Some changes to the previous programme:

Stillness and Time: Photography and the Moving Image
Kent Institute of Art and Design, Canterbury
Friday 7th and Saturday 8th May 2004 

The photograph has traditionally been seen as a quintessentially still
image. Its ability to freeze and hold a moment in time has been the source
of its peculiar fascination and the foundation of much of the theoretical
discussion about it. Today, however, the notion of the still image seems
less absolute. Within the last decade technological developments have
fundamentally altered the way in which we think about the still and the
moving image. In particular the convergence of photography and digital media
has challenged our concepts of the photographic, and of the relationship
between movement and time. Photographic artists extend the still image in
time through the use of film and video, and photographic images may actually
be derived from film stills or fragments of video. The intertwined histories
of photography and film and video also remind us of the complex ways in
which photography has interacted with the cinematic imaginary: referencing
it, representing it and plundering its visual language. This conference
offers an opportunity to rethink the concept of the photographic still and
the notion of stillness, within the culture of the moving image.

Amongst the issues this conference seeks to address are:

*       What is the relationship between visual technologies, the recording
of movement and the production of time? 

*       How have contemporary visual art practices contributed to our
understanding of the concept of stillness and duration? 

*       What different temporalities are invoked by the photographic still,
the video still and the projected image? 

*       In what ways have electronic and digital technologies redefined our
understanding of the medium and what consequences does this have for our
understanding of spectatorship? 

*       How can our experience of one technology be imagined through another
and what implications might this for a theory of the image?
 


Friday 7th May

Hubertus v. Amelunxen is Director of The International School of New Media,
Lübeck, Germany and the Senior Visiting Curator of the Canadian Centre for
Architecture, Montréal. He was the editor of Fotogeschichte and has
published widely on philosophical aspects of photography and new media. He
is the author of several books, among them Allegory and Photography (1992)
and the editor and contributor to Photography after Photography: Memory and
Representation in the Digital Age (1997).

Mary Ann Doane is Professor of Modern Culture and Media and of English at
Brown University.  She is the author of The Emergence of Cinematic Time:
Modernity, Contingency, the Archive (2002), Femmes Fatales: Feminism, Film
Theory, Psychoanalysis (1991), and The Desire to Desire: The Woman's Film of
the 1940s (1987).  In addition, she has published a wide range of articles
on feminist film theory, sound in the cinema, psychoanalytic theory,
television, and sexual and racial difference in film.

Jonathan Friday is the author of The Aesthetics of Photography (2002) and
has written on various philosophical aspects of photography for number of
academic periodicals including the British Journal of Aesthetics and the
Journal of Aesthetics and Art Criticism. He was, until very recently
Lecturer in Philosophy at the University of Aberdeen but now teaches at the
University of Kent.

Garrett Stewart is James O. Freedman Professor of Letters at the University
of Iowa, USA. In addition to his work in the field of literature he has
published widely on various aspects of cinema. He is the author of Between
Film and Screen: Modernism's Photo Synthesis (1999) and his latest book The
Looks of Reading 1514-1990, on the scene of reading in painting from the
Renaissance through modernism, will be published shortly.

There will be a plenary session at the end of the day involving all of the
day's speakers. The session will be chaired by Margaret Iversen, Professor
of Art History and Theory at the University of Essex, and the author of
Alois Reigl: Art History and Theory (1993). Her book of her essays entitled
Art Beyond the Pleasure Principle will be published shortly; her current
major research project concerns the artist's use of photography in the
period 1965-1975.


Saturday 8th May 

Victor Burgin is Millard Chair of Fine Art, Goldsmith's College, London. An
artist and writer, amongst his publications are The End of Art Theory
(1986), In/Different Spaces: Place and Meaning in Visual Culture (1996) and
Some Cities (1996). His latest book, The Remembered Film, will be published
later this year. He has recently held major shows of his work at the
Fundaci? Antoni Tàpies, Barcelona and the Arnolfini Gallery, Bristol.


Kaja Silverman is Professor of Rhetoric and Film at the University of
California, Berkeley, USA. Her primary object of study is the field of
vision, which she approaches from a psychoanalytic and phenomenological
point of view. Among the monographs she has published are World Spectators
(2000) and The Threshold of the Visible World (1996). Although her earlier
work focused upon cinema, her recent research has extended into the areas of
photography and time based-art and she has written a number of major essays
on the work of the artists James Coleman, Jeff Wall, Alan Sekula, and
Eija-Liisa Ahtila.

John Stezaker is Senior Tutor in Critical and Historical Studies at the
Royal College of Art, London. An artist and writer, work from his latest
photographic series Angels has recently been shown in Lisbon and will
shortly be seen at the Musee de l'Elysee, Lausanne and the Hayward Gallery,
London. He has written widely on aspects of photography and contemporary
visual practices and his most recent published work has appeared in Essays
in Visual Culture (2003) and Conversation Pieces (ed. Pavel Buchler, 2003). 

Laura Mulvey is Professor of Film and Media Studies at Birkbeck College,
London. She is the author of Visual and Other Pleasures (1989), Fetishism
and Curiosity (1996) and Citizen Kane (1992). In addition to her numerous
writings on the cinema and film theory, she has also co-directed six films
with Peter Wollen and her last film, co-directed with Mark Lewis, was
Disgraced Monuments (1994). She is currently working on a new book
entitled Death 24 x a second: Stillness and the Moving Image.

The chair for the plenary session on the Saturday will be Dr.Elizabeth Cowie
who is Reader in Film Studies in the School of Drama, Film and Visual Arts
at the University of Kent, Canterbury. She published Representing the Woman:
Cinema and Psychoanalysis, in 1997, and has recently
written on the horror of the horror film, on the cinematic dream-work, and
on the documentary film, memory and trauma in Alain Resnais' Hiroshima mon
amour. She is currently writing a commentary on a video work by Juan del
Gado for Aspect: The Chronicle of New Media Art, and completing a book on
documentary film and video.


.......................................................................

Conference Venue (both days):   The Cragg Lecture Theatre, Kent Institute of
Art and Design,
                                New Dover Road, Canterbury.
                                	

Conference Times (both days):   Registration (and coffee): from 10.15
                                Conference begins: 10.45
                                Conference ends: 18.00


...........................................................................







Booking


Conference Fees (morning coffee, buffet lunch, and afternoon tea are
included)

Full fee for two days  £75
Full fee for one day  £45

Concessionary fee for two days  £45*
Concessionary fee for one day  £30*

Early booking is advised. No refunds will be made for any cancellations made
less than two weeks before the conference.

*Concessionary rates are available to full-time students and unwaged. Please
send proof when booking.

Send booking forms to:

David Green,
School of Historical and Critical Studies,
University of Brighton,
10/11 Pavilion Parade,
Brighton,
BN2 1RA.

Tel:  01273 643014
Fax:  01273 681935

E mail: [log in to unmask]



Please reserve me  ..... places(s) for the Stillness and Time conference
for:

Friday and Saturday ............  Friday only.........Saturday
only...............


I enclose a cheque for £...........made payable to Photoforum*:


Name:.......................

Institution (if applicable):......................

Address:........................................

..................................................

...................................................

Tel:..............................................

E mail: ..............................................


Confirmation of your booking will be acknowledged by email (or post if an
email address is not supplied) on receipt of this form and your cheque.
Details of how to get to Canterbury and the conference venue will also be
supplied.

*We cannot accept payment by credit card. If you have queries regarding
payment for the conference via your institution please contact David Green
by email or telephone.


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University of Brighton
Kent Institute of Art and Design
Surrey Institute of Art and Design
Arts Council England