>Subject: CFP: Cultures, Art, & Time (2/16/05; 10/12/05-10/15/05)
>From: "Cara Gillotti" <[log in to unmask]>
>Call for Papers, Presentations, and Performances
> The Center for the Arts in Society at Carnegie Mellon
>University announces an interdisciplinary, international conference
>on (Im)permanence: Cultures in/out of Time scheduled for October
>12-15, 2005. This conference will bring together practicing artists
>in the visual and performing arts, scholars in the humanities, and
>experts in together with curators and experts in arts preservation
>to address the relationship between art and time. Issues will be
>addressed in papers, exhibits, artistic productions, and informal
>performances, with the goal of achieving lively dialogue across
>disciplines, cultures, and media. The conference will have four
>broad areas of inquiry:
>I. Permanence/Impermanence: Much of twentieth- and
>twenty-first-century art questions the notion of permanence and
>celebrates artÝs transience and impermanence. If modernism implies
>a break with the permanence enshrined by tradition, the movement
>also recalls earlier moments of rebellion leading to radical
>revisions in aesthetic and cultural assumptions. Questions under
>this topic include:
>´ If art is presumed to be lasting, what constitutes duration?
>´ Does the notion of ýauthenticityţ imply a particular mode of
>production or of preservation?
>´ Under what circumstances does an artist or a group choose
>transience rather than permanence in its artistic expression?
>´ How far do art works and cultural expressions address the unknown
>and the future, reconceptualizing ýtimeţ altogether?
>II. The creation and curation of ephemera: At the same time that
>many contemporary artists celebrate the notion of the ephemeral,
>curatorship is invested in the ethic of permanence. The ethic may
>not be shared by conservators or by the consumers of art in any of
>its forms. Questions under this topic include:
>´ What are the differences between creating and curating an
>ýeternalţ object and an object made to disappear?
>´ Does it violate the spirit of performance art, process art, or
>self-destroying art to render these permanent through documentation?
>´ Does the notion of curation or preservation contradict the essence
>of such an ephemeral object?
>´ What dilemmas do creators and curators face, given the ravages of
>time and, simultaneously, the development of new technological
>responses to erosion, cracking, fading, and so forth?
>III. What is cultural continuity? In preliterate cultures,
>continuity of identity and custom was preserved through
>memorization, ritual performance, drawing, and the persistence of
>objects in the social and natural environment. Literate cultures
>have increasingly understood continuity as the fixation of words on
>paper or in other reproducible media. Changes in technology (such
>as photography and film) can change the meaning of the past, and
>preservation can privilege the past over the present. Questions for
>this topic include:
>´ How do creators, conservators, historians, spectators, and
>audiences understand ýcontinuity?ţ
>´ Are there differences between the continuity of an individual
>artwork and the continuity of a cultural monument--or of an entire
>´ Is ýpopular cultureţ a distinct source of continuity?
>IV. Conflicts about Preservation: While some groups proclaim an
>ethic of preserving cultural heritages, others assert the right to
>destroy them or preserve them selectively. Museums around the world
>preserve objects that indigenous cultures claim as their own
>possessions and indeed consider sacred. Tourist and ethnic minority
>agencies preserve folk music and local costume but in the process
>simplify religious meanings. These developments raise provocative
>´ On what grounds do certain groups claim the right to preserve or
>destroy certain objects?
>´ What priorities do global bodies and local governments uphold in
>preservation issues and with what unanticipated results?
>´ What incidental factors (war, natural disaster, and so forth) and
>legal or trade arrangements impinge upon notions of
>´ Who controls cultural time?
>All submissions will be judged on the basis of their contribution to
>the main theme of the Conference, and will be evaluated by experts
>in the field. One-page proposals in English should be sent by
>February 16, 2005 to:
>Dr. Judith Schachter, Director
>Center for the Arts in Society
>History Department--240 Baker Hall
>Carnegie Mellon University
>Pittsburgh, PA 15213-3890
>Presenters will be notified in late March 2005 about the committee
>Ýs selection of abstracts and panels. Selected conference papers
>and presentations will be published in a volume and distributed
>electronically (early 2007). (Im)permanence: Cultures in/out of
>time is not only a conference but also will be an artistic presence
>in the city of Pittsburgh. Theatrical performances, musical events,
>and artistic exhibitions are being planned to coincide with the
>conference. Information about conference registration, hotel
>accommodations, and tickets for cultural events will be sent to all
>presenters by August 2005.
>For conference and further information about the Center for the Arts
>in Society, please go to the website: http://www.hss.cmu.edu/cas
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