Website: http://www.parsejournal.com
Deadlines for abstracts: 11 Dec 2015, 19 Feb 2016
This call is for three separate issues of PARSE.
Speculation
Editors: Catharina Dyrssen, Anders Hultqvist, Valerie Pihet
This issue of PARSE addresses arts practice as a mode of critical action in probing alternative futures and possible worlds. The term ”speculation” is connected to “specular” (look out), “specula” (watchtower) and ”specio” (look at). In French the term can also suggest the act of looking for signs of presence not already there. The usefulness of the term speculation is contested. Speculation can be understood as merely spectating, reduced to an act of ”seeing,” which has in many quarters been dismissed as it tends to de-emphasize practice. Could ”speculation” in artistic practices on the contrary be regarded as resuscitating, revitalising, and redefining what observation / seeing can mean, what seeing’s agency can be? Could the future-oriented projections of speculation also serve as modes of criticality, as a testing of ways to resist the probable, and to reveal, re-think, re-create and re-compose all the possibilities contained within each situation? Continue reading here.
The deadline for abstracts is Dec11, 2015 and for full articles; March 3, 2016 Proposals should be sent to editor Anders Hultqvist: anders.hultqvist@hsm.gu.se.
Management
Editors: Henric Benesch, Andrea Phillips, Erling Björgvinsson
Management is usually treated as a separate domain to the field of contemporary creative practice. How does such a political and social separation of the tasks of “making” and “managing” inhere to an isolationist mechanism, in which the production of art, design, literature, theatre, craft, music, dance etc., is separated from its processes of its administrative “doing”? Histories of modernism suggest that the artist/ performer/ crafter/ designer/ actor/ composer/ musician/ writer is managed and at the same time resists – or refuses to take responsibility for – her own management. Is this refusal and/or resistance a survival mechanism, and a performative critique of the governmentalisation and privatisation of the cultural industries, or is it a naïve calling upon art’s possessive autonomy – a resistance in fact to the responsibility of care of the self within an administered world? Within the field of curating, the term “curatorial” has emerged as an ambivalent idiom seeming to separate itself aesthetically from the pragmatics of making exhibitions in the practical sense. Continue reading here.
The deadline for abstracts is Feb 19, 2016 and for full articles; May 6, 2016 Proposals should be sent to editor Erling Björgvinsson: erling.bjorgvinsson@gu.se.
Utterance
Editors: Magnus Bärtås, Kristina Hagström Ståhl, Johan Öberg
Utterance, the production of voice, the bodily uttering of sound, is an integral task across a range of artistic practices. Etymologically the term draws upon Germanic as well as Latin roots, referring to outer limits, passing beyond, and carrying to excess. From (theatrical) performance to poetry, from opera to contemporary visual arts and film, utterance is a site of intense critical aesthetic labour.
The critical, theoretical and metaphorical frameworks within which questions of utterance may be thematised range widely: from linguistics and literary studies to performance studies; from film studies and musicology to oratory; from feminist theory and political science to neurophysiology: from ethnography and psychoanalysis to rhetoric. These frameworks are contested and divergent. On the one hand, long established oppositions between orality and textuality continue to dominate thinking in spite of their problematisation within these disciplines, on the other hand, discursive developments – such as the performative turn in the arts, humanities, and social sciences – have given rise to a range of understandings including verbal as well as corporeal, extra-linguistic and non-vocal notions of utterance. Continue reading here.
The deadline for abstracts is Feb 19, 2016 and for full articles; May 6, 2016
Proposals should be sent to editor Kristina Hagström Ståhl: kristina.hagstrom-stahl@hsm.gu.se.
About PARSE
PARSE Journal supports an innovative and multidisciplinary research culture in the arts (including music, performing arts, art, design, architecture, literature, film and media) through publishing original artistic research; creating dialogues and promoting collaborations between researchers in the arts and in other disciplines; and through bringing together different modes of artistic enquiry within an open peer review framework. PARSE Journal is one strand of activity hosted by the PARSE research platform of the University of Gothenburg, Sweden.
We invite submissions from all fields and disciplines. Contributions are invited in the form of text or media.
For more information about PARSE Please visit: http://www.parsejournal.com.
Deadlines for abstracts: 11 Dec 2015, 19 Feb 2016
Speculation
Editors: Catharina Dyrssen, Anders Hultqvist, Valerie Pihet
This issue of PARSE addresses arts practice as a mode of critical action in probing alternative futures and possible worlds. The term ”speculation” is connected to “specular” (look out), “specula” (watchtower) and ”specio” (look at). In French the term can also suggest the act of looking for signs of presence not already there. The usefulness of the term speculation is contested. Speculation can be understood as merely spectating, reduced to an act of ”seeing,” which has in many quarters been dismissed as it tends to de-emphasize practice. Could ”speculation” in artistic practices on the contrary be regarded as resuscitating, revitalising, and redefining what observation / seeing can mean, what seeing’s agency can be? Could the future-oriented projections of speculation also serve as modes of criticality, as a testing of ways to resist the probable, and to reveal, re-think, re-create and re-compose all the possibilities contained within each situation? Continue reading here.
The deadline for abstracts is Dec11, 2015 and for full articles; March 3, 2016 Proposals should be sent to editor Anders Hultqvist: anders.hultqvist@hsm.gu.se.
Management
Editors: Henric Benesch, Andrea Phillips, Erling Björgvinsson
Management is usually treated as a separate domain to the field of contemporary creative practice. How does such a political and social separation of the tasks of “making” and “managing” inhere to an isolationist mechanism, in which the production of art, design, literature, theatre, craft, music, dance etc., is separated from its processes of its administrative “doing”? Histories of modernism suggest that the artist/ performer/ crafter/ designer/ actor/ composer/ musician/ writer is managed and at the same time resists – or refuses to take responsibility for – her own management. Is this refusal and/or resistance a survival mechanism, and a performative critique of the governmentalisation and privatisation of the cultural industries, or is it a naïve calling upon art’s possessive autonomy – a resistance in fact to the responsibility of care of the self within an administered world? Within the field of curating, the term “curatorial” has emerged as an ambivalent idiom seeming to separate itself aesthetically from the pragmatics of making exhibitions in the practical sense. Continue reading here.
The deadline for abstracts is Feb 19, 2016 and for full articles; May 6, 2016 Proposals should be sent to editor Erling Björgvinsson: erling.bjorgvinsson@gu.se.
Utterance
Editors: Magnus Bärtås, Kristina Hagström Ståhl, Johan Öberg
Utterance, the production of voice, the bodily uttering of sound, is an integral task across a range of artistic practices. Etymologically the term draws upon Germanic as well as Latin roots, referring to outer limits, passing beyond, and carrying to excess. From (theatrical) performance to poetry, from opera to contemporary visual arts and film, utterance is a site of intense critical aesthetic labour.
The critical, theoretical and metaphorical frameworks within which questions of utterance may be thematised range widely: from linguistics and literary studies to performance studies; from film studies and musicology to oratory; from feminist theory and political science to neurophysiology: from ethnography and psychoanalysis to rhetoric. These frameworks are contested and divergent. On the one hand, long established oppositions between orality and textuality continue to dominate thinking in spite of their problematisation within these disciplines, on the other hand, discursive developments – such as the performative turn in the arts, humanities, and social sciences – have given rise to a range of understandings including verbal as well as corporeal, extra-linguistic and non-vocal notions of utterance. Continue reading here.
The deadline for abstracts is Feb 19, 2016 and for full articles; May 6, 2016
Proposals should be sent to editor Kristina Hagström Ståhl: kristina.hagstrom-stahl@hsm.gu.se.
About PARSE
PARSE Journal supports an innovative and multidisciplinary research culture in the arts (including music, performing arts, art, design, architecture, literature, film and media) through publishing original artistic research; creating dialogues and promoting collaborations between researchers in the arts and in other disciplines; and through bringing together different modes of artistic enquiry within an open peer review framework. PARSE Journal is one strand of activity hosted by the PARSE research platform of the University of Gothenburg, Sweden.
We invite submissions from all fields and disciplines. Contributions are invited in the form of text or media.
For more information about PARSE Please visit: http://www.parsejournal.com.
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