Tag Archives: Call for Papers

Call For Papers | VISUAL PEDAGOGIES | London 2018

5th Biennial Conference of the

International Association for Visual Culture

September 13 – 15, 2018

UCL Institute of Education

Confirmed Participants:

Jill Casid (University of Wisconsin-Madison, Keynote); Teresa Cisneros (The Showroom); Inés Dussel (Cinvestav, Mexico, Keynote); Joanne Morra (Central Saint Martins); Griselda Pollock (University of Leeds, Keynote); Amanda du Preez (University of Pretoria); Emily Pringle (Tate); Will Strong (Calvert 22); Sofia Victorino  (Whitechapel Gallery)

Can we teach what we see? Can we see what we teach? How is the world changed, reaffirmed, or progressed through the visual? How does it slip back? What impact can thoughtful uses of images in teaching, scholarship, artistic, and political practice have on the future, as well as on the telling of history?

How can we as scholars, practitioners, educators, and concerned citizens of the world see ourselves as teachers of and through the visual, whatever our context?

The International Association for Visual Culture welcomes papers and creative proposals that address the issues of visual pedagogies from different starting points that include but are not limited to:

The visual as a tool for teaching: i.e., teaching through showing, uses of interactive learning tools including Digital Humanities, using the classroom as a space for community involvement or public-facing projects;

Visual pedagogies as a political tool: from the protest image to leveraging an image as a tool for “militant research”;

The teaching of Visual Culture Studies: academia and visual culture, teaching and inventing diverging new methodologies in teaching the significance of visual literacy across disciplines, including the critical consumption and production of images;

Thinking through ways to “decolonize the classroom” in changes in course structure, assigned texts, and assessment;

Different challenges posed across visual media, both historically and in terms of the media themselves: film versus photography; prints versus text; digital versus postdigital;

Interrogating racism, gender and sexual discrimination, ableism, and religious, and ethnic persecution through visual pedagogies;

The significance of the visual in a world where “alternative facts” and “post-truth” discourse is infiltrating public discourse and threatening democracy;

The visual as a scientific instrument: We welcome proposals that tackle the questions of various scientific approaches to visual pedagogies;

Emancipation and the pedagogy of the visual: breaking the ‘all seeing eye,’ including both challenging the truth of the image, and introducing non-ocular-centrism to fields like Visual Culture Studies, Art History, Film Studies, artistic practice, and political engagement.

To submit…

Papers and artistic or live (including interactive) contributions that engage the question of the visual in teaching through a historical lens are also very welcome. Our aim is to use the conference as a platform to discuss not only the pressing issues of the contemporary, but the legacies of visual pedagogies, including how people have leveraged images to teach people “how to see the world” for centuries.

Submission: Proposals should be 250 – 500 words in length and may include supplementary material (i.e., images, videos, links). Please also include an abbreviated CV and/or a link to a professional website.

Please direct all submissions in PDF format to GreetingsIAVC@gmail.com by the November 30, 2017 deadline.

Organization: The conference will be organized around a series of keynote speakers, and core thematic panels with breakout sessions. We will assign the core themes based on proposals. We invite anyone interested especially in organizing a “teaching session” (i.e., a demonstration, group activity, etc.) to specify this in their proposal.

Support for speakers and contributors: The IAVC will charge a sliding scale fee for conference attendance. These details will be posted on our website in early 2018. We hope to be able to offer assistance to speakers and contributors who can demonstrate financial need.

Timeline: We will be reviewing submissions in late 2017. We expect a large pool of applications and plan to send our responses to the CFP in February 2018.

Call for Papers: Beyond Myths: Ideas, Values, and Processes in Design History

Beyond Myths: Ideas, Values, and Processes in Design History
Vol 10, Número 1, April 2018
Editor: João de Souza Leite

This is a call for papers for Arcos Design magazine, Volume 10, number 1, concerning the History of Design.

Arcos Design is an academic journal in design, peer-reviewed, linked to the Graduate Program in Design of the School of Design (ESDI), State University of Rio de Janeiro, Brazil.
Created in the 1990s by members of the ESDI faculty, when design post-graduate education in Brazil began, Arcos Design persists in promoting the intersection of design studies with philosophy, sociology, economics, in order to expand the understanding of the system of production and consumption of artifacts in general. The word Arcos refers not only to the historical site where ESDI is located, in downtown of Rio de Janeiro, in front of an old aqueduct of the 18th century, but also to the bridges that it intends to establish with several areas of knowledge.

After its edition was suspended for some time, the magazine was revived in digital format in the ESDI Graduate Program in Design, available at

Call for papers

We seek contributions that allow the understanding of design outside the conventional lines of historical investigation. In this sense, approaches that deal with the insertion of observed phenomena in all types of context, as long as well characterized, are of interest. In the range of questions raised by the terms “ideas, values, and processes”, it is important to articulate reflections in the historical dimension, whether in the past or in the present time, as well as investigate processes of invention and design properly located in cultural and technological geographies.

The following topics can be addressed, though not exclusively:
1.       epistemological and methodological issues about the making of history;
2.       historiographic issues facing the current challenges of design – history of
ideas, history of concepts, intellectual history, among other possibilities;
3.       relations between distinct cultural manifestations;
4.       world history versus unique stories, clearly identified with specific contexts;
5.       micro-history of design – recording and critique of culturally located
6.       macro-history in design – topics;
7.       gender issues in project practice;
8.       identity issues in project practice;
9.       particular design processes in design;
10.     historical topics in technology and design – e.g. linearity / modularity, analog /

We are grateful for the submission of contributions, which will be submitted to a peer-review process, with two evaluations. In case of a tie, a third evaluation will be requested. For the first time in the history of the publication, this edition of Arcos Design will have worldwide circulation, and therefore will be edited in English.

The size and format of contributions may vary from topical observations to the presentation of graphic or photographic documentation. The work shall be conducted at the academic level, and the academic articles formatted according to specified conventions.

Call for Papers: From De Stijl to Dutch Design: Canonising Design 2.0

Annual Dutch Design History Society Symposium

9 December 2016, De Tuinzaal, Centraal Museum Utrecht, 09:00 – 17:30 (with drinks afterwards)

Submission deadline: 15 October 2016

Tourism agencies, governments, museums, and design academies in the Netherlands and abroad are already busy preparing for the widespread celebrations of 100 Years of De Stijl – 25 Years of Dutch Design next year (2017). While De Stijl’s implied beginnings (1917) are relatively uncontroversial, the proposition that Dutch design originates from 1992 is much more so. This specific construction of ‘Dutch design’ as an avant-garde phenomenon that started in the 1990s with Droog design and is today centred around the Design Academy Eindhoven is a clear example of design canonisation at work. In this process, what comes to count as (good) design and the knowledge about it is selectively produced in line with specific (cultural, political, economic, etc.) agendas.

However, this case also shows how today, the process of design canonisation is no longer solely decided on by traditionally recognised authorities (museum curators, design historians, high-end retail venues, influential designers) but also by an unusually wide range of ‘non-expert’ actors (tourism agencies, politicians, funding agencies). This dispersion of design canonisation is boosted further by digital and participatory social media technologies and platforms, which allow individuals and communities to generate a multiplicity of alternative ‘mini-canons’ that operate alongside and relatively independently from official or accepted ones.

Yet – and paradoxically – this proliferation of actors and multiplicity of canons does not necessarily herald the end of established canons. Indeed, the Dutch design ‘brand’ seems to become ever more established and entrenched. In what different ways do contemporary processes of design canonisation work, and what are the outcomes? What are the implications of this contemporary condition of ever changing canonisation processes for design historical knowledge? What repercussions does it have for traditionally acknowledged actors on the one hand, and for non-professionals on the other? Does it contribute to bringing into view the material culture of otherwise underrepresented individuals and communities?


The one-day symposium From De Stijl to Dutch Design: Canonising Design 2.0 aims to reflect on questions relating to the workings and implications of canonisation processes – both traditional and contemporary, professional and amateur – to knowledge formation and transfer concerning design. To reflect the contemporary condition whereby design canons and knowledge are created through and by actors operating in widely diverse institutions with a variety of different agendas, the symposium is structured in two parts. The morning session is structured according to a typical academic conference format, comprising the presentations of four scholarly papers followed by a response and discussion. In the afternoon session, five keynote speakers will reflect on the contemporary processes of design canonisation from their respective perspectives: academia, politics/economics, the museum, and design practice. The day will conclude with a roundtable discussion, where the different perspectives will be confronted with each other so as to bridge highly compartmentalized discourses that otherwise remain largely unknown and irrelevant to each other. Ultimately, the aim of the symposium is to generate new academic knowledge about design canonisation that is relevant to all actors involved in the process. The event will be bi-lingual: speakers are welcome to present and respond in Dutch or English. 


The event is organised by the Dutch Design History Society in partnership with Centraal Museum Utrecht, where it will be held. Centraal Museum owns the largest Rietveld collection in the world, and was the first museum to acquire the entire Droog collection and a broad range of Dutch Modernism fashion in the 1990s. Since then, it has actively experimented with a range of digital and participatory platforms to share and co-create its design collection with diverse audiences. Being one of the initiators of 100 Years of De Stijl – 25 Years of Dutch Design, in which economic considerations of city branding and tourist marketing predetermined the definition of the event’s content, Centraal Museum is eager to reflect on questions concerning design canonisation in the past, present, and future, and its role in it. As such, it provides the ideal institutional setting to reflect upon the symposium’s theme.

Call for papers

For the morning session, the symposium welcomes contributions by academics (junior and established) of design and art history, media studies, museology, anthropology, and related fields. Potential themes to be elaborated by papers include but are not limited to:

–        The processes according to which design canons are formed, today and in the past;

–        The formation of alternative design canons and/or the breakdown of canonical thinking, i.e. the ‘undoing’ of canonisation;

–        The formation of design canons beyond the traditional national framework: local/regional/global;

–        The (different) roles that the media, museums, and governments/politics play in these processes;

–        The impact of contemporary online mediation and distributed participatory processes, such as digital platforms, in the canonisation of design;

–        New actors in the canonisation of design;

–        The role of museum exhibitions and (permanent) displays in canonisation processes;

–        The emergence (and the role) of new publics/new consumers of design canons;

–        The canonisation of De Stijl and/or Dutch design;

–        The futures of design canons.

Note that papers do not necessarily have to reflect on Dutch cases.

The presentations will be considered for an edited publication, while the results of the symposium and debate will become available from the website of the Dutch Design History Society.


Proposals for 20-minute papers must be submitted by 1 October 2016 as detailed below. Please email the document as a Word document to DesignGNL@gmail.com.

Page 1

  • Author(s) full name(s)
  • Institution, address for correspondence, telephone and e-mail
  • 50-word biography

Page 2

  • Title of the paper
  • Three keywords
  • 200-word abstract of the paper in Dutch or English

Call for Papers: What is the relevance of Adorno’s Aesthetic Theory today?

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 (christophe.t.david@wanadoo.fr) and Florent Perrier (florentperrier@hotmail.fr). 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.

Call for Papers: Private Collecting and Public Display: Art Markets and Museums

Centre for the Study of the Art and Antiques Market

University of Leeds

Private Collecting and Public Display: Art Markets and Museums

University of Leeds, 30th-31st March 2017

Keynote Speaker: Dr. Susanna Avery-Quash, Senior Research Curator (History of Collecting) at the National Gallery, London 

Deadline for Abstracts: Tuesday 1st November 2016

Download Call here: CFP Private Collecting and Public Display- Art Markets and Museums

This two-day conference investigates the relationships between ‘private’ collections of art (fine art, decorative art and antiquities), and the changing dynamics of their display in ‘public’ exhibitions and museums. This shift from ‘private’ to ‘public’ involves a complex dialectic of socio-cultural forces, together with an increasing engagement with the art market. The conference aims to explore the relationship between the ‘private’ and ‘public’ spheres of the home and the museum, and to situate this within the scholarship of the histories of the art market and collecting.

Art collections occupy a cultural space which can represent the individual identity of a collector; often as a manifestation of self-expression and social class. Many museums today arose from ‘private’ collections including the Wallace Collection, Musée Nissim de Camondo, the Frick Museum and the Isabella Stewart Gardner Museum. Whilst they now exist as ‘public’ spaces, many still signify the residues of the ‘private’ home of a collector. What processes do collections undergo when they move from a ‘private’ sphere to a ‘public’ exhibition space? In what ways are collections viewed differently in these environments?

How and when do ‘private’ collections move into the ‘public’ domain, and what does this tell us about the increasingly porous nature of these boundaries? Whilst the relationship between ‘private’ and ‘public’ art collecting takes on particular forms from the early modern period onwards, it emerged particularly in the latter half of the nineteenth century, with the creation of temporary exhibitions and permanent displays in museums that relied on donations from collectors. Many national museums are indebted to loans made by private individuals. The Waddesdon Bequest at the British Museum, the Wrightsman Galleries at the Metropolitan Museum, and the John Jones collection at the Victoria and Albert Museum, are key examples of the continuity of the private in the public. What are the ‘private’ to ‘public’ dynamics of these exchanges? How have museums negotiated the restrictions proposed by the collector for the display, containment, expansion or reinterpretation of their collection? What is the implication for the status and value of an object when ‘public’ works are sold and re-enter the art market? What meanings are attached to ‘public’ art objects when they begin, once again, to circulate in the art market?  

The PGR subcommittee of the Centre for the Study of the Art and Antiques Market welcomes proposals for 20-minute papers which explore these themes or which address any other aspect of the private collecting and public display of collections, from the Early Modern period until the 21st century. We are delighted to confirm Dr. Susanna Avery-Quash, Senior Research Curator (History of Collecting) at the National Gallery, London as our keynote speaker.

Topics can include but are not limited to:

  • The relationships between ‘private’ and ‘public’ spheres
  • The role and impact of the art market in the ‘public’ and ‘private’ realms
  • The history and role of temporary loan exhibitions
  • The role played by gender in collecting practices and bequests
  • Collecting and loaning objects by minority groups
  • Legacies of the collector
  • Philanthropy vs self-promotion
  • Deaccessioning- public museums selling art back into art market/into private collections
  • The dynamic of contemporary art collecting and public art galleries

To propose a paper: Please send a Word document with your contact information, paper title, an abstract of 300-500 words, and a short biographical note. Full session proposals for a panel of three papers are also welcomed. Some travel bursaries will be available for accepted speakers.

Proposals should be sent to csaa@leeds.ac.uk by 1st November 2016.

Call for Papers: DRAWING

Friday 18th & Saturday 19th November 2016

University of Chester, Riverside Innovation Centre

This is a call for papers for researchers, artists, practitioners and educators. The following suggestions may help delegates in preparing their papers:

  • Drawing as research/research through drawing
  • Drawing and the senses
  • Drawing and affect
  • Drawing futures
  • The therapeutic power of drawing in education
  • Contemporary approaches to drawing
  • Drawing as an expanded practice
  • Drawing as a socially engaged practice
  • Inclusive/exclusive practices through drawing
  • Generating knowledge through drawing
  • Collaborative practices in drawing
  • Drawing in the context of co-design practices
  • Pedagogies of drawing
  • Interdisciplinary drawing practices
  • Technology as drawing
  • Digital drawing
  • Politics of drawing
  • Aesthetics and the assessment of drawing
  • The body and drawing
  • Drawing as a reflective practice
  • Visualisation and drawing
  • Theorising drawing/drawing and its relationship to theory
  • Drawing and comics/graphic novels
  • Drawing and material culture
  • Exploring the relationship between drawing and space
  • Thinking through drawing



For Delegates (Including Speakers )

Early registration by 31st August 2016

£200 (£180 NSEAD members, £100 students and unwaged)

Registration from 1st September 2016

£225 (£200 NSEAD members, £100 students and unwaged)

Fee includes all day Friday and Saturday sessions, refreshments and lunch, but does not include accommodation or evening dinners.

There is no single day rate.

For questions about the conference or to make payment via invoice please contact:


There will be a £15 cancellation fee and no refunds can be given after 31st September 2016. Please note that the conference is non-profit making and all fees are used for conference costs.

Please book via the following link:


Conference: Hack-a-demia – Reimagining the network

Tuesday 5th July 2016
2.30pm – 6pm
Central London, Location TBC
Price: FREE, registration essential.

The Culture Capital Exchange invites Early Career Researchers, research supervisors and deans, to submit workshop proposals for Hack-a-demia, an afternoon of sessions designed to explore impact, collaborative research and how TCCE’s activities can add value in these areas. You can also only register for the conference.

We are looking for proposals for disruptive sessions to find out: What resources are available to ECRs to boost their impact? Which ones work best? What is missing? Can we do more to foster collaborative research? What are the success stories? What can we learn from failures in collaborations?

The discussions and conclusions from your workshops will inform our next stage of TCCE’s ECR development programmes. This unconference format is being proposed to invite you to be active participants and inform our programme development that will run until 2018. We want to walk and talk through the issues, move around them, play with them, confess them in a dark room and suggest solutions using dubious interactive devices. How can we boost interdisciplinary synergies to inspire a broader audience, increase impact and promote interest in our research?
Your session should provide an opportunity for 15-20 researchers to collaborate with colleagues from other disciplines, to share techniques and discuss the skills needed to move forward, to master dissemination needs, and reach the appropriate audiences for your research. We can offer up to £250 per workshop for materials.
Choose one of these media to provoke a 45 minute discussion on your chosen theme, addressing Impact and/or Collaborative Research:
• Movement: Can you walk and talk to explain impact, can we choreograph collaborativeness? Can you use movement to provoke discussion?
• Gamification: Have you got an app to illustrate lessons of public engagement and collaboration? The ultimate table or virtual game approach for cross-disciplinary discussions?
• Online platform: Use social media, videos, citizen science to inspire engagement and collaboration.
• Maps: Can geographic or mind maps create a space for interactive discussions?
• Stories of Change: Present your research stories and anecdotes in the form of community storytelling or fictional narratives to broaden public interest.
• Darkroom: Engage your participants by drawing out their ideas through voice and challenge comfort zones to test a unique learning experience

You can send your Workshop Proposal or Apply through this link, by June 1st. The successful workshop proposals will be announced by June 10th 2016 and will be able to start discussing with other participants online prior to the event.

You can send your Workshop Proposal or Apply through this link, by June 1st. The successful workshop proposals will be announced by June 10th 2016 and will be able to start discussing with other participants online prior to the event.

Call for Papers | Materiality and the Visual Arts Archive: Matter and Meaning


23rd September 2016, University of Brighton

Keynote speaker: Professor Maryanne Dever University of Technology, Sydney, Australia


“On the one hand… material is discussed today in the light of an idea that it has been dissolved by the so-called immaterialities of new technologies, while on the other – from the margins – we can observe the consolidation of material as a category of its own.”

(Monika Wagner)

Proposals are invited for papers to be delivered at a symposium on materiality in art and design archives, to be held at the University of Brighton on 23 September 2016. The symposium is organised by the Committee for Art and Design Archives, part of ARLIS/UK & Ireland (Art Libraries Society).

Within the expanding digital environment that encompasses our professional and personal experience, ideas of materiality have received extensive recent attention, across a range of disciplines, including anthropology, archaeology, art history, literary studies and material culture.  As yet, archival theory and practice have given limited consideration to materiality as an approach to the archive. Conservation practices, while focussing on material qualities of archives, may not attend to more philosophical implications beyond technical research. This symposium seeks to reach across and between these various bodies of knowledge, considering materiality as a framework for analysing, interpreting and engaging with archives of art and design.

Papers of 25 minutes in length may cover, but are not limited to, the following topics:

  • Theories of materiality as applied to specifically archival contexts
  • The implications of digitisation on the materiality of archives: authenticity and the ‘original’
  • The materiality of born-digital archives
  • The ethics of material intervention through preservation and conservation
  • Contextual materiality – physical characteristics as a source of contextual and provenancial information.
  • Evidentiary materiality – deterioration and change as historical evidence

Please submit an abstract of no more than 500 words and a biography of up to 200 words by 20 April 2016 to matterandmeaning2016@gmail.com. Once the deadline has passed, submissions will be considered by the committee and candidates will be notified whether their paper has been selected by the end of May.

For up to date information on forthcoming workshops and free visits please see the online ARLIS/UK & Ireland Events Calendar 2013 at http://arlis.org.uk/

Beyond a Brief Encounter: Everyday Interactions Between Transport & Design

Call for Papers: Special Edition of the Journal of Design History. Deadline for submission 1st April 2016.

Design history and transport history are inexorably interwoven. From the sleek stream-lining of the Mallard to the unusual Moquette patterns that have welcomed bums to London Underground seats since the 1930s, designed elements have filled perceptions and experiences of transport. Design was, and still is, all around passengers, workers and travellers, and the goods they carried, in modern transport, encompassed by everything from locomotives down to monogrammed drinks coasters.

There is still, however, a significant gulf in our understandings of how everyday design affected transport users. Wolfgang Schivelbusch, in his 1989 The Railway Journey, spoke of how small design choices, such as seating arrangements, could have enormous consequences (both intended and accidental) on travellers. An intermeshing of transport and design histories, two disciplines with increasingly broad and innovative approaches to source material, research questions, and interdisciplinary theory, offers exciting new possibilities. Particularly, recent developments in transport history are poised to build upon the growing trend for histories of everyday design, with a focus on process and reflection rather than following big-name designers and brands.

Editor: Andrew McLean, Head Curator, National Railway Museum.

This special edition for the Journal of Design History invites papers that address this interaction surrounding the everyday in design and transport history.

Themes could include, but are by no means limited to:

  • Vehicle layout and design.
  • Architecture of stations, platforms, and termini.
  • “Scenic” routes and layouts.
  • Tickets, labels, signs, and other printed or typographic material.
  • The material culture of travel.
  • Presentation of transport in literature and modern media.
  • Passenger experiences.
  • Spaces of sociability, privacy, comfort or danger.
  • The senses and travelling, transport, and infrastructure.
  • Liveries, insignia and staff uniforms.
  • Children and the experience of travel.
  • Accessibility and disability in transport design.
  • Cycles of destruction and reconstruction in transport design.
  • The interplay between transport design and the landscape.
  • Engineering and design experts and expertise.
  • Advertising, promoting, and selling modern transport.
  • Safety, security, or hygiene and design.
  • Design differences between passenger and goods lines.
  • Briefs, consulting, and contracting of design work after privatisation.

Submissions covering other aspects of transport and design history are also encouraged.

Please email an abstract of c.300 words to oliver.betts@nrm.org.uk by 1st April 2016.