject to single-blind peer review); reviews; and reprints. Contributions may explore a range of ideas in panoramic and immersive media, such as historical and contemporary uses of immersive technologies; innovative methods in preservation and heritage interpretation; tools for applications in museum interpretation and display, contemporary art practices, or educational settings; exploring contested heritage; and analyzing nationalist and imperialist discourses. View the publisher’s PIMS Yearbook page at De Gruyter Oldenbourg.

We welcome contributions from IPC members and non-members alike. The PIMS Yearbook is managed by three Executive Editors, a team of Section Editors, and an IPC Editorial Advisory Board. In addition, each issue invites one or more Guest Editors. Section details appear below. Sections not edited by named section editors are edited by PIMS Executive Editors.

SECTIONS

Scholarly Essays
This double-blind peer reviewed section invites scholarly essays that explore themes in panoramic and immersive media studies. We welcome consideration of historical and contemporary immersive media, technologies, aesthetics, and cultural practices and their continuing influence today. Contributions to the Scholarly Essays section are first reviewed by section editors and then subject to double-blind peer review coordinated by De Gruyter. If accepted for further consideration, the editors will request an anonymized copy for external double-blind peer review with the publisher.

Section Editors

  • Liz Crooks, Director, University of Iowa Pentacrest Museums, Iowa City, Iowa, USA
  • Melissa Wolfe, Curator and Head of American Art, Saint Louis Art Museum, Saint Louis, Missouri, USA

Invited Guest Editors

  • Leen Engelen, LUCA School of Arts, KU Leuven, Belgium
  • Prof. Victor Flores, Lusófona University, Lisbon, Portugal
  • Susana S. Martins, University of Nova Lisbon, Faculdade De Ciências Sociais e Humanas, University of Lisbon, Portugal

Forum
The Forum is responsive to current debates and public conversations surrounding old and new immersive media. It welcomes opinion pieces, interviews, etc. that make an argument, are delivered in the author’s own voice, are based on fact, and are drawn from the author’s research, expertise or experience. For example, contributions may explore the historical and contemporary uses of immersive technologies in preservation and heritage interpretation, as tools for exploring contested heritage, in museum interpretation and display, in educational settings, as entertainment and leisure enhancements, and in the service of promoting nationalist and imperialist discourses.

Reprints
The PIMS Reprints section makes space for revisiting articles, documents, other printed media and objects pertinent to the study of multimodal immersive technologies and media. Subject to permissions, this section features previously published, out-of-print and out-of-copyright materials understood to be significant to the production, reception and study of panoramic and immersive media. Contributions may also include historical and unpublished manuscripts, and/or other archival materials, such as illustrated presentations of objects and optical devices. Please include a short editorial/introductory essay (up to 800 words) to contextualize the proposed article, paper, document, translation, or object. If including images, please ensure they are print-ready and supply evidence of permission to publish.

Restoration, Management, and Field Reports
We invite papers and reports on the preservation, restoration, management and interpretation of historic panoramas and related immersive media formats. Contributions are subject to editing by section editors.

Section Editors

  • Patrick Deicher, President, Bourbaki Panorama Foundation, Lucerne, Switzerland​​
  • Gabriele Koller, Jerusalem Panorama Foundation, Altötting, Germany

Visual and Creative Essays
We invite visual and creative approaches including visual essays, artistic projects, creative writing, and other makerly modes of reflection and material research on immersive media. Contributions are editorially curated and prospective authors for this section are encouraged to contact section editors before submitting full proposals. Direct your message to IRMA360 [at] protonmail [dot] com.

Section Editors

  • Ruby Carlson, Director/Co-Curator, Velaslavasay Panorama, Los Angeles, California, USA
  • Sara Velas, Director/Co-Curator, Velaslavasay Panorama, Los Angeles, California, USA

33rd IPC Conference Report & Papers
This single-blind peer reviewed section publishes the IPC conference program, abstracts, keywords, and presenter biographies. It also invites conference presenters to contribute papers of up to 3,000 words that reflect the substance of their presentations. Conference presenters are welcome to contribute to this section or any other section. Contributions to the Conference Reports & Papers section are subject to single-blind peer review.

Section Editors

  • Liz Crooks, Director, University of Iowa Pentacrest Museums, Iowa City, Iowa, USA
  • Melissa Wolfe, Curator and Head of American Art, Saint Louis Art Museum, Saint Louis, Missouri, USA

Reviews
This section invites reviews of recent books, exhibitions, events, performances, archives, and products of a panoramic and/or immersive nature.

GENERAL NOTE
Contributions to the Scholarly Essays section are first reviewed by section editors and then subject to double-blind peer review coordinated by De Gruyter. Contributions to the Conference Reports & Papers section are subject to single-blind peer review. All other sections are reviewed by the PIMS Yearbook editorial board. Following the initial review of submitted materials, PIMS Yearbook editors may re-assign a submission for consideration in another section. On occasion, a submission will be recommended for publication in a succeeding volume.

Executive Editors

  • Prof. Dr. Molly Briggs, School of Art & Design, University of Illinois Urbana-Champaign, USA
  • Prof. Dr. Thorsten Logge, University of Hamburg, Germany
  • Prof. Nicholas C. Lowe, John H. Bryan Chair of Historic Preservation, School of the Art Institute of Chicago, USA

Section Editors

  • Ruby Carlson, Velaslavasay Panorama, Director/Co-Curator, Los Angeles, California, USA
  • Liz Crooks, Director, University of Iowa Pentacrest Museums, Iowa City, Iowa, USA
  • Patrick Deicher, President of the Bourbaki Panorama Foundation, Lucerne, Switzerland​​
  • Prof. Victor Flores, Lusófona University, Lisbon, Portugal
  • Leen Engelen, LUCA School of Arts, KU Leuven, Belgium
  • Susana S. Martins, University of Nova Lisbon, Faculdade De Ciências Sociais e Humanas, University of Lisbon, Portugal
  • Gabriele Koller, Curator, Museum Panorama Altötting, Altötting, Germany
  • Sara Velas, Velaslavasay Panorama, Director/Co-Curator, Los Angeles, California, USA
  • Dr. Melissa Wolfe, Curator and Head of American Art, Saint Louis Art Museum, Saint Louis, Missouri, USA

Editorial Advisory Board

  • Prof. Dr. Thiago Leitão de Souza, Universidade Federal do Rio de Janeiro, Brazil
  • Dr. Blagovesta Momchedjikova, Expository Writing Program, New York University, USA
  • Robin Skinner, Te Herenga Waka—Victoria University Wellington, New Zealand
  • Suzanne Wray, Independent Scholar & Researcher, New York City, New York, USA

SUBMISSION GUIDELINES
The PIMS Yearbook accepts original and complete illustrated manuscripts written in the English language.

How to Submit
Please send your initial submission to pimsyearbookipc [at] gmail [dot] com

Please indicate which section you are submitting to:

  • Scholarly Essays (double-blind peer review)
  • Forum (edited)
  • Restoration, Management, and Field Reports (edited)
  • Visual and Creative Essays (edited)
  • International Panorama Council Conference Report 2024 (single-blind peer review)
  • Reviews (edited)
  • Reprints (edited)

Contributions need not be anonymized at the initial submission stage

Word limits

Scholarly Essays: Abstract up to 300 words plus 4 to 7 keywords (do not include title words); main text up to 10,000 words including notes, references, image captions, and author bio (in exceptional cases we can accommodate up to 15,000 words).

Visual & Creative Essays: Abstract up to 300 words plus 4 to 7 keywords (do not include title words); main text up to 5,000 words plus works cited; author biography up to 150 words. Contributions to this section may be more image-rich and may be shorter in word count.

Forum, Restoration, and Conference sections: Abstract up to 300 words plus 4 to 7 keywords (do not include title words); main text up to 5,000 words plus works cited; author biography up to 150 words.

Reviews: Title as the “[Book/Exhibition/Event] Review: [Title of Book/Exhibition/Event (plus author/maker name if applicable)]”; main text up to 3,000 words.

Reprints: Accompany the content to be reprinted with an original introduction, up to 1,500 words plus 4 to 7 keywords.

Manuscript Preparation & Formatting
Please use MS Word.docx file format if possible. If you don’t have access to MS Word, use Google.docs to prepare as a .docx file.

All submissions must be formatted in compliance with the PIMS Style Sheet, and the PIMS Manuscript Template, and the Chicago Manual of Style 18th Edition.

Download and use the PIMS-ManuscriptTemplate as your starting point; follow all instructions and examples provided therein. Again, if you do not have access to MS Word, we recommend composing as a .docx file in Google docs.
Also, download the PIMS Yearbook v3 StyleSheet and refer to it as you work.

Images
Only include images that are central and necessary to your argument; do not include images solely for the purposes of illustration.

Contributions to the Visual and Creative Essays and Reviews sections can be more image-rich.

All images must be accompanied by in-text image callouts. Images not referred to in the text, e.g. without callouts, cannot be published.

Contributions to the Visual and Creative Essays and Reviews sections may not require image in-text callouts

Image files are not required upon initial submission. However, we strongly recommend gathering print-ready image files now, so that if accepted for publication you will be prepared to move forward. Minimum specifications for file size and quality:

  • 7 in / 17 cm in longest dimension
  • 300 dpi (600 dpi preferred)

If your contribution is accepted for publication, you will be required to provide legal proof of image permissions for each image, even open source images. Now is a good time to begin gathering that information.

Contributions for v3 are due 3 October 2025

Send inquiries and contributions to pimsyearbookipc [at] gmail [dot] com

PIMS Yearbook at De Gruyter Oldenbourg

Contact Information

Executive Editors

  • Dr. Molly Briggs, School of Art & Design, University of Illinois Urbana-Champaign, USA
  • Prof. Dr. Thorsten Logge, Universität Hamburg, Germany
  • Nicholas C. Lowe, Professor, John H. Bryan Chair of Historic Preservation, School of the Art Institute of Chicago, USA

Contact Email: pimsyearbookipc@gmail.com

Ideas from oral history colleagues for a 4th edition of The Oral History Reader

Dear oral history colleague/s

We – myself and Alexander Freund – seek your expert advice, and would like to share your suggestions about oral history writings with colleagues, as appropriate, through H-OralHist.

We have been contracted by Routledge to edit a fourth edition of The Oral History Reader, which was first published in 1998 (Rob Perks, who co-edited the first three editions with Alistair, has decided to take a more back seat role in the fourth edition, as a founding editor). 

We are seeking your suggestions about oral history journal articles, or book chapters or extracts, published from 2015 on, that we might consider for inclusion in the fourth edition. We are looking for well-written pieces from the last decade that use oral history in original and imaginative ways, that include especially insightful reflections about aspects of oral history theory and method, and that would work for an international English-language readership that includes oral history students, researchers and practitioners. 

You don’t need to tell us about articles in the major English language oral history journals (Oral History, Oral History Review, Oral History Forum, Studies in Oral History, and Words and Silences), or about chapters in the major oral history books series (Palgrave Macmillan, Oxford and Routledge) – as we’ll be reading everything in those book series and journal issues.

We are keen to include writings from across the oral world, and from the range of disciplines and practices that work with oral history. They might concern any aspect of oral history, though the publisher, and reader reports, urged us especially to include new writing about the following topics:

  • Remote interviewing
  • Audio and video interviewing
  • Developing an oral history project
  • New digital media formats (podcasting, soundscapes etc)
  • ‘Shared authority’ 
  • Oral history and artificial intelligence

We will probably use the same five-part structure for the Reader (Critical Developments, Interviewing, Interpreting Memories, Making Histories, and Advocacy and Empowerment) so ideally the writings will work within that scheme though they may of course work across different categories. 

Please also let us know about appropriate, exceptional oral history writings that have been published in languages other than English (we don’t have a budget for translation, but AI now makes it easier to do quick and rough translations so we can consider such pieces).

Finally, if you have used earlier editions of the Reader for teaching or in other ways, we’d love to hear your thoughts about the chapters in previous editions that are indispensable, and about chapters you think should be replaced by new writings. 

We look forward to hearing your thoughts through this group or, if you prefer, email privately to alistair.thomson@monash.edu and / or alexanderfreund9@gmail.com 

With best wishes, Alex and Al

Call for Chapter Proposals: Navigating Archival Backlogs: Strategies for Success

Title: Navigating Archival Backlogs: Strategies for Success
Editors: Heather Gilbert, College of Charleston and Claudia F. Willett, Stanford University
Publisher: Bloomsbury

We are excited to invite chapter proposals for Navigating Archival Backlogs: Strategies for Success, a double-blind peer reviewed edited volume to be published by Bloomsbury. Please email the editors at navigatingarchivalbacklogs@gmail.com with any questions.

About the Book

Nearly every archive has an accessioning and/or processing backlog.  It is an almost universal truth accepted by the profession. This situation reflects long-standing issues in the profession: limited staffing, resourcing, space, and institutional support. We know the consequences of archival backlogs: they prevent accessibility and discoverability of our collections and, therefore, our history, and they contribute to archival silences and obstruct researchers. However, the practical and physical extent of this problem is often left undiscussed, and the residual issues are left unaddressed. 

This edited volume will provide contemporary case studies of the development and implementation of successful backlog reduction strategies. It will address a range of backlog material types (including both physical and digital backlogs) and a spectrum of resource availability (including institutions with little to no budget to address their backlog issue). Readers should come away fortified with practical and accessible solutions that they can use to address their specific backlog problem(s). 

Call for Chapter Proposals

Proposals are invited from individuals working in archival and cultural heritage institutions who have experience navigating, working with, managing, or addressing archival backlogs. Case studies and exploratory research are invited and welcome, as are essays that incorporate scholarly writing with personal narratives. Final chapters should be between 2,500 – 5,000 words. All selected chapters will undergo double-blind peer review prior to publication. This is not an exhaustive list, so do not feel limited by the following suggested topics.

Section 1: Physical backlog strategies

Themes for this section could include: 

  • Processing, accessioning, deaccessioning, and/or proactive collecting practices and strategies as a function of backlog management.
  • “More product, less process” processing style (MPLP) and/or extensible/efficient processing as a means of addressing a backlog.
  • Backlog workflow creation, implementation, and management and/or software and/or tools used in these processes.   

Section 2: Digital backlog strategies

Themes for this section could include: 

  • Born digital processing, accessioning, deaccessioning, and/or proactive collecting practices and strategies as a function of digital backlog management.
  • Building cross departmental collaborations and workflows.
  • Software and/or tools used in addressing digital backlogs.

Section 3: Hybrid backlog strategies

Themes for this section could include: 

  • Discussion of the extent of hybrid collections (and their backlogs) and the unique challenges they present
  • Resource and knowledge sharing that leverage collaborative solutions
  • Personnel proficiency requirements for successful hybrid backlog resolution.

Section 4: Leadership & Management 

Themes for this section could include: 

  • Change management related to backlog management
  • Large scale project management for backlogs
  • Conflict resolution and personnel and donor management as related to backlog issues
  • Impacts of having an archival backlog

Proposal Instructions

Please submit your proposals using the Call for Chapter Proposals Google Form by June 2, 2025. The proposal should include all contributing authors, a working title, 3-5 keywords describing your proposed topic, which book section you believe your proposal fits best, and a description of your proposed chapter that does not exceed 500 words.  

Authors will be notified of acceptance by August 15, 2025. See below for the full project timeline. Please email the editors at navigatingarchivalbacklogs@gmail.com with any questions.

Project Timeline

  • CFP closes June 2, 2025
  • Authors notified of acceptance by August 15, 2025
  • Chapter outlines sent to editor by September 15, 2025
  • First drafts due January 1, 2026
  • Draft reviews completed and feedback provided to authors by March 2, 2026
  • Final drafts due April 1, 2026
  • Publication anticipated August 2026

Call for Submissions – Museums Journal: Afterlives (2026)

Museums 2026 – Call for Submissions for Afterlives (Issue #11)

What does it mean to be alive? To be dead? To exist in a state beyond?

An afterlife can be a refusal, it can be the archive’s inability to forget, the museum’s struggle to unmake itself, the artifact that resists its own display. An afterlife can be a haunting, a presence that insists, a structure that lingers past its collapse. An afterlife can be a release, an object freed from the logic that once defined it, a collection finding life in new hands, a museum breaking apart to make space for something unimagined.

Submission Deadline: January 5, 2026, 11:59 PM (CST)

Submission Link: https://docs.google.com/forms/d/e/1FAIpQLSdjlnJZYMnaMP7GCEKtt-Y5U7B654xSBF4ASmT84AwUvlwtzw/viewform?pli=1

CFP: Grant Writing Collaborations in Academic Librarianship

Grant Writing Collaborations in Academic Librarianship

Editor

Dr. Addison Lucchi

Instructional & Research Librarian | Professor
MidAmerica Nazarene University

About this Edited Collection

This edited collection focuses on effective strategies and best practices for fostering collaborative grant-writing initiatives among academic libraries, faculty, and external organizations. In many institutions, grant proposals are developed in isolation, often without direct collaboration with the library as an academic unit. However, through collaboration between academic libraries and other departments across campus, transformative projects can be designed to provide lasting change for the entire academic community. Drawing on a rich array of case studies from diverse academic libraries nationwide, the book highlights successful collaborations that have resulted in meaningful change. It also offers a wealth of practical guidance on best practices, templates, checklists, writing tools, and frameworks for developing innovative grant proposals that center on strategic collaboration.

Readers will discover how to identify potential collaborators, navigate the complexities of joint proposals, and leverage library resources to enhance project outcomes. By centering on strategic collaboration, this collection equips librarians and faculty with the insights and skills needed to craft impactful grant projects that not only secure funding but also advance institutional goals and enrich the academic experience for the entire community.

Publisher

ACRL Press

Chapter Topics

Chapter topics may focus on, but are not limited to the following:

Case Studies in Successful Grant Writing Collaboration & Project Implementation:

  • Mini-grants
  • Library-centered grants
  • Broader academic grant projects
  • Community-centered grant projects
  • Large, multi-year grant projects
  • Etc.

Grant Writing Tools and Resources:

  • Resources for grant-writing
  • Templates and checklists for successful grant proposals
  • How to find available grants
  • Potential workshops and training for librarians and other grant-writing collaborators

Other topics are welcome, and you are encouraged to submit your proposals.

We welcome proposals from any authors who have written and managed grant projects as a part of their academic library, or who have collaborated with academic libraries on their campuses. Particularly, we are searching for clear examples and case studies of grant-writing collaborations, including how academic libraries have collaborated with external departments and organizations to create meaningful change in their communities. Case study chapters will include details on the grant search process, project development, grant writing process, and project implementation. Additionally, we seek chapters that provide a variety of practical tips and tools for academic library grant-writers, drawing upon experience, including practical templates, checklists, toolkits, etc.

Each case study chapter (4,000 to 8,000 words) should also include practical lessons learned through experiences and advice for future grant-writers. Each tools and resources chapter (2,000 to 6,000 words) should include usable resources, tools, lists, etc. to facilitate and improve the grant-writing process.

Proposals for all chapters should include 1) a proposed title for the chapter; 2) an abstract for the chapter; 3) a brief outline for the chapter; and 4) a list of practical takeaways, lessons learned, or action steps for the reader.

Tentative Timeline: 

  • March 10, 2025 – CfP opens
  • June 30, 2025 – CfP closes 
  • July 31, 2025 – Notification of submission status (accepted or declined) sent
  • May 1, 2026: 1st draft due

How to Submit Your Proposal

Please note that a 400-500 word abstract is required (and must be submitted via a shared Google doc in the submission form) and should include an overall outline of the proposed chapter with clearly labeled relevant headings that address the topic of the edited collection as described in this CfP. Please make sure to also address, even if only at a high level, what lessons learned / practical actionable next steps readers can take away from your chapter to hopefully help address similar concerns they may be facing. Specifically, the proposal should include: 1) a proposed title for the chapter; 2) an abstract for the chapter; 3) a brief outline for the chapter; and 4) a list of practical takeaways, lessons learned, or action steps for the reader.

Please submit your proposal by completing the proposal submission form available by visiting 

https://docs.google.com/forms/d/e/1FAIpQLScKm5qHgNUB_XbW8P4u0qEpqO0c2TGqd6BDcMnPFj_3nrWACw/viewform?usp=header. Alternatively, you are welcome to email your proposal directly to amlucchi@mnu.edu. 

Questions

Questions or concerns? Please submit let us know by emailing Dr. Addison Lucchi at amlucchi@mnu.edu. 

CFP: Visual Resources Association Annual Conference

The Call for Proposals has bee extended! The submission deadline is Monday, April 7, 2025, at 11:59 pm PDT.

Whether you are a current member or a potential attendee, we encourage you to reflect on your experiences, ideas, and expertise. We encourage submissions from VRA members and non-members, seasoned attendees and first-timers, as well as students, early-career, mid-career, and senior professionals.

Please direct any questions about the submission process to VRA’s Directors for Events & Initiatives at initiatives@vraweb.org. 

VRA 2025 Virtual Whiteboard

Interested in engaging with the VRA community to develop or refine a proposal or suggest ideas? VRA’s Education Committee has set up a Virtual Whiteboard where you can brainstorm collaboratively about potential papers, panels, special interest/user groups, workshops, meetings, and poster sessions. Reach out to the Education Committee co-chairs at education@vraweb.org if you have any questions about the whiteboard. 

Suggested Topics

We welcome proposals on a wide range of topics related to visual resources, including case studies, lessons learned (both successes and challenges), practical applications, innovative methods, ongoing projects, ethical considerations, research, and pedagogical practices. Suggested topics include:

  • Coding
  • Community outreach
  • Copyright/intellectual property
  • Digital asset management, digital curation, digital preservation, etc.
  • Digitization (workflows, digital capture and imaging technologies)
  • Digital scholarship and digital humanities
  • Diversity, equity, inclusion, cultural competencies, social justice
  • Project management (communication, grant writing, prioritization, leadership, etc.)
  • Linked data
  • Materials/objects collections
  • Metadata/cataloging ethics (decolonizing vocabularies, radical cataloging)
  • Storytelling and oral history
  • Technologies (GIS and mapping, 3D imaging, etc.)
  • Tools: open source, evolution, future trends
  • Workplace cultures and professional transitions (academic departments, libraries, cultural heritage institutions, archives, corporate, etc.)

This is not an exhaustive list. Do not hesitate to propose something new or highlight an area of concern that you feel has not been adequately addressed in the past! 

Past conference schedules can give you an idea of the range of topics presented in previous years.

Conference Format

As we look ahead to VRA 2025, we are excited to announce a carefully considered shift in the structure for our upcoming annual conference. 

Five years since the onset of the pandemic, the landscape of large-scale conferences has profoundly transformed. Priorities have shifted, placing greater emphasis on health and safety, accessibility, affordability, and environmental sustainability. These changing expectations have inspired us to reimagine how we structure our conferences to better serve our community.

Over the past three years, the VRA Annual Conference has embraced a hybrid model, accommodating virtual and in-person attendance with a mix of in-person and remote presenters. However, in 2025, we are embarking on a new approach to enhance the experience for all participants.

VRA 2025 will feature two distinct components: virtual pre-conference programming held a week prior to the main event, followed by three days of on-site conference programming at the Porter Hotel in Portland, OR.

On-site conference attendees will automatically be registered for the virtual pre-conference, and folks unable to attend on-site will have the option to register for the virtual pre-conference programming separately. 

This change is designed to ensure flexibility and accessibility while creating a more engaging experience. It will also lessen the burden on both our organization’s finances and the volunteers who make this event possible. Furthermore, by separating virtual and on-site programming, we aim to avoid the challenges posed by the hybrid model, which often leads to a fragmented experience for both in-person and virtual participants.

To help us in this effort, we invite you to share your feedback through an anonymous survey. Your voice matters, and we want to hear from you as we work toward a more inclusive and engaging conference. Click here to access the feedback form.

Working together, we can design a conference experience that adapts to the evolving expectations of our field for 2025 and beyond.

Please direct any questions about the conference format to VRA’s Directors for Events & Initiatives at initiatives@vraweb.org. 

Proposal Types

VRA 2025 is an in-person conference, and accepted speakers are expected to deliver their presentations onsite (barring extenuating circumstances). To accommodate those unable to attend in person, there will be a limited number of all-virtual sessions during pre-conference programming the week of September 29, 2025. Presenters should plan their submissions and participation accordingly.

Committees, chapters, and user groups may choose to meet virtually before the conference, in-person during the conference, or both (two meetings, one virtual and one in-person).

Please note, there will be a separate call for posters in June 2025.

Individual Paper (15–20 minutes): Individual presentations that may highlight new research, a project, a case study, or an innovative idea relevant to the VRA community. Papers should aim to provide attendees with fresh tools, strategies, or inspiration they can apply in their own practice. Grouped thematically with other individual papers into sessions with a total run time of 60 to 90 minutes, including a Q&A.

Lightning Talk (5–7 minutes): Short individual presentations addressing a timely or specific topic. Lightning talks provide attendees the opportunity to hear about a range of innovative projects or ideas from a broad group of colleagues in a short amount of time. Grouped into sessions that may or may not be themed, with a run time of 60 minutes, including a Q&A.

Pre-coordinated Panel (60–90 minutes): Moderated sessions typically consisting of 3–4 presenters speaking for 15 minutes each, followed by a facilitated Q&A. Panels provide attendees with diverse perspectives on a single topic, a comparison of tools or methods, or a number of case studies on related subjects. If you are proposing a panel, it is your responsibility to fill the time with presenters. It is not necessary to identify all potential presenters before submitting, but conference planners will need names of presenters several months prior to the conference.

Workshop (90 minutes–3 hours): An opportunity to teach and explore a specific tool, technique, workflow, or concept relevant to the VRA community. Recent conference workshops have included sessions on digital cartography, accessibility, salary negotiation, critical cataloging, grant writing, coding, open data, photogrammetry, and more. 

Special Interest or User Group (60 minutes): Small, informal, facilitated group discussions on topics or tools related to specific segments of the VRA community. Facilitators may propose a meeting for an existing group, or you may also propose a meeting for a topic of interest to you to see if others share that interest.

Committee or Chapter Meeting (60 minutes): Sub-groups within VRA can use conference time to gather and discuss their efforts to continue the work of the organization. These groups are generally regional chapters or established organizational committees.

Schedule

  • January 27: Call for Proposals opens
  • March 14, 11:59 pm PDT: Call for Proposals deadline
  • April 7, 11:59 pm PDT: Call for Proposals extended deadline
  • On or around May 12: Notification of final decisions
  • On or around June 2: Tentative programs released for conference and virtual pre-conference

Code of Conduct

All presenters are expected to adhere to VRA’s Conference Code of Conduct.

CFP: IPRES 2025

Call for Contributions

We are excited to invite peer-reviewed contributions for iPRES 2025, the premier international conference on digital preservation. We will make a further call for ad-hoc contributions in June 2025.

iPRES 2025 will take place in Te Whanganui-a-Tara (Wellington), Aotearoa (New Zealand), from 3-7 November 2025, and will offer a combination of in-person and virtual participation opportunities. We warmly invite contributions from researchers, practitioners, and organisations across the globe who are involved in the field of digital preservation.

The themes for iPRES 2025 are: Haerenga (Journey), Tūtaki (Encounter), and Tūhono (Connect). These themes encourage reflections on the evolving practices, innovations and partnerships shaping the future of digital preservation. Each theme reinforces the others, creating a holistic view of how digital preservation research and practice can adapt, innovate and thrive.

  • Haerenga (Journey) – This theme focuses on the broader narrative of digital preservation, emphasising the ongoing processes, challenges, and learning experiences practitioners face.
  • Tūtaki (Encounter) – This theme is focused on innovation, disruption, and the re-evaluation of long-held norms.
  • Tūhono (Connect) – This theme is all about the importance of communities, collaboration and interdisciplinary work in digital preservation.

You can read more about the conference themes, and examples of topics that relate to the themes here.

Types of Contributions

This is a call for the submission types that will be peer-reviewed:

  • Full Papers: In-depth research papers, technical papers, or case studies (max 8 pages).
  • Short Papers: Concise reports on work-in-progress or emerging topics (max 4 pages).
  • Workshops: Interactive, hands-on sessions focusing on tools, methods, or best practices.
  • Tutorials: Educational sessions or demonstrations aimed at teaching participants new skills or technologies relevant to digital preservation. Tutorials should be structured to provide a clear learning outcome and can range from beginner to advanced levels.
  • Panels: Discussions addressing key issues or trends in digital preservation.
  • Posters: Visual presentations of projects or ideas, encouraging one-on-one engagement.

In June 2025 we will have a call for non-peer reviewed submission types (Lightning Talks, Birds of a Feather, Games, etc.) and for participation in a Digital Preservation Bake-Off. These ad-hoc submissions will go through a light internal assessment that will be detailed on the conference website.

You can find the submission instructions, including the link to the online submission portal here.

​Evaluation Criteria

Submissions will be peer-reviewed based on the following criteria:

  • Relevance to the conference themes
  • Originality, innovation, and contribution to the field of digital preservation
  • Clarity and organisation of ideas
  • Significance for the digital preservation field and impact on the community

​Important Dates for Peer-Reviewed Contributions

  • Submission deadline: 14 April 2025, End of Day, Anywhere on Earth (No planned extension of date)
  • Notification of acceptance: 2 June 2025

You can find a more detailed version of important dates here.

​Diversity and Accessibility

iPRES 2025 values manaakitanga – kindness, respect, and hospitality towards others. We are committed to fostering a diverse and inclusive environment. We strongly encourage contributions from Indigenous and underrepresented voices in the digital preservation community.

Tākina Wellington Convention and Exhibition Centre, the conference venue for iPRES 2025, has been designed and built to be accessible for everyone. You can find more information about Accessibility at iPRES 2025 both for in-person and remote participants here.  

AI Usage

In recognition of the potential benefits and increasing use of AI tools, iPRES 2025 permits their usage, under the conditions outlined in these guidelines . These guidelines are designed to help maintain the integrity and quality of iPRES publications while allowing the beneficial use of AI tools. They are informed by guidelines from international organisations and publishers regarding the use of AI.

​Conference Proceedings and Publication

After the conference, all iPRES 2025 submissions will be made openly available online in one or more forms:

Submission TypesConference Proceedings (in Phaidra)Openly published (OSF, etc.)
Individual citable documentAs part of summary abstract bookAs part of aggregated submissions
Full & short Papers, PostersYesYesYesYes (with presentations)
Workshops, Tutorials, PanelsNoYesYesYes (with presentations)
Ad hoc formats (Lightning Talks, Games, etc.)NoNoNoYes (with presentations)

Contact Information

For questions or support regarding the submission process, please contact us.