Moving Image Review & Art Journal
50 Years of British Artists’ Moving Image
Call for Papers | Deadline: 15 August 2016
On the occasion of the fiftieth anniversary of the London Filmmakers’ Cooperative (LFMC) and the fortieth anniversary of London Video Arts (now LUX), articles are invited that reflect upon the histories, contexts and legacies of artists’ film and video practices in Britain since 1966. Both organisations played a significant role in the development of the distinctive and diverse artists’ moving image culture experienced in the UK today. This double issue of MIRAJ marks these anniversaries in order to draw forth new scholarship and research in a vital field of study and practice. This issue will be guest edited by Benjamin Cook and Lucy Reynolds.
Download Call: MIRAJ 6.1_
We invite articles that examine:
- Ecologies of practice, distribution and production (including workshops, funding, the academy, distributors, collectives, co-operatives, galleries, festivals, the art market, television and the internet).
- Spectatorship (spaces and patterns of reception from museums to micro-cinemas, from festival to home viewing and online).
- International links, networks and perspectives (in particular encouraging dialogues concerning a non-Western axis).
- Scholarship then and now (magazines, film journals, educational contexts).
We encourage articles that debate:
- What was and what continues to be at stake in contemporary British artists’ moving image culture.
- Interplay and tensions between moving image culture and contexts such as artists’ film production and film industry, experimental film and the art world.
- The dialogues between earlier movements and contemporary practices.
- Technological shifts and the significance of medium specificity in the digital age.
We welcome articles that explore:
- Original theoretical and interdisciplinary methodologies for the historiography, analysis and discourses of post-war artists’ moving image practices in Britain.
- Posit new research and perspectives on figures and contexts overlooked or under-represented.
- Dissect and examine existing canonical representations of key figures and contexts.
Please submit completed manuscripts only. Send all contributions and proposals by e-mail in Word format to the Editorial Assistant: email@example.com
The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.
For more information please visit: http://www.intellectbooks.co.uk/journals/view-Journal,id=207/view,page=0/
International Conference Call for Papers
What is the relevance of Adorno’s
Aesthetic Theory today?
Organized through the Université Renne 2
In his Theory of the Avant-Garde Peter Bürger maintained that “the norm of all contemporary aesthetic theory is Adorno’s aesthetics.” What remains of this “norm” of Adorno’s Aesthetic Theory more than forty years after its publication?
This two-day international conference will take place at the University of Rennes 2, in October 2017, and will be presided by Christophe David (senior lecturer, History and Critique of the Arts) and Florent Perrier (senior lecturer, Practical Arts and Poetics). The conference will be conducted in French and English.
This call of papers is addressed to scholars working in aesthetics, in philosophy of art, in political philosophy, in sociology, in history of art, in musicology, in literary history, literary theory, and so on.
The questions we would like to explore during the two days of the conference are the following:
- The pre-history of Ästhetische Theorie. The point is to explore how these questions, which became thematic in the 30s and 40s (the fetish character of art, dissonance, and so on) find themselves changed, or unchanged, in Ästhetische Theorie in the 60s, to determine the ongoing or transformed role of the decisive early influences (for instance, that of Georg Lukàcs) or the exchanges with his friends (Walter Benjamin, Ernst Bloch, Alfred Sohn-Rethel). What is the role of Schönberg in Ästhetische Theorie now that this artist no longer has a central position? What are the differences between the Schönberg of the first part of the Philosophie der neuen Musik (written in 1940-41) and that of the Darmstadt conferences?
- The relation between Ästhetische Theorie and the courses on aesthetics of the 1950s (Vorlesungen. Ästhetik [1958-59], Surkamp, 2012).
- The references to the aesthetic tradition (Baumgarten, Schiller, Rosenkranz, Corce, Dewey, Dilthey, and so on) and the “metacritical” moments (the critique of Kant, Hegel, Nietzsche, Freud, and the other towering figures in the history of art criticism). The major aesthetic questions that are replayed or reinvented: appearance, mimesis, natural beauty, artistic beauty, the sublime, and so on. The relation between Ästhetische Theorie and Ohne Leibild. Parva aesthetica.
- The major elements in the analysis of the critique of the culture industry. The dialectical opposition between autonomous art and administered art in the culture industry. What place does the critique of culture occupy in Ästhetische Theorie? And how might Ästhetische Theorie help inform the critique of culture today?
- The articulation between Dialektik der Aufklarüng and Ästhetische Theorie is also played out in the identification of art as a symbolic form that partakes in (as a “secularization of transcendence”) the movement of emancipation from myth. The political and moral import of art as a symbolic form, then, as it emerges against the backdrop of Auschwitz, and against the epoch of the culture industry and the industries of culture.
- The approach and analysis of the arts (music, literature, cinema, etc.) and of artworks (Ästhetische Theorie contains numerous highly suggestive analyses of works that evidently demand further development) the classical artists (Bach, Baudelaire, Beethoven, Goethe, Wagner) and the modern ones (Beckett, Brecht, Celan, Kafka, Picasso, Valéry) in Ästhetische Theorie. The question of the avant- gardes (and of all the “isms”). The treatment of contemporary art (by means, for example, of the young musicians of Darmstadt). The question of the relation of the philosophy of the arts. Philosophy, interpretation and criticism or critique.
- The question of the political or of politics in Ästhetische Theorie. Works of art play a role in the political transformation of the administered world. Administered world and administered art. Aesthetic autonomy and political liberty. The question of utopia: “Every artwork has a utopian function to the extent that, through its form, it anticipates a reality that would at last be itself […] But because utopia—what is not yet—is veiled in darkness, it maintains through all its mediations that character of a memory, a memory of the possible against the real, something like the imaginary compensation for the catastrophe of universal history.” Is Ästhetische Theorie indeed a “materialist and dialectical aesthetics”? What relation does Ästhetische Theorie have to Marx?
The proposed papers may be sent in French, German, English or Spanish (a title and summary of no more than 15 or 20 lines) should be sent before October 20th 2016 to Christophe David (firstname.lastname@example.org) and Florent Perrier (email@example.com). Please include a notice of 5 to 6 lines (full name, university affiliation if you have one, your most important articles or books). Your talk must not exceed 25 minutes and may be delivered in French or English.