The Design History Society (DHS) is pleased to announce a new Student Travel Grant. This is part of the Society’s commitment to support those studying the history of design and in recognition of the role of education in the development of the field.  For more information about the Design History Society, please see the website.

The DHS Student Research Travel Grant

The Student Research Travel Grant is awarded by the DHS biannually to encourage and support research activity amongst students in the field of design history. The Grant is open to all undergraduate and postgraduate scholars (BA, MA or PhD; part-time or full-time) in the field of design history in the UK and RoI. To be eligible to apply, at the time of both submission and travel applicants must be enrolled as undergraduate and postgraduate students at a current UK or RoI university and undertaking research in the field of design history of any geographical location and period.  All applicants must be members of the Design History Society. See ‘Join and Renew’ on the DHS website for more about joining the Society and details about other membership benefits.

A total fund of 33,000 is awarded each year for the Student Research Travel Grant, split into two funding pools of 31,500. Successful applicants will be awarded a maximum of =A3500 each. The awards are made at the discretion of a judging panel drawn from the DHS Executive Committee. Parts of a request might be funded and others rejected.

Applications are judged on the following criteria:

contribution to the discipline of design history (not including architectural or art history) impact the award will make on the student research qualifications of applicant(s) to conduct the proposed research contribution to the activities and aims of the Design History Society

The deadline for the first set of applications is October 15th. The next application deadline will be January 15th 2012.

Applicants are required to submit both digital and hard copies of the attached application form. The application form will shortly be available to download from the DHS website. It is also available from the DHS secretary, Charlotte Nicklas: charlottenicklas@hotmail.com.

For more information about the award and application details please see the DHS website and contact the current student officer, Catharine Rossi, for more details.

All those with a research interest in the field are welcome.

13 October         European Circulation and Dissemination of Fashion in the Early Modern Period:  Passports for Luxury Goods from Paris to Munich in the late 1680s
CORINNE THÉPAUT-CABASSET (V&A HERA Project Fashioning the Early Modern)

20 October        The Politics of Ornament in the Alhambra
LARA EGGLETON (Independent scholar)

27 October        California Design, 1930-1965, Living in a Modern Way
WENDY KAPLAN (Los Angeles County Museum of Art)

3 November       Cheap Turbans and Suspicious Bonnets:  Head Dress, Millinery, and the Metonymies of Virtue in the Later Fiction of Frances Burney
ADA SHARPE (Wilfrid Laurier University)

10 November     A Work of Face rather than Sense:  The Elizabethan Miniature as an Ostensorium of Early Modern Artistic, Alchemistic and Theological Production
CHRISTIANE HILLE (Ludwig-Maximilians-Universität)

7 November       Woad, Zaffer and Smalt: European Knowledge and Seventeenth-century Chinese Porcelain Manufactures
ANNE GERRITSEN (University of Warwick)

24 November      Imagining Others:  Bodies and Dress in Venice and Japan (XVI-XIX Centuries)
GIULIA CALVI (European University Institute)

All seminars are held at 5.00 pm in Seminar Room A of the Research Department at the Victoria and Albert Museum. Access to Seminar Room A is via the entrance to the Research Department.

To get there, go the top of the staircase decorated with ceramic tiles that leads from the Asian Sculpture Galleries (Rooms 17-20) on the ground floor, up past the Silver Gallery (Room 70a).

Please allow at least five minutes to get to  the seminar room from the Museum entrances.

Admission to the Museum is free and the seminars themselves are free of charge.

Please contact Katrina Royall on +44 20 7942 2574 (k.royall@vam.ac.uk)
or Helen Woodfield on  +44 20 7942 2576 (H.Woodfield@vam.ac.uk) with any questions.

http://www.tandf.co.uk/journals/titles/13825577.asp
EUROPEAN JOURNAL OF ENGLISH STUDIES, Vol. 17

Please note that the deadline for proposals for all issues for this volume is 31 October 2011, with delivery of completed essays by 31 March 2012. Volume 17 will appear in 2013.

VISUAL TEXT
Guest Editors: Judy Kendall, Manuel Portela & Glyn White

‘Visual Text’ aims to showcase cutting-edge research on the visual aspects of text in different media, whether handwritten, printed or digital, and is open to a variety of disciplinary approaches including literature, linguistics and cultural and translation studies, communication studies and graphic design.

The visual aspects of text have been integral to textual production from the hieroglyphic tablets of Egyptian antiquity to the visually inventive novels of Laurence Sterne, Christine Brooke-Rose and Alasdair Gray, and on to the kinetic and interactive manipulations of text in the contemporary digital world. The representation of knowledge, scientific and otherwise, across history in maps, diagrams and other forms of visualisation, shows the breadth and importance of visual text. Visual text includes the illustration, marking and illumination of manuscripts and scroll culture; the study of handwritten manuscripts and the use of text as symbol and image in contemporary art. The different visual possibilities offered by the technology of print are seen in the presentation of poetry and fiction; in the combination   of image and typography in the broadsheet and tabloid, periodical and journal; in the sequential art of comics and graphic novels; and in the presentation of parallel translations. The digital age sees multiple new uses for typography and page layout as computer-assisted communication has extended the possibilities of visual text to new devices and practices, including touchscreen interfaces and virtual keyboards that impact upon how we see, think about and assimilate text.

The editors of this issue invite contributions on the topic of visual text from scholars working in all cognate fields in English Studies. Interdisciplinary submissions, with, for example, reference to fine arts or graphic design, are also encouraged. Possible themes include, but are not restricted to, the following:

interaction between word and image
iconographic texts
text as image or symbol
pages and pagination: digital, printed, handwritten
type and typography
writers as typesetters
interactive, digital and moving texts
digital reading devices (e-readers, PDAs, mobile phone screens)
translation of visual effects

Detailed proposals (500-1,000 words) for articles of c. 5-6,000 words, as well as all inquiries regarding this issue, should be sent to all the guest editors: Judy Kendall  j.kendall@salford.ac.uk; Manuel Portela mportela@fl.uc.pt; and Glyn White g.white@salford.ac.uk.

The purpose of this working group is to consider plastic pollution from a variety of disciplines and catalyze collaboration. As plastics in the oceans, in bodies, as litter, and in industrial processes pose challenges to social, technical, economic, and scientific norms, it is necessary to consider plastic pollution from an interdisciplinary  viewpoint.

Possible research topics include:
- history of plastic pollution and discards
- economics of plastic discards and its pollution
- body burdens and endocrine disruptors
- changes in toxicology brought about by plasticizers
- problems plastic pollution poses to regulation
- economic and social aspects of a plastic throw away society
- metrics and measurements of ocean plastics and body burdens
- processes and communication of plastic recycling and bioplastics
- popular and activist campaigns against plastic pollution and discards

Format & Participation:

Participants will circulate works in progress, completed papers, and readings of interest to other members for review and discussion. This may occur virtually or physically depending on the location of participants.

PhD students, faculty, independent scholars, and research-oriented advocates are welcome to participate.

This working group is not sponsored by any particular institution. Participants are welcome on an ongoing basis, but the first “meeting” will be Friday, October 14th.

Please contact Max Liboiron to join. max.liboiron@nyu.edu
Max Liboiron
max.liboiron@nyu.edu
New York University, Media, Culture and Communication Dept
Co-Coordinator, Plastic Pollution Coalition- East Coast
Email: max.liboiron@nyu.edu
Visit the website at http://wp.me/pGYKf-k5

This conference will offer an interdisciplinary look at the history of advertising in America through an examination of multiple industries, media forms, and historical periods.  Scholars will address the rise of modern consumer culture, the creation of consumers, marketing authority and celebrity, advertising the natural world, and the intersection of words and images in advertising.  Genres of print and artifacts to be addressed include Bibles, gift books, newspaper
images, prints, patent medicines, circus posters, daguerreotypes, photographs, and sensational advertisements.  This conference is sponsored by the Program in the History of the Book in American Culture and the Center for Historic American Visual Culture.

The full program and registration information is at: http://www.chavic.org/Upcomingconferences.htm

Please join us for this event!

Paul Erickson, Director of Academic Programs

Georgia B. Barnhill, Director, Center for Historic American Visual Culture

American Antiquarian Society
185 Salisbury Street
Worcester, MA 01609

perickson@mwa.org
gbarnhill@mwa.org

www.americanantiquarian.org
AAS blog:  http://pastispresent.org
Also at http://facebook.com/American.Antiquarian

Bodily, psychic and spatial interiors can be mapped, traversed and violated in multiple ways. This one-day conference will interrogate and re-evaluate the contested terrain of the interior in its varied forms. It will examine the interlacing and overlapping of different types of interiors, and seek to re-position the ‘interior’ in critical terms. Moreover, it will attempt to develop new ways of thinking about the relationship between the decorative arts, furniture, bio-technologies, anatomy and space. The conference will take place in The Courtauld Institute of Art Research Forum and conclude with a keynote address in the Anatomy Theatre at King’s College London.

The conference will be built around three themes: Threshold, Incision and Autopsy. We encourage prospective speakers to outline how their papers engage with one or more of these themes.

This conference welcomes papers from across a wide range of periods and regions. Issues addressed might include, but are not limited to:

•       Modes of mapping space
•       Figurative and literal gateways/boundaries
•       Temporality and space
•       Space and subjectivity
•       Domestic interiors
•       Decorative arts and the body
•       The fabrication of furniture
•       Anatomical drawing
•       Different types of medical imaging
•       Medical portraiture

Please send your proposals of no more than 250 words (20-minute papers) by 30 November 2011 to probingtheinterior@gmail.com

Organised by Dr Lucetta Johnson (The Courtauld Institute of Art) and Dr Keren Hammerschlag (King’s College London)

This event is supported by The Courtauld Institute of Art Research Forum and the Centre for the Humanities and Health, King’s College London Research Forum The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN

Email: probingtheinterior@gmail.com
Visit the website at
http://www.courtauld.ac.uk/researchforum/events/2012/summer/may25_ProbingtheInterior.shtml

This symposium will explore the different facets and forms of the serial production of artefacts from antiquity to the eighteenth century. More specifically, it will focus on works of art that were made in virtually identical multiple versions using procedures that conferred a high degree of uniformity on them. Particular emphasis will be given to the process through which the making, provenance, sale, as well as context of pre-modern multiples affected their reception. How, and in what measure, did the serial nature of works of art influence their reception? To what extent were authorship, context and processes of production important in shaping the cultural status of the artefacts made in more than one original?

We invite scholars with an interest in object-focused approaches to question the “aura” of multiples, whatever serial technique used to produce them and drawn from any genre, whether serial copies or representatives of the so-called applied arts. Papers may thus wish to address such issues as the cultural impact, geographical significance, pricing criteria and “fortuna critica” of the works of art existing in several originals, as well as their display, activation, perception and reception in different contexts.

We aim to match theory-influenced approaches with specific case studies. Proposals that consider media and areas which have yet to receive extensive attention are thus particularly encouraged. The dissemination of multiple works which once professed to “conform” to a certain model and that were appreciated for this very reason, but which are also slightly different in terms of form and quality may also be considered. The production and reception of serial objects resulting from the employment of techniques that do not involve mechanical replication procedures, such as the creation of serial sculpture in wood, can also be questioned. We also seek contributions from participants who will be able to furnish theoretical, historiographical and museological insights by exploring the role played by serial artefacts in understanding pre-modern art in the nineteenth and twentieth century, as well as today.

The final aim of this symposium will be to assess the extent to which the “aura” of exact replicas and second versions can be connected to social and material factors such as legitimacy, reliability, nascent forms of “copyright”, the process of production, high technical quality or finish, links with a specific promoter or a prestigious cultural network, as well as other forms of special guarantee and specific connotations. More generally, the symposium can be seen as an attempt to replace the category of “aura” with more appropriate critical tools, as well as assess the extent to which central concepts of nineteenth- and twentieth-century art history such as originality or full authorship impact our understanding of the reception of serial works in pre-modern western society.

Please submit a paper proposal in English, German, French or Italian (max 700 words in a word or pdf document) to
premodern.multiples@googlemail.com by September 22nd, 2011, clearly stating your name, preferred contact details and institutional affiliation. Papers should last no more than 30 minutes. Publication will be considered.

The Journal of Art Theory and Practice is a peer-reviewed publication. The journal is published twice a year in print and is affiliated with the professional society called Korean Society of Art Theories. In December 2011 we plan to publish a thematic issue: “The Fate of Image,” for which we would like to encourage submissions. We welcome  submissions from art historians, critics, artists, curators, philosophers, administrators, and other art scholars and professionals.

We explore the ways in which to define image, while raising significant questions regarding the relationship of text to image, and of both to different forms of thought. The dichotomy between icon and logos has suggested two different ways perceiving reality, which has effected on diverse discourses on art and literature. A relationship between the sayable and the visible has been crucial in discussing the domain of image. If both text and image are involved in representing reality, the question remains as to whether image and text configure thought differently. It also alludes to another question on the relation between resemblance and abstraction in representing reality. The resistance against resemblance has been regarded as the formal imperative of modern and contemporary art. Yet our culture has been dominated by visual spectacles. We seek scholarly discussions on the disquiet pertaining to the fate of image, presumably confrontational relationship of image to text. Possible discussion includes the relation between artists’ writings and visual artworks together without intervening in the means of the other. All perspectives and  methodologies are welcome.

Please send a completed article and a CV (including institutional affiliation and contact information) by October 10, 2011 to artntheory@gmail.com. Articles in English language only will be considered. Please provide your complete institutional/home address, telephone numbers, fax, email, and short biography in the cover letter. Please refer to the following author guidelines. Decisions on submissions will be announced by November 10, 2011. Inclusion in
December 2011 issue depends on available space: Accepted submissions may be saved for later issue.

Author guidelines:
Articles should not be more than 5,000 words long including notes, bibliography, and abstract.
All submissions should be accompanied by a 300 word abstract and 5 keywords.
Please provide bibliography at the end of the article. Follow the Chicago Manual of Style.
Use double spacing and Times New Roman 10 points. Use footnotes.
Please provide the title of article, the name of the author, the institution at the beginning of the article.

Images
Up to a maximum of seven images can be submitted with the article. JPEG
only.
Please provide images in a separate file.
Indicate in your text the approximate place for an image to appear
thus: [IMAGE 1]

It is the responsibility of the author to supply all necessary images
to the correct specification – 300dpi black and white scans, jpeg -
and to obtain copyright permission to reproduce the images they wish
to use in their article. This permission must be for print
reproduction. We cannot reproduce any images without this permission
(permission may be in the form of an email, but in all cases must
originate from the copyright holder). All images must be supplied with
full captions (see below).

Picture captions: All slides, transparencies, photographs or digital
images should be submitted with the following information as a list at
the end of the article titled CAPTIONS.: artist’s name, title of work
- in italic, date of work, media, dimensions, collection (or place of
exhibition), ie:

Lani Maestro, Cradle, 1996, cheesecloth, sisal strings, palm mats,
1618 x 964cm, collection of the artist (no full stop at end of
caption)

Issue #5 Call for papers
Guest Editor: Suzie Attiwill

On 12 March 1913, a naming ceremony took place in an empty paddock on a hill. This rural environment was to become a city, the capital city of Australia, the city of Canberra. The aspirations and the projections of the Griffins’ winning design for Canberra are an example of a world-in-making involving the practices of design and craft. This issue of craft+design enquiry will be published in 2013 - 100 years after this event and when, for the first time in history,  more than half the world’s population live in cities. By 2030, this will increase to at least 60% with significant growth happening in cities of developing countries and the emergence of meta-cities with 20 million inhabitants. ‘The twenty-first century will be known as the century of the city’ (Tibaijuka, 2010).

This next issue of craft+design enquiry will focus on and highlight the role, contribution and potential of craft and design practices to the urban environment as well as the transformation of these practices - a world in making.

‘The thing is what we make of the world. … Things are our way of dealing with a world in which we are enmeshed rather than over which we have dominion. … It is our way of dealing with the plethora of sensations, vibrations, movements, and intensities that constitute both our world and ourselves’ … ‘We make objects in order to live in the world’ (Grosz, 2009, pp. 126 & 128).

Situated in a journal published by Craft Australia, the nuances of craft – a practice which values making and materiality – will guide the selection of papers for publication. This emphasis on craft does not exclude design so much as bring focus to practices of design which engage ideas of making and materiality, where there is a sense of a hand(s) in making, a valuing of haptic encounters and an attention to the relation between people and surroundings. From small to large scale projects, from individuals to communities, an intimate approach to the question of how people inhabit and transform the urban environment is invoked. What are the potentials in this century of the city for craft and design practices? What is the contribution of craft and design to cities and liveability? What might a craft sensibility bring to urban inhabitation? What of an expanded idea of craft practice as a way of working and thinking which addresses spatial and temporal urban conditions? What of the emergence of new forms of practices to engage in the condition of the urban environment and the social, political and cultural forces of the twenty-first century?

Academics, practitioners, research students and others are invited to submit research papers and critical project works. A definition of research as ‘the creation of new knowledge and/or the use of existing knowledge in a new and creative way so as to generate new concepts, methodologies and understandings’ (Australian Research Council, 2011) is reiterated here to highlight the criticality of ‘new and creative’ in relation to research and to encourage the submission of research through craft and design practice, as well as about craft and design practices situated in a world in making – ‘the century of the city’. Authors are also encouraged to consider the inclusion of visual material as research.

THE CDE#5 CALL FOR PAPERS CLOSES ON 30 JUNE 2012.
This issue of craft+design enquiry will be published in mid-2013. To submit a paper please register online at  http://www.craftaustralia.org.au/cde/index.php/cde/announcement/view/6 by the closing date of 30 June 2012.
Refer to author guidelines for further information.

For inquiries relating to this issue or submission of papers, please contact the Guest Editor, Suzie Attiwill suzie.attiwill@rmit.edu.au Administrative enquiries, please contact Jenny Deves, Managing Editor craft+design enquiry jenny.deves@craftaustralia.org

REFERENCES:
Australian Research Council, March 2011. http://www.arc.gov.au/pdf/2011_presentations/decra0311.pdf. Grosz, E., 2009. ‘The Thing’. In F. Candlin & R. Guins, eds. The Object Reader.  London & New York: Routledge. Tibaijuka, A.K., 2010. Inaugural Address UN Pavilion Lecture Series, Shanghai World Expo 2010 – Better Cities, Better Life. Tibaijuka was  then Executive Director of UN-HABITAT, the United Nations agency for human settlements. http://www.unhabitat.org/content.asp?cid=8273&catid=560&typeid=8&subMenuId=0

SupraSpace: On the Concept of Space and Place in Art and Visual Culture International Conference

Space has been subject to aesthetic, art-historical, philosophical, anthropological, geographical and political investigations, each with its idiosyncratic definitions. Space maintains a close relation with illusionism, narrativity, and the performative qualities of art.  Space is especially interconnected with time, making it impossible to separate one from the other. In the current dynamic reality in which we live, it is hard to remain confined to just one modality of spatial thinking that will capture all of its complexity; yet this problem is not limited to our contemporary globalized moment, but is also relevant to different historical periods. Consequently, in order to engage effectively with the problem of space, recent studies have demonstrated multiple methods of conceptualization, while emphasizing the
dialectical relations and tensions between them.

Within the realms of art and culture, the discourse on space has often engaged with problems of representation (artistic genres such landscape, narrative space, chronotopos, interior/exterior, etc), or with political issues relating to territorial conflicts and borders. This conference seeks to investigate the dynamic formation, throughout history and art history, of sites, places, and environments, in which interactive relations, identities and signs are ceaselessly rewritten and redefined. These kinds of processes produce spaces that hover between the specific and the generic, the local and the global, the historical and the contemporary, the real and the virtual, along with the symbolized and the abstract. At the same time, these modalities emphasize the fact that any designation of places and sites is inseparable from the different ways in which they are experienced, perceived, imagined, and represented. We invite papers that consider diverse conceptualization of space and forms of representations, as well as the varied ways in which lived environments trigger different forms of interventions and reconfigurations: legal, political, social, aesthetic and technological.

Abstracts are invited by 10 January 2012 and should be sent to:
supra.tau.conference@gmail.com.

All abstracts must be in English and should be limited to 300 words. Head your abstract with your name, professional affiliation, and the paper’s title. Submit with the abstract a one-page curriculum vitae, home and work addresses, and e-mail address. Each paper should be limited to a 20 minute presentation, followed by dialogue and questions. All applicants will be notified of the acceptance or rejection of their proposal by 15 February 2012.

Suggested topics for papers (but not limited to):
Space before and after Giotto
Liturgical space
Sacred spaces
Medieval non-space
Perspective/Camera Obscura
Space and (non) rationalism in post-Albertian art theory
Emotional space
Pictorial space and voyeurism
Islamic space and its absence
Place and non-place
Art and culture in public space
Urban Planning and Architectural Space
The absence of place
Spatio-temporal dimensionalities
Memory and monuments
Narrative, meta-narrative and space
De-territorialization and Re-territorialization
Finite – infinite space
Information technology and space
Body and territory
Cosmopolitanism and globalization
Spaces of display
Heterotopia and utopia

Reference / Quellennachweis:
CFP: The Concept of Space & Place in Art (Tel Aviv, 16-17 May 12). In:
H-ArtHist, Sep 5, 2011. <http://arthist.net/archive/1791>.