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CFP “Connecting Narrative Worlds,” Istanbul, 6-9 November 2013

Call for Papers

6th International Conference for Interactive Digital Storytelling (ICIDS)

“Connecting Narrative Worlds”

Istanbul, 6-9 November 2013

Bahçeşehir University

ICIDS is the premier international conference on research and practice covering interactive narrative experiences such as video game narratives, interactive storytelling, interactive drama, and interactive installation art concerned with storytelling. Bringing together researchers, practitioners and theorists presenting cutting-edge works, qualitative and quantitative research, advanced computational narrative techniques and innovative theoretical perspectives, ICIDS serves as the main event for exchanging ideas and perspectives on combining narrative and interactivity for an exciting new form of human expression that redefines the relationship between creators and audiences.

Interactive Digital Storytelling is an exciting area in which narrative, computer science and digital arts converge to create new expressive forms. The combination of narrative and computation has a considerable untapped potential: from artistic projects to journalistic communication, from assistive technologies and intelligent agents to serious games, education and entertainment.

The ICIDS conference series has a long-standing tradition of bringing together theoretical and practical approaches in an interdisciplinary dialogue. The motto for ICIDS 2013 “Connecting Narrative Worlds” expresses this need to build bridges of understanding across different fields to make even better use of the immense potential of interactive narrative. The objective of ICIDS 2013 is to promote understanding and dialogue between A.I. researchers, designers, transmedia and digital artists, narratologists and digital game scholars.

We welcome practical work and theoretical inquiries from fields related to computer science – including (but not limited to) artificial intelligence, human-computer interaction, natural language generation and understanding or automated story generation. We invite contributions on the current and future usage scenarios from digital artists, transmedia producers and game designers: original pieces of Interactive Digital Narrative (IDN) may be presented, as well as post-mortem discussions of completed projects. Finally, we ask for submissions from the fields of semiotics, narratology, media studies, digital humanities and interactive arts criticism: interested scholars may focus on improved schemas for describing and critiquing Interactive Digital Narratives as well as analyses discussing narrative features across digital media.

We welcome research papers and demonstrations – including interactive narrative art – presenting new scientific results, interactive narrative theory, innovative technologies, case studies, creative insights, best practice showcases, or improvements to existing techniques and approaches in the research field of Interactive Digital Storytelling and its possible applications in other fields, e.g. video games, virtual/online worlds, e-learning, training, and edutainment. We are planning to have a space for art work/demonstrations that will be open (and attended by security) for the duration of the conference. We plan to issue a specific call for artworks closer to the conference.

Suggested research topics for contributions include, but are not limited to:

1) Technological, theoretical, and aesthetic issues in all areas of interactive narrative

2) Interactive Digital Narrative systems, authoring tools and practical/artistic projects

3) Video game narrative

4) User experience reports and evaluations of interactive digital narratives

5) Innovative narrative applications of artificial intelligence

6) Multi-user IDNs: social applications, ubiquitous computing and collaborative environments

7) New frontiers and concrete applications: IDNs and intelligent agents as art pieces, games or tools

Workshops

Workshops are an integral part of ICIDS. A separate call for workshops will be issued at a later date.

Submissions

All submissions must follow the Lecture Notes in Computer Science format, available at:

http://www.springer.com/computer/lncs?SGWID=0-164-6-793341-0

Papers must be written in English, and only electronic submissions in PDF format will be considered for review.

The submission categories accepted are:

  • Full papers (8-12 pages in the proceedings) describing interesting, novel results or completed work in all areas of IDS and its applications.

  • Short papers (4-6 pages in the proceedings) presenting exciting preliminary work or novel thought-provoking ideas that are in their early stages.

  • Demonstrations and posters (2-4 pages in the proceedings) describing working, presentable systems or brief explanations of a research project.

Submissions that receive high ratings in the peer review process will be selected for publication by the program committee as Springer LNCS conference proceedings. For the final print-ready version, the submission of source files (Microsoft Word/LaTeX, TIF/EPS) and a signed copyright form will be required.

All submissions will be processed using the EasyChair system. Authors are advised to register a new account well in advance of the paper submission deadline:

http://www.easychair.org/conferences/?conf=icids2013

The review process for ICIDS will be double blind. Authors should remove all identifying information from their submissions.

Important Dates

  • Deadline: June 14, 2013 Submission deadline for full and short papers, demonstrations and posters proposals. The precise deadline for paper submissions is 11:59PM on June 14, 2013, Hawaii Standard Time. Authors are strongly advised to upload their submissions well in advance of this deadline.

  • July 21, 2013 Accept/reject notifications sent to authors.

  • August 14, 2013 Camera-ready copy due.

  • November 6 – 9, 2013 ICIDS Conference Dates.

This conference is organized by the Games & Narrative research group and hosted by Bahçeşehir University Game Lab (BUG) and organized in collaboration with the Turkish Chapter of the Digital Games Research Association (DiGRA).

Organizing Committee

General Chairs

Hartmut Koenitz

Tonguc Ibrahim Sezen

Program Chairs

Mads Haahr

Gabriele Ferri

Local Arrangements Chair

Guven Catak

Workshops Chair

Digdem Sezen

More Information

Additional information about the conference can be found online at:

ICIDS conference series:

http://icids.org

Conference home page:

http://gamesandnarrative.net/icids2013/

Questions about the conference should be directed to the organizers via email at:

icids2013@gamesandnarrative.net


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Call for Papers: International Herbert Marcuse Society

Call for Papers

The Fifth Biennial Meeting

International Herbert Marcuse Society 

University of Kentucky

Lexington, Kentucky, USA

November 7-9, 2013

 

Conference Theme:

“Emancipation, New Sensibility,

and the Challenge of a New Era:

Theory, Practice, and Pedagogy”

 

“Social theory is supposed to analyze existing societies in the light of their own functions and capabilities and to identify demonstrable tendencies (if any) which might lead beyond the existing state of affairs. By logical inference from the prevailing conditions and institutions, critical theory may also be able to determine the basic institutional changes which are the prerequisites for the transition to a higher stage of development: “higher” in the sense of a more rational and equitable use of resources, minimization of destructive conflicts, and enlargement of the realm of freedom. But beyond these limits, critical theory did not venture for fear of losing its scientific character. I believe that this restrictive conception must be revised, and that the revision is suggested, and even necessitated, by the actual evolution of contemporary societies.”

–Herbert Marcuse, An Essay on Liberation, 1969

 

The International Herbert Marcuse Society (IHMS) is an atypical gathering of the community of academics, scholars and activists who labor together in an attempt to help the specter of liberation that haunts our society materialize in the concrete lives of oppressed people. For this reason, we bring together not only Marcuse scholars, but scholars and activists from a wide range of disciplines. We are interested in connecting with all people who participate in the “Great Refusal” by trying to transform our society in theory and practice. The IHMS emerged as a response to our current social, political, philosophical, and historical situation.  In short, we have witnessed the apparent domination of one-dimensional thinking.

However, the control of society by one-dimensional thinking has never been complete. One-dimensional thinking has always been challenged but not overthrown by an antagonistic specter. Marx spoke of the specter of communism.  Arnold Farr has spoken of the specter of liberation. Mark Cobb has spoken of Marcuse’s ghost.  Derrida has spoken of the specter of Marx. Even as one-dimensional thinking takes its throne, no coronation is in the works.

 

“A Specter is haunting Europe—the specter of communism.”      

Karl Marx

Communist Manifesto, 1848

 

“There is a specter haunting western philosophy—the specter of liberation.”       

Arnold Farr

Critical Theory and Democratic Vision: Marcuse and Recent Liberation Philosophies, 2009                                     

 

“The specters of Marx. Why this plural? Would there be more than one of them?”

Jacques Derrida

Specters of Marx, 1993

 

Derrida was right to speak of multiple hauntings. Today we are confronted by the haunting of Marcuse, suggesting that his work is as relevant in 2013 as it was in the 1960s and 70s. Marcuse’s work itself embodies a multiplicity of specters, specters of liberation.  This is the point of the long opening quotation from Marcuse. On one level, (Marcusean) critical/social theory discloses the specters of liberation in terms of the possibilities that exist within the present mode of social organization. This is the function of critical/social theory in what Marcuse has called its restricted operation. At another level, critical/social theory transcends the present form of social organization to reveal the specter of utopian visions that haunt the present reality principle. However, he reminds us that the Utopian vision is not one with content insofar as our society has reached a level of technological development that makes liberation possible. We are beyond the threat of scarcity.  However, what is at issue here is the blocking of liberation by the very forces that make it possible.

In 2011, the IHMS conference was entitled “Critical Refusals.” We chose this title because we wanted to bring together scholars and activists who were all engaged in some kind of “Great Refusal” through their work. We wanted to bring together people who were engaged in critical projects even though they may not be Marcuse scholars.  Marcuse and his work are still at the core of the IHMS. However, Marcuse’s project is carried out best when it is put into conversation with other theorists and activists who are doing critical and transformative work. The 2013 conference will be organized according to this same principle. We welcome papers and projects from all who are seeking serious engagement and social transformation.

 

Please send abstracts and papers to: Arnold L. Farr alfarr00@uky.edu.

Deadline for abstracts:  June 1, 2013.

Abstracts: maximum 500 words; include a title and 3-5 keywords to assist with paneling, in the event your abstract is chosen for presentation.

Notification: July 15, 2013.

Papers: final versions should be no more than 3000 words written with standard formatting and 12-point font.

Registration:  $30.00


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Shades of Occupation: Iraq After 10 Years 2013 Mellon Symposium

The John B. Hurford '60 Center for the Arts and Humanities

Shades of Occupation: Iraq After 10 Years
2013 Mellon Symposium
Organized by Zainab Saleh

Friday, March 29th, 2013
Hurford Center for the Arts and Humanities
Haverford College

This interdisciplinary symposium will be held on the 10th anniversary of the US-led invasion of Iraq as a venue to examine multiple dimensions of the decade-long occupation. Despite the US Army’s official withdrawal from the country, the US presence in Iraq as a military, economic and political force continues to loom large. Baghdad is home to the largest US embassy in the world. An enormous body of private security and other contractors remain in the country. The institutions installed by the US-led Coalition Provisional Authority since 2003 will continue to have far-reaching impact on the future of Iraq. Apart from military operations and sectarian violence, subversive aspects of the war and occupation, the repercussions on Iraq have received little attention: the occupation of Iraq is the United States’ Forgotten War.

“Shades of Occupation” approaches the invasion of Iraq in a historical and global context, whereby American empire, since the Cold War, attempted to control the politics and the resources of the country as well as the region. It brings together scholars who have been thinking, and writing, about the war from different perspectives, including oil, empire, perception of the Iraqi society, and the impact of wars on Iraq among others.

Visit http://www.haverford.edu/iraqafter10years for a full schedule of events.

Shades of Occupation: Iraq After 10 Years is organized by Zainab Saleh, Mellon Postdoctoral Fellow and Visiting Assistant Professor of Anthropology at Haverford College, and  made possible with the support of the John B. Hurford ’60 Center for the Arts and Humanities and the Andrew W. Mellon Foundation.

Contact Associate Director Emily Cronin:ecronin@haverford.edu

haverford.edu/hcah
haverford.edu/iraqafter10years

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Adorno Conference at Temple

  • Posted by: Gabriel Rockhill
  • Posted Date: March 18, 2013
  • Filed Under: Library News

French Translation Grants

 

call for submissions

TRANSLATION ASSISTANCE PROGRAMS—2013

French Voices Award — Heminwgay Grant — Acquisition of Rights

We are pleased to announce that the Cultural Services of the French Embassy, the Institut français and FACE are now accepting applications for their translation assistance programs.

The Book Department of the Cultural Services of the French Embassy works with FACE (French American Cultural Exchange), the Institut français and the Ministry of Foreign Affairs, to promote French and Francophone literature and to encourage English translations of French fiction and non-fiction. To that effect, it provides and oversees three bi-annual programs concerning translations from French into English of works that have not yet been published in the United States. The French Voices Award, Hemingway Grants and Acquisition of Rights Grants are awarded to fiction and non-fiction translations (including children’s books, comics and digital books).

To facilitate the application process, the Cultural Services of the French Embassy offers a single online application process. By filling out a form and uploading the necessary documents, you can apply directly online to the three following programs:

French Voices Awards
The French Voices Awards honor both translators and American publishers for English translations of works that have been published in France in the last 6 years. Awards recipients are selected by a literary committee. Each book receives a $6,000 award, shared by the American publisher ($4000) and the translator ($2000) ($5,000 and $1,000 respectively in case of a comic book or picture book).
http://frenchculture.org/books/grants-and-programs/publishing-grants-prizes/prizes

Hemingway Grants
Hemingway Grants allow publishers to receive financial help for the translation and publication of a French work into English. Grant beneficiaries are selected by the Book Department of the French Embassy in the United States. Grants awarded for each work range from $500 to $6,000.
http://frenchculture.org/books/grants-and-programs/publishing-grants-prizes/publishers

Acquisition of Rights grants
The Institut français helps American publishers offset the cost of acquiring the rights to French works. Grant beneficiaries are selected by the Institut français in Paris. The amount awarded cannot exceed the amount of the advance paid to the French Publisher for the acquisition of rights and varies from 500 to 7,000 Euros.
http://frenchculture.org/books/grants-and-programs/publishing-grants-prizes/publishers

For access to the online application and application and guidelines, please visit us online.
http://facecouncil.org/applications/

Application deadlines
The deadline for the 2013 Spring session is March 20th, 2013.
The deadline for the 2013 Fall session is August 30th, 2013.

In 2012, the French Voices Committee selected nine titles. Three of these titles are currently seeking an American publisher:

  • Histoire des grands-parents que je n’ai pas eus (Seuil, 2012) by Ivan Jablonka
    translated by Susannah Dale

  • D’un Pays sans amour (Grasset, 2011) by Gilles Rozier
    translated by Pierre Hodgson

  • Ramallah Dream: voyage au coeur du mirage palestinien (La Découverte, 2011)by Benjamin Barth
    translated by Michelle Nava

If you are interested in learning more about these titles or for information about other past grantees seeking an American publisher, please contact us at:972livre@gmail.com

For the 2006-2012 titles seeking an American Publisher, a translation sample is available upon request.

We thank you for your interest in our grant programs and look forward to receiving your applications.

Best regards,

Laurence Marie
Book Department | Cultural Services of the French Embassy
972 Fifth Avenue | New York, NY 10075
www.frenchculture.org

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Lecture by Roxanne Euben

The Drexel Comparative Political Theory Colloquium
presents:

Roxanne Euben
Ralph Emerson and Alice Freeman Palmer Professor of Political Science
Wellesley College

“Comparative Political Theory as Practice: 
Travel, Translation, and Islamic Political Thought”

Thursday, March 14th, 4pm
2019 MacAlister Hall
33rd and Chestnut, southeast corner

*Funded by the Drexel Career Development Award Program
Questions? Contact George Ciccariello-Maher, gjcm@drexel.edu

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Chris Marker Events at Slought

Ciné-Cat: Marking the City
Stop going to see films and make a film of the city!

Wednesday, March 06, 2013; 6:30-8:00pm
at Slought, 4017 Walnut Street

http://slought.org/content/11511/

Slought Foundation is pleased to announce Ciné-Cat: Marking the City, a street art project across Philadelphia beginning in March 2013. In the film The Case of the Grinning Cat (2004), Chris Marker becomes intrigued by the sudden appearance of painted grinning yellow cats on the streets of Paris. Documentation of these images and personal commentary throughout the film are joined by discussion of political events of the time.

Join us for a public workshop at Slought on Wednesday March 6th from 6:30-8pm to make meaning of the grinning yellow cat. The workshop, led by Slought Fellow Rachel Heidenry, will begin with a brief discussion of Chris Marker’s work, followed by an overview of street art practices and hands-on stenciling demonstrations. Templates and supplies will be provided in the workshop. Following the workshop, participants will be invited to add their grinning cat to Philadelphia’s built landscape.

Rules for Ciné-Cat Participants
– Be creative. The templates are only guides. We encourage you to adapt the grinning cats to your individual style and medium.
– Please document your street art creations and send us your grinning cats at: info@sloughtfoundation.org
– All public works must be executed in adherence to the City of Philadelphia laws.
– We encourage the use of non-permanent materials, such as chalk, removable spray, washable paint, and tape when creating in public places.
– Permanent materials, such as industrial paints and aerosol sprays, may only be used on condemned structures or with formal consent of property owners.
– Slought and its affiliates are not responsible for any participant who does not adhere to these rules or the law.
– Celebrate Chris Marker!

Recommended Street Art Templates
Grinning Cats Template #1
Grinning Cats Template #2
Agnès Varda in Philadelphia
in conversation with Molly Nesbit

Wednesday, March 13, 2013; 6:00-7:30pm
at Meyerson Hall B1, University of Pennsylvania

http://slought.org/content/11514/

Slought is pleased to announce a public conversation with Agnès Varda and Molly Nesbit on March 13, 2013 from 6-7:30pm in Meyerson Hall at the University of Pennsylvania (210 S. 34th St).

Agnès Varda is one of the leading filmmakers of our time. Her self-funded debut, the 1956 fiction-documentary hybrid La Pointe Courte is often considered the unofficial first New Wave film. In 1962, she released the seminal nouvelle vague film Cléo from 5 to 7. Over the coming decades, Varda became a force in art cinema, conceiving many of her films as political and feminist statements, and using a radical objectivity to create her unforgettable characters. She describes her style as cinécriture, and it can be seen in audacious fictions like Le bonheur andVagabond as well as revealing autobiographical documentaries like The Gleaners and I and The Beaches of Agnès.

Molly Nesbit is Chair and Professor in the Department of Art at Vassar College as well as a contributing editor ofArtforum. Since 2002, together with Hans Ulrich Obrist and Rirkrit Tiravanija, she has tri-curated Utopia Station, an ongoing book, exhibition, seminar, website and street project.

This program is made possible thanks to the generous support of University of Pennsylvania’s Cinema Studies Program, Department of Fine Arts, Emily and Jerry Spiegel Fund to Support Contemporary Culture and Visual Art, Slought Foundation, and Temple University’s Department of Film and Media Arts. Additional support has been provided by University of Pennsylvania’s Department of French Studies, Department of English, Penn Humanities Forum, and School of Arts and Sciences. We also acknowledge the collaboration of the International House of Philadelphia and Scribe Video Center.

Jointly organized by Nora M. Alter, Timothy Corrigan, Nicola Gentili, Aaron Levy, and Jean-Michel Rabaté.
Total Installation, Public Project
Ilya and Emilia Kabakov in Conversation

Thursday, March 14, 2013; 5:30-7:00pm
at Slought, 4017 Walnut Street

http://slought.org/content/11516/

Slought Foundation is pleased to announce Total Installation, Public Project: Ilya and Emilia Kabakov in Conversation, a public conversation with artists Ilya and Emilia Kabakov, on Thursday, March 14, 2013 from 5:30-7pm. The event will be introduced and moderated by Matthew Jesse Jackson, and has been organized by Kevin M.F. Platt and Christine Poggi.

Ilya and Emilia Kabakov create large-scale environments, “total installations,” that orchestrate elements of the Everyday within an atmosphere of the Extraordinary. While rooted in their experience of life in the Soviet Union, the Kabakovs’ art strives to reach a plane of transcultural significance, to penetrate to the core of the desires and fears that mold our present world. An ever-changing, ambitious project designed to reintegrate contemporary art into the public imagination, the Kabakovs’ art challenges its viewers to become utopians without any allegiance to any utopia.

Ilya Kabakov was born in Dnepropetrovsk, Soviet Union, in 1933. He studied art in Moscow, and began his career as a children’s book illustrator during the 1950’s. He was part of a group of Conceptual artists in Moscow who worked outside the official Soviet art system. In 1985 he received his first solo show exhibition at Dina Vierny Gallery, Paris, and he moved to the West two years later. His installations speak as much about conditions in post-Stalinist Russia as they do about the human condition universally. Emilia Kabakov (nee Kanevsky) was born in Dnepropetrovsk, Soviet Union, in 1945. She studied in Irkutsk and Moscow, immigrating to Israel in 1973, and moved to New York in 1975, where she worked as a curator and art dealer. In 1988, Ilya and Emilia began their collaborative projects together. Their work has been shown in such venues as the Museum of Modern Art, the Hirshhorn Museum in Washington DC, the Stedelijk Museum in Amsterdam, Documenta IX, at the Whitney Biennial in 1997 and the State Hermitage Museum in St. Petersburg among others. In 1993 they represented Russia at the 45th Venice Biennale with their installation The Red Pavilion. This program is made possible in part through the generous support of the Sachs Programming Fund and the Departments of the History of Art and Slavic Languages and Literatures at the University of Pennsylvania.
Things That Quicken the Heart- 
Chris Marker: A Symposium

Friday, March 15 to Saturday, March 16, 2013
at Slought, 4017 Walnut Street

http://slought.org/content/11510/

Slought Foundation is pleased to announce Things That Quicken the Heart- Chris Marker: a Symposiumon March 15-16, 2013.

Organized by the Department of Film and Media Arts at Temple University, the Cinema Studies Program at the University of Pennsylvania, and Slought Foundation, the symposium will explore the work of the late French filmmaker Chris Marker, who passed away in July 2012 at the age of 91 and is widely acknowledged as one of the most prolific and inventive media artists in the history of cinema. Working continually since the 1940s, Marker directed some of the most important films in the history of world cinema, including La jetée (1962), A Grin without a Cat (1997), Sans Soleil (1982), and multi-media projects Level 5 (1996) and Immemory (1998, 2008).

The symposium will feature a variety of speakers in conversation, including Agnès Varda, Raymond Bellour, Bill Horrigan, Sam Di Iorio, Lynne Sachs, Hito Steyerl, Renée Green, Dominique Blüher, Rick Warner, Christa Blümlinger, and Gertrud Koch.

It will be accompanied by an exhibition of photographs by Chris Marker documenting political protests and friends who shared Marker’s political leanings (Courtesy of Mari and Peter Shaw).

Symposium Schedule

Reservations recommended but not required:
http://chrismarker.eventbrite.com/

Friday, March 15th, 2013 
Panel 1: Cats
Marker Forever
Opening Remarks by Nora M. Alter and Timothy Corrigan
Moderated by Molly Nesbit; Presentations by Raymond Bellour and Agnès Varda
5:30-7pm
Reception to follow

Saturday, March 16th, 2013 
Panel 2: Elephants
An Auteur without an Image: Marker in History
Moderated by Louis Massiah; Presentations by Dominique Blüher, Sam Di Iorio, and Rick Warner
10-12pm 

Panel 3: Owls
Remembrance of Films to Come: Marker and Future Media
Moderated by Timothy Corrigan; Presentations by Christa Blümlinger, Gertrud Koch, and Bill Horrigan
1:30-3:30pm 

Panel 4: Wolves
The Cinema Rolls On: Filmmakers Under the Influence
Moderated by Rea Tajiri; Presentations by Renée Green, Lynne Sachs, Hito Steyerl
4-6pm

Other Screenings and Events

March 14, 1-4pm at Scribe Video Center (4212 Chestnut Street, 3rd Fl)
Master class with Agnès Varda

March 16, 5pm at International House, 3701 Chestnut St
Screenings of Chris Marker’s Early Collaborations:
Walerian Borowczyk, Les Astronautes (1959, 12 min)
Alain Resnais and Chris Marker, Toute la mémoire du monde (1956, 21 min, French w/ English subtitles)
Alain Resnais and Chris Marker, Les Statues meurent aussi (1953, 30 min, French w/ English subtitles)
Alain Resnais, Night and Fog – Nuit et brouillard (1955, 31 min, French w/ English subtitles)


Acknowledgements

This program is made possible thanks to the generous support of University of Pennsylvania’s Cinema Studies Program, Department of Fine Arts, Emily and Jerry Spiegel Fund to Support Contemporary Culture and Visual Art, Slought Foundation, and Temple University’s Department of Film and Media Arts. Additional support has been provided by University of Pennsylvania’s Department of French Studies, Department of English, Penn Humanities Forum, and School of Arts and Sciences. We also acknowledge the collaboration of the International House of Philadelphia and Scribe Video Center.

Jointly organized by Nora M. Alter, Timothy Corrigan, Nicola Gentili, Aaron Levy, and Jean-Michel Rabaté.

Slought
Slought.org
4017 Walnut Street, Philadelphia PA 19104
Tel: 215.701.4627
Fax: 215.764.5783


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… BUT IS IT ART?

We are pleased to announce that the annual conference by the French Graduate Student Association of New York University will be held at the La Maison Française of NYU, 16 Washington Mews, next week.
The conference is scheduled to take place on Friday, March 8th, and Saturday, March 9th, 2013. Details of the program are listed below, with further information available online at http://butisitartconference.webs.com.
Our keynote presentation is on Saturday at 5pm, by Professor Gabriel Rockhill of Villanova University, and is entitled L’art entre le réel: Overcoming the Contradiction of the Art of the Commonplace. A brief description is included below.
We would be grateful if you could forward this information to colleagues and students interested in attending. Please note that apart from the last panel on Saturday, all of the panels will include at least one presentation in French.
Best Regards,

The “But Is It Art?” Conference Organizers
Dan Benson, Suzy Cater, Erica Faller, Tristan Jean, and Andrew Miller
***


…BUT IS IT ART?
An Interdisciplinary Graduate Conference
Department of French
New York University, New York

La Maison Française
16 Washington Mews

The conference “…but is it art?” will explore how art is defined, institutionalized and practiced in the Francophone world, and how the boundaries between the spheres of art and non-art are established and shift.  We are pleased to welcome graduate researchers from Canada, France, the United Kingdom, and all parts of the United States, who will present their work on these questions. Subjects examined will range from topics as diverse as slam poetry, 17th century fairy tales, medieval crime narratives and collaborationist propaganda…

Professor Gabriel Rockhill of Villanova University will deliver his keynote address, “L’art entre le réel: Overcoming the Contradiction of the Art of the Commonplace,” on Saturday evening, bringing to a close the two-day event.

Please see our program below and feel free to visit out website http://butisitartconference.webs.com for abstracts, paper titles and more information.

Friday

10-10.15am Professor Sarah Kay, NYU: Welcome address
10.15-11.45am Panel: When art Becomes Art
11.45-1.15pm Lunch Break
1.15-2.15pm Seminar 1: Grotesque Obscenities*
2.30-3.30pm Seminar 2: Ephemeral Poetics*
3.30-4pm Coffee break, Institute of French Studies, upstairs lounge
4-5.30pm Panel: The End of Art as We Know It

Saturday

10-11.30am  Panel: Finding Art’s Place, making it count
11.30am-1pm Lunch Break
1-2pm Panel: Political Literature, Literary Politics
2.10-3.40pm Panel: Re-evaluating Art, Breaking with Convention
3.40-4pm Coffee break, Institute of French Studies, upstairs lounge
4-5pm  Panel: Violent Aesthetics: Broken bodies, twisted pages
5-6pm Professor Gabriel Rockhill, Villanova University: Keynote Address

*If you are interested in attending either of the seminars, please email us at butisitartconference@gmail.com so that we can send you the papers to read in advance.


Description of Keynote

Professor Rockhill will discuss how many thinkers—from Herbert Marcuse to Arthur Danto and Jacques Rancière—have underscored various ways in which contemporary art is caught in a contradiction between art and reality, and in particular political reality.  In the attempt to link the institution of art to its outside by merging aesthetics with real life via what Rancière has called “l’art du quelconque [the art of the commonplace],” art ends up being trapped between two extremes: either it becomes so ordinary that it loses its status as art, or it remains so artistic that it can never really fuse with the commonplace.  Too real or too aesthetic, the art that takes aim at the heart of the real can never truly meld with reality without ceasing to be art as such. 

Professor Rockhill will argue that this contradiction—which from a certain vantage point appears inescapable—only emerges within a conceptual framework in which it is ultimately assumed that there are two relatively separate domains:  art and (political) reality.  In order to displace this theoretical groundwork, he proposes a distinction between transcendent ideas, immanent notions and interventionist concepts that aims at both overcoming the contradiction of the art of the commonplace and providing an alternative framework for theorizing aesthetic practices as well as the very concept of art.  His paper thereby reaches the following conclusion, which is put to the test in some of the extreme cases of the ‘art of the commonplace’ (from Flaubert to Warhol):  si l’art n’entre pas dans le réel, c’est précisément parce qu’il est toujours déjà entre le réel [if art does not enter the real, it is precisely because it is always already between the real].


Many thanks to the Department of French at NYU, the FGSA, the IFS and the Graduate Student Government for their support.

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The Mary Isabel Sibley Fellowship

http://www.pbk.org/infoview/PBK_InfoView.aspx?t=&id=28

The annual Mary Isabel Sibley Fellowship is awarded alternately in the fields of Greek and French. The award may be used for the study of Greek language, literature, history, or archaeology, or the study of French language or literature. The fellowship has a stipend of $20,000. The stipend will be paid in two installments, the first on July 1 of the award year and the second on the next January 1, unless the Fellowship Committee orders the stipend withheld because the fellow has disregarded the purpose of the award as stated by the donor.

Candidates must be unmarried women 25 to 35 years of age who have demonstrated their ability to carry on original research. They must hold a doctorate or have fulfilled all the requirements for a doctorate except the dissertation, and they must be planning to devote full-time work to research during the fellowship year. The award is not restricted to members of Phi Beta Kappa or to U.S. citizens.

Periodic progress reports from the fellow will be welcomed, and it is the hope of the Fellowship Committee that the results of the year of research will be printed in some form.  Sibley Fellowship Winners


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Le socialisme

  • Posted by: Gabriel Rockhill
  • Posted Date: February 26, 2013
  • Filed Under: Library News

Le socialisme (1/4): Jean Jaurès

http://www.franceculture.fr/emission-les-nouveaux-chemins-de-la-connaissance-le-socialisme-14-jean-jaures-2013-02-25

25.02.2013 – 10:00 Ajouter à ma liste de lectureRecevoir l'émission sur mon mobile

Par Adèle Van Reeth

Réalisation : Lionel Quantin

Lectures : Gilles Trinque

 

Le changement demande de l’inspiration, la réforme, de l’imagination, la révolution, un certain goût pour l’utopie. Depuis sa naissance, au début du 19ème siècle, le socialisme, des grands maitre-rêveurs utopiques aux sociaux-démocrates tempérés, ne cesse  de se redéfinir par rapport à la nature et à l’ampleur du changement qu’il souhaite mettre en œuvre. Si toutes les écoles socialistes sont animées de cet élan pour transformer l’organisation sociale, comment faire tenir ensemble l’autonomie individuelle et l’unité sociale, surmonter la séparation entre société civile et société politique, concilier le matérialisme et le spiritualisme ? De l’idée aux faits, de l’idéologie aux mesures, du projet au concret, le socialisme se donne-t-il les moyens de répondre aux nécessités de changement qui sont le propre de la politique en général ?

 

Demain, Yvon Quiniou viendra s’interroger sur les différences entre marxisme et socialisme, mercredi, Juliette Grange vous présentera le projet utopique de Saint-Simon, et jeudi, Serge Audier proposera une nouvelle réflexion sur le socialisme en le confrontant à son soi-disant ennemi, le libéralisme.

 

Mais pour inaugurer en beauté et en règle cette semaine socialiste, j’ai le plaisir d’accueillir aujourd’hui l’historien Gilles Candar pour nous dresser le portrait nécessaire de Jean Jaurès.


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Last Modified: February 26, 2013

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