Message posted on 12/06/2018
CFP: Commemoration, memory, archive - investigating commemorative and memorial uses of personal, non-professional images in the digital age in the Global South
Commemoration, memory, archive: investigating commemorative and memorial uses
of personal, non-professional images in the digital age in the Global South
A symposium at the Attenborough Centre for the Creative Arts
University of Sussex
4th and 5th September 2018
The commemorative and memorial use of personal, private images in the context
of large-scale violence and death has a long history. Private images have been
continually employed to access worlds that no longer exist, to de-anonymize,
individualize or humanize victims, to identify murderers and the murdered, to
evidence contested events and to prove the existence of life before death.
They populate archives, memorials and museums, places of public protest and,
increasingly, myriad regions of the internet.
The private photographic archive has been an important part of what Paul
Williams calls the global rush to commemorate (2007), starting, arguably,
with the attempts to memorialize the Holocaust.
Yet in this movement from the private to public, from intimacy to historical
significance, private images undergo transitions (including for example
displacement, re-contextualization and politicization) in a manner that raises
critical challenges for both commemorative practices and those to whom the
images initially belonged. To what extent, as some scholars have argued, does
this use of private images become part of a trend to globalize and homogenize
commemoration, such that local contexts are overwritten? Similarly, where are
issues of access, copyright and meaning addressed, particularly with the rise
of the digital, and state-controlled, centralized memory-making?
This two-day symposium at the University of Sussex aims to explore real and
perceived changes in the relationship(s) between private still images and the
memorialization and commemoration of mass violence including trauma with a
particular focus on practices in Asia, Africa, the Middle East and South and
Central America in the digital age. Our latter emphasis on the digital is in
response to the ways digital and social media are now arguably dominant in
both personal and institutional commemoration, affecting all stages of image
curation from archiving and scanning to display. As part of Sussexs
interdisciplinary ethos, we are particularly interested in exploring
intersections between theory and practice and invite scholarly and practice
contributions that speak to a range of themes as listed below.
Keynote Speakers include:
Professor Ludmila da Silva Catela (Universidad Nacional de Crdoba, Crdoba
Museum of Anthropology, Archivo Provincial de la Memoria, Argentina)
Claver Irakoze (Aegis Trust/Rwanda Genocide Archive in Kigali)
Professor Elizabeth Edwards FBA
Dr Gil Pasternak (DMU)
The event will also include a screening of The Faces We
Lost (2017) followed by a Q&A with
the director.
There will be dedicated networking time to further future collaborations.
We invite contributions to both the roundtable discussions and more
traditional conference papers. Please note that the aim of the roundtables is
to generate and facilitate a broad exchange of knowledge and ideas and to
nurture collaboration. Consequently, as selected roundtable members you will
be asked to participate in the discussion from the perspective of your
research expertise rather than present a traditional conference/practice
paper.
ROUNDTABLES
1. Regional, national, cultural and geographic contexts (which will foreground
the following themes):
Examples of the practice of commemorative, memorial and activist uses of
personal, non-professional images in different national, cultural,
geographical contexts. We are particularly interested in examples from Africa,
Asia, the Middle East and South and Central America (comparative approaches,
including with European and North American contexts, are also welcome).
Holocaust-related commemorative practices and their influence on
commemorative practices related to other instances of violence.
Current, dominant private image-based commemorative practices in the Global
South and how these reflect on the processes of witnessing and mediating pain,
memory, trauma and history.
Impact of amateur, domestic aesthetics and their relationship to
authenticity.
2. Archival, curatorial and artistic practices (which will foreground the
following themes):
Definitions and re-definitions of the archive, with a focus on exploring the
relationship between the private and the public.
Archival and curatorial practices in the digital age.
Private image use in artistic practice (film, photography, installation
etc).
The practical, methodological and ethical issues for researchers and artists
documenting image-based commemorative practices.
3. After the digital turn (which will foreground the following questions):
To what extent has the memorial ontology of the private image changed as a
result of the proliferation of digital technologies?
What are the implications for both image and image owner in the
transition from personal archive to public digital sphere?
How do issues of connectivity and access impact on the use of private images
in the digital sphere?
How is the digital integrated into the institutional use of private images
and what are the implications?
4. Now and then: commemoration, activism and future directions? (which will
foreground the following questions):
What are the boundaries and relationships between image-based commemoration,
activism and citizen journalism?
What are the key issues and debates around privacy, ethics and appropriation
in relation to the use of private images in digital commemorative practice
(personal and institutional)?
What might be the future directions of image-based commemoration in the
Global South?
PARTICIPATION
We invite contributions to both the roundtable discussions and more
traditional conference papers.
Roundtable Participation
If you would like to participate in the Roundtable discussions please send a
300-word expression of interest with a brief biography to Piotr Cieplak on
imageandcommemoration@gmail.com by 9th
July 2018.
Abstracts should include: a) a brief overview of how your research or practice
work fits into the remit of the roundtables b) three key points you would like
to include for consideration and discussion among other participants.
Traditional Papers
If you would like to submit a more traditional, 20-minute paper on any of the
themes covered by the roundtables above please send an abstract of 300 words
and a brief biography to Piotr Cieplak on
imageandcommemoration@gmail.com by 9th
July 2018.
We are particularly interested in hearing from early career researchers but
abstracts from people at all stages of their career are welcome.
REGISTRATION
The symposium will be free to attend but you will need to register (details to
follow) and the number of delegates will be limited. Lunch and refreshments
will be provided on both days. A limited number of travel and accommodation
bursaries are available; details on application.
The call for participation/papers can also be accessed here:
http://www.warandmedia.org/photomemory/symposium/
FUNDERS
The symposium is funded by the British Academy and supported by the School of
Media, Film and Music, University of Sussex.
Dr Piotr Cieplak
Lecturer in Filmmaking
School of Media, Film and Music
University of Sussex
Just published: Death, Image, Memory: Genocide in Rwanda and its Aftermath in
Photography and Documentary
Film
New film: The Faces We Lost (2017)
Recent research projects:
PI: 'Personal archives of trauma and violence. Image and memory in the digital
age Argentina and Rwanda' (British Academy/Levehulme Trust, 2016-2018)
PI: "Public deaths, private archives: image-based commemoration and
remembrance in Rwanda and the Global South' (British Academy, 2018-2019)
_______________________________________________
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Vaneasa@lists.easaonline.org
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of personal, non-professional images in the digital age in the Global South
A symposium at the Attenborough Centre for the Creative Arts
University of Sussex
4th and 5th September 2018
The commemorative and memorial use of personal, private images in the context
of large-scale violence and death has a long history. Private images have been
continually employed to access worlds that no longer exist, to de-anonymize,
individualize or humanize victims, to identify murderers and the murdered, to
evidence contested events and to prove the existence of life before death.
They populate archives, memorials and museums, places of public protest and,
increasingly, myriad regions of the internet.
The private photographic archive has been an important part of what Paul
Williams calls the global rush to commemorate (2007), starting, arguably,
with the attempts to memorialize the Holocaust.
Yet in this movement from the private to public, from intimacy to historical
significance, private images undergo transitions (including for example
displacement, re-contextualization and politicization) in a manner that raises
critical challenges for both commemorative practices and those to whom the
images initially belonged. To what extent, as some scholars have argued, does
this use of private images become part of a trend to globalize and homogenize
commemoration, such that local contexts are overwritten? Similarly, where are
issues of access, copyright and meaning addressed, particularly with the rise
of the digital, and state-controlled, centralized memory-making?
This two-day symposium at the University of Sussex aims to explore real and
perceived changes in the relationship(s) between private still images and the
memorialization and commemoration of mass violence including trauma with a
particular focus on practices in Asia, Africa, the Middle East and South and
Central America in the digital age. Our latter emphasis on the digital is in
response to the ways digital and social media are now arguably dominant in
both personal and institutional commemoration, affecting all stages of image
curation from archiving and scanning to display. As part of Sussexs
interdisciplinary ethos, we are particularly interested in exploring
intersections between theory and practice and invite scholarly and practice
contributions that speak to a range of themes as listed below.
Keynote Speakers include:
Professor Ludmila da Silva Catela (Universidad Nacional de Crdoba, Crdoba
Museum of Anthropology, Archivo Provincial de la Memoria, Argentina)
Claver Irakoze (Aegis Trust/Rwanda Genocide Archive in Kigali)
Professor Elizabeth Edwards FBA
Dr Gil Pasternak (DMU)
The event will also include a screening of The Faces We
Lost (2017) followed by a Q&A with
the director.
There will be dedicated networking time to further future collaborations.
We invite contributions to both the roundtable discussions and more
traditional conference papers. Please note that the aim of the roundtables is
to generate and facilitate a broad exchange of knowledge and ideas and to
nurture collaboration. Consequently, as selected roundtable members you will
be asked to participate in the discussion from the perspective of your
research expertise rather than present a traditional conference/practice
paper.
ROUNDTABLES
1. Regional, national, cultural and geographic contexts (which will foreground
the following themes):
Examples of the practice of commemorative, memorial and activist uses of
personal, non-professional images in different national, cultural,
geographical contexts. We are particularly interested in examples from Africa,
Asia, the Middle East and South and Central America (comparative approaches,
including with European and North American contexts, are also welcome).
Holocaust-related commemorative practices and their influence on
commemorative practices related to other instances of violence.
Current, dominant private image-based commemorative practices in the Global
South and how these reflect on the processes of witnessing and mediating pain,
memory, trauma and history.
Impact of amateur, domestic aesthetics and their relationship to
authenticity.
2. Archival, curatorial and artistic practices (which will foreground the
following themes):
Definitions and re-definitions of the archive, with a focus on exploring the
relationship between the private and the public.
Archival and curatorial practices in the digital age.
Private image use in artistic practice (film, photography, installation
etc).
The practical, methodological and ethical issues for researchers and artists
documenting image-based commemorative practices.
3. After the digital turn (which will foreground the following questions):
To what extent has the memorial ontology of the private image changed as a
result of the proliferation of digital technologies?
What are the implications for both image and image owner in the
transition from personal archive to public digital sphere?
How do issues of connectivity and access impact on the use of private images
in the digital sphere?
How is the digital integrated into the institutional use of private images
and what are the implications?
4. Now and then: commemoration, activism and future directions? (which will
foreground the following questions):
What are the boundaries and relationships between image-based commemoration,
activism and citizen journalism?
What are the key issues and debates around privacy, ethics and appropriation
in relation to the use of private images in digital commemorative practice
(personal and institutional)?
What might be the future directions of image-based commemoration in the
Global South?
PARTICIPATION
We invite contributions to both the roundtable discussions and more
traditional conference papers.
Roundtable Participation
If you would like to participate in the Roundtable discussions please send a
300-word expression of interest with a brief biography to Piotr Cieplak on
imageandcommemoration@gmail.com by 9th
July 2018.
Abstracts should include: a) a brief overview of how your research or practice
work fits into the remit of the roundtables b) three key points you would like
to include for consideration and discussion among other participants.
Traditional Papers
If you would like to submit a more traditional, 20-minute paper on any of the
themes covered by the roundtables above please send an abstract of 300 words
and a brief biography to Piotr Cieplak on
imageandcommemoration@gmail.com by 9th
July 2018.
We are particularly interested in hearing from early career researchers but
abstracts from people at all stages of their career are welcome.
REGISTRATION
The symposium will be free to attend but you will need to register (details to
follow) and the number of delegates will be limited. Lunch and refreshments
will be provided on both days. A limited number of travel and accommodation
bursaries are available; details on application.
The call for participation/papers can also be accessed here:
http://www.warandmedia.org/photomemory/symposium/
FUNDERS
The symposium is funded by the British Academy and supported by the School of
Media, Film and Music, University of Sussex.
Dr Piotr Cieplak
Lecturer in Filmmaking
School of Media, Film and Music
University of Sussex
Just published: Death, Image, Memory: Genocide in Rwanda and its Aftermath in
Photography and Documentary
Film
New film: The Faces We Lost (2017)
Recent research projects:
PI: 'Personal archives of trauma and violence. Image and memory in the digital
age Argentina and Rwanda' (British Academy/Levehulme Trust, 2016-2018)
PI: "Public deaths, private archives: image-based commemoration and
remembrance in Rwanda and the Global South' (British Academy, 2018-2019)
_______________________________________________
Vaneasa mailing list
Vaneasa@lists.easaonline.org
http://lists.easaonline.org/listinfo.cgi/vaneasa-easaonline.org
