Hi,
Phil Crang asked me to forward this on to the list.
----
au revoir
niall johnson
Email: [log in to unmask]
Department of Geography and Sidney Sussex College
University of Cambridge Cambridge
United Kingdom CB2 3EN United Kingdom CB2 3HU
---------- Forwarded message ----------
>Dear all,
>Apologies for any cross-postings but I promised David Howes at Concordia
>that I'd spread the word about the conference detailed below
>Phil Crang
>
>>Date: Thu, 02 Sep 1999 09:44:42 -0400 (EDT)
>>From: [log in to unmask]
>>Subject: FW: Call for Papers and Registration (fwd)
>>To: [log in to unmask]
>>
>>
>>
>>
>> UNCOMMON SENSES:
>> AN INTERNATIONAL CONFERENCE ON
>> THE SENSES IN ART AND CULTURE
>>
>>Dates: 27-29 April, 2000
>>Location: Concordia University, Montreal, Quebec, Canada
>>Organizers: Constance Classen, Jim Drobnick, Jennifer Fisher,
>>David Howes
>>Sponsors: Concordia Sensoria Research Team (CONSERT) in
>> association with Lonergan College and
>> Concordia University
>>
>>CALL FOR PAPERS
>>
>>"[The] forming of the five senses is a labour of the entire history of the
>>world down to the present."
>>- Karl Marx, Economic and Philosophic Manuscripts
>>"Given sufficient knowledge of the sensorium exploited within a specific
>>culture, one could probably define the culture as a whole in virtually all
>>its aspects."
>>- Walter Ong, The Presence of the Word
>>Investment in sight is not privileged in women as in men. More than any of
>>the other senses, the eye objectifies and masters. ... In our culture the
>>predominance of the gaze over smell, taste, touch and hearing has led to
>>an impoverishment of corporeal relations.
>>- Luce Irigaray, Les femmes, la pornographie et l'irotisme
>>Last night in a dream it returned. A creature wearing a shaggy skin and
>>smelling of dust and cinnamon. Screaming I entered the fur, wool, or hair,
>>crying tears that were dark and sticky like blood. ... Then I was in
>>entire possession of the five sensorial powers and their long roots were
>>as visible as the sun.
>>- Leonora Carrington, The Stone Door
>> Uncommon Senses is dedicated to exploring the modalities of sensory
>>experience and expression within art and culture and in particular, to
>>investigating the aesthetic life of the often neglected "lower senses" of
>>smell, taste and touch.
>> While striving to deconstruct the authority of vision, current
>>critiques of ocularcentrism - by their very emphasis on visuality - tend
>>to confirm the priority of sight over the other senses. Uncommon Senses
>>seeks to redress this sensory imbalance by bringing to the fore the
>>cultural, political and aesthetic significance of non-visual modes of
>>sensorial engagement. By so doing the original meaning of the term
>>aesthetics, that of sense perception, is recovered in its full sensorial
>>capacity.
>> The cultural construction of the senses is a subject of
>>multidisciplinary interest and investigation, which brings together the
>>humanities and the social sciences. Historical and anthropological studies
>>reveal the distinctive sensory underpinnings of social systems in
>>different time periods and cultures. Literary studies bring out the
>>sensory values encoded in written texts. In the fine arts, the non-visual
>>senses have been employed by a number of artists since the late nineteenth
>>century to animate antiseptic gallery spaces, question assumptions about
>>the objecthood of art, and address the subtle but powerful links between
>>the senses, lived experience and cultural meaning. The cooking
>>performances of Rirkrit Tiravanija, the tactile sculptures of Mona Hatoum,
>>and the aromatic installations of Ann Hamilton are only a few of the more
>>salient examples in contemporary art.
>> Drawing inspiration from recent research on the senses in the social
>>sciences, literature and art, Uncommon Senses will pose a series of
>>questions: What lies beyond the scope of the aesthetic gaze? How do
>>artworks involving taste, touch and smell transgress and reconceive
>>definitions of art? What models of sensory aesthetics exist in non-Western
>>cultures? How is technology reinventing the senses? What are the
>>historical roots of contemporary sensory paradigms? How are the senses
>>engaged (or manipulated) in popular culture? In what manners can
>>difference - whether based on culture, class, gender or sexuality - be
>>mobilized to counter and reconfigure hegemonic understandings of the
>>senses?
>>The following are some of the panel topics for the conference:
>>- Innovative and non-traditional uses of the senses in visual art,
>>architecture, music, performance, film and other media
>>- The role of the senses in non-Kantian aesthetics
>>- The history and practice of "total artworks" (Gesamtkunstwerk)
>>- The cultural history of the senses
>>- Cybersenses: technology and the future of perception
>>- Synaesthesia/anaesthesia: shock, mixing, numbing and disruption
>>of the senses
>>- Popular entertainments: affect and sensationalism
>>- Postmodern culture and sensory saturation
>>- Non-western aesthetics and the anthropology of the senses
>>- Cultural difference/sensory difference
>>- Explorations and critiques of ocularcentrism
>>- The sensory politics of class, race and nationalism
>>- Engendered senses: feminism, perception, and the body
>>- Queering the senses
>>- Design and the senses
>>- Writing the senses: literary and theoretical approaches
>>- "Untrained" sensibilities: outsider, folk and children's art
>>- Perceptual challenges: art by the blind and other differently-
>>abled individuals
>>
>>If you are interested in presenting a paper at "Uncommon Senses," please
>>fill out the attached Registration Form and send it along with a 150-word
>>abstract to the address below:
>>
>>Uncommon Senses
>>Lonergan College
>>Concordia University
>>1455 de Maisonneuve Ouest
>>Monteal, Quebec
>>Canada H3G 1M8
>>
>>Abstracts will be reviewed by the organizing committee and, if approved,
>>assigned either to one of the existing panels or one of the new panels
>>created to accommodate emergent themes. The organizing committee will
>>respond to your submission within three weeks of receipt.
>>If you are interested in organizing a panel, please submit a 150-word
>>abstract describing the theme of your panel, and the names of the
>>participants, as well as the Abstract Submission Form, to "Uncommon
>>Senses" at the above address.
>>The deadline for abstracts and for proposals for panels is 1 November
>>1999.
>>The organizing committee can be contacted at: [log in to unmask]
>>We would be pleased to answer any questions you have. You may also send
>>your Abstract Submission Form directly via e-mail to this address.
>>
>>Do visit the CONSERT website at: http://alcor.concordia.ca/~senses
>>
>>
>>ABSTRACT SUBMISSION FORM
>>
>>"Uncommon Senses: An International Conference On the Senses in Art and
>>Culture", April 27-29, 2000 at Concordia University, Montreal.
>>Name: ______________________________________________________________
>>
>>Institutional Affiliation:
>>_________________________________________________
>>
>>Address: _____________________________________________________________
>>
>>telephone: ____________________________ fax: ___________________________
>>
>>e-mail: _______________________________
>>
>>Title of Presentation: ___________________________________________________
>>
>>If your presentation is part of a panel,
>>please indicate the name of the panel organizer
>>The conference fee will be $30.00 (US) or $40.00 (Canadian) for students,
>>and $50.00 (US) or $65.00 (Canadian) for regular participants. A special
>>form for the payment of this fee will be sent to you along with the
>>acceptance.
>>Please send this Abstract Submission Form along with your 150-word
>>abstract to:
>>
>>"Uncommon Senses"
>>Lonergan College
>>Concordia University
>>1455 de Maisonneuve Ouest
>>Montreal, Quebec
>>Canada H3G 1M8
>>
>>You may also submit the Form and abstract directly via e-mail to:
>>[log in to unmask]
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|
