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Sites of War
An Interdisciplinary Colloquium for Postgraduate Students
21 February 2015
Goldsmiths, University of London
We exist in a state of war.
This call for papers invites postgraduate students from a wide range of disciplines and with interdisciplinary perspectives to examine the relationship between politics, economics, society, culture, art, and sites of war.
We invite an interrogation of a wide spectrum of events and occurrences that fall within the literal and figurative ambit of this theme. Responses to the investigation can refer, but are not limited to: international warfare and revolutions like in Iraq, Syria and Hong Kong; acts of terror, and political strife encompassing diplomatic and foreign affairs engagements; economic confrontations including the fiscal and monetary; social struggles extending to migrants, refugees and displaced peoples; tensions over gender and sexuality; schisms of morality and ethics; religious dissension, and scientific and medical ideological debate; and how these impact social groups and how their responses to these events are culturally enacted; and whether culture itself, can be said to be in a performative state of warfare.
Sites of War is the ninth annual postgraduate colloquium organised by the Sociology of Theatre and Performance, Research Group (STPRG) at Goldsmiths, University of London, under the direction of Professor Maria Shevtsova. This colloquium follows Theatres of Catastrophe (2014), and seeks to extend the threads of investigation that resulted from the event by excavating and analysing how cultures respond to struggle and contestation.
We warmly welcome submissions from postgraduate research students from UK and international universities for individual papers that do not exceed 15 minutes. We also invite practice-based responses to this topic. Please submit your name, department, university, conference paper title and a 250-word abstract or practice-based statement of intent to firstname.lastname@example.org.
Deadline for the application is 10 December 2014.
This colloquium is supported by The Graduate School, Goldsmiths, University of London, Diawa Foundation, Japan, and Suntory Foundation, Japan.
Please do contact us on email@example.com with any queries you may have. We look forward to hearing from you.
Phoebe Patey-Ferguson, Kyoko Iwaki and Geetha Creffield.
PHD Candidates, Department of Theatre and Performance
Sociology of Theatre and Performance Research Group
Goldsmiths, University of London
Call for Papers / Performances
Contemporary Music Research Unit
Department of Music, Goldsmiths, University of London
20th – 22nd February 2015
The increasing growth of the field of Music and Politics has recently seen quite a few turns in Music Studies, materialized in articles, books, and journals. The natural tendency to themes such as feminism, post-colonialism, the culture industry, war, censorship, resistance, etc., have irreversibly affected thinking about music and music-making of several genres, including that of ‘contemporary classical’. However, perhaps as a reaction to traditional musicology (with its insistence on the musical work and on authorship), the study of compositional practices against contemporary political dimensions, has hitherto received less scholarly attention. In the—ostensibly distant—sixties, figures like Xenakis or Nono represented two typical examples of politicized compositional attitudes: the former’s radical abstraction was a coup against the dominance of serialism, the latter’s thematization of textuality and location constituted gestures of resistance. Their epigones still produce work that challenges traditional conceptions (including those of their progenitors); this symposium’s foremost aim is to advance such contemporary practices. One such example is the impact that (free) improvisation has had on recent composition. To the extend that improvisation is the correlative of composition (as ‘material’, listening attitude, style, etc.), this symposium aims to examine both creative practices in their political dimension—either explicit or implied. Thus, this gathering will focus primarily on practice-based research, its underlying politics, the explicit or implicit theme of the political, and how these translate into to the praxis of composition.
The following is a list of suggested themes, but these should only be taken as indicative springboards. However, please note that these will be considered against the symposium’s focus on compositional praxis.
Problematics of the musical work
Absolute music, programmatic music and claims to representation
Progress, tradition and originality
Politicising the aesthetic / aestheticising the political
Composition & ecology
Crisis in politics & aesthetics
Feminism & queer theory
Situationism & psychogeography
Contemporary composition, improvisation and activism
The politics of notation
Proposals of up to 300 words are invited for 20 minute presentations with 10 minutes questions. Please also include a short biographical note of around 100 words.
In addition, proposals involving practice are encouraged. These may take the form of a 30-minute presentation split between practice, speaking and questions as desired by the proposer/performer, or pieces which could be performed as concert items. In the case of these presentations, please supply a full list of equipment needed for the presentation/performance.
Please send proposals and indications of interest to either Professor Roger Redgate: firstname.lastname@example.org, Dr Dimitris Exarchos: email@example.com, or Alistair Zaldua: firstname.lastname@example.org
Deadline for proposals: 29th of September 2014
Notifications of result: October 2014