CFP: Oral History Review, Special Issue on Indigenous Oral History

Oral History Review – Special Issue!
Announcing a Special Issue dedicated to Indigenous Oral History
Fall 2026

Twenty-five years ago, Winona Wheeler edited “Indigenous Voices from the Great Plains,” a special issue of Oral History Forum, the journal of the Canadian Oral History Association. Around the same time, she attended her first OHA conference, where, she figured, she was the only Indigenous person there. It was a lonely event! Indigenous peoples had been engaged in the practice of oral history for centuries but not many of us were finding our ways to meetings like those run by the OHA. The years since then have seen much change: in 2020 Nepia Mahuika’s exceptional Rethinking Oral History and Tradition: An Indigenous Perspective, won the OHA’s book award, and in 2021 an Indigenous caucus was
formed to provide a recognized space within the OHA for Indigenous oral historians to support one another and to encourage young Indigenous scholars’ oral history work within their communities. As caucus co-founder Sara Sinclair said at that time, her interest in the new group was in part the simple opportunity it granted to engage with other Indigenous practitioners whose work she admired more directly. In 2022, the OHA committed to an Indigenous Initiative, including building an endowed fund “to promote the success of Indigenous oral historians, as well as meaningful and ethical oral historical projects within Indigenous communities.”

There are still many challenges our practitioners face We remain under-represented within cultural and academic institutions and under-funded in our community-engaged practices. Accounts of what the practice of Indigenous oral history means, and how we do it, also remain under-published and misunderstood. For these reasons and more, we are excited to announce a special issue of the Oral History Review and with it, the opportunity to promote meaningful exchange within our community about the practice of Indigenous oral history, by Indigenous practitioners. This is an opportune time to bring the Indigenous oral history community together again, and welcome new peers to introduce themselves and to join us in our pursuits.

We invite you to respond to this call for papers with oral history encounters/interviews, essays, reflections and stories that reveal the multiplicity of ways in which Indigenous oral historians embrace different ways of knowing, and diverse expressions of what it means to “do” oral history in our communities.

Our call for papers asks you to consider:

  • What you are doing with your oral histories; what are the unique ways that you are working with your material, and how you are putting it to use.
  • The projects that shaped who you are and that most informed your oral history practice.
  • The stories of the narrators who changed your life, the relationships that underpinned your adventures, and the experiences that have evoked the most emotion.
  • The readings that have most impacted the way you think about/teach about oral history, whether those readings are categorized as “oral history” or not.
  • How relationships inform the work that you do.
  • How you think about, and feel about, and honor responsibility to community.
  • How you have navigated rules and restrictions in mainstream academic institutions that have made it harder to do your work.
  • How your own approach to teaching Indigenous oral history has evolved
  • How your own thinking about the meaning and practice of oral history has evolved in your own lifetime.

We are especially excited to consider multi-media approaches to sharing these reflections in the OHR’s digital edition of this issue!

The deadline for submissions is June 1st, 2025.

To submit your articles, use the OHR submission portal, https://mc.manuscriptcentral.com/ohr.

For questions, please contact our Special Issue Editors, Sara Sinclair and Winona Wheeler:

  • Sara can be reached at sara.e.sinclair@gmail.com.
  • Winona can be reached at winona.wheeler@usask.ca.

Call for Chapters: Remembering and (Re)remembering Social Justice in the 21st Century

Remembering and (Re)remembering Social Justice in the 21st Century

deadline for submissions: October 20, 2024
full name / name of organization: Ben Alexander. Columbia University
contact email: bea3@columbia.edu

Call for Papers
New Volume: Remembering and (Re)remembering Social Justice in the 21st Century 
Publisher: FACET

Please Submit a 500 word Abstract by October 20.    

We are looking for 3, maybe 4, chapters to complete our volume that is in-contract with FACET.  Verne Harris will be authoring our Forward, Trudy Peterson our Introduction and Verne Harris our Afterword.  Chapter titles include:

  • Bending the Arc of History Toward Justice: The Romero Institute and the Digital Transformation of Social Justice Work in the Twenty-First Century – Indigenous Rights and Environmental Justice
  • Justice as Morality, Morality as Justice: Cultivating a Moral Vision of Archival Capabilities and Human Dignity
  • Out of the Institutional Archive and on to the “Digital Streets”: Restoring Community Access to the Squatters’ Collective Oral History Project
  • The US Opioid Crisis through the Records Lens: Corporate Malfeasance and Justice Seeking.
  • The Archimedes Palimpsest, They Shall Not Grow Old and Shoah’s Interactive Holograms: Making Social Justice History Contemporary 
  • Recordkeeping for Menstrual Data: Privacy, Mobile App Analytics, and Consent

From the end of World War II through the change in millennia intersections between the evolution of the post-modern archive and the formation of post-modern historical discourses intersected concerns for social justice within complex geo-political landscapes composed of fractious post-colonial environments, Cold War interests, and often violent confrontations (within western democracies) centering on demands for inclusion and plurality.  In general, the archive created precedent for the extension of Activisms around the world by incorporating new forms of material remembrance that provided precedent for newly imagined forms of collective memory.  Indeed, while it may seem quaint today, archives struggled to preserve unprecedented quantities of visual materials (both moving image and static) as well as new forms of manuscript materials (mimeographs, Zines etc.) that in their day seemed dangerously ephemeral but were absolutely essential to social justice movements.  Further, the archivist had to imagine new ways to engage new forms of civil rights actions and movements. 

Scholars, archivists and activists today are confronted with similar challenges.  Activist cultures are now largely immaterial.  Activist movements are often global in reach but shaped by geographically specific cultures.  The archivist today must assume new agencies to engage and document social justice actions and movements.  Indeed, the distinction between archivisms and activisms is decidedly blurred. 

Our volume seeks collaborative and international discussion among scholars (from a breadth of interests), as well as activists and archivists to engage the tremendous challenges that threaten the historicity of 21st century social justice movements around the world.  

We are especially interested in 6 categories of research.

1)    What distinguishes 21st century social justice actions from 20th century activisms?  What unities and agencies remain consistent among movements including Occupy, The Arab Spring, and BLM?     

2)    Has the evolution in the very nature of social justice advanced expectations of the archivist?  Must the 21st century archivists assume activist agencies?  Might 21st century archivists require sensitivities (perhaps training) that is additional to 20th century models?  

3)    What will distinguish a 21st century social justice archive from its 20th century counterparts?  It would seem that the very core of archival practice will require careful revaluation in new and unique 21st century contexts.

4)    Certainly, we are experiencing an unprecedented loss of faith in authenticity – a troubling advent for the archive.  How will records produced within complex 21st century digital matrices assume accustomed authority (based on their authenticity).  These are concerns that were vastly limited within the scope and reach of material world. 

5)    From a most contemporary point of view, we will want to consider the tensions between recent political evolutions and assumptions about the very nature of private information specifically and who controls information that is intended to hold government accountable more generally. 

6)    Finally, we are looking for a broad international perspective.  The examples of 21st century social justice referenced above (Occupy, Arab Spring, and BLM) are definitively international in their reach.  How might the experience of these previous revolutionary actions inform approaches to documenting more contemporary social dispensation.  We are especially interested in perspectives from activists and archivists from around the world.  

Announcements from SAA and CFP

Introducing: American Archivist Submissions Window
SAA’s leading publication in the archives field, American Archivist, is introducing a submissions window beginning with issue 88.2 (Fall/Winter 2025). The submissions window for this issue opens January 1 through February 15, 2025. For more information on submitting content, including research articles, case studies, perspectives, book reviews, and book review essays, please visit the American Archivist submissions page.

Submit to a Special Section of American Archivist on User Experience
The American Archivist Editorial Board invites proposal submissions for a Special Section in American Archivist exploring the wide-ranging spectrum of user experience topics and initiatives in the archives field. The goal of this Special Section is to showcase the importance of user experience work to the wider professional community. The deadline for proposals is February 1, 2025.

Read the Latest Review on the Reviews Portal 
In the newest review on the American Archivist Reviews Portal, Cheryl Oestreicher (Boise State University) reviews Heritage, Memory and Identity in Postcolonial Board Games, edited by Michal Mochocki (Routledge, Taylor & Francis Group, 2024). The book includes authors from a variety of disciplines examining game studies through numerous lenses, especially nostalgia and colonialism. Oestreicher writes, “Archivists are acutely aware that an ‘idyllic past’ does not really exist and thus understand the importance of ensuring a more historically accurate record.” Read the full review here

CFP: Media Fields Journal, Issue 19: Archival Elements

Call for Papers: Archival Elements
Media Fields Journal, Issue 19

Submission Deadline: October 31, 2024

In 2008, the International Federation of Film Archives (FIAF) released its 70 th anniversary manifesto reaffirming film’s status as the “optimal archival storage” of the moving image. “Don’t throw film away!” they urged, for unlike its digital successors, film elements tangibly embody traces of their own material history alongside a bygone cultural heritage. “No matter what technologies may emerge,” they write, existing film elements “connect us to the certainties of the past.”

For film archivists, the element is the inert container of audiovisual content subject to archival care and maintenance—the original artifact and source of any material or digital copies to come. Indeed, across scholarly and archival spheres alike, the element has remained the intrinsic foundation of the moving image, its archival preservation, and the theoretical study thereof. Whereas Caroline Frick has considered the ways that “original” media elements become bound up with notions of authenticity, cultural heritage, and nationhood, scholar-practitioners have increasingly turned to what Giovanna Fossati calls film’s “archival life,” a term that seeks to discursively address the expanding myriad of physical and digital spaces required in contemporary preservation. How, Fossati posits, might scholars and archivists alike better account for the ways that film and media are at once preserved, historized and politicized by archival processes? In other words, what might be gained from reflecting seriously on how different kinds of media traverse the archival sphere? What happens when a given audiovisual element also becomes an archival one?

This issue of Media Fields seeks to build on these conversations by examining how the proliferation and mediation of the archive and its elements is productive. Contemporary archival elements are often integrated into processes involving other forms of media, such as database and metadata development, digitization, interactive and public-facing archival digital interfaces, and larger multimedia collections. We ask: what kinds of political, theoretical, and practical connections arise when thinking about and doing the archive in these different spatial ways —traditional, alternative, or otherwise—and how might we better place these approaches in discursive conjunction with one another? Further, what are new ways in which theory (archival and otherwise) might intervene and inform archival practice, and historicizing therein? In turn, what does this mean for the (after)lives of the media themselves?

The Media Fields Editorial Collective at UC Santa Barbara’s Department of Film and Media Studies welcomes submissions that critically engage the connections between space, media, and archival practice. We seek essays of 1500–2500 words, digital art projects, and interviews from scholars and practitioners alike. Potential submission topics include, but are not limited to:

  • Preservation: Precarity and decay, fragility, physicality, ontologies of the film and media archive and its objects, broadly construed
  • Cataloging: Metadata organization, archival etymology, reparative description and taxonomies, hierarchical data structures
  • Collection management: Power and ethics, restitution and social justice, collections policy, community oversight, institutional and/or community-based funding structures
  • Memory: Personal, collective, historical and/or cultural memories, archival modes of erasure, loss, and silence
  • Curation: Accessibility, community engagement, digital interfaces
  • Provenance: Found footage, orphan films, transnational displacement
  • Archival space: Traditional institutions, digital databases, garages, basements

Past Media Fields issues and submission guidelines may be found at mediafieldsjournal.org.

Please email all inquiries and submissions to issue co-editors Kelsey Moore and Hannah Garibaldi at submissions@mediafieldsjournal.org by October 31, 2024.

Contact Email

submissions@mediafieldsjournal.org

URL

http://mediafieldsjournal.org/call-for-submissions/

CFP: Beta Phi Mu Scholars Series Books by Rowman & Littlefield

The Beta Phi Mu Scholars Series, published by Rowman & Littlefield, an imprint of Bloomsbury, welcomes book proposals that advance knowledge in the discipline and profession of library and information science. The following broad topics are suggestions that future authors may wish to undertake, but is by no means an exhaustive list:

  • The economics of information and libraries
  • Innovative service options in different environments
  • Technologies that facilitate librarians’ and information specialists’ work
  • Examination of the dynamics of communities
  • Complexities of decision making
  • Developing professionals to make differences in organizations
  • Research into communication challenges
  • Serving ethnically, culturally, and/or linguistically diverse populations
  • Creating models for the sustenance of leadership in organizations

More information about the series can be found here. To see our most recent publications, please view the Rowman & Littlefield website.

Authors are asked to submit proposals that include the following:

  1. Working title
  2. Expected publication date and anticipated timeline
  3. Estimated length of manuscript
  4. Summary
  5. Outline of chapters
  6. Drafted chapter (if possible)
  7. Explanation of the significance of the manuscript
  8. Resume or vita addressing author’s qualifications

Inquiries, questions, and proposals should be sent directly to the Editor, Andrea Falcone, at bpmseries@gmail.com.

CFP: Markers: Annual Journal of the Association for Gravestone Studies

Call for article submissions for the 2026 issue of Markers, the scholarly journal of the Association for Gravestone Studies. The deadline is November 1, 2024.

The subject matter of Markers is defined as the analytical study of gravemarkers, monuments, tombs, and cemeteries of all types and encompassing all historical periods and geographical regions. Markers is of interest to scholars in public history, anthropology, historical archaeology, art and architectural history, ethnic studies, material culture studies, historic preservation, American studies, folklore and popular culture studies, linguistics, literature, rhetoric, local and regional history, cultural geography, sociology, and related fields. Articles submitted for publication in Markers should be scholarly, analytical, and interpretive, not merely descriptive or entertaining, and should be written in a style appropriate to both a wide academic audience and an audience of interested non-academics.

Questions and submissions to Markers should be sent to Editor Elisabeth Roark, Professor of Art History and Museum Studies at Chatham University, at roark@chatham.edu.  To learn more about the Association for Gravestone Studies, please visit our website at https://www.gravestonestudies.org/.

Contact Information

Dr. Elisabeth Roark, Editor, Professor of Art History and Museum Studies, Chatham University

Contact Email

roark@chatham.edu

URL

https://www.gravestonestudies.org/agspublications/markers

Reissued Call for Artists, Writers, and Academics: “Creative Responses to Holocaust Materialities” – A special issue of Holocaust Studies: A Journal of Culture and History

Holocaust Studies has given the editors permission to include creative work for the first time in the journal. 

In this special issue, we aim to further examine the ‘material turn’ of Holocaust studies through the lens of creative practices, which remains an understudied area of this movement. As Marianne Hirsch (2019) notes: “Commemorative artistic practices can themselves function as the connective tissue between divergent but related histories of violence and their transmission across generations. The arts offer a fruitful platform to practise the openness and responsiveness that allow such connections to emerge for the postgenerations”. Our scope includes contemporaneous and non-contemporaneous artistic, cultural, and literary works, established by those with and without a direct connection to this history. We are particularly keen to include contributions from creative writers and artists experimenting with and reflecting critically on their own creative processes, working, for instance, with line, genre, textiles, objects, images, or sound as an ephemeral artefact; and from critics showing how survivors or their descendants have represented the Holocaust through these materialities. One theme might be re-purposing, repackaging or even ‘recycling’ of materials: a material intended for one purpose which has been used or examined for other ends. Another concern might be the role of creativity in the phenomenology of viewing and interpreting historical materialities, or of creativity in the  effort to recover, or reconstruct, lost or stolen objects. A perennial concern is the researcher-artist’s role in relation to the archive.

Abstracts should be no more than 300 words, with a short biography (150 words max). Please send your proposals (or any questions) via email to: holocaustmaterialities@gmail.com by 1st September 2024 (extended submission date). We expect final submission of the journal issue to be in 2025.

If you are submitting creative work, please specify in your abstract how many images and approximate word count for any creative writing you expect to include as part of your final submission .

Normal word count for the journal’s critical essay submissions is 8-12k. For creative work, your final submission should include at least 2K words of critical reflection on your creative practice/contextual information. For the creative element, there is no minimum word count; however, the 12k word limit remains. 

The following approximate guidelines might be useful: 1 image = 250-500 words. 50 lines of poetry = 1,000 words.

Contact Information

Hannah Wilson and Jay Prosser

Contact Email

holocaustmaterialities@gmail.com

CFP: THE MOVING IMAGE – Call for Special Issue 26.1 “Accessibility in moving image archives”

In July of 1990, the Americans with Disabilities Act of 1990 (ADA) was signed. The intention of the act was to prohibit discrimination based on disability status. This special issue of The Moving Image is situated around the theme of archival accessibility to coincide with the 35th anniversary of the signing of the ADA. Even 35 years later, representation of people with disabilities in moving image archives is low both in the literature and in employment. The goal of this special issue is to reflect on the relationship between disability and moving image archives. How is disability represented in moving image collections? Where has there been growth? What inclusion efforts still need to be made to create accessible moving image archives for users and archivists?

Themes include (but are not limited to):

  • Accessibility barriers in moving image archival education and training
  • Disability representation in community archives vs institutional archives
  • Accessible collections for users
  • Disability representation in collections material
  • (In)accessible archival spaces and universal design
  • Equitable hiring practises
  • Web accessibility
  • Accessible programming and curation
  • Health hazards in moving image archives
  • Archival accessibility “post-Pandemic” and the growth of remote work
  • Moving image archives and mental health
  • Ableism in moving image archives

Note: There is a particular interest in articles written from the perspective of those with lived experience of disability, chronic illness, and/or neurodiversity. 

Types of Submissions:

  • Feature articles: Double-blind peer reviewed research papers, 4,000 – 6,000 words
  • Forum pieces: Shorter, less formal pieces, including interviews and “notes from the field” discussing case studies on single institutions or archivists’ own work, such as specific projects or policy initiatives, 2,000 – 3,000 words
  • Reviews: reviews of recent books, media (e.g., DVDs, Blu-Rays), conferences, film festivals, and exhibitions, 700 – 1,000 words

Submission guidelines

 Please send initial proposals and final submissions to special issue editor Michael Marlatt (marlattm@yorku.ca) and CCjournal editor Devin Orgeron at editor@themovingimage.org.

Proposals are due by October 31, 2024, and should include: (1) a 250-word abstract, (2) four key words, (3) a 100-word bio of the author(s), (4) the type of paper you would like to write (e.g. feature article). Proposal review will be completed by mid-November 2024.

Completed manuscripts will be due for editorial review by May 31, 2025. All manuscripts should be submitted as a Microsoft Word email attachment, double-spaced throughout, using 12-point type with 1-inch margins, following the 17th edition of the Chicago Manual of Style.

Contact Information

Special issue editor Michael Marlatt can be reached for questions and feedback at marlattm@yorku.ca

Contact Information

Michael Marlatt 

Contact Email

marlattm@yorku.ca

URL

THE MOVING IMAGE – Call for Special Issue 26.1 “Accessibility in moving image archives”

Call for Pitches/Contributions: The Recipes Project Special Edition – “Images as/and Recipes”

We are currently accepting pitches for contributions to our Fall 2024 series on the theme ‘Images as/and Recipes.’

Sometimes seeing is better than telling. With a renewed interest in DIY, recipes are everywhere. Instagram and Pinterest are full of recipes for quince jam, herbal remedies, and step-by-step instructions for dyeing old clothes to update your wardrobe with an eye to being environmentally conscious. Many, if not all, of these recipes are visual. But while sharing recipes on social media is new, using images to share makers’ knowledge is not.

For hundreds of years, images have been used to craft stories around recipes, and these images tell us as much about topics like nationalism or family lore as they do about the intricacies of any given recipe. Turning the physical act of making into a visual record requires interpretation and can often serve more than one goal. Artists often chose to omit descriptive text in their visual renderings, assuming the images can speak for themselves. And as scholars like Pamela Smith, Wendy Wall, and Erin O’Conner have reminded us, recipes are not straightforward records; they are full of assumptions, omissions, and expectations. This series builds on this work by considering how images function for and as recipes.

Because recipes are so flexible, the genre has been used to share food culture, medicinal practices, and craft techniques, but it has also been put to more political or artistic means, like satirical prints from the eighteenth century that portray ‘recipes for Culloden’ or ‘a recipe to be a good wife’ or contemporary artists who have looked to recipes to share both practical recipes for making fried eggs and more conceptual ‘recipes for success.’ Recipes that utilize images can also bring ideas of race, gender, and class to the surface, both supporting and subverting cultural norms. 

Images ‘work’ in ways that are both similar to and diverge from written recipes. How and why authors and artists choose to include images in their recipes or translate their recipes into images can and should be critiqued and analysed. 

We are looking for original research topics as well as pieces on pedagogy and museum and archival collections. We welcome contributions from art historians, material culture scholars, anthropologists, historians, literary scholars, archivists, curators, artists, and those with a professional background in recreation and reconstruction. Please send a brief pitch (2 or 3-sentences) as well as an abbreviated CV to the series editors Alexandra Macdonald (ammacdonald@wm.edu) and Melissa Reynolds (m.reynolds1@tcu.edu) any time before 15 September 2024. The theme is purposefully broadly defined to bring an interdisciplinary group of authors together and we are particularly interested in works that take an innovative approach to the topic. If you have any questions about the theme and how your work could fit within the special issue, please get in touch by email. Accepted proposals will be invited to join the quarterly volume on ‘Images as/and Recipes.’ For full instructions and more detailed information on length and image requirements please see Open Call for Contributors [https://recipes.hypotheses.org/open-call-for-contributors

Examples of Potential Topics (not exhaustive): 

  • Recipes and advertising
  • Recipes and satire 
  • Visual storytelling and recipes 
  • Reconstructing recipes (hands-on practice)
  • Craft recipes 
  • Recipes and childhood
  • Recipes and social media 
  • Recipes and the senses
  • Gender, race, and class in recipes
  • Text-image relationships

CFP: Avec Attention: Archives, Archivistes, et Sociétés/ “With Attention: Archives, Archivists, and Societies”

French

Nous vous invi­tons à pren­dre connais­sance de l’appel dans sa glo­ba­lité et des moda­li­tés de réponse en le télé­char­geant.

Les axes de com­mu­ni­ca­tion

1) Quelle place pour les archi­ves dans une économie de l’atten­tion ?
Axe 1.1 : La pro­duc­tion des don­nées et les stra­té­gies qui s’y atta­chent : com­ment assu­rer nos mis­sions afin de docu­men­ter les déci­sions publi­ques et poli­ti­ques qui tou­chent les popu­la­tions ?
Axe 1.2 : Les poli­ti­ques de numé­ri­sa­tion mas­sive et la sura­bon­dance des res­sour­ces acces­si­bles en ligne : quels effets sur l’accès, la recher­che, et sur les pra­ti­ques pro­fes­sion­nel­les ?
Axe 1.3 : Quels modè­les à venir pour l’accès aux don­nées et aux docu­ments numé­ri­sés ?

2) Comment favo­ri­ser l’atten­tion aux archi­ves, quel­les curio­si­tés encou­ra­ger et de la part de qui ?
Axe 2.1 : Les nou­veaux espa­ces de l’atten­tion aux publics
Axe 2.2 : Les nou­veaux dis­po­si­tifs d’atten­tion aux publics
Axe 2.3 : Quelle atten­tion conjointe aux archi­ves ? Quel rôle des archi­vis­tes : média­teur ou pres­crip­teur ?
Axe 2.4 : Archives, droits humains et enjeux de société
Axe 2.5 : Archives et curio­si­tés
Axe 2.6 : Archives et expé­rien­ces esthé­ti­ques

3) Comment l’atten­tion rené­go­cie-t-elle les mis­sions des archi­vis­tes ?
Axe 3.1 : Dans les poli­ti­ques de col­lecte
Axe 3.2 : Dans les poli­ti­ques de clas­se­ment
Axe 3.3 : Dans le déve­lop­pe­ment de poli­ti­ques de conser­va­tion pré­ven­tive conver­gen­tes avec les enjeux envi­ron­ne­men­taux

4) Quels archi­vis­tes pour quel­les atten­tions ?
Axe 4.1 : Quelle(s) iden­tité(s) pro­fes­sion­nel­les(s) pour les archi­vis­tes ?
Axe 4.2 : Quelle éthique et déon­to­lo­gie pour les archi­vis­tes ?
Axe 4.3 : Quelles for­ma­tions et par­cours pro­fes­sion­nels ?
Axe 4.4 : Quel envi­ron­ne­ment pour les archi­vis­tes
Axe 4.5 : Quelle capa­cité avons-nous à col­la­bo­rer, à coo­pé­rer au niveau local, natio­nal et inter­na­tio­nal ?
Axe 4.6 : Comment main­te­nir une dis­po­ni­bi­lité au monde ambiant, com­ment lais­ser œuvre émotions et sen­sa­tions. Existe-t-il un archi­viste flâ­neur ?

Cet appel à communication est ouvert jusqu’au 30 septembre 2024 inclus.

English

We invite you to read the call in its entirety and the response procedures by downloading it .

The communication axes

1) What place for archives in an attention economy?
Axis 1.1: Data production and the strategies associated with it: how can we carry out our missions in order to document public and political decisions that affect populations?
Axis 1.2: Mass digitization policies and the overabundance of resources accessible online: what effects on access, research, and professional practices?
Axis 1.3: What future models for access to digitized data and documents?

2) How to encourage attention to archives, what curiosities to encourage and from whom?
Axis 2.1: New spaces for attention to the public
Axis 2.2: New systems for attention to the public
Axis 2.3: What joint attention to archives? What role for archivists: mediator or prescriber?
Axis 2.4: Archives, human rights and societal issues
Axis 2.5: Archives and curiosities Axis
2.6: Archives and aesthetic experiences

3) How does attention renegotiate the missions of archivists?
Axis 3.1: In collection policies
Axis 3.2: In classification policies Axis
3.3 : In the development of preventive conservation policies convergent with environmental issues

4) Which archivists for which attentions?
Axis 4.1: What professional identity(ies) for archivists?
Axis 4.2: What ethics and professional conduct for archivists?
Axis 4.3: What training and professional paths?
Axis 4.4: What environment for archivists? Axis
4.5: What capacity do we have to collaborate, to cooperate at the local, national and international level? Axis
4.6: How to maintain an availability to the surrounding world, how to let emotions and sensations work. Is there a strolling archivist?

This call for papers is open until September 30, 2024 inclusive.