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Friday, January 5, 2024

Call for Chapters: The Multiverse in Popular Culture - University Press of Kansas

 




The University Press of Kansas has expressed interest in publishing a book of essays about representations of the multiverse in popular culture.  The theory of the multiverse – the premise that our known universe if merely one iteration of an infinite number of alternate universes – has recently emerged from scientific obscurity to become a common trope of popular fiction.  Everything Everywhere All at Once won 2022’s Academy Award for Best Picture, multiversal timelines are a central feature of the Marvel Cinematic Universe, and representations of parallel realities in television shows such as SlidersFringeDr. Who, and Rick & Morty have familiarized this radical concept for mass-audiences.  The emergent popularity of the multiverse as a narrative device resonates with critical theories about the "worldmaking" of fiction, the postmodern dissolution of metanarratives, and Deleuzian networks of multiplicity, and it is informed by literary precedents in Jorge Luis Borges, Philip K. Dick, and Italo Calvino.  From a political perspective, multiverse narratives reflect the fractured reality of American political discourse, a condition acknowledged in references to “the Fox News Cinematic Universe” and the Trumpiverse.  The multiverse also reflects the ontology of the Internet, with its countless variations on a single meme, which sometimes disappear or are retroactively rewritten, or that even wobble into uncanny real-world instantiations.  The Internet provides a kind of parallel reality that we all have one foot in all of the time, and our daily exposure to this disruptive state of being certainly influences contemporary ontologies.  Narrative itself, with its long history of representing parallel realities and also of essentially being a parallel reality, may provide the most compelling expressions of these ontologies, as well as the most promising insights about how to navigate and communicate across them. 

We seek proposals for chapters that discuss representations of the multiverse in popular culture.  We particularly welcome close readings of individual films, television episodes, graphic novels, online videos, or other popular texts that address the political, cultural, and/or philosophical implications of specific representations of the multiverse.

Please submit 300-word chapter proposals to Randy Laist at rlaist@bridgeport.edu by February 29, 2024.

Contact Information

Randy Laist

University of Bridgeport

rlaist@bridgeport.edu

Contact Email
rlaist@bridgeport.edu

Call For Book Chapters: Beyond Networks of Domination: Rethinking Machinic Media, Digitality & Cinema of our Times

 Editors: Ananya Roy Pratihar(IMIS,Bhubaneswar), Saswat Samay Das (IIT, Kharagpur) & Shashibhushan Nayak(GP Nayagarh)

The biopolitical schemas for restructuring machinic networks of Media, Digital, and cinema do not stand as productive mimicries of mediations prerequisite for effecting an anthropological clearing (with Cracks, throws and blows, as Sloterdjik puts it) or grafting some kind of symbolic unity on chaotic materiality. Rather, such schemas act as ambivalent double-pincered mechanisms, turning loose incessant networked flows on the one hand, only to reduce them to domesticable or governable totalities on the other. If Deleuze & Guattari show how such networks lead to the creation of a control or surveillance society committed to colonizing what Husserl calls Lebenswelt (the life world), reducing its pulsations to algorithmic dividuals, Donna Haraway and Manuel Castells show how an interplay between desiring networks of media, digitality and cinema leads to the production of what they call informatics of domination when it is coupled with biopolitical agendas. Thinkers such as Nancy Fraser indicate how progressive networks in neoliberal societies bear a Janus face, hiding underneath their progressive orientation a regressive economy of ideas, opening up an uncompromising field of dialectical contradictions that turns networked flows, passages, archipelagos and routes to dispositif or worse dead ends.

However, while tracing the historical genesis of networks to colonialism or stressing their subsequent bio-politicization, materialist thinkers such as Deleuze & Guattari, Haraway, Braidotti, or Katherine Hayles do not posit de-essentialized expressions of networks as a kind of insidious metaphysical grammar. Rather, they view networks as actual expressions of machinic materiality and posit faith in the inter-related dynamism of networks to lead humanity out of the morass that humanist reductive mediation of such dynamism leads us to. Deleuze and Guattari turn towards stressing the deterritorializing capacity of networks. The stress they put on the need for finding new weapons of resistance against the biopolitical manipulation of networks only supplements this capacity, for with their conviction that even primary assemblages such as signs or senses arise out of the workings of an abstract machine immanent to these assemblages, they seem least inclined towards indicating that such weapons needs to be dialectically opposed to networks and may be used to arrive at a utopian anthropological clearing beyond them. As Guattari says, "There are material machines and immaterial machines, technical machines and imaginary machines, desiring machines and abstract machines, machine inside the machine, nested like fractals…Guattari advocates viewing machines in their complex totality in all their (networked) avatars and resists attempts to essentialize them or the assemblages they compose. 

Thinkers such as Latour stress the necessity of having broader, bigger and more effective networks comprised of human and non-human actants to release us from the humanist organization of society that leads us to deadlocks. Haraway rethinks the clarion call by Deleuze to find new weapons of resistance only to put forward the machinic and networked figure of Cyborg as the new war machine, a machinic assemblage that she calls the cat’s cradle, which synthesizes the organic and the non-organic, the machine & the body and the physical and the non-physical.

Similarly, thinkers such as Patricia Pisters foreground the machinic orientation of minor films. They view such orientation as nurturing the potential to both abolish clichés, dullness, and normative subjectivation and transform subjects puppeteered by representationalist populist cinema into what they call super-jects who might bear the potential to create a new world order.

Is then becoming a pure network, nodes of machinic connections or Haraway’s string figures, the only rejoinder against the biopolitical restructuration of Networks? One needs to remember that networked movements such as the Arab Spring, the Occupy Movement and most recently, the Gezi Park protests in Turkey have failed to bring about the required shift, let alone create fresh ethical bindings between the chaotic multitudes and that many social commentaries claim that such networked protests have large bark, but no bite.

However, then, is there any alternative to combating networks with networks, pitting open-ended ecosophical networks against crampy and claustrophobic networks of neoliberalism, with the redundancy of classical Marxist struggle against the biopolitical machinery? How does critical disclosure of schizoanalytic desire to blur the libidinal and political economy divide help us, with Berardi and Fisher putting forward such ampliative networks as effective tools, meant both for mapping and effecting a revolutionary breakthrough, a Kairos, in relation to the current scenario? With experimentations in media, digitality and cinema constituting the liminal zone of nomad science, will creating a Spherological unity among such sciences effect a deterritorializing rupture with the current predicament. With creative thinking making way for the untimely, can we have an alternative mechanism of resistance to grassroot the flows, as Manuel Castells puts it?

We invite papers that could both extend and critique the experimental media, digitality and cinema of our times. Simultaneously, we also need papers that reflect the potential for reinventing the schizoanalytic or experimental mode of media, digitality and cinema in order to do justice to Deleuze’s clarion call for finding new weapons of resistance.

Submissions

Abstracts of about 200 words, including six keywords, a 50-word bio-note, institutional affiliation, and contact details, should be emailed by 01 March 2024 to shashienglish@gmail.com as a single MS Word document attachment.

Chapter requirements: A chapter should be 4000-5000 words, including footnotes and bibliography adhering to the MLA 9th edition.

Important Dates:

Deadline for abstract submission: 01 March 2024

Abstract selection notification: 30 March 2024

Complete Paper Submission: 01 October 2024

Contact Information

Dr. Shashibhusan Nayak

MLA Bibliography Fellow

Contact Email
shashienglish@gmail.com

CFP: International Conference on #Gender and the #Public #Sphere- Texas Tech Women's & Gender Studies Program-April 11, 2024

 Texas Tech University’s 40th Women’s & Gender Studies annual spring conference, to be held on April 11, 2024, invites submissions on the theme Gender and The Public Sphere. Organizers seek proposals for individual papers or panels on topics related to gendered public discourses, the representations of gender in public life and popular culture, and all the nuanced meanings of Jurgen Habermas’s twentieth-century concept of the “public sphere” as it relates to emerging research on gender and sexuality. The conference seeks to explore questions such as:

  • Feminist critiques of the public sphere: How should we think today about the theoretical construct of the public sphere as Habermas first posed it and as it has been critiqued and extended in the years since? To what extent is the feminist critique of Habermas's initial theorization of the public sphere still (or differently) relevant? Is the notion of the public sphere still useful—and if so, in what ways related specifically to gender?
  • The public-facing nature of gender equality discourses: How do recent popular films such as Barbie, television series such as “Mrs. America,” and advertising campaigns such as #LikeAGirl construct what is “public” versus “private” in the context of gender? What is the role, if any, of such endeavors in effecting long-term change? How do mass-mediated discourses about gender equality mimic or intersect with the strategic communication efforts of other social movements, such as sustainability?
  • The significance of gender to the complex mechanisms that underlie the very existence of the public sphere: How, if at all, are gender issues relevant to the deliberation, creation, and enactment of public policy? How is gender relevant, if at all, to the continued vibrancy of the public sphere, both locally and globally? In what parts of public life, if any, has the gender binary been eroded or become less relevant?
  • The crossroads of gender, class, and race: What negotiations of these categories have we observed in public life, both recently and in the distant past? How do public policies address issues of gender, race, and class, if at all? How are these categories reinforced, redefined, or resisted? 
  • Gendered discovery, debate, and dissemination of knowledge: How is the public interest served by efforts to change or reinforce the gender status quo in academia, science, and K-12 education? What factors cement or erode the gendered distribution of labor in knowledge-related fields? What are the effects, if any, of the gendering of these fields on the public’s access to and understanding of scientific and humanistic knowledge?
  • The economic effects of gendered interactions and relations in the public sphere: What are the effects, if any, of gendered labor on economic growth, both in the present and the past? How do individual actors within the public sphere understand the role of gender in economic success, both at the level of society and within their own households?
  • The evolving nature of communication about gender issues in the public sphere: How is gender, whether constructed as a binary or as a spectrum, discussed and represented across the many channels of communication in the contemporary public sphere—including mass media, social media, and video games? How have the changing ways of sharing information, misinformation, and opinions about gender across vast networks of social actors affected the nature of the discourse? How have discourses about gender, regardless of how they are communicated, changed over time?

The conference is interdisciplinary. Proposals for teaching panels and interactive practical workshops, in addition to research abstracts and papers, are welcome and encouraged. Perspectives from all disciplines, including the humanities, the social sciences, the arts, the health sciences, education, business and economics, and STEM are welcome. We encourage scholars at all levels (faculty, graduate students, and undergraduate students) to submit proposals, and especially welcome the work of early-career faculty.




Please use this link (https://forms.office.com/r/LXwhJApP7n) to submit a 500-word abstract or panel proposal by 5 p.m. on Friday, February 2, 2024. Submissions will be evaluated through a masked peer-review process, and submitters will be informed of the results by Friday, March 8, 2024. Student presenters whose work has been accepted and who wish to be considered for one of the three research prizes of $100, $75, and $50 must upload their full papers by Friday, March 29. Registration fees will be waived for the winners of the research prizes.

Scholars of globalization, American studies, comparative literature, and adjacent fields interested in submitting to the Gender and the Public Sphere conference are encouraged to consider also submitting to the 2024 Texas Tech Symposium on “Transnational American Studies Revisited,” to be held in Lubbock on April 12-13. 

Thursday, January 4, 2024

CFA: International Conference on 'AI and Society", School of Liberal Arts, Alliance University, Bangalore. Dates: 1-3 March 2024





Concept Note and Submission Details:
The blinding glare of AI makes us squint in a combination of hope and fear. We have to take pause and redirect the glare through the prisms of diverse domains and disciplines, to take advantage of the perhaps still-too-human ability to detach and reflect, immerse, and observe, both at the same time. The reflective part of the conference not only steers away from the enchantment of grand questions and grand paranoia, but invites the best combination of breadth and specificity, accessibility and depth, freedom and discipline. The immersive dimension, on the other hand, asks us to submit to the most eclectic manifestations of AI: whether it is about talking to a therapy bot, co-creating AI art, using AI mechanisms to generate historical narratives and research documents, using AI devices to encounter health and climate hazards, diving into an AI-generated metaverse, and many other aspects. Such immersions are meant to usher in new possibilities of reflection. While recent incarnations like ChatGPT force us to take stock of the disruption brought about by the generative paradigm, we will also acknowledge earlier inflections that AI brought about in recommendation systems, translation engines, image-processing, cultural understandings, socioeconomic growths, among many others. Are some of these inflections such as therapy bots and AI-driven media poised for their own respective singularities? Is there a possibility of building an intersectional alliance with AI so that the singularities do not emerge as all-pervading, imperial, and dictatorial entities around us?
What makes this collective exercise in contemplation unique is the meeting ground it offers for theorists, practitioners, critics, and enthusiasts. Located in Bangalore, which is India’s de facto AI capital, this is envisaged to be a one-of-a-kind exchange involving a thriving AI community of academic experts drawn from the world over. Slicing through the jargon of technological advances, the arcane dialect of academia, and the authentic vernacular of consumers and users, the conference does not presume a pre-existing language for communication, but instead hopes to arrive at one. Concerning these arguments, the conference invites Ph.D. scholars, postdoctoral fellows, independent researchers, and faculties from different educational and research institutions to contribute abstracts on the following sub-themes (but not restricted to):
• AI and philosophy
• AI and Cultural Studies
• AI and Political Science
• AI and Psychology
• AI, Science and Technology, and Science and Technology Studies (STS)
• AI and Media
• AI, Design, and Art
• AI, Translation Studies and Machine Learning
The range and scope of topics have been kept wide enough to enable conversations and inputs from actual stakeholders of AI (technocrats and policymakers). 




Submissions should be able to underline why the research problems concerned matter beyond their sub-disciplines. Interested contributors need to submit an extended abstract of 800-1000 words and the timeline of submission is 31st January 2024. The contributors will be informed about the outcome of their submission on/by 15th February 2024. 

After the conference, selected presenters would be invited to submit chapters for conference proceedings. 

Please send the abstracts to both 
Dr. Ravi Chakraborty (ravi.chakraborty@alliance.edu.in) and 
Dr. Sayan Dey (sayan.dey@alliance.edu.in).

CFP: Two Day Symposium on #Routes beyond #Roots: #Indian #Performing #Arts and Virtual Culture(s) Dublin, Ireland- June 2024



Over the last number of years, Indian classical dance traditions have seen major shifts in terms of practice, pedagogy, and performance, both ‘at home’ in India and in diaspora contexts. These changes have been intensified most recently by two primary and co-related phenomena; the global adoption of specific algorithmic social media and streaming platforms, and lockdown restrictions imposed in response to the Covid-19 pandemic. What happens to the embodied physical presence on virtual platforms? How has the format of the art form been modified to fit in digital spaces? What do these transformations mean for the future of the dance forms? How are socio-political issues embedded and addressed in such spaces?

Recognising these mediations on digital dancing bodies and the scope of such largely unexplored digital interventions in Indian classical dance, we call for a symposium to contribute to a growing body of dance research. This two-day symposium to be held on the 13th and 14th of June 2024 and hosted by University College Dublin (Ireland), aims to bring scholar-practitioners, artists, and researchers working with Indian dance together in order to explore these recent transformations. Dr Prarthana Purkayastha (Royal Holloway University of London), whose crucial work revolves around the intersections of Indian dance studies and transnationalism, identity, diaspora, and decoloniality, will deliver the keynote address.


We invite presentations, performances, and discussions that will help us to (re)imagine and (re)interpret Indian dance as it exists in digital cultures, both in India and in the diaspora. While we are particularly interested in the critical evaluation of Indian dance traditions transformed by or with social media platforms, our definition of digital culture is intentionally broad and we call for scholars working across disciplines to explore movement from various methodological perspectives. By facilitating multiple modes of thinking and learning together, we hope to encourage new pathways of engagement with an ever-growing and transnational Indian culturalscape. We invite proposals for one hour panels or roundtables (3-4 people), or single 30-minute presentations, film screenings, lecture-demonstration and/or workshops from scholar-practitioners, artists, and researchers. 



Topics include (and need not be limited to):


  • Digital Dance Histories, Archives, and Documentation
  • Post-Pandemic Dance Discourse
  • Online Embodiment and New Ethnographic Approaches
  • Practice-Research and Collaborative Research
  • Technology and Digital Platforms in Dance making Processes
  • Social Media, Trends, and Challenges
  • Virtual Dance Festivals
  • Digital Placemaking and Dance Communities
  • Dance and AI
  • Gender, Caste, Ethnicity, Nationality, and Race (Online and Offline)
  • Dance and the Diaspora
  • Pedagogical Transformations and Challenges

The deadline for proposals is 10 January 2024. Please send in your proposals with the following information to digitalroutes2024@gmail.com:


Name

Institutional Affiliation (if any)

Type of Presentation

Abstract (Max. 300 Words)

Biography (Max. 100 Words)

Please note that this is an in-person event at University College Dublin, Ireland. Details on accommodation will be provided after proposals are accepted.