CFP: Thinking through Heirlooms (6th Nov 2026, University of Brighton)

Keynote Speaker: Prof Soumhya Venkatesan with Lydia Donohue (University of Manchester)

The word ‘heirloom’ evokes objects tucked away in wardrobes, imbued with woody, musty fragrance, aged with patina and eerie silence – rescued, retained, preserved, and remembered. Their fate remains unpredictable: second-hand stores, antique shops, auction houses, museum collections. Heirlooms chart different trajectories with different owners, soaked in different personalities, carrying a panoply of histories imposed by each owner. As objects moving between generations, heirlooms accrue, embody, and elicit multiple meanings, holding both personal and cultural relevance and developing their own life histories. Around this central object, scholars have explored postmemory, kinship, hidden heirlooms, space and homes, memorial samples, family archives, home cultures, migration, and industrial heritage. Not restricted to physical objects alone – what about the intangible? What if the heirloom no longer exists, resulting in ‘oral heirlooms’ (Ajit, 2015) or the passing of skill as inheritance?

This symposium unravels such complexities by examining alternative ways of listening and reading heirlooms, deconstructing established ideas of what an heirloom is, and unlocking new knowledge embedded within them. The symposium follows three themes:

1.     Person-Object Relationships: Laden with emotional weight, heirlooms share tenuous relationships with owner identity, invoking unique ‘person-object’ relationships (McCracken, 1988), suggesting multiple ways relations are articulated through things. Lying at the intersection of objects, people, and relationships, heirlooms reinforce the central role artefacts play in understanding culture and society, with materials and materiality serving as conduits for these relationships. One may also examine the making process of an heirloom, its crafting and craftsmanship, with materials ranging from metal, ceramic, wood, textiles, paper, and plastic, taking forms including pottery, decorative arts, needlework, clothing, photographs, furniture and furnishings, ornaments, musical instruments, recipes, letters, and diaries.

2.     Transference and Transactions: While heirlooms and intergenerationality are often intertwined, non-linear passing is not uncommon. Bequeathing may not always be from older to younger; heirlooms are sometimes passed before death, making one an ‘unprepared custodian’ (Dimmock, 2025). This theme subverts dominant ways of receiving heirlooms and the spaces they occupy, including archives and museum collections. Heirlooms do not always follow patrilineal lineage; thus, questions of hierarchy, value, and significance emerge. Further, not all heirlooms are held with importance; they are forgotten or misremembered. Such heirlooms matter too, inextricably connected to ways of remembering: material memory, cultural memory, and sensory memory.

3.     The New Heirlooms: Can heirlooms be chosen? What happens when one is left without ancestors, resulting in non-consanguineous heirlooms? What if heirlooms are intentional, specifically created? In crafting new heirlooms, what role can designers play in creating timeless, durable objects for longevity, encouraging custodianship through embedding memory? With rising eco-consciousness, what all do digital heirlooms entail (Giaccardi et al., 2012)? This theme engages with tensions and contradictions in the digital humanities, sustainability studies, and technology heirlooms – electronic artefacts, online memorialization and social media. How can we speculate imaginative futures around care and heirlooms, including exploring heirlooms as educational tools to foster better relationships?

We encourage submissions from design history, textile studies, design anthropology, sociology, cultural studies, museum studies, design research, archive studies, oral history, feminist studies, material culture, and beyond. We welcome encounters with heirlooms: theoretical and object-based studies, personal reflections and artistic explorations across media. We especially encourage submissions from affiliated and unaffiliated scholars, including graduate students, early career researchers, artists, independent researchers, designers, and practitioners.

Please send your proposals for a 15-minute presentation or a 5–10-minute video or performance as a 300–400-word abstract, by submitting on the form below, before 3rd July 2026. We will respond to all the submissions with a decision by the end of July. We aim to publish the knowledge and discussions that emerge from this symposium as a volume by a renowned publisher, subject to confirmation. If you have any questions or wish to discuss the submission in alternative formats, please do not hesitate to write to either of us.

Submission Link: CFP – Thinking Through Heirlooms: An Interdisciplinary Symposium (6th Nov 2026) – Fill out form

References

  • Ajit, A. (2015). Oral Heirlooms: The Vocalisation of Loss and Objects. Oral History, 70–78.
  • Dimmock, K. (2025). What Do I Do with all This Stuff? Inheritance and the Unprepared Custodian: Relating Meaning Through the Mediated Artistic Collection (Doctoral dissertation, Open Research Newcastle).
  • Giaccardi, E., Churchill, E., & Liu, S. (2012). Heritage Matters: Designing for Current and Future Values Through Digital and Social Technologies. In CHI’12 Extended Abstracts on Human Factors in Computing Systems, 2783–2786.
  • McCracken, G. (1990). Culture and Consumption. Indian University Press.

Contact Information

Symposium Organisers: 

Pragya Sharma (University of Brighton, UK)

p.sharma6@uni.brighton.ac.uk

Prof Saumya Pande (Slow Stitch Foundation, India)

pandesaumya17@gmail.com

Contact Email

PRAGYA.SHARMA57@GMAIL.COM

Attachments

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: Artificial Intelligence and Cultural Meaning: Language, Images and Interpretation in the Digital Age

Call for Chapters

Artificial Intelligence and Cultural Meaning: Language, Images and Interpretation in the Digital Age

Edited by  Ester Cristaldi

Under contract with Anthem Press

Chapter proposals are invited for the edited volume Artificial Intelligence and Cultural Meaning: Language, Images and Interpretation in the Digital Age, under contract with Anthem Press.

The volume examines artificial intelligence as a cultural, semiotic, social and media phenomenon. Rather than approaching AI only as a technical system or computational tool, the book investigates how AI participates in the production, circulation and transformation of meaning in contemporary digital culture.

The central premise of the volume is that AI does not simply process information. It increasingly mediates how people write, read, see, classify, imagine, remember and interpret the world. AI systems generate texts and images, organise visibility, shape public attention, classify social subjects, predict behaviour and participate in the construction of cultural narratives.

The book is grounded in semiotics and linguistics, but it also welcomes interdisciplinary perspectives from cultural studies, media and communication studies, media sociology, digital sociology, digital humanities, visual culture, platform studies, critical data studies, journalism studies, environmental humanities, science and technology studies, and related fields.

Topics

Possible topics include:

  • AI, language and meaning
  • Large language models and linguistic authority
  • AI and language inequality
  • AI-generated images and visual culture
  • Synthetic media and visual disinformation
  • AI, public trust and the crisis of mediation
  • AI, platforms and public attention
  • Algorithmic visibility and digital inequality
  • AI, datafication and social classification
  • AI, creativity and cultural production
  • AI, cultural labour and the creative industries
  • AI, archives and cultural memory
  • AI, embodiment, interfaces and everyday experience
  • AI, environment, infrastructure and digital materiality
  • AI, interpretation and cultural authority
  • AI, media ecologies and affective publics
  • AI, memory, archives and the digital humanities

Submission Guidelines

Interested contributors are invited to submit:

  • a provisional chapter title;
  • an abstract of approximately 250–300 words;
  • a short biographical note of approximately 100 words;
  • institutional affiliation and contact details.

Full chapters will be expected to be approximately 6,000–8,000 words, including references.

Timeline

Proposal submission deadline: 30 June 2026
Notification of acceptance: 15 July 2026
Full chapter submission: 30 November 2026
Editorial feedback: January 2027
Revised chapter submission: 28 February 2027
Final manuscript preparation: March–April 2027

Submission

Chapter proposals should be sent to:

Maria Pia Ester Cristaldi
Üsküdar University
mariapia.cristaldi  @ uskudar. edu.tr

Please include “Chapter Proposal – Artificial Intelligence and Cultural Meaning” in the subject line.

Contact Information

 Ester Cristaldi
Üsküdar University
mariapia.cristaldi @uskudar.edu.tr

Contact Email

mariapia.cristaldi@uskudar.edu.tr

CFP: British Records Association 2026 conference ‘All Mapped Out: Maps, Plans and Charts in the Archives’

BRA Conference 2026: Call for Papers

British Records Association conference 2026: ‘All Mapped Out: Maps, Plans and Charts in the Archives’

Date:       Tuesday 24th November 2026

Location: The Gallery, 77 Cowcross Street, London, EC1M 6EJ

Call for papers: abstracts submission deadline 5pm on Wednesday 1st July 2026

This year the British Records Association (BRA) annual conference will be held on the topic of records and archives which take the form of maps or geographical plans and charts. 

Submissions are invited which link this theme to the aims of the BRA, namely the preservation, understanding, accessibility and study of our recorded heritage for public benefit. Areas to be explored could include:

  • challenges of preserving maps owing to their scale or format
  • survival or absence of significant maps, or collections thereof
  • little known material, whether significant for design or purpose, for example
  • misleading maps
  • different reasons why maps have been produced
  • interesting discoveries or interpretations based on the study of maps
  • maps as a tool for public engagement
  • broadening access through digitisation, grant funded projects, or other means
  • relevant collaborations, such as between historians and collections managers
  • changes in how maps have been created, and insights these provide, such as the rise of digital cartography
  • whether existing map collections are under threat from technological advances

Abstracts of papers (twenty minutes) or lightning talks as part of a panel (five minutes) should be a maximum of 200 words and should be accompanied by a biography of all participants of up to 150 words. These should be submitted to the BRA Chair:  chair@britishrecordsassociation.org.uk

The British Records Association is a charity which aims to promote the preservation, understanding, accessibility and study of our recorded heritage for public benefit. It is open to anyone interested in records and archives whether local historians, academics, professional archivists, or custodians and owners of collections, or simply those who are curious about the record of our past. http://www.britishrecordsassociation.org.uk/

Matti Watton, BRA Chair, on behalf of the conference organising committee.

Contact Information

BRA Chair

Contact Email

chair@britishrecordsassociation.org.uk

URL https://www.britishrecordsassociation.org.uk/news/call-for-papers-for-our-2026-conference/

CfP: Practicing the Archival Commons: Publics, Power and Perspectives (STIAS Feb 2027) deadline 5 JUNE 2026

This workshop seeks to examine refigured archiving work currently undertaken in Africa as well as to learn more about the ways in which this refigures scholarship. Introducing the concept of the ‘archival commons’, it particularly aims at studying diverse forms of archiving as common, communal or communing practices that have significant effects on both preservation and critical historical work.

Practicing the Archival Commons: Publics, Power and Perspectives

In 2002, scholars and archival practitioners, mainly thinking from and working in South Africa, published Refiguring the Archive amidst the transformative imperative against apartheid and the colonial past. The book’s authors argued that archival conceptualization, practice and use all “required transformation” (Hamilton et al. 2002, 7). The publication turns our attention to the convergence of a range of developments in the twenty-first century including a broader archival turn across academic disciplines, a transnational professional reexamination of archival praxis, the rapid expansion and acceleration of digital technologies, and public demands to address the past and its discontents.

Against this backdrop, this workshop seeks to examine refigured archiving work currently undertaken in Africa as well as to learn more about the ways in which this refigures scholarship. Introducing the concept of the ‘archival commons’, it particularly aims at studying diverse forms of archiving as common, communal or communing practices that have significant effects on both preservation and critical historical work. Rooted in the broader notion of commons as shared cultural, informational, and natural resources, the ‘archival commons’ contrast an understanding of archives as static, institutionally controlled spaces. The concept aligns with decolonial and liberatory approaches by envisioning archives as dynamic, participatory spaces governed collectively by archivists, researchers, and communities.

The goals of the workshop are twofold. First, the workshop aims to assess the making, workings, functioning, and meanings of archives which accentuate cooperation and reciprocity on the one hand and work towards greater justice, if not compensation, for past injustices or practices of silencing on the other. Second, acknowledging that archives are characterized by practices and their aliveness, it aims to study the affordances and limitations of common-based approaches to archiving for history and other academic disciplines and to explore their implications for research methodologies more generally. To meet these objectives, the workshop is planned as an event that includes both practical and theoretical elements and reflections. On the one hand, it is comprised of visits to, and active engagement with, archival projects in and around Stellenbosch University and from other parts of the African continent. On the other hand, it invites researchers, especially early in their careers, and practitioners in history, archival studies, heritage, postcolonial studies and anthropology to think of the ‘archival commons’ together and investigate it as a way of engaging the past. Therefore, we invite proposals for papers that address the ‘archival commons’ with reference to one or more of the following themes and questions:

Publics

– How does archiving as a common, communal or communing practice contribute to transformative discourses and which publics are involved? What are the roles of trained archivists and professional identities in this context?
– What social and cultural work is performed by the ‘archival commons’ in general and by specific archival projects in particular? How can/do/should scholars consider this in their engagement with such projects?
– What do the ‘’archival commons’ create? Who makes, sustains and takes care of them? Which (digital) infrastructures do they need? How do digital infrastructures enable or limit their possibilities?
– How do or can the ‘archival commons’ or specific common archival initiatives contribute to refiguring social, economic, political, environmental and digital relations?

Power

– How does power operate in the ‘archival commons’? In how far does the ‘archival commons’ constitute a possibility to reconsider power relations in current archival practice?
– What renders archival labor visible or invisible? How do practitioners preserve their archival work in precarious conditions? How do they refigure archival practices such as selection, description, preservation, and access considering critiques of archival conventions?
– How do archival practitioners engage with digitization and the new conventions, challenges, (in)equalities and possibilities it brings about?
– How do archival projects deal with difference, conflict and difficult histories? Considering that archiving documents involves more than ‘simply’ preserving them –by adding value through appraisal, processing, description and – how is value created and maintained?
– What cooperations and disjunctures have formed between archival professionals, researchers, and ‘subjects’?

Perspectives

– Which epistemological and social perspectives have been, are being or could be opened by archival projects in the twenty-first century?
– How does common archiving impact knowledge production and in which societal fields? How does it impact research practices and methodologies?
– What material conditions, relationships and understandings are needed or desired to practice and sustain the ‘archival commons’ as a socially responsible and epistemologically meaningful project?

Please send a proposal of no more than 300 words and a one-page CV by June 5, 2026 to archivalcommonsworkshop@gmail.com. Participants will be notified by the end of August 2026. The workshop will be held in English and focus on the discussion of pre-circulated papers of about 3,000 words (submission due by December 15, 2026). In case of submissions with more than one author, we will only be able to accommodate one person per proposal due to budgetary restrictions. Please indicate in your proposal who should be considered as the main applicant.

The workshop is organized in the framework of the “Programme Point Sud” of the German Research Foundation (DFG) and Goethe University Frankfurt. Costs for travel and accom-modation will be covered.

Contact Email

archivalcommonsworkshop@gmail.com

Digital Humanities and Global Inequalities: Call for Contributions

Outputs of Humanities and Social Science projects of transnational interest often include some kind of online product: Virtual archives, websites, multimodal publications, and social media presences are intended to digitally bridge what physically could only be reached by a select few. But how do these outputs actually account for global power asymmetries when inspected in detail? How do they include or exclude Indigenous communities? How do digital outputs claiming to be collaborative or participatory consider global inequalities of digital access and literacy? While the digital offers significant possibilities towards achieving interim justice through methods like digital restitution, digitizing can also lead to virtue signalling and neocolonial forms of extraction, exploitation and exoticization.

With this two-day workshop, we invite communities of knowledge producers into conversation, locally in Tübingen and internationally, who are at the cutting edge of fostering digital epistemic justice but who are rarely able to share the same spaces of scholarly discussion: social and cultural anthropology, digital humanities, ethnomusicology, museums, archives, social media content creators, UI/UX design, web development, software architecture and any related fields facing the challenge of reaching audiences often underserved by Humanities and Social Sciences research outputs. Together, we will critically examine practical implications of digital return in collaborative research: Can or should it be a service for, an offer to, or conversation with (non-)academic communities of data providers, co-producers, and reusers, especially in the Global South? What can collaboratively produced digital research outputs achieve beyond buzzwords that merely reproduce academic extractivism? How can they create impact in and beyond digital spaces to assist in actual societal change?

✨ With this Call for Contributions, we aim to move past theoretical reflection. We want to bring together actual practitioners of digital research outputs across all stages of project progression. We invite contributions of upcoming, ongoing and completed projects of all sizes with concrete digital research outputs beyond traditional academic writing geared towards communities of research participants and data (co-)producers by addressing specific digital media habits or challenges of accessibility.

📌 Contributions can touch upon, but are not limited to:

• Digital Archives to Globalize Access

• Artistic Interventions

• Participatory Ethnography

• Multilingualism

• Decolonizing Knowledge Representation

• CARE Principles of Indigenous Data Governance

• Traditional Knowledge Labels

• Collaborative Authorship

• Web / Software Development for austere environments

📝 Modes of submission

Abstract of 300 words. Please describe aims, research questions and methods of your project, how the project is organized, how collaboration or participatory research is understood and practiced in your project, core characteristics of the digital research outputs and how their development relates to the project (required!)

A (working!) hyperlink to your digital research output and your code repository (if applicable). For unpublished, work-in-progress or deprecated digital research outputs, please provide screenshots, screen recordings, concept art, … for a tangible assessment (required!)

Bionote of 100 words (optional, but appreciated)

📅 Deadline: 20 May 2026

📧 Submit via email to: edda.schwarzkopf@uni-tuebingen.de

📂 Larger files can be securely uploaded to this folder:

https://data.mantrams.eu/s/WEys4s5HGPyae4d

✅ Confirmation of Selection: Mid June 2026

🎥 Modes of workshop participation

Participation (in person and online) is free of charge. Travel & Accommodation needs to be organized and funded by you, though we will gladly help. Online presentation is possible.

🤝 Workshop host and Funding acknowledgement

This workshop is organized and convened by the Digital Humanities Center, the Department of Social and Cultural Anthropology, and the ERC Synergy Grant project MANTRAMS at the University of Tübingen, namely by Edda Schwarzkopf, Prof. Carola Lorea and Dr. Michael Derntl

New Issue: Norsk arkivforum

Norsk arkivforum Volume 32, Issue 1 (April 2026)
(open access)

From Traditional Archival Knowledge to Computer Vision and Natural Language Processing. The More Things Change …
Luciana Duranti

40 år med Noark – et tilbakeblikk med noen betraktninger om veien videre
Øivind Kruse

From Parchment to Metal: Printing Plates as Artifacts of Knowledge and Heritage
Juliane Tiemann

Nåla i høystakken
Arkivbeskriving gjennom 140 år
Synøve Bringslid

Den lille arkivaren med svovelstikkene og jakten på bedre alternativer
Martin Ellingsrud and Leiv Bjelland

Kampen mot løsgjengeriet etter Kristian 5.s Norske Lov
Tine Berg Floater

Kvinnebevegelsens arkiv
Ulla Lise Johansen

Camilla Wergelands reise til Stockholm høsten 1830
Torjus Moland

Den skrivende Emilie Diriks. Om flammer, svik og udødelighet
Nina Mauno Schjønsby

New Issue: Archives and Records

Archives and Records, Volume 47, Issue 1 (2026)

Research Articles

Enhancing healthcare records management: a blockchain-based system for secure and efficient handling of electronic health records
Ahmed Aloui, Samir Bourekkache, Meftah Zouai, Oussama Mekhatria & Okba Kazar

AI-driven transformation of audio archives: from speech recognition to NLP-based summarization and metadata generation
Muslum Yildiz & Fatih Rukancı

Epistemic violence towards the mothers of colonial Métis children: evidence from Belgium’s ‘Africa archives’
John D. McInally, Nicki Hitchcott & Alice Urusaro U. Karekezi

A model of coordination and collaboration for the protection and recovery of archives affected by natural disasters
Jonas Ferrigolo Melo, Juliano Silva Balbon & Moisés Rockembach

Climate change impacts on the recordkeeping practices of community organizations in Bangladesh: toward an adaptive recordkeeping framework
Md Khalid Hossain, Viviane Frings-Hessami, Gillian Christina Oliver, Joy Bhowmik & Jemima Jahan Meem

Recovering women: a case study in academic-archive collaboration
Tom Furber & Patrick Wallis

Book Reviews

Futures of digital scholarly editing, edited by Matt Cohen, Kenneth M. Price and Caterina Bernadini, Minneapolis, University of Minnesota Press, 2025, 312 pp., 31 b&w illustrations, £20.13 (paperback), ISBN 978-1-5179-1668-8
Alex Healey

Pioneering women archivists in early 20th-century England
by Elizabeth Shepherd, Abingdon, Routledge, 2025, 197 pp., £34.39 (eBook), ISBN 9781003640479.
Arunima Baiju

The Methodist Archivists’ Handbook
by the Methodist Church, 2025, https://media.methodist.org.uk/media/documents/Methodist_Archivists_Handbook.pdf [accessed 11 October 2025]
Daniel Reed

CFP: Symposium – Papering Over the Audiovisual Archives

The FIAT/IFTA Media Studies Commission together with the Entangled Media Histories invite you to a two-day international symposium to be held at the Netherlands Institute for Sound and Vision on 19-20 November 2026.

The symposium focuses on paper archives and their uses in media historical research. The aim is to foreground these discussions as points of departure for showcasing the value of paper archives in media historiography and their indispensable contributions to appraising and valorising audiovisual archival records.

Call for Papers

The symposium is open to media historians, archivists, artists and media professionals doing archive-based work. We invite papers that shine a light on the use of paper archives in the writing of media histories. Papers that showcase the theoretical and methodological versatility of paper archives in media historical research are particularly welcome. We are interested in contributions that deal with archived paper (paper preserved as historical records) as well as archival paper (catalogues, index cards, maps, etc.). The following topics can serve as a point of inspiration, however proposals do not need to be limited to these:

  • paper archives as signifiers of archiving politics;
  • (re)orientations towards politics of digitisation, preservation and archival
    access;
  • practices of appraising historical records and their archival value;
  • intermediality in archive-based media histories;
  • archival precarity;
  • the gendering of paper archives;
  • paper archives and women’s media histories;
  • paper and (gendered) archival labour;
  • embodied approaches to archives;
  • archival paper (catalogues, inventories, memos, etc.) and its digital afterlives;
  • materiality of paper records;
  • silences in the archives as orientations towards re-sounding and re-visioning the archives;
  • polyvocality in the archives and imaginative processes of historical meaning-making;
  • paper archives as grounds for self-reflexivity in institutional media archives.

Abstracts of 250 words should be sent to msc@fiatifta.org by May 31st, 2026.

Queries can be sent to Alec Badenoch (Utrecht University) or Dana Mustata (University of Groningen).

CFP: Playing with History

PLAYING WITH HISTORY, 15 – 16 JULY

The Centre for Historical Studies at the University of Northampton welcomes submissions for our interdisciplinary and panhistorical conference Playing with History. This event brings together scholars, educators, and practitioners interested in examining how play—across its many forms—shapes, reflects, and reimagines the past. Play is often framed as leisure or diversion, yet it has long been central to cultural expression, technological innovation, learning, and socialization. From ancient board games to contemporary digital worlds, from childhood toys to serious games in education, play offers a rich archive for historical inquiry and creative engagement.

We welcome papers that address (but are not limited to) the following themes:

1. Histories of Games, Toys, and Play

  • Archaeologies and material cultures of play
  • Play and identity (gender, class, race, age)
  • Collecting, preserving, and curating play artefacts
  • Performance as play (acting, dressing up, theatre)

2. History and Gaming

  • Historical representation in tabletop, board, and role-playing games
  • Video games as sites of historical storytelling and memory
  • Game mechanics as historiographical tools
  • Histories of gaming technologies and industries

3. Pedagogy and Play

  • Game-based learning in history education
  • Role-playing and experiential learning in the classroom
  • Designing educational games and playful curricula
  • Critical perspectives on gamification
  • Play as a method of engaging with difficult or contested pasts

We encourage contributions from a wide range of disciplines, including history, archaeology, anthropology, education, media studies, game studies, museum studies, theatre studies and more. If you have something to say about play, you are welcome!

We welcome 200-word abstracts for traditional 20-minute papers, but also welcome submissions for more creative formats, such as game demonstrations, poster presentations and workshops. We warmly welcome abstracts from practitioners outside higher education and postgraduate students. 

Please email Rachel.Moss@northampton.ac.uk and Tim.Reinke-Williams@northampton.ac.uk your abstract and contact details by Monday 11 May.

Contact Information

Rachel.Moss@northampton.ac.uk and Tim.Reinke-Williams@northampton.ac.uk