CFP: Women and Cartography from the Middle Ages to the 20th century

SYMPOSIUM at Université Le Havre Normandie — 12–13 March 2027

Organisation : Comité Français de Cartographie, Université Le Havre Normandie (Faculty of Humanities & Social Sciences), Identités et Cultures Research Group, Le Havre Heritage Library

In partnership with : Institut universitaire de France, Bibliothèque nationale de France, EPHE (Histara), CNRS (Laboratoire de médiévistique occidentale de Paris)

RATIONALE

This conference sets out to re-examine the place of women in the making, circulation, and reception of cartographic knowledge up to the 20th century, taking into account the various forms their participation took, the documentary biases inherent in the sources, and contemporary methodological issues. It is part of the broader field of the history of women in science and of the study of the gendered construction of knowledge.

An emerging field of research

While historiography has taken an interest in women in science since before the 1970s, and while the history of women and travel has been regularly explored, their role in cartography and their interest in maps only began to be studied around the turn of the 2000s, nearly thirty years later. This pioneering work emerged mainly in the English-speaking world (Shefrin, 1999; Hudson, Ritzlin, 2000; Dando, 2018, 2024; Tyner, 1997; 1999; 2001) and in Italy (Rossi, 2005). Christine Petto’s survey article “Women and Cartography” (2020) opened up more avenues than it closed.

This historiographical lag is even more pronounced in French scholarship. While French research has taken an interest in women cartographers of the 20th century (Robic, 1997, 2009), as well as in the important role they played in research institutions and libraries (Ginsburger, 2015; Ginsburger, Robic, 2017; Antonutti, 2020), studies of their place in the construction of cartographic knowledge before the 20th century remain too rare.

A systemic invisibilisation

As in other scientific fields, several factors combine to render women’s involvement in geography and cartography invisible. Women are difficult to trace in the archives because of their limited legal existence. Conventions of the time denied their competence or consigned them to anonymity out of modesty. Their identity dissolves into initials in place of a full name, or into the designation “widow,” which presents them as mere continuators of their husband’s work.

Women are also excluded from the historiography of authorial recognition in cartography because of a paradoxical requirement: complete mastery of the full range of skills involved in cartographic production (intellectual design, drawing, engraving). Yet almost no geographer possesses such total mastery, since cartographic production is, by its very nature, collaborative work. Thus, when a woman conceives a map intellectually without engraving it herself (the Carte de Tendre by Madeleine de Scudéry), present-day critics attribute authorship to the male engraver (François Chauveau). Conversely, women engravers are confined to the status of mere executants.

RESEARCH THEMES

Theme 1 – Trajectories and output of women cartographers

The conference will focus on women cartographers by:

  • Tracing individual trajectories, without setting aside the role of widows in the continuity of family workshops, which deserves particular attention. While widows generally ran their late husband’s workshop for only a limited period (Barker, 1997, pp. 90–92), there are several notable exceptions, such as Mary Senex, who ran the workshop for fifteen years after her husband’s death, as did Marie Desmaretz, widow of Duval, Geneviève Hourlier, widow of Antoine de Fer, and Marie Darbisse, widow of Guillaume Delisle, to name just a few examples.
  • Establishing the conditions of access to cartographic practice and the professional and family networks drawn upon.
  • Examining the possible specificities of their output: a preference for certain cartographic forms such as allegorical or thematic maps (Carte de Tendre, the map by Marie Le Masson Le Golft, the work of the astronomer Nicole-Reine Lepaute), or “informal” maps produced in a playful or educational context.

Theme 2 – The “little hands” of cartography

Following the recent work of Françoise Waquet (2015, 2022) on the “little hands” of science, and of Delphine Gardey on women’s clerical work (2001), this conference could be an occasion to bring to light the largely unexplored, invisible work of women: informants, copyists, draughtswomen, engravers, illuminators, secretaries, and workshop hands. This effort has already been made for the first half of the 20th century (Swab, 2025), but it could equally be pursued for earlier periods, since women can sometimes be identified in depictions of workshops.

Theme 3 – Women readers and the reception of maps

The question of women as readers of maps — whether elite women, schoolmistresses, booksellers, schoolgirls, or students — opens up a particularly fertile field of investigation. On what occasions did these women encounter maps? On what media? And through what modes of reading?

This question also raises the issue of education, since reading a map presupposes prior training, and thus invites attention to the full range of women’s educational practices connected with maps. 

Finally, Christine Petto also points to periodicals and advertising aimed at women, as well as playful uses of maps: games, novels, embroidered maps, among other forms of appropriation. As an example, the map of Île de France (present-day Mauritius) included in the novel Paul et Virginie by Bernardin de Saint-Pierre, a major publishing success of the late 18th century with a largely female readership, illustrates this still under-explored dimension of the reception of maps.

By adopting a broad chronological framework, from the Middle Ages to the 20th century, the conference is open to all geographical areas. It is aimed at researchers in history, history of science, art history, literature, geography, and related disciplines.

PRACTICAL INFORMATION

Abstracts of c. 300 words, together with a short biographical note, should be submitted by 30 September 2026 to the following address: lucile.haguet@lehavre.fr

The selection committee will meet in early October and will announce the results of the call for papers no later than the second half of October.

The conference will take place on 12–13 March 2027 at Université Le Havre Normandie. A presentation of the heritage collections of the Le Havre municipal library is also planned.

Selected papers will be considered for publication in an issue of the journal of the Comité français de cartographie, Cartes & Géomatique, during 2028.

WORKS CITED AND SELECT BIBLIOGRAPHY

Antonutti, Isabelle (ed.). 2020. Figures de bibliothécaires. Villeurbanne: Presses de l’Enssib, series “Papiers.” (see entry for Myriam Foncin)

Baigent, Elizabeth. 2025. “‘Octavia Always Enjoyed a Map’: Octavia Hill, Maps, and Victorian Women Reformers.” The Cartographic Journal 62 (3–4): 190–204. https://doi.org/10.1080/00087041.2025.2627791

Barker, Hannah. 1997. “Women, Work and the Industrial Revolution: Female Involvement in the English Printing Trades, c. 1700–1840.” In Gender in Eighteenth-Century England: Roles, Representations and Responsibilities, ed. Hannah Barker and Elaine Chalus, 81–100. London: Longman.

Costa, Shelley. 2002. “The Ladies’ Diary: Gender, Mathematics, and Civil Society in Early-Eighteenth-Century England.” Osiris, 2nd series, 17: 49–73.

Dando, Christine E. 2018. Women and Cartography in the Progressive Era. London/New York: Routledge, series “Studies in Historical Geography.” New edition in 2024.

Findlen, Paula. 1995. “Translating the New Science: Women and the Circulation of Knowledge in Enlightenment Italy.” Configurations 3: 167–206.

Gardey, Delphine. 2001. La Dactylographe et l’expéditionnaire. Histoire des employés de bureau, 1890–1930. Paris: Belin, series “Modernités.”

Ginsburger, Nicolas. 2015. “Les premières géographes universitaires en France: enquête sur les débuts d’une féminisation disciplinaire (1913–1928).” Cybergeo: European Journal of Geography.

Ginsburger, Nicolas, and Marie-Claire Robic. 2017. “Portrait en groupe de femmes-géographes. La féminisation du champ disciplinaire au milieu du XXe siècle, entre effets de contexte et de structure (1938–1960).” Annales de géographie, 2017/1.

Hudson, Alice C., and Mary McMichael Ritzlin. 2000. “Preliminary Checklist of Pre-Twentieth-Century Women in Cartography.” Cartographica 37 (3): 3–24.

Longchamps, Denis. 2014. “Political Tourism: Elizabeth Simcoe’s Maps and Views of Canada (1791–1796).” Imago Mundi 66: 213–223.

Pastoureau, Mireille. 1984. Les atlas français, XVIe–XVIIe siècles: répertoire bibliographique et étude. Paris: Bibliothèque nationale, Département des cartes et plans.

Pedley, Mary Sponberg. 1979. “The Subscription List of the 1757 Atlas Universel: A Study in Cartographic Dissemination.” Imago Mundi 31: 66–77.

Petto, Christine M. 2009. “Playing the Feminine Card: Women of the Early Modern Map Trade.” Cartographica 44 (2): 67–81.

Petto, Christine M. 2020. Women and Enlightenment: Women as Producers and Consumers of Maps, 1650–1800. History of Cartography, vol. 4. Chicago: University of Chicago Press.

Robic, Marie-Claire. 1997. “Exclusion, régression… Du ‘Ladies’ Program’ au ‘sans femme’?” Strates: Matériaux pour la recherche en sciences sociales, n° 9.

Robic, Marie-Claire. 2009. “Beaujeu-Garnier, J.” In International Encyclopedia of Human Geography, ed. Rob Kitchin and Nigel Thrift, 275–276. Elsevier.

Rossi, Luisa. 2005. L’altra mappa. Esploratrici, viaggiatrici, geografe. Reggio Emilia: Diabasis, 351 p.

Shefrin, Jill. 1999. “‘Make it a Pleasure and Not a Task’: Educational Games for Children in Georgian England.” Princeton University Library Chronicle 60: 251–275.

Shevelow, Kathryn. 1989. Women and Print Culture: The Construction of Femininity in the Early Periodical. London: Routledge.

Skedd, Susan. 1997. “Women Teachers and the Expansion of Girls’ Schooling in England, c. 1760–1820.” In Gender in Eighteenth-Century England: Roles, Representations and Responsibilities, ed. Hannah Barker and Elaine Chalus, 101–125. London: Longman.

Swab, Jack. 2025. “Beyond ‘Clerical Cartography’: Gender and the (Re)Production of Sanborn Fire Insurance Maps.” The Cartographic Journal 62 (3–4): 177–189. https://doi.org/10.1080/00087041.2025.2627789

Tyacke, Sarah. 1978. London Map-Sellers, 1660–1720: A Collection of Advertisements for Maps Placed in the London Gazette, 1668–1719, with Biographical Notes on the Map-Sellers. Tring: Map Collector Publications.

Tyner, Judith A. 1997. “The Hidden Cartographers: Women in Mapmaking.” Mercator’s World 2 (6): 46–51.

Tyner, Judith A. 1999. “Millie the Mapper and Beyond: The Role of Women in Cartography since World War II.” Meridian 15: 23–28.

Tyner, Judith A. 2001. “Following the Thread: The Origins and Diffusion of Embroidered Maps.” Mercator’s World 6 (2): 36–41.

Waquet, Françoise. 2015. L’Ordre matériel du savoir. Comment les savants travaillent, XVIe-XXIe siècle. Paris: CNRS Éditions (repr. series “Biblis,” 2022).

Waquet, Françoise. 2022. Dans les coulisses de la science. Techniciens, petites mains et autres travailleurs invisibles. Paris: CNRS Éditions, series “Histoire,” 347 p.

White, Cynthia L. 1970. Women’s Magazines, 1693–1968. London: Michael Joseph.

Contact Information

Lucile Haguet, librarian at the Bibliothèque municipale du Havre, lucile.haguet@lehavre.fr

Catherine Hofmann, map curator at the Bibliothèque nationale de France, catherine.hofmann@bnf.fr

Contact Email

catherine.hofmann@bnf.fr

URL

https://cartogallica.hypotheses.org

CFP: 2026 Research Symposium: Books and Silence, 26–27 November

The Centre for the Book is pleased to announce that the theme of this year’s symposium is “Books and Silence.” Find more information at https://blogs.otago.ac.nz/cfb/2026-research-symposium-books-and-silence-26-27-november/ 

In today’s hurried world, noise is everywhere.  Do you want the chance to have silence to contemplate, reflect, and escape, with your best friend: the book? It is time to pen your paper on “Books and Silence.”

“Books and Silence” might suggest an exploration of deep reading, the value of uninterrupted contemplation in environments of disruption and hyper-connection, or the political or cultural implications of censorship.  The theme can cover everything from the quiet sanctuary of traditional libraries to the amplification of marginalized voices.  Presentations might consider:

The literary and psychological experience of books and reading

  • Exploring the lost art of uninterrupted reading and how stepping away from digital distractions restores cognitive focus.
  • Questioning how audio books do or do not fit within such a paradigm of reading.
  • Analysing how authors utilize ‘silence’—what characters leave unsaid or what is omitted from the narrative—to build suspense, express complex grief, and reveal hidden truths.
  • Focusing on silent (wordless or visual) picture books and how they transcend language and cultural barriers to spark communication.

The cultural and social roles of books and libraries

  • The examination of the traditional no-talk ‘shoosh’ library to the modern hub of books and bean bags and social spaces. The changing nature of these sanctuaries.
  • Censorship and anti-censorship: the silencing or amplification of ideas and thoughts; the fight against book bans and the suppression of marginalized or controversial ideas.

The philosophy of books and how readers interact with them

  • Combatting noise, anxiety and constant over-stimulation of the wired life, with mindfulness and quiet engagement with words and ideas.
  • The value of physical books and un-networked experience
  • How the physical, deliberate silence around reading cultivates an active resistance against machine culture – social, institutional, political, commercial and ideological.

We would welcome interdisciplinary contributions from e.g., Music, Psychology, Theology, Education, or other disciplines.

Suggestions for panels are also welcome.

Deadline

Please send through your abstract of 250 words by 1 September 2026, by email to: books@otago.ac.nz

Date: November 26-27

Plenary address (speaker TBA), Thursday 26 Nov. – Dunningham Suite, City Library Dunedin

All day symposium: Friday 27 November – University of Otago (Arts Building, Burns 2 lecture theatre)

Selection of the papers for the Symposium programme will start after 1 September, and authors will be informed of their successful inclusion mid-September.

The conference will be free to attend, though registration will be required to ensure adequate catering for afternoon tea.  The Friday conference presentations will be recorded and made available afterward for viewing by those who register for access, but there will be no livestream or interactive connections on the day of the symposium.

Please contact any of us if you have any further queries:

CFP: ICMS Kalamazoo Session “Introducing Library and Archival Research (A Roundtable)”

The International Society of Medievalist Librarians seeks speakers to join a *hybrid* roundtable at the International Congress on Medieval Studies taking place May 13-15, 2027, at Western Michigan University in Kalamazoo, MI.

Session Title: Introducing Library and Archival Research (A Roundtable)

Session Description: Visiting libraries and archives is an important part of the research process, but it can be daunting to do this for the first time. How do you locate suitable primary source materials in catalogs and other databases? How do you set up a research appointment? How do you make the most of an on-site visit? What if you need additional information after you return home? A panel of librarians, archivists, and researchers both new and experienced will answer these important questions and more for students, early career scholars, and anyone embarking on a new research journey.

We welcome contributions from established and emerging professionals engaged in the field of medieval studies considered broadly. This includes librarians, archivists, and other cultural heritage professionals as well as teaching faculty, students, and independent researchers. Each chosen speaker will have approximately 5 minutes to introduce themselves and their experience conducting and/or facilitating research, with the preponderance of time in the session spent responding to questions from attendees about the research process.

Anyone interested must submit through the conference portal ([https://icms.confex.com/icms/2027/prelim.cgi/Session/8653](https://icms.confex.com/icms/2027/prelim.cgi/Session/8653)). For your abstract, please write a brief description of your perspective on the topic of library research and include an indication of your anticipated attendance modality (in person, virtual, or undecided). Proposals are due by Tuesday, September 15th. You may contact Allie McCormack ([allie.mccormack@utah.edu](mailto:allie.mccormack@utah.edu)) with any questions.

Call for Reviewers: October Issue Multimedia & Technology Reviews

ARLIS/NA Multimedia & Technology Reviews Co-editors seek volunteers to author reviews for the October 2026 issue. To volunteer, choose a resource from the list below and complete our Reviewer Interest form (https://forms.gle/viaCJvMwFUydCN9S8) by Wednesday, July 29th.

Initial draft submissions are due Monday, August 31st.

Contributing to ARLIS/NA Multimedia & Technology Reviews is a great opportunity to get involved with the Society, learn about interesting new resources, and help shape the publication. Please read
the complete review guidelines and direct comments and questions about the reviews to arlisna.mtr@gmail.com.

Know of a resource we should review? Submit ideas here.

Submitted by ARLIS/NA Multimedia & Technology Reviews Co-editors:

Matthew Garklavs
Bridget O’Keefe
Abigail Walker

Resources for Review:

We seek reviewers for the following resources. The snippets below are taken
from each resource’s web page and are not necessarily the opinions of the
M&T Reviews Co-Editors.

Americana
The John Carter Brown Library is at once a physical site and a digital space. Americana is the digital door to the library, named for the word chiseled in the limestone above the front door of the library’s 1904 building. The JCB’s collection of books, maps, prints and more, all focused on the early Americas, reside both in the building on George Street, at the corner of the campus green at Brown University, and in this digital location.

Aracne

Aracne is a digital tool that facilitates the analysis of the canvases that artists used for their paintings. This software precisely and objectively characterises fabrics so that paintings can be compared and original formats and added layers studied.

Avery Index to Architectural Periodicals with Full Text

Produced in collaboration with the Avery Architectural & Fine Arts Library at Columbia University, Avery Index to Architectural Periodicals with Full Text contains full-text journal articles on architecture and design, covering subjects such as the history and practice of architecture, landscape architecture, city planning, historic preservation, and interior design. (MTR editors can arrange for temporary access to this subscription-based resource).

Black Architects Archive

The Black Architects Archive traces the impact of Black creative, intellectual, and physical labor on shaping the built environment, and does so by revealing both the breadth and depth of Black spatial practice in the Americas. It includes the work of Black architects, builders, contractors, engineers, landscape designers, draftsmen and women, mapmakers, and other built environment practitioners working across the nineteenth and twentieth centuries. The aim of the archive is to recover the historical impact that Black people have had on shaping the towns, cities, and landscapes of the Americas while also making this information publicly available as a resource for local history.

Design Card Decks for Ideation and Exploration

The Design Card Decks for Ideation and Exploration Web Archive is curated by librarians at the University of Pennsylvania and Princeton University, under the auspices of the Ivy Plus Libraries Confederation. Card decks are used in design fields as a game-based methodology for ideation and stakeholder participatory collaboration. The purposes of decks vary; some are used for brainstorming new products and services while others are scenario-based, prompting designers to consider how their products or services may be incorporated into different communities. They function both as a tool for design speculation and as a set of illustrations that visualize design thinking. This archive preserves websites associated with these decks; as design thinking becomes popular in many disciplines, from business to science, the potential user groups for these tools greatly expands outside traditional
design fields.

Digital Scriptorium

Digital Scriptorium (DS) is a growing consortium of North American institutions with collections of global premodern manuscripts. DS is dedicated to building an online national union catalog built on Linked Open Data technologies and practices for premodern manuscripts in US collections.

International (Digital) Dura-Europos Archive (IDEA)

IDEA is harnessing the power of Linked OpenData (LOD) to reassemble and re-contextualize archaeological informationrelated to Dura-Europos. Unique circumstances of preservation makeDura-Europos a rare archaeological resource. The city provides unparalleledglimpses into a multicultural religious life, the running of a militarygarrison, and domestic coexistence of different ethnic groups, and haspreserved hundreds of organic materials that survive in the archaeologicalrecord from few other places. But recognition as a singular resource forinformation about the ancient past has come at a price. Excavationsinvolving multiple institutional partners and well-intentioned efforts toshare-out access to physical objects from Dura has led to the dispersal ofthe site’s artifacts and other archival materials into collections acrossthe world. We’re using cutting-edge technology to power a new searchfeature for Dura-Europos archaeological data and archival content as ameans to mitigate this physical dispersal and improve access to informationacross disciplinary and linguistic silos for the (global) public good.

Odeuropa

Odeuropa is a European research project which bundlesexpertise in sensory mining and olfactory heritage. We develop novelmethods to collect information about smell from (digital) text and imagecollections. Our goal is to show that critically engaging our sense ofsmell and our scent heritage is an important and a viable means forconnecting and promoting Europe’s tangible and intangible cultural heritage.

Reg-Arts : the register of enrolments at Beaux-Arts de Paris from 1813 to 1968

Created by threeinstitutions, the Beaux-Arts de Paris, the INHA and the CNRS, the Reg-Artsdatabase provides access to the Beaux-Arts de Paris enrolment registers of more than 12,000 student painters, sculptors and engravers between 1813 and1 968. Reg-Arts provides a central resource for art history, enabling researchers, descendants, museums and galleries to explore the data.

Remodeled Getty Provenance Index and Tracing Art interactive

https://www.getty.edu/research/provenance/https://www.getty.edu/tracingart/
Arches is a Getty-supported, open-source database platform hosting Getty Provenance Index records that have been transformed into linked open data resources. By treating Provenance Index records as a structured web of related resources, Arches enhances accessibility and discoverability, surfaces existing connections within Getty Provenance Index resources, enables linkages with other cultural heritage datasets, and provides powerful federated search and data visualization tools. These enhancements
make provenance research more efficient and adaptable to evolving scholarly needs.

Trois Crayons Museum Forum

The Trois Crayons Museum Forum is aninnovative, free-to-use digital platform dedicated to deepening theunderstanding of pre-modern drawings in public collections. Join a globalnetwork of art historians, curators, and enthusiasts to collaborativelyexchange ideas, discuss, and re-examine both familiar works and overlookedsheets – shedding new light on old questions and bringing lesser-seendrawings into focus.

VisColl

VisColl is a system for building models of the physical collation of manuscripts, and then visualizing them in various ways. The core of VisColl is the data model, which defines the structure of individual manuscripts and which can be built and visualized by different tools.

CFP: LIDA Biennial International Conference

Conference Themes: Artificial Intelligence and Ethical Institutional Response Emotion and Creativity

Šibenik, Croatia, 19-21 May 2027

Web site: http://lida.ffos.hr/ Email: lida@unizd.hr

Libraries and Information Institutions in the Digital Age (LIDA) conference addresses the changing and challenging environment for libraries and information systems and services in the digital world. LIDA is an international biennial conference that brings together researchers, educators, students, practitioners, and developers from around the world in a forum for sharing ideas, discussions, and learning taking place in Croatia.

The LIDA 2027 conference will be held in Šibenik, a historic town included in the UNESCO World Cultural Heritage List and one of the oldest Croatian self-governing cities on the Adriatic coast.

The LIDA 2027 conference explores questions prompted by the major transformations of memory institutions in the age of artificial intelligence with two inter-related themes: “Artificial Intelligence and Ethical Institutional Response” and “Emotion and Creativity.” In the age of artificial intelligence, technological, philosophical, and humanistic values are becoming intertwined. This presents new opportunities and challenges for memory institutions while encouraging a deeper understanding of the role of emotion and creativity in designing spaces for reflection on, and even counter-response to, artificial intelligence.

Submission of extended abstracts for papers, posters, workshops, panels, other innovative/alternative types of contribution: 10 October 2026 (Notification of acceptance: 1 December 2026)

Read the full call for papers.

CFP: “The Architect Beyond the Building: Design and the Decorative Arts” ICOM-DESIGN Annual Conference, Barcelona, due date 30 June 2026

The Architect Beyond the Building: Design and the Decorative Arts  

Host institution: Museu Nacional D’Art Catalunya (MNAC)

CFP Due: 30 June 2026; notification of acceptance: 15 July 2026

Conference Dates: 11–12 November 2026 (Conference); 13–14 November November 2026 (Post-Conference Tour)

In 2026 Barcelona has been designated the World Capital of Architecture and  commemorates the anniversary of the death of the architect Antoni Gaudí, whose  imprint has shaped the city and its Mediterranean identity. 

Within this context, the 2026 annual meeting of ICOM DESIGN, to be held at the  Museu Nacional d’Art de Catalunya (MNAC), focuses on the figure of the architect  beyond the traditional role associated with architectural and urban projects. The  conference will revolve around architectural practice through the lens of design,  craftsmanship, and the intimate scale. 

This call invites papers that examine the wide range of outputs that architects  contribute to as part of, or outside of, building projects, including: furniture, glass,  lacquer, ceramics, jewellery, and goldsmithing; fashion and textiles; as well as graphic  design, mural painting, muséographie, and atmosphere, while also addressing the  fields of interior design and architectural ornamentation.  

We welcome submissions that explore these multidisciplinary practices beyond the  large scale, addressing projects, creative processes, and cultural influences from the  Middle Ages to the present day and across the globe.  

Could the intimate scale of design be the true space in which an architect’s identity is  manifested? What does an architect bring to the design of smaller scale objects or  interiors that makes their practice unique? How, in which historical contexts and for  which audiences have architects employed traditional techniques and crafts to enrich  sensorial experience? What are the challenges in conservation, exhibition, and  restoration of this heritage? What intimate stories are behind the creation of the  designs? How do architects use design as a bridge to imagine and construct other  possible worlds or to create playful and imaginative works?  

Proposals offering critical perspectives may consider (but are not limited to) the  following themes: 

– Architecture, a home for the total arts 

– Design and architectural photography 

– Material practices and intimate craft 

– Identity and gender 

– Heritage, conservation and collections

– Microarchitectures 

– Visionary, utopian, and playful creations 

– Sustainability, circularity, and materials 

This international congress aims to gather a limited number of contributions,  representing original studies and intended to foster discussion at the intersection of  academic and curatorial scholarship and professional practice.  

Why MNAC? 

The Museu Nacional d’Art de Catalunya (MNAC), in Barcelona is an ideal site for this  productive dialogue, as an institution dedicated to all artistic disciplines from the  Romanesque period to the twenty-first century, and it houses a unique collection of  decorative arts by architects such as Antoni Gaudí and Josep Maria Jujol, artists who  pushed the boundaries. 

The museum is entering a new phase marked by an ambitious expansion project at the  Palau Victoria Eugènia, scheduled for completion in 2029 to coincide with the  centenary of the 1929 Barcelona International Exhibition. This expansion will further  strengthen the Museum’s role as an institution without chronological or stylistic  boundaries, capable of representing and promoting the full scope of Catalan artistic  production.  

The ICOM DESIGN meeting in Barcelona proposes a rich programme of visits to  significant historical sites and museums throughout the city and its surroundings, while  engaging with contemporary collections and makers. 

How do I apply?  

– Abstract of 300-400 words 

– Short Resume or CV 

– Submit to icom-design-2026@museunacional.cat by June 30th. – Notification of acceptance: 15 July 2026  

– Post-conference tour: 13–14 November 2026 

Participants will be expected to give their presentations in English, which should last 15  minutes and include a visual presentation component. Proposals will be peer reviewed  and the results of the conference may be published. 

Presenters will be expected to cover their own registration and travel expenses. Travel  grants for young ICOM members (under 40 years old) will be available. Information will  follow for those applications.  

Membership requirements 

Please note that all participants must be individual members or representatives of  institutional members of ICOM DESIGN at the time of the conference. 

Find more information about how to become a member of ICOM and ICOM-DESIGN  here: https://icom.museum/en/get-involved

Contact Email

icom-design-2026@museunacional.cat

URL

https://icom-icdad.org/call-for-papers-annual-conference-barcelona-2026

CFP: Chapters on Conspiracies and Visual Culture

Conspiracies and Visual Culture

Editor Information: Stephanie Beene (sbeene@unm.edu) and Katie Greer (greer@oakland.edu)

Abstract

Conspiracy ideation in America is on the rise and has infected popular culture and social media. This phenomenon is deeply concerning, not least because it moves beyond fringe groups to influence mainstream discourse and belief systems. Despite extensive academic work on the psychological underpinnings of conspiracy belief and the linguistic/rhetorical analysis of related texts, a crucial gap remains. Specifically, there is an underdeveloped area of study concerning the sophisticated and widespread influence of the visual, not only in disseminating conspiracy ideation generally but at the juncture where it intersects with evangelical subcultures. 

The information landscape is currently saturated with visual content designed to sow distrust and disseminate disinformation. The tools of digital media creation have become powerful vectors for this spread. Examples abound, from the unsettling realism of DeepFake TikToks and sophisticated AI-generated imagery, which blur the lines between reality and fiction, to seemingly innocuous visuals—photographs, charts, or video clips—that are removed from their original, legitimate contexts and weaponized to promote baseless narratives.  The ease of production and viral distribution of this visual misinformation and disinformation means that educators must become acutely aware of the mechanisms by which visuals, more than just text, are influencing conspiracy ideation in novel and increasingly alarming ways.

To effectively combat this rising tide of visual disinformation, there is an urgent need for scholarly and practical intervention. Incorporating robust frameworks of visual literacy—the ability to interpret, negotiate, and make meaning from information presented in images—and the broader concept of metaliteracy—the comprehensive understanding of how to produce, evaluate, and share information across various media—can significantly enhance our collective ability to analyze and deconstruct these narratives. This approach would allow us to move beyond simply identifying a conspiracy and delve into how semiotics and imagery—the signs, symbols, and visual language employed—influence and solidify conspiracy beliefs. Addressing the visual dimension of this crisis represents a crucial step toward filling a significant, and currently dangerous, gap in current scholarship and public awareness, especially as it relates to communities where these visual narratives are most readily accepted.

This edited volume aims to bring together leading scholars from both conspiracy studies and visual literacy studies to examine visual messaging in conspiracy theory culture.

The book will be divided into the following sections:

  • Part 1: The participatory environment: Visuals and conspiracy engagement
  • Part 2: Hidden messages: The semiotics of visuals in conspiracy communities
  • Part 3: Critical visual thinking: Educating for conspiracy avoidance
  • Part 4: Nefarious Tropes: Historical intersections of visuals and conspiracy theories

Chapter topics could include:

  • Visual analysis of conspiracist aesthetics on social media
  • Mis/ mal/disinformation as political tools
  • Visual Literacy to inoculate against conspiracism
  • Generative artificial intelligence and conspiracy visual culture
  • Analyses of the attention economy, platform capitalism, or recommendation algorithms driving conspiracist content
  • “Do your own research” communities or movements
  • Historical analyses of the use of visuals to promote conspiracy theories
  • Cultural influences of conspiracy theories
  • Gender and sexuality studies and the “manosphere” or “trad” communities
  • Information overload & culture
  • Cognitive visual processing and conspiracy imagery

Logistics and Timeline

Proposals between 250 and 500 words, CVs, and brief author bios (50-80 words) should be

submitted to Stephanie Beene (sbeene@unm.edu) and Katie Greer

(greer@oakland.edu) by COB July 31, 2026.

The editors will review all submitted proposals and notify applicants by COB August 31, 2026.

Chapters should be approximately between 7,000-8,000 words, and first drafts of completed

manuscripts will be due COB March 31, 2027. The expected publication date will be in 2028. 

CFP: Borders and Sustainability: Human and Natural Resources across Time and Space (Seminar Series 2026–2027)

Call for Papers: Entangled Histories Seminar Series 2026–2027

Following the success of the current edition, the Entangled Histories Seminar Series invites abstracts for its 2026–2027 cycle: 

“Borders and Sustainability: Human and Natural Resources across Time and Space.”

This edition explores sustainability not as an exclusively environmental concern but as a multifaceted concept that intersects with borders across diverse cultural, material, and ecological contexts. 

The series adopts a diachronic and interdisciplinary perspective, spanning from prehistory to the contemporary world.

Sustainability and Borders: A Broad Perspective. We seek to investigate sustainability in its multiple dimensions:

  • Material sustainability: recycling of resources (manuscripts, architectural structures, waste, and landscapes).
  • Ecological sustainability: relationships between humans, animals, and environments; balance between preservation and exploitation.
  • Social, linguistic, and cultural sustainability: transmission of knowledge, endangered languages, healing practices, migration, and community resilience.
  • Symbolic sustainability: representations of ecological limits, hybrid beings, and cultural imaginaries of nature and borders.

Conceptual Framework At the heart of the series lies the concept of borders, understood as dynamic thresholds that shape access to resources and regulate interactions. Borders are not only physical or political: they can be ecological, cultural, social, linguistic, political and material. While we encourage long-term temporalities and global spatial entanglements, we also offer the elements (earth, water, air, fire, ether, wood, etc.) as a possible heuristic framework to explore these dimensions across different historical strata.

Topics of Interest: We encourage contributions from a wide range of disciplines, including but not limited to:

  • Archaeology and Prehistory: Resource use, landscapes, indigenous practices, and environmental interactions over time.
  • Medieval Studies, Philology, and Manuscript Cultures: Material sustainability of manuscripts, palimpsests, intellectual ecologies, literatures and languages, and the transmission of knowledge.
  • Art History and Visual Culture: Representations of nature, landscapes, borders, and material practices across different periods.
  • Anthropology and Folklore: Vernacular ecological knowledge, oral traditions, liminal beings, and environmental imaginaries.
  • History of Science and Medicine: Healing practices, scientific knowledge, and environmental understanding across cultures.
  • Environmental Humanities and Ecology: Human–non-human relations, ecosystems, climate, and resilience.
  • History of Economy, Trade, and Food Systems: Circulation of resources, subsistence, scarcity, and sustainability practices.
  • Architecture and Infrastructure Studies: Built environments, water and soil management, roads, and material borders.
  • Geography, Cartography, and Media Studies: Spatial representation, mapping, and communication of environmental knowledge across borders.

 High-Impact Publication Opportunity: A selection of the most significant contributions will be published in a dedicated edited volume or a special issue with a leading international publisher (past collaborations and ongoing projects include prestigious venues such as BrillDe Gruyter, and Routledge). This ensures that the research presented reaches a global audience of specialists.

Submission Guidelines

  • Format: Online seminar (approximately 30-minute talk + discussion).
  • Schedule: October 2026 – Summer 2027.
  • Required: Title, Abstract (250–300 words), Short Bio (100–150 words), Affiliation, email address, and preferred months of availability.
  • Deadline: 31 August 2026.
  • Send to: entangledhistories.seminars@outlook.com.

Contact Information

Organized by:

  • Dr. Maria Pia Ester Cristaldi (Üsküdar University)
  • Dr. Elisa Ramazzina (University of Insubria)

Under the patronage of: The Faculty of Communication and the Master’s Programme in Media and Cultural Studies at Üsküdar University.

Contact Email

entangledhistories.seminars@outlook.com

URL

https://sites.google.com/view/entangledhistories/home

CFP: Mapping Post-Truth across Disciplines

Key Information
Proposals due June 30th, 2026 to posttruthconference@gmail.com
Decision of acceptance communicated by July 15th, end of day 

Dates: October 29th-30th, 2026
Location: University of Memphis, specific locations TBD 
Fee: TBD

Overview
“Post-truth,” broadly understood, denotes a general erosion of mutually shared reality, resulting in what some term an “epistemic crisis.” Such an ostensible epistemic crisis ranges in degree from the outright negation of commonly understood truth to a shift in how we categorically define, measure, or use truth. “Post-truth” as conceptual problematic has thus also been instantiated and reflected in various practical applications: mis-/dis-information; “fake news”; the rise of conspiracy theorization; artificial intelligence; censorship, suppression/repression, and manipulation; etc. 

The growing pervasiveness of such an epistemic crisis (i.e., “post-truth”) has implicated numerous academic disciplines: communication and rhetoric; psychology; journalism; political science; history; sociology; philosophy; writing studies; etc. While practical divergences emerge between disciplines in terms of how “post-truth” is pursued in specificity, there is now an exigence for inter- and trans-disciplinary collaboration on such an epistemic crisis. 

The University of Memphis Post-Truth Collective invites 250-word (max) abstract proposals for the Mapping Post-Truth across Disciplines Conference, to be held at the University of Memphis on October 29-30th, 2026. We invite submissions from graduate students and faculty from all disciplines on a range of related topics, including but not limited to:

  • Epistemology
  • Social Ontology
  • Fake news
  • Mis- and Dis-information
  • Artificial Intelligence
  • Rhetorical Invention
  • Conspiracy Theories
  • Censorship, Repression/Suppression, Manipulation
  • Journalism Ethics and Laws
  • Bots and Algorithms
  • The Mandela Effect
  • Affect
  • Aesthetics
  • Screen Culture
  • Education Policy
  • Media Literacy
  • Jurisprudence
  • Writing Studies
  • History
  • Group Psychology
  • Popular Culture
  • Media Studies/Theory
  • Religious Studies

We are particularly interested in proposals that produce generative solutions to the “post-truth” problematic, rather than critical, analytic diagnostics and descriptions of what it is. The goal of this conference is to seek trans- and inter-disciplinary collaboration on potential resolutions, (re)appropriations, and productive rethinking of (post-)truth, especially in the service of common good well-being. 

Conference Objectives
Because the primary objective of the conference is to facilitate inter- and trans-disciplinary collaboration on similar sub-topics pursued by scholars in different disciplines, panels will include 3-4 presenters from different disciplines. In the event a group of inter- and/or trans-disciplinary scholars would like to propose a complete panel, please submit an abstract with 250-word (max) abstracts and a 250-word (max) summative rationale for the panel. As an alternative to publication of conference proceedings, this conference will generate a white paper at the conclusion of the conference. Such a white paper could turn into an edited collection, contingent upon conference attendees’ interest. 

Conference Information
Please submit all conference proposals, as well as any questions or concerns, to Dr. Scott Sundvall: posttruthconference@gmail.com by June 30th, 2026. Decisions of acceptance will be communicated by July 15th, end of day. Keynote Speaker: Zahid R. Chaudhary, Princeton University. Thursday evening (October 29th). 

Contact Information

Dr. Scott Sundvall, Associate Professor, University of Memphis

Contact Email

posttruthconference@gmail.com

CFP: Exhibition Journal

Proposals due June 3, 2026 for the Spring 2027 Issue

If you are selected to contribute to the issue, you will be notified in late June and a draft of your assigned submission (approximately 1,500 words) will be due in late August 2026.

Theme—Between the Lines: Language in Exhibitions

There are few issues facing exhibition-makers as evergreen as what makes a good wall label. There are also few issues as divisive. After well over a century of visitor research into the effectiveness of labels and countless books, articles, guidelines, tips, and tricks for writing more effective labels, standards still vary widely across institutions—and even across exhibitions staged by the same institution. Add to this the failures of language itself, from its gendered, racist, cultural, and classist assumptions to its (in)accessibility for large numbers of people, and one might be forgiven for asking why labels are still such a ubiquitous communication strategy. Exhibition last broached this topic specifically in its Spring 2016 issue, “The Power of Words: Written, Spoken, Designed.” With all that has happened in the intervening decade, from a pronounced rightward drift in Western politics that has made language as hotly contested as ever to the rise of ChatGPT and other large language models capable of writing for us, we want to check in to see how practitioners are shaping the present and future of exhibition communication through labels and beyond.

Proposals for this issue might address:

  • Delivery Methods: How is language being used within your exhibitions? Is it delivered primarily through graphics, audio, or some other means? How does the delivery method shape the choices you make in terms of tone, length, formality, etc.?
  • Voice: Who has a say in the words that go into your exhibitions? How is content generated and by whom? How does your institution center or draw on expertise and lived experience beyond the voices of in-house collections experts?
  • Politics and Censorship: What happens when language is contested or censored by those within or outside an institution? How do museums maintain the integrity and nuance of their content in an age of polarization and misinformation?
  • Accessibility: What accessibility considerations go into not only how you design text but how you write it? How do you design graphics for greater accessibility? What does multilingual interpretation look like today? What is the role of multimodal interpretation in ensuring that the written word is a choice and not a default for visitor engagement? 
  • Authorship: Who is writing your exhibition content? Has your institution committed to human-generated content or are you experimenting with AI? Do you feature content authored by community members, artists, and others outside your institution? How do you manage these relationships and is your approach to editing such content different?
  • Tone and Vocabulary: Who are you speaking to and how? What guides the choices your institution makes in how it engages with its audience(s) through written and spoken language? What resources do you draw on and how do you train staff to communicate?
  • Choreography: How do collections, graphics, design, and interactive elements work together? How do you choreograph an exhibition to enhance the impact of collections and their interpretation? What design features—seating, pacing, placement—increase engagement with objects and interpretation?

Proposals can focus on a specific exhibition, provide an overview of exhibitions and practices, or offer an insightful review of current literature and other resources to help elucidate core practices. The exhibitions and/or elements discussed can be created by or for museums of all disciplines, historical sites, galleries, institutions that collect and display living collections, or others. Proposals might come from designers, exhibit developers, interpretive planners, curators, writers, educators, or others who create and contribute to exhibitions at all stages of their careers. In all cases, accepted authors will be expected to write articles that illuminate larger issues. Exhibition descriptions should be critical and analytical, and theoretical research and evaluation findings (even if informal) must be used to support arguments for the strengths and weaknesses of a project.

A Note About AI

Authors are expected to write their own articles, without the use of AI (large language models, ChatGPT, etc.). This includes using AI to edit your submission (beyond Word’s spelling or grammar check features). If authors plan to use AI to assist with data collection or other research functions to facilitate the creation of their articles, this use must be disclosed and properly cited (more detailed information will be provided if your proposal is selected).

Exhibition does not use AI in any of its editorial processes. All submissions will be reviewed by a panel of your peers with many decades of combined experience who are all committed to creating meaningful content for our field. We believe this human-centered approach results in articles that honor your individual voice while protecting your intellectual property. We welcome first-time authors and ESL authors and will provide additional editorial support as needed.

How to write and submit a proposal

There are two parts to a proposal (which must be submitted as a Word document):

Part 1: Description (400 words max)

The description must:

  • Include a proposed title for the article (proposed titles should be brief, interesting, and illuminating).
  • Clearly and succinctly convey what the article’s thesis will be.
  • Indicate the approaches, strategies, or knowledge that readers will take away from the article.
  • Convey how the article would raise questions or illuminate larger issues that are widely applicable (especially if the proposal focuses on a single project).

Please note that accepted articles will be expected to provide critical, candid discussions about issues and challenges, successes and failures, and to provide some level of evaluation and/or theoretical grounding.

Part 2: Brief Bio

Please provide a brief bio (no more than one paragraph) for each author that describes their background and qualifications for writing the article (please do not include resumes or CVs).

Please send all proposals as Word documents via email to Jeanne Normand Goswami, Editor, Exhibition at: jeanne.goswami@gmail.comSubmissions from colleagues and students around the world are welcomed and encouraged.

Deadlines: Proposals are due June 3, 2026. Our editorial advisors will vet proposals in a blind review process, and you will be notified of acceptance or non-acceptance in late June. Articles of 2,000 to 3,000 words maximum, along with high-resolution images, will be due in late August.

Other ways to contribute

Would you like to contribute to Exhibition but don’t have a project that fits the call? We are looking for volunteers to contribute to the journal as book reviewers and exhibition critique writers.

What we’ll need:

If you are interested in being considered for these opportunities, please let us know:

  • Your name, title/role, institution (if applicable), geographic location (so we can match you with exhibitions in your area), and any areas of particular interest or focus (e.g., are you a public history professional, art historian, scientist, or designer? Do you have experience with content development or museum education?).
  • Whether you are interested in writing book reviews, exhibition critiques, or both (NOTE: Book reviewers will receive a complimentary copy of the chosen book).
  • If you have a specific idea in mind for either a book review or exhibition critique, please provide a brief (150-word max) description that includes why you think it would make a good addition to this issue (NOTE: you do not need to have a specific idea to be considered).

Please send requested information via email to:

Jeanne Normand Goswami, Editor, Exhibition at: jeanne.goswami@gmail.comSubmissions from colleagues and students around the world are welcomed and encouraged.

Deadlines: All information is due June 3, 2026. Book review and exhibition critique submissions will be considered by our editorial team alongside article proposals in June 2026. If you are selected to contribute to the issue, you will be notified in late June and a draft of your assigned submission (approximately 1,500 words) will be due in late August 2026.