• Destablizing Dystopia

Extended deadline for submissions:January 15, 2015

Graduate Student Exhibition
University of Alberta, Edmonton
dystopia 1 dis’top-ea noun

an imagined place or state in which everything is unpleasant or bad,typically a totalitarian or environmentally degraded one.

“…scratch the surface a little,and-or so I think-you see something more like a yin and yang pattern; within each utopia,a concealed dystopia; within each dystopia,a hidden utopia,if only in the form of the world as it existed before the bad guys took over”

-Margaret Atwood, In Other Worlds, 85

The Art & Design Graduate Student’s Association (ADGSA) at the University of Alberta is seeking proposals for an interdisciplinary graduate student exhibition on the topic of Destabilizing Dystopia in art,design and research practice.

The ADGSA welcomes submissions from current, recent and prospective graduate students. We encourage submissions from practicing visual and performance artists as well as designers which interact with the notion of dystopia (both historical and contemporary). We are particularly interested in submissions which strive to destabilize perceptions of societal dystopias, as well as those which introduce novel forms of representation or critical attention for the concerns in question.

Extended deadline for submissions:January 15, 2015

Areas of interest may include but are not limited to:

– Environmental Transformation and Destruction
– Technology and Trans-Humanism
– Themes of Politics, Religion and Economics
– Artistic and Filmic Representations of Dystopia
– Health, Wellness and Ability/Disability
– Inter-national and Trans-national Perceptions of Society
– Historical Perspectives on Utopia and Dystopia
– Critical Action, Artistic Practice and Research Creation

Exhibition Submission Guidelines: Please email the following to

-Proposal/Artist Statement (maximum 300 words)
-Curriculum vitae, including name, telephone number and email address
-A maximum of 5 images or up to 5 minutes of video
• 72 dpi, 1024 x 768 pixels, maximum 1 MB
• Videos must be viewable with Quicktime or available online via direct link to website
• The file name of each image must be as follows: LastName_Title_Medium_Dimensions_Year.JPEG,
– Include details regarding installation requirements

Please indicate if you would be interested in giving an artist talk or participating in a panel discussion during the symposium.

All shipping fees will be paid by the artist. Work should arrive framed or accompanied with installation materials.




  • Sensorium: Centre for Digital Arts and Technology Symposium April 15, 2015: Collapsing Constellations: Remapping Art, Science and the Planetary 

Call for papers, presentations, submissions and applications

Keynote Speaker: Natasha Myers, Department of Anthropology, York University.

The final date for submissions is 30 January,

In our current ecological moment of crisis a collision between art and science is not only necessary, but inevitable. Many social and environmental activists are proposing an ecological politics that encompasses the physical in terms of a singular planetary conception. The inaugural Sensorium: Centre for Digital Arts and Technology Graduate Symposium, Collapsing Constellations: Remapping Art, Science and the Planetary seeks to explore imagined and practical spaces that exist between contemporary ecologies of knowledge – envisioning new routes for intellectual migration and pollination.

Sensorium is currently inviting proposals for presentations which revolve around these constellations and engage critically with the multiplying intersections of art and science within contemporary and historical practices. We are particularly interested in the intersection of art, science and the planetary as they are concerned with climate change and our ecological moment. This one-day symposium will offer a unique symbiotic opportunity for emerging researchers and artists to gather, exchange, bond, and cross- fertilize future landscapes for research materializing at disciplinary boundaries. If you are an artist invested in science and technology, a scientist absorbed by art, or a researcher engaged with collaborative or interdisciplinary investigation please consider submitting a proposal for this exciting and collaborative event.

Potential topics/areas include, but are not limited to:

● The planetary in and through emerging media
● Digital cartographies and conceptions of climate change
● Funktionskreis, umwelt and theories of “the functional circle”
● Bio-semiotics, bio-philosophy, and bio-art
● Critical thing theory and “vibrant matter”
● 21st century approaches to digital research and the environment
● Human, animal, and planetary energy systems,
● Global information networks and “the cloud”
● Intercorporeity
● Bodily cartographies
● Deep data and deep earth
● Cyborgs and the posthuman
● Queer futurities

Presentational formats:
Posters, workshops, round tables, interventions/performances, presentations – traditional
and experimental – and other emerging forms will be considered. We encourage cross- disciplinary interpretations, variations and unforeseen mutations of our working themes.

We invite papers and presentations that critique, consider, and construct the intersection
of art, science, the planetary and iterations therein. Please send a 300 word abstract, along
with a working title, short biography, and contact information. If you would like to submit a joint proposal with several researchers/artists please send only one application that includes collective biographical and contact information. Specify the format of your presentation, keeping in mind it should be no longer than 20 minutes in length (with 90 minutes for panels and/or round tables). The final date for submissions is 30 January,


About Sensorium:
Sensorium: Centre for Digital Arts and Technology is an experimental research centre
based out of York University that supports cross-disciplinary work in all areas that intersect with digital media practices. Sensorium is a nexus for new ideas and experimentation that incorporates work from diverse fields of study and creates spaces for innovative dialogue. More information is available at:

Symposium website:



  • Annual Conference  2015  / Congrès annuel  2015 – Annapolis Royal, Nova Scotia / Nouvelle-Écosse: May  27-30, 2015  / 27 au 30 mai 2015

Call  for Papers / Appel  de propositions  de communications

The Society for the Study of Architecture in Canada is now accepting paper proposals for the 2015 conference, From Architecture to Conservation, which will be held in Annapolis Royal, May 27-30.

Please send an abstract of not more than 250 words to the appropriate session chair (see attached list) and to Peter Coffman (, accompanied by a one-page C.V.

The SSAC is a learned society whose membership includes architects, historians, planners, sociologists, ethnologists, and heritage professionals. Students in these disciplines are also encouraged to submit abstracts.

Please send abstracts no later than March 2, 2015.


La Société pour l’étude de l’architecture au Canada est actuellement à la recherche de communications pour sa prochaine conférence annuelle, qui se tiendra à Annapolis Royal, du 27 au 30 mai 2015, sous le thème « De l’architecture à la conservation ».

Toute personne intéressée à y faire une communication peut soumettre un résumé de moins de 250 mots au responsable d’une séance (voir la liste ci-jointe) ainsi qu’à Peter Coffman (, accompagné d’une biographie d’une page.

La SÉAC est une société savante dont les membres sont architectes, historiens, urbanistes, sociologues, ethnologues et spécialistes du patrimoine. Les étudiants de ces disciplines sont aussi invités à proposer des communications.

La date limite pour envoyer une proposition de communication est le 2 mars 2015.                                                                

Theme  / Thème

From Architecture to Conservation

Nestled between theory and practice, the study of architecture in Canada has been nurtured over the years by professionals and enthusiasts, scholars and practitioners, and was expanded through the developments of traditional fields such as history, architectural history, landscape architecture and urban planning, but

also through the organization of recent fields of study such as heritage conservation. As the Society for the Study of Architecture in Canada has roots in the heritage awakening of the 1970s and was put together as a call for understanding our built environment, we invite sessions that explore the evolution of related spheres of study that poured into it.

As the venue for the 2015 conference, Annapolis Royal hosts a rich architectural and conservation history. If we had a longitudinal section of it, we would probably see a series of historical events, starting with the first European settlement and its relations with the First Nations, to its fascinating history of transport in the

19th century, the establishment of Fort Anne–Canada’s first National Historic Site–and the reconstruction of Champlain’s Port Royal, and the extensive conservation and development projects of the 1970s and


De l’architecture à la conservation

Nichée entre la théorie et la pratique, l’étude de l’architecture au Canada a été nourrie au fil des ans par les professionnels et les passionnés, les érudits et les praticiens, et s’est enrichie à même les développements des domaines d’études traditionnels comme l’histoire, l’histoire de l’architecture, l’architecture du paysage

et l’urbanisme, mais aussi grâce à l’apport de plus récents champs d’étude comme la conservation du patrimoine. Partant du fait que la Société pour l’étude de l’architecture au Canada puise ses sources dans les grandes prises de conscience patrimoniales des années 1970 et s’est articulée comme un appel à comprendre notre environnement bâti, le congrès 2015 souhaite recevoir des propositions de sessions qui explorent l’évolution de champs d’étude ayant contribué à l’étude de l’architecture.


Hôte du congrès 2015, Annapolis Royal possède une histoire riche en architecture et en conservation. Si nous en avions une coupe longitudinale, nous pourrions sans doute voir une suite d’événements historiques allant du premier établissement européen et de ses relations avec les Premières Nations, à la fascinante histoire du transport au XIXe siècle, sans oublier la mise en place de Fort Anne – premier lieu historique national du Canada –, la reconstruction de Port Royal associée à Champlain, ainsi que les nombreux projets de conservation et de mise en valeur développés dans les décennies 1970 et 1980.



Date: October 19 to 22, 2015
Location: Mexico City

Art History and Aesthetics, Knots, and Threads

The XXXIX International Art History Colloquium  coincides with the 80th anniversary of the establishment of the Institute of Aesthetic Research. This anniversary invites us to question those ideas that gave name and mission to this center in order to think about the relationships between multiple trends in art history and in aesthetics today. While in the second half of the 20th century there was a certain distance between these two forms of approaching the arts, in recent years they have grown closer together: a development that has allowed scholars to restore certain problems and to  follow   analogous   paths  once  more.  The  possibility   therefore   arises  of  questioning   and problematizing   theoretical and historical art studies. This conference aims to consider the role and sense of aesthetics in art studies from different cultures and eras. This task is necessary to reinforce a critical practice  that allows us to draw up new statements and disciplinary positions. How to raise today a fruitful dialogue between art history, aesthetics and art? How might we   think of an inter and trans-disciplinary common path for art history and aesthetics in our time? This colloquium challenges us to address these questions to conceive a renewed relationship between art history and aesthetics.


1. Latin American Paths
Where  were  based  the  aesthetics  that  built  the  histories  of  art  from  different  Latin  American countries? In Mexico, for example, several pioneering studies (dating back to the creation of this institute) sought to establish a national aesthetic closely related to the post-revolutionary  project. How  did  such  aesthetics  interpret  indigenous  art  and  its  sensitive  values,  and  also  the  artistic production after the conquest? Which were their starting points to write about art and modernity?

To revise these formulations will allow the understanding of what assumptions, foundations and knots established the different approaches to art history as a discipline and its relationship with aesthetics in Latin America.

2. Encounters: Aesthetics and History of Art
This panel invites to question where the history and study of art—in relation to other academic fields that also address the art and aesthetics from different perspectives—are located today. The confluence of disciplines has generated new theoretical tools for understanding art. Therefore, it is important to question which are the relationships between aesthetic categories posed by different disciplinary perspectives from which art thought has been addressed, and what has been their use in specific studies of art history.

3. Art and Politics
A tension always present in art is its relationship with politics. This notion is presupposed in the intersection  that  Enlightenment  aesthetics  generated  between  the  experience  of  art  and emancipation, which in many ways endures in contemporary discussions on the political function of art. We are interested in reviewing the aesthetic thinking that has allowed to formulate notions such as emancipation, activation, ideology, revolution and direct action, and, from there, to analyze how political role of art has been defined in all times. We want to question this relationship, so widely examined  from  the  twentieth  century  on,  to  reflect  on  its  topicality.  We  call  upon  examining aesthetic  theories  such  as  postcolonial,  decolonial  queer  or  of  radical  imagination  to  open  the possibility of further drafting a political feature of art.

4. Aesthetic Apparatus, Techniques, the Material and the Sensitive
Reflections on techniques and technology have problematized aesthetics. In this sense, the notion of apparatus,  for example,  has allowed  a critique  of the art object  that modified  the notion  of the sensitive. This panel is intended, first, to review the relevance of these positions in order to think the tensions that techniques and technologies introduce in the fields of aesthetics and art history. And, secondly, given the current interest in the nature of materials, media, techniques and technologies that  artistic  practices  produce,  we  care  to  ask:  How  is  the  relationship  between  material  and aesthetic aspects of artworks articulated? How has the aesthetic been redefined in a time of rapid technological change?


1. Proposals must be submitted in either English or Spanish including references and methodological approach, must have a tentative title and also include a summary, not exceeding 300 words, on the paper to be developed. Only one proposal per author will be accepted.

2. Proposals must briefly explain why you wish to participate on a given panel. Please attach a résumé of not more than 150 words, highlighting your main academic work and your academic affiliation.

3. Deadline for submitting proposals is Friday, April 17, 2015.

4. Proposals will be evaluated by a Committee made up of members of the Instituto de Investigaciones Estéticas and other institutions, who will select the proposals based on criteria of quality and thematic relevance.

5. The Committee’s decision will be announced no later than Friday, May 29, 2015 and will be final.

6. Text’s requirements are: 12 pages, double spaced, to be read in 25 minutes. A form related to the copyrights of the paper and the images will have to be filed. Those papers that are not delivered in time will not be accepted and will be removed from the definite program.

7. A preliminary version of the paper to be presented should be delivered before Friday, September 25, 2015.

8. Papers accepted and presented at the Colloquium will be submitted for arbitration for the digital publication of the Colloquium memories. Final versions must comply with the following  characteristics:  a maximum  of  25  pages  (8 000  words  using  Chicago  referencing system) and 8 images. Authors must obtain their reproduction permits. The IIE will or will not publish them in terms of their costs. The deadline to submit the papers is Friday, December 4, 2015. After this date no papers will be accepted.

Please send your proposal to the following address: Instituto de Investigaciones Estéticas, UNAM Circuito Maestro Mario de la Cueva s/n

Zona Cultural, Ciudad Universitaria
Coyoacán, 04510, México, D.F.
Phones (52 55) 5665 2465, (52 55) 5665 7641

E-mails:   /