Festival of Experimental Media

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CFP – Wounded Galaxies 1968


1968: Beneath the Paving Stones, the Beach
Festival + Symposium

Feb 8-10, 2018
Indiana University  

Call for Papers

The Sixties were a turbulent period, characterized by major revolutions in scholarship, politics, culture and the arts.  Indiana University, in conjunction with The Burroughs Century, plans an academic symposium welcoming scholars, archivists, filmmakers, and others interested in exploring the intellectual and aesthetic legacy of 1968, during its 50th anniversary year.  The conference will be held on the beautiful Bloomington, Indiana campus and will be hosted by Indiana University’s Media School; the Indiana University Libraries (including the Lilly Library and the IU Libraries Moving Image Archive); and Indiana University Cinema, which has earned an international reputation for the high quality of its facilities and programming.

Accompanying the symposium will be a series of films and an exhibition featuring rare and unique items from the IU Library collection. Renowned scholars such as Greil Marcus McKenzie Wark, and, possibly, Penelope Rosemont are expected to give talks, introduce films, and appear in Q&A sessions following screenings.

In addition, we are planning an art exhibit, as well as series of experimental music performances and spoken word presentations, in keeping with the larger theme of radical aesthetics.  We plan to publish the conference proceedings.

Interested participants are invited to submit paper proposals on any aspect of the international history and cultural legacy of 1968.  Papers need not be limited to any particular critical, theoretical, historical, or political subject or method. We hope to receive proposals that deal with previously unexplored issues, but we are also interested in proposals that offer fresh approaches to much-discussed work.  As the symposium title suggests, we are using the Situationists as a point of departure and particularly welcome presentations that consider the revolutionary potential of the Everyday—in both historical and contemporary situations.

But we are happy to consider any proposals that address the historical legacy of 1968, and welcome submissions that attempt to trace the legacy of 68 in contemporary art and culture.

Possible topics include but are not limited to:

  • history and historiography of 1968;
  • the post-1968 generation and terrorism;
  • post ’68 science fiction;
  • anthropology and the Situationists;
  • architecture after ’68;
  • counter/sub-cultures after ’68;
  • literature and literary theory;
  • The Annales school and radical shifts in historiography
  • Marshall McLuhan and the electronic revolution
  • The history and legacy of the Black Panther Party
  • Chicago 1968
  • The International Student Movement(s)
  • Revolution and the University
  • Prague Spring – experimental & avant-garde art, film, literature & music made during this period of freedom; the avant-garde going underground during Normalization; lingering impacts of Prague Spring on experimental & avant-garde art/music/lit/etc.
  • Surrealisms outside France – the internationalization of surrealism that happened in the late-60s onward (U.S., African surrealisms, Poland’s “Orange Alternative”, etc.)
  • Neo-Dada and Fluxus
  • French New Wave cinema and its response to the events of Mai-
  • Third Cinema(s)
  • East vs. West perspectives: pro-socialist avant-gardes in the West Europe versus anti-socialist avant-gardes in East Europe

Proposals should be limited to 300 words in length and consist of a brief description of the paper’s theme or focus, plus a one-page vita. Proposals may be submitted for individual papers or for sessions featuring two or three panelists. Proposals for panels should be submitted as a group by the organizer, along with a short explanation of the unifying theme. In addition, each panel proposal should consist of individual paper descriptions (limited to 300 words in length), names of panelists and their vitae.

Please email your proposals to Joan Hawkins jchawkin@indiana.edu, by July 1, 2017. The Symposium Program Committee will evaluate all submissions and notify all candidates of the results by Aug 1, 2017. . We look forward to your proposals, and to celebrating/reevaluating the legacy of international political and aesthetic upheaval.

WFIU Anthology presents Leonora Carrington

Earlier this month Cynthia Wolfe’s Books Unbound program moved from Bloomington Community Radio Station WFHB to our local NPR station WFIU.

It has a new name, Anthology, and a new time slot—Sundays at 1:00 p.m. Livestream at http://indianapublicmedia.org or tune in at 103.7 FM.

Cynthia has done a great job with the show, which uses audio editing and cut-and-fold techniques to create aurally creative, live readings of great literary works. This alone would make the show interesting to Burroughs Century audiences. But this coming Sunday, July 24, the show will feature a story by Surrealist writer Leonora Carrington, and so we are especially interested in promoting it as part of our Wounded Galaxies 1916-1968 project.

Carrington (1917-2011) was an English-born artist, Surrealist painter and writer. She became affiliated with the French Surrealists, largely through her relationship with painter Max Ernst. But while she exhibited her paintings in Surrealist shows, she never fully considered herself a part of the movement. Much of her work interrogates the image of the femme-enfant (the woman-child) so central to the male Surrealist worldview. And like Maya Deren and Frida Kahlo, she frequently uses her own portrait as a point of departure, creating multiple versions of herself within a single tableau, as a means of destabilizing a unified subjectivity and of visualizing what Franz Fanon in another context calls “double consciousness” (your awareness of your own subjectivity, on the one hand, and yourself as an object for others).   In her later life, she became an important figure in the Mexican Feminist Movement, and there is a hint of nascent feminism in the work she did while living in France with Ernst.

What she explicitly shares with the French Surrealist group is the use of dream imagery as a means of revolutionary artistic praxis, a means of showing what André Breton once famously called the “bankruptcy” of the rationalist, Enlightenment project. Fascinated from an early age with the bestiary, both her paintings and stories are populated with fantastic creatures—talking horses and hyenas, who sometimes appear as domesticated pets in her paintings. These animals appear in her work as agents of creative transformation. For her, animals –rather than women—become intermediaries between the unconscious and the natural world, between man and what the Surrealists called “the marvelous.” And her use of animal imagery is read by scholars of Surrealism, like Whitney Chadwick, as a way of redefining the image of the child-woman, “from that of innocence, seduction, and dependence on man, to a being who through her intimate relationship with the childhood worlds of fantasy and magic is capable of creative transformation through mental rather than sexual power.” (Whitney Chadwick, Women Artists and the Surrealist Movement (Thames and Hudson, 1985) p 79)

The story that will be featured in the broadcast is The Seventh Horse. It was written in 1941 in New York and was published in the American Surrealist journal VVV, nos 2-3, New York 1943. Like most of her stories, this one is not about plot or character, but excels at creating a mood and at blurring the lines between conscious knowledge and unconscious truths.

Wounded Galaxies: 1968

Wounded Galaxies Marches 1968-2

In 1968, a wave of cultural tumult swept across Europe and the United States. Students, workers, artists, and activists joined forces in a groundswell of protest that verged on revolution.

Wounded Galaxies: 1968 will be a multimedia festival and scholarly symposium celebrating the 50th anniversary of the revolutionary arts and culture movements that occurred in Paris, Prague, and beyond. Festival events are planned for February 2018 in Bloomington, Indiana.

Leading up to Wounded Galaxies: 1968, The Burroughs Century Ltd. will host a series of smaller events as Wounded Galaxies marches toward 1968. These events will include community art-making, films, music, and performance art, all inspired in some way by the avant-garde movements that presaged 1968.

Join us for the first event in the Wounded Galaxies Marches Toward 1968 art series, An Evening of Exquisite Corpses.