Dear Frameworkers:
Some of you might like to contribute, or know someone who knows someone
who.... in the third panel of a stream which I am co-organising in the
UK in September. Proposals for film screenings, art 'works', happenings,
and other non-standard interventions, are definitely encouraged,
alongside more conventional/academic presentations.
Feel free to get in touch directly with me off list if you would like to
know more, or have any questions.
Peter

---

(Excerpt: full CFP can be found here:
http://www.h-net.org/announce/show.cgi?ID=192539)

*Representing the Revolutions of our Time: media, creativity, and
grassroots political change*

From Seattle to Tahrir Square, from Exarchia to Occupy Wall Street, from
the piqueteros of Argentina to London’s Blackberry Riots: how has our
perception of recent and on-going grassroots social movements been
shaped by their representation in the mainstream media, academic
discourse, and the narratives and images produced by movements’ actors
themselves. How are the creative energies released by these vernacular
revolts re-shaping, in their turn, our sense of what is politically and
aesthetically possible at the beginning of the 21st century? 

-How are the narratives and figures of occupation and revolution
constructed in our time? How do these narratives and figures differ from
those of previous revolutions – from 1798, 1848, 1870, 1917, 1968…? Are
these differences purely ‘aesthetic’, or are they predictive, even
productive, of a different politics, and a different set of outcomes?
How far are we from having invented the media, and the art forms, which
our revolutions require, and deserve? And what obstacles still stand in
the way of this convergence?

-Is the revolution inevitably a moment of heightened creativity, not
just for those who think of themselves as artists, but for those who
think of themselves as non-artists as well? Is such creativity simply a
side-effect of a radically ‘open’ political context, or does it itself
play a decisive role in shaping political discourse and action, and thus
in determining the outcome of events? 

-What is lost in the translation of the discourse of activists,
protesters, rioters and revolutionaries into other terms – those of the
mass media, those of the dominant political culture, those of academia,
and those of ‘high art’ practice?


The stream organisers welcome proposals from scholars, activists,
journalists, artists and citizens involved in or concerned with real
democracy and the revolutions of our time. In addition to analysis,
interpretation, testimony and practical proposals for concrete action,
artistic interventions in a range of forms and media (films, plays,
poems, photographs, performances, happenings…) are also welcome.
Proposals which combine theory and practice in innovative and
illuminating ways are particularly encouraged. *The precise
presentational forms of the panels are not predetermined, and will be
shaped by the nature of the contributions received and accepted*. All
artistic/non-conventional proposals should be accompanied by detailed
specifications of any technical and/or logistical requirements.

Please send abstracts of not more than *300 words* (including your name,
the title of your contribution, contact details and any institutional
affiliation) to the stream organisers (below) by *31st March 2012* at
latest. 

Laurence Davis, College Lecturer, Department of Government, University
College Cork, Ireland
(http://anarchist-studies-network.org.uk/LaurenceDavis):
lda...@oceanfree.net

Peter Snowdon, LSM Doctoral Fellow, Media, Art, and Design
Faculty/Provinciale Hogeschool Limburg, Belgium
(http://www.imageword.be/researchers/peter-snowdon):
peter.snow...@uhasselt.be
-- 
<The term 'experimental cinema' is like 'organic agriculture' or 'participatory 
democracy': we only need the adjective because there's something wrong with the 
noun.> Nicolas Rey
_______________________
gourna films
www.redrice.net

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