The 7th International Conference on the Histories of Media Art, Science
\nand Technology titled RE:TRACE focuses on an evaluation of the status of
\nthe meta-discipline MediaArtHistories today.<\/p>\n
More than a decade after the first conference founded the field now
\nrecognized worldwide as a significant historical inquiry at the
\nintersection of art, science, and technology, Media Art Histories is now
\nfirmly established as a dynamic area of study guided by changing media
\nand research priorities, drawing a growing community of scholars,
\nartists and artist-researchers.<\/p>\n
Immersed in both contemporary and historiographical aspects of the
\ndigital world, we explore the most immediate socio-cultural questions of
\nour time: from body futures, information society, and media
\n(r)evolutions, to environmental interference, financial virtualization,
\nand surveillance. And we do so through a fractal lens of inter- and
\ntrans-disciplinarity, bridging art history, media studies, neuroscience,
\npsychology, sociology, and beyond. MediaArtHistories is a field whose
\ntheory, methods, and objects of study interweave with and overlay other
\ndisciplines.<\/p>\n
The organizing committee invites researchers of different areas,
\ndisciplines and practices to submit individual papers, posters and full
\npanels with new and original research preferably in the following
\nthemes:<\/p>\n
\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0MediaArtHistories \u2013 historiographies and futures of an
\never-emerging field
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Institutional histories of Media Art
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Media Art & Politics (surveillance, climate,
\nvisualizations, etc.)
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Collecting media art \/ Media Art market
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Archiving, preserving and representing Media Art
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Re-Use of cultural heritage data, including education,
\nlearning and research
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Methodologies and research tools for MediaArtHistories
\nwith a focus on Digital Humanities
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0International and local histories and practices of media
\nart
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0(Post-)Colonial experiences and non-Western histories of
\nmedia art, science and technology
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Paradigm shift \u2013 Digital vs. Post-Digital Theory
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Alternative histories for Media Art in relation to newly
\nevolving or unexpected fields.
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Models and perspectives of research fields adapted
\nacross traditional disciplinary lines.
\n\u2022 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0New symbolic architecture of digital super companies
\n(Apple, Amazon, Microsoft, FB, Google)<\/p>\n
The conference program will include competitively selected,
\npeer-reviewed individual papers, panel presentations and posters, as
\nwell as a small number of invited speakers. Presentations will be
\ndelivered in a range of formats, from panel discussions to a poster
\nsession. We particularly encourage submissions by researchers from
\ninternational contexts outside of Europe and North America.<\/p>\n
Keynote lectures by internationally renowned, outstanding leaders in
\nthe field, will deliberate on the central themes of the conference
\nseries, its histories and futures.<\/p>\n
Submission Deadline: March 26, 2017
\nNotification of acceptance will be announced by April 30, 2017.<\/p>\n
Individual proposals for papers should consist of a max. 250-word
\nabstract with title.
\nProposals for full panels should consist of a max. 500-word abstract
\noutlining the panel and individual topics of confirmed speakers.
\nSubmission language is English. Submitters should upload a short bio
\nfile (Word), no longer than \u00bd page per person. The short bios will be
\nused on the conference website together with your abstracts.<\/p>\n
Initiated by the Media Art Histories Board (Steering Committee):
\nProf. Dr. Sean CUBITT (Deputy Head of Department & PhD Tutor \/ Media
\nand Communications \/ Goldsmiths University of London \/ UK); Univ.-Prof.
\nDr. habil. Dr.h.c. Oliver GRAU, MAE (Head of Dept & Chair Professor in
\nImage Science \/ Danube University \/ AT); Dr. Linda Dalrymple HENDERSON
\n(David Bruton, Jr. Centennial Professor in Art History \/ Dept of Art +
\nArt History \/ University of Texas at Austin \/ US); Dr. Andreas
\nBROECKMANN (Leuphana Arts Program, Leuphana University of L\u00fcneburg,
\nGER); Prof. Dr. Erkki HUHTAMO (Departments of Design Media Arts, and
\nFilm, Television, and Digital Media \/ University of California Los
\nAngeles \/ US); Prof. Dr. Douglas KAHN (Professor of Media and Innovation
\n\/ National Institute of Experimental Arts (NIEA) \/ University of New
\nSouth Wales, Sydney \/ AU); Prof. Dr. Machiko KUSAHARA (School of
\nLetters, Arts and Sciences \/ Waseda University \/ Tokyo, Japan); Prof.
\nDr. Tim LENOIR (Kimberly J. Jenkins Chair for New Technologies in
\nSociety \/ Duke University \/ US); Prof. Dr. Gunalan NADARAJAN (Dean \/
\nStamps School of Art & Design \/ University of Michigan \/ US); Prof. Dr.
\nPaul THOMAS (Director \/ Fine Arts at College of Fine Art \/ University of
\nNew South Wales \/AU)<\/p>\n
MAH Honorary Board: Martin KEMP, Jasia REICHARDT, Itsuo SAKANE, Peter
\nWEIBEL,
\nDouglas DAVIS \u2020, Rudolf ARNHEIM \u2020<\/p>\n
Conference dates: November 30 \u2013 December 02, 2017, Krems (World
\nCultural Heritage) & Vienna, hosted by DANUBE UNIVERSITY<\/p>\n
Venues:
\nDanube University \/ Located 70km from Vienna in the UNESCO World
\nHeritage Wachau region, Danube University is the only public university
\nin Europe specializing in advanced continuing education by offering
\nlow-residency degree programs for working professionals and life-long
\nlearners. Located at both a modern university campus and in the G\u00f6ttweig
\nMonastery, the Dept. for Image Science is an internationally unique
\ninstitution for research and innovative teaching with an international
\nfaculty, at this point 120 scholars from various nations and
\ndisciplines. The innovative approach of the Department for Image Science
\nwith the close connection to practice has developed the Archive of
\nDigital Art and founded in 2006 the low-residency
\nMediaArtHistories-Advanced, MA answering the need for international,
\npost-graduate studies.
\nVienna \/ The vibrant capital of the Republic of Austria in Central
\nEurope meeting international travel standards with safe and exciting
\nsurroundings that embrace culture both old and new. Planning for Vienna
\nis being organized with partner institutions and colleagues. Fast and
\nfrequent public transportation between Vienna and Krems allows for a
\nblending of two locations into one venue, distributing separate days in
\neach venue.<\/p>\n
Links: The 7th International Conference on the Histories of Media Art, Science and Technology titled RE:TRACE focuses on an evaluation of the status of the meta-discipline MediaArtHistories today. More than a decade after the first conference founded the field now recognized worldwide as a…<\/p>\n","protected":false},"author":99,"featured_media":3291,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[571],"tags":[],"class_list":["post-3287","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-transdisciplinarity"],"_links":{"self":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/posts\/3287","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/comments?post=3287"}],"version-history":[{"count":1,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/posts\/3287\/revisions"}],"predecessor-version":[{"id":3288,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/posts\/3287\/revisions\/3288"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/media\/3291"}],"wp:attachment":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/media?parent=3287"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/categories?post=3287"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/tags?post=3287"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nRe:Trace call for papers \u2013\u00a0www.mediaarthistory.org\/retrace<\/a>
\nMediaArtHistories-Advanced, MA \u2013\u00a0www.mediacultures.net\/mah<\/a>
\nArchive of Digital Art \u2013\u00a0www.digitalartarchive.at<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"