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01 . [email protected] . UnDo.Net News!
02 . Anders Kreuger . Seminar in Rotterdam
03 . OSS . O%S%S%//:%D%O%W%N%
04 . Ivo Skoric . Dubrovinik 1999
05 . Leonard Peltier Support Group . International Day of Protest
to Free Leonard Peltier
06 . Lev Manovich . Media historian/critic position,
University of California, San Diego
07 . John Armitage . ECONOMIES OF EXCESS (_parallax_ 18)
................................................................... 01
Date: Thu, 28 Jan 1999 18:55:25 +0100
From: [email protected]
[ English Version Below ]
Walking around - I Reportage di UnDo.Net http://www.undo.net/reportage :
Bologna in diretta: mostre, eventi e feste, dentro e intorno Arte Fiera 99
Tutti i giorni in internet le immagini delle iniziative piu' interessanti
organizzate quest'anno: dalla mostra Missione Impossibile alla Galleria
d'arte moderna e al Link, passando naturalmente per la Fiera dell' arte.
Immagini e commenti delle mostre e delle feste, delle opere esposte e
soprattutto degli artisti, dei personaggi e dei visitatori.
Si trattera' di percorsi dentro gli eventi e di un lavoro collettivo:
artisti, critici e curatori collaboreranno alla realizzazione ed alla
scelta delle foto che pubblicheremo giorno per giorno.
Dal 28 gennaio al 1 febbraio - http://www.undo.net/bologna99
PS: Se ricevete questa email e non siete interessati a ricevere altre
UnDo.Net News in futuro fate un reply a questo messaggio, ci scusiamo per
l'intrusione, non si ripetera' piu'.
------------------------
Walking around - Undo.Net Reportage http://www.undo.net/reportage :
Bologna's Art Fair
Italy's biggest and most important Contemporary Art Fair
Every day the latest news from Bologna: exhibitions, events and parties
inside and outside the art fair.
Daily on the web images of the most interesting and exciting events:
from the exhibition 'Mission Impossible' to the Museum of Modern Art,
from Link and of course back to the fair. Images, comments aout the
exhibitions and the events, the artworks and most of all pictures of the
artists, the organizers and the visitors.
Itineraries inside the events created by a group collaboration: artists,
critics and curators will work together to take pictures and select the
images we will show you daily.
>From 28 January to 1 February - http://www.undo.net/bologna99
................................................................... 02
Date: Fri, 29 Jan 1999 16:57:30 +0200
From: Anders Kreuger <[email protected]> (by way of John Hopkins)
To: Multiple recipients of <[email protected]>
Subject: ann! ... Seminar in Rotterdam
1. PRESENTATION
CHANGING THE SYSTEM?
ARTISTS TALK ABOUT THEIR PRACTICE
DEBATE WITH ARTISTS, CURATORS AND CRITICS AT THE NEDERLANDS ARCHITECTUUR
INSTITUUT (NAI) IN ROTTERDAM, SUNDAY APRIL 18 AT 10.30 AM - 5 PM
"Changing the System?" is conceived as a temporary platform for intense
discussions between experienced artists, from various generations and
countries, and as an opportunity for them to publicly state their
opinions.
This is not going to be a regular panel discussion, nor a series of
lectures, nor a presentation of individual practices, nor an arts politics
congress. "Changing the System?" is an experiment.
"Changing the System?" is organised by the Nordic Institute for
Contemporary Art (NIFCA) in Helsinki, in collaboration with the Witte de
With Center for Contemporary Art in Rotterdam, the Malm Art Academy in
Malm, Sweden, and the Rijksakademie in Amsterdam.
This event can be seen as a follow-up of "Stopping the Process?", an
international curators' seminar organised by NIFCA at Lofoten in Norway in
September 1997. Then, we focused on the exhibition-makers.
Now we focus on the artists. We want to discuss artistic practice today
and
artists' views on the system in which they work. We want the discussions
to
bring out ideas and proposals towards future change in the artworld. As a
point of departure, we have proposed some questions:
WHAT DO CONCEPTS LIKE THESE MEAN FOR INDIVIDUAL ARTISTS? HOW DO THEY
CHANGE
TODAY?
Artistic practice and the creative process. The author. Various functions
and roles for artists. Collaboration and networks. The production of
meaning and the reception of artists' work. The artworld. The art context.
Professionalism. Artists' careers. Visibility.
HOW DO THESE COMPONENTS IN THE CONTEMPORARY ART SYSTEM FUNCTION? HOW
DEPENDENT ARE ARTISTS ON THEM? ARE THEY OPEN TO CHANGE?
The studio. The curator. The exhibition. The institution. The market. The
critic. The school.
WHAT CAN BE CHANGED IN THE CONTEMPORARY ART SYSTEM? WHAT ARE THE NEW
POSSIBILITIES?
We have invited a number of artists, curators and critics to gather in
Rotterdam for a couple of days, develop these questions and prepare the
debate.
The Dutch art scene is active and internationally oriented. Several
interesting exhibitions can be seen during the weekend in April when
"Changing the System?" takes place.
For more information about "Changing the System?", please contact ANNIKA
WISTRM at NIFCA ( tel. +358 9 68 64 31 08, fax. +358 9 66 85 94, e-mail:
annika.wistrom @ nifca.org, website: WWW.NIFCA.ORG). If you want to
participate during the debate in Rotterdam on Sunday, April 18, please
contact MAAIKE RITSEMA at the Witte de With (tel. +31 10 411 01 44, fax
+31
10 411 79 24, e-mail: [email protected], website: WWW.WDW.NL)
2. SUGGESTED TOPICS FOR DISCUSSION
WHAT DO CONCEPTS LIKE THESE MEAN FOR INDIVIDUAL ARTISTS? TO WHAT EXTENT
ARE
THEY CHANGING TODAY?
Artistic practice. How and to what extent can artists control their
creative process? What new needs for production, exhibiting and
communication facilities do artists have today?
The author. How do artists see their own functions? Are artists becoming
more autonomous or more anonymous? What does collaboration mean for
artists?
Networks. In what ways are they meaningful for artists and their practice?
How do artists make active use of networks?
The production of meaning. How and to what extent do artists influence the
reception of their work?
The art world. How does it succeed in mediating between artists and their
audience? How is the work of artists conditioned by other players? Who
sets
the pace for development and change?
The art context. What kind of professionalism do artists need today? What
are the possibilities for artists to work in other professional contexts,
and still be part of the art context?
Artists' careers. What is the attention span of the art world? Is being
an
artist a life's work? What do different kinds of recognition and success
mean for artists?
Visibility. To what extent is the artist visible in the art world? To
what
extent does this visibility depend on fluctuations in the art world? To
what extent can artists influence the visibility of art in society?
WHAT IS YOUR ASSESSMENT OF THESE ELEMENTS IN THE CONTEMPORARY ART SYSTEM
AND HOW THEY FUNCTION TODAY? HOW AND TO WHAT EXTENT ARE ARTISTS DEPENDENT
ON THEM? ARE THEY OPEN TO CHANGE?
The studio. What is the artist's workplace today? What are the needs?
The curator. How active do artists want curators to be? The curator as a
producer and assistant for the artist or the artist as an on-site producer
for curators and institutions?
The exhibition. What are the effects of international group exhibitions?
What new developments in exhibition-making do artists want?
The institution. How do museums, kunsthallen and residency programmes
interact with artists? How do institutions respond to change?
The market. To what extent does the selling of objects condition the
economy of artists today?
The critic. How important is critical distance for artists?
The school. How are artists educated and how do they educate others?
Should
artists' work be considered analogous to other kinds of research?
WHAT ARE YOUR SUGGESTIONS FOR CHANGE IN THE CONTEMPORARY ART SYSTEM? WHAT
NEW POSSIBILITIES DO YOU SEE?
3. Confirmed participation as of January 25
A. ARTISTS:
Eija-Liisa Ahtila (Helsinki)
Pierre Bismuth (Brussels - London)
Rita McBride (New York)
Janet Cardiff (Alberta, Canada)
Jimmie Durham (Berlin)
Cecilia Edefalk (Stockholm)
Michael Elmgreen & Ingar Dragset (Copenhagen - New York)
Annika Eriksson (Stockholm)
Alicia Framis (Barcelona - Amsterdam)
Rene Green (New York)
Jens Haaning (Copenhagen)
Mark Hosking (London)
Joan Jonas (New York)
Regina Mller (Berlin)
Liisa Roberts (New York)
Jim Shaw (Los Angeles)
Dierk Schmidt (Berlin)
Berend Strik (Amsterdam - New York)
Thorvaldur Thorsteinsson (Reykjavik)
Sophie Tottie (Stockholm)
Gediminas Urbonas (Vilnius)
Martin Walde (Vienna - New York)
Eulalia Valldosera (Barcelona)
Elin Wikstrm (Gothenburg)
Knut sdam (Son, Norway - New York)
B. CURATORS:
Ute Meta Bauer (Stuttgart - Vienna)
Lynne Cooke (New York)
Catherine David (Paris)
Charles Esche (Glasgow)
Dirk Snauwaert (Munich)
................................................................... 03
Date: Fri, 29 Jan 1999 01:59:33 +0200
From: OSS <[email protected]>
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................................................................... 04
Date: Thu, 28 Jan 1999 23:59:00
From: "Ivo Skoric" <[email protected]>
------- Forwarded Message Follows -------
Fourth International Conference: INFORMATION TECHNOLOGY AND JOURNALISM
Education for new journalism
Dubrovnik, Inter University Center, May, 26-29, 1999
Conference directors:
Nenad Prelog, University of Zagreb
(Faculty of Organization and Information Science)
Robert M. Hayes, University of California Los Angeles
(Graduate School of Education and Information Studies)
Pavao Novosel, University of Zagreb
(Faculty of Political Science, School of Journalism)
Sherry Ricchiardi, Indiana University Indianapolis
(School of Journalism)
Topics:
* Changes in the preparation and production of printed publications and
consequences of these trends on the education of future journalists
* Web journalism: what should be taken over from "old" journalism, the
most important new skills and know-how
* Information technology and audio visual media
* Review of Web technologies (multimedia, browsers, search engines,
protocols, languages, etc.) for preparing interactive journals
* Internet and communication: from mass communication to individual
and customized information
* Dynamic documents: how to collect and organize them
* Distance learning - new ways of education and specialization for
journalists
* Changes in curriculum at journalist schools in the world
Fundamental questions to be raised:
* Content of new journals
* Structure and organization of new journals
* Layout and creativity in new journals
Workshops:
* How to write and prepare an electronic (interactive, Web) journal
* Education for new journalism
Panels:
* E-zine editors' meeting
* New jobs (and how to get them) in interactive publishing
Gatherings:
* Founding of Croatian Association of Interactive Journals, Editors (or
Croatian Interactive Magazines' Association - CIMA)
* Croatian Interactive Publishing Award (Sponsored by Microsoft)
Additional information:
Nenad Prelog, Director ++3851 480-0383, e-mail: [email protected]
Co-ordinators: Jasenka Zajec ++3851 616-4081, e-mail: [email protected] ;
Domagoj Bebic ++3851 455-8022, e-mail: [email protected]
http://www.fpzg.hr/itn
See attachment for more detailed information.
................................................................... 05
>Date: Thu, 28 Jan 1999 22:12:26 -0500
>From: Leonard Peltier Support Group <[email protected]>
>
>FOR IMMEDIATE RELEASE
>
>
>International Day of Protest to Free Leonard Peltier - February 6th
>
>
>Contacts: Leonard Peltier Support Group / Greater New England
> P.O. Box 1999 Jonathan Mark
978-544-7862
> Wendell Depot, MA 01380 Rebecca Tidwell
203-634-8247
>
>Leonard Peltier Defense Committee Attn:Gina Chiala or Keith McHenry
>P.O. Box 583, Lawrence, KS 66044 Tel: 785-842-5774, Fax: 5796
>http://members.xoom.com/freepeltier/index.html
>
>
>"I have never lost my strong belief in the Creator. I know that he has
asked
>me to sacrifice to aid my people and I am doing that. I pray that this is
>not a lifelong obligation. Perhaps I am here to call attention to the
plight
>of Indian people or maybe I am here to further the fight for our
religious
>and cultural freedom. Perhaps my imprisonment will expose this country's
>dual judicial system and maybe it will help to unite people all races and
>religions in the crucial quest for peace and justice."
>
>- Leonard Peltier
>
>
>
>Groups in over 30 cities plan to unite for an International Day of
Protest
>to Free Leonard Peltier on February 6, 1999. Among the locations* where
the
>protests will take place are London; Amsterdam; Brussels; Washington,
D.C.;
>San Diego; Tacoma, WA; Rapid City SD; and Springfield, MA. The Leonard
>Peltier Support Group / Greater New England will be rallying and
>distributing literature on Peltier's case outside the Federal Building at
>1550 Main Street in Springfield, Massachusetts, beginning at noon.
>
>February 6, 1999 marks the twenty-third anniversary of Native American
>leader Leonard Peltier's incarceration for allegedly killing two FBI
agents
>on the Pine Ridge Indian Reservation in 1975. With a profound hope that
he
>will be free before the millennium, numerous groups have planned events
>about Leonard's plight on this anniversary. As supporters of Leonard's
>innocence, right to freedom, and valued leadership, we are determined to
>work for his release.
>
>There is overwhelming evidence that his imprisonment is a gross
injustice:
>(1) U.S. Prosecutors have admitted they cannot prove Peltier fired the
shots
>that killed the agents; (2) The FBI withheld information from the Peltier
>defense on key ballistic tests pointing to Leonard's innocence.
>
>And there is much more indicating that Peltier is essentially a political
>prisoner of the United States. At the time of the shootout in which the
two
>agents and a Native American died, traditional Lakota Native Americans
were
>resisting the seizure of their land for uranium mining. In the two years
>before the incident, over 60 resisters had been murdered, without
>investigation, by a death squad directed by a Native American Council
leader
>known to be armed, trained, and directed by the FBI.
>
>Moreover, Leonard Peltier was extradited to the United States from Canada
on
>the basis of affidavits acknowledged to be false by the Supreme Court of
>Canada and by the U.S. government in June 1989. In a 1989 decision, the
>Supreme Court of Canada called the affidavits "suspect to the point of
>fraud," and urged the Canadian government to "seek immediate and
effective
>diplomatic redress."
>
>As of June 1998, the internal review of the facts concerning Leonard's
>extradition from Canada was cleared for release to the public, at the
>discretion of Canada's Minister of Justice, the Honorable Anne McLellan.
>There is little doubt the report will clearly state that the U.S.
>fraudulently obtained Leonard's extradition -- and that under the terms
of
>our countries' extradition treaty, the U.S. must return him to Canada,
where
>he will finally be freed. So far, Justice McLellan has refused to release
>this report.
>
>Leonard Peltier is currently suffering from complications of
maxilla-facial
>surgery he underwent at the Springfield, KS, Medical facility in 1996. He
is
>in excruciating pain, and his health is in peril. Though prison physician
>Dr. Collins recommends Leonard be treated at the Mayo clinic in
Rochester,
>N.Y., prison officials refuse to temporarily transfer Leonard. Many of
the
>February 6 protesters are fasting and writing letters to help pressure
the
>Bureau of Prisons, Leavenworth prison, and the U.S. Congress to permit
>Leonard's immediate transfer to the Mayo Clinic to relieve his agony.
>
>We are also actively lobbying President Clinton to finally abide by his
1992
>campaign promise to give Leonard Peltier's case "a fair and impartial
>review." Peltier filed a petition for Executive Clemency on November 19,
>1993, citing the support of such world leaders as Nelson Mandela and
Jesse
>Jackson, 55 members of Congress, and resolutions passed by several
European
>Parliaments. Meanwhile, 20 million people have written the U.S.
Government
>on behalf of Leonard Peltier, and Amnesty International has cited the
>Peltier case as a glaring example of FBI tampering with the judicial
process
>in a political trial. More than five years after the petition was filed,
>President Clinton said the Justice Department hasn't given him their
>recommendation yet. This process normally takes six to nine months.
>
>In the first trial regarding the 1975 shoot-out with the FBI on the Pine
>Ridge Reservation, two American Indian Movement (AIM) members were found
not
>guilty by the jury for reason of self-defense. After losing that case,
the
>FBI seemed to have crossed ethical and legal boundaries to capture and
>convict AIM leader, Leonard Peltier. Now, twenty-three years later, the
>February 6 events will be an opportunity to inform more people about the
>gross injustices of this case and how to further the support of Leonard
>Peltier for justice and human rights.
>
>
>
>* "International Day of Protest to Free Leonard Peltier" 6 February 1999
>will be found in the following locations:
>
>Europe
>Amsterdam, Netherlands; Brussells, Belgium; Paris, France; Helsinki,
>Finland; London, England; Derby, England
>
>South America
>Lima, Peru
>
>Canada
>Toronto, Ontario; Sault Ste. Marie, Ontario; Victoria, British Columbia;
>Regina, Saskatchewan
>
>United States
>Albany, NY; Atlanta, Ga; Boston, MA; Baltimore, MD; Chicago, IL;
Portland,
>OR; Eugene, OR; Cincinnati, OH; Kent, OH; Lawrence, KS; Houston, TX; San
>Diego, CA; San Francisco, CA; Nashville, TN; Rapid City, SD; Springfield,
>MA; Washington, DC; Portland, ME; Tacoma, WA; Denver, CO; Pontiac, MI;
>Louisville, KY; Lincoln, NE; Starkville, MS; Jewett City, CT; Hyannis,
MA;
>Hilton Head, SC; Milwaukee, WI
................................................................... 06
Date: Fri, 29 Jan 1999 00:19:27 -0800 (PST)
From: [email protected] (Lev Manovich)
VISUAL ARTS DEPARTMENT, University of California, San Diego
MEDIA/PHOTO HISTORIAN/CRITIC. Assistant Professor, tenure-track to
beginning Professor level with tenure. Rank and salary commensurate with
qualifications and experience and based on UC pay scales. The candidate
should have a concentration either in film, video, digital media or in
photography. The position requires a grasp of the social-historical, art
historical, cultural and technical issues informing the medium as an art
in
a visual arts department which offer majors in conceptually oriented
studio, computing and media art-making programs and in art
history/theory/criticism. Teaching will include history courses specific
to her/his area and also an ability to address other topics on the history
and theory of contemporary media at the undergraduate and graduate levels.
Ph.D. or equivalent, publications and teaching experience required.
Send letter of application, curriculum vitae, names of three references
(do
not send letters of recommendation and/or placement files), and copies of
publications and/or public lectures with return mailer & postage to:
Louis Hock, Chair (Position #2063S)
University of California, San Diego
Visual Arts Department
9500 Gilman Drive
La Jolla, CA 92093-0327
All applications received by February 16, 1999, or thereafter until
position is filled will receive thorough consideration. Please reference
position number 2063S on all correspondence.
UCSD is an Equal Opportunity/Affirmative Action Employer with a strong
institutional commitment to the achievement of diversity among its faculty
and staff. Proof of U.S. citizenship or eligibility for U.S. employment
will be required prior ro employment (Immigration Reform and Control Act
of
1986).
................................................................... 07
From: John Armitage <[email protected]>
Organization: University of Northumbria
Date: Fri, 29 Jan 1999 09:57:11 GMT
~~~~~~~~~~~~~~~~~~
CALL FOR PAPERS
~~~~~~~~~~~~~~~~~~
_parallax_
a journal of metadiscursive theory
and cultural practices
***ECONOMIES OF EXCESS***
"...it is not necessity but its contrary,
luxury, that presents living matter and
mankind with their fundamental problems."
Georges Bataille, _The Accursed Share_, Volume 1.
Guest Editor: John Armitage
for issue 18 (January 2001)
ABOUT THIS CALL FOR PAPERS
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
To what extent are the advanced economies now centred upon states or
acts of _excess_? What are the philosophical, artistic, and cultural
expressions of economic excess and what significance do such
manifestations possess? What are the cultural meanings of current
forms of global economic excess like unlimited abundance, the
"mismanagement" of resources, "unnecessary" cultural expenditure, and
waste? What might explain the lavish spending on mind expanding drugs,
alcohol, emotional support, performance art, photography,"Titanic"
film production, TV "spectaculars", self-sacrificial dieting, flesh
piercing, national lotteries, post-industrial pornography, far away
vacations, designer food, body enhancement and prosthetics, surplus
book mountains, political campaigns, prostitution, information
services, compact discs, video games, fast cars, viral financial
speculation, and the Internet? What outcomes are there for _re_
-production, "maldistribution", _hyper_ -consumption, and the
cultural analysis of the economic activities of _excess_? Is it
possible to think the economy beyond the rationalist and utilitarian
presuppositions of Smith _and_ Marx? Can we conceive of economic
excess as the birth of a new _political_ project at the brink of the
millennium?...
This issue of _parallax_ will concentrate on the burgeoning interest
in the ECONOMIES OF EXCESS and the critical cultural theories and
practices being elaborated within the humanities, the arts,
literature, and cultural studies. The Guest Editor welcomes
submissions that engage with the character, significance, and on-going
global development of economic _excess_ with regard to:
"Bad" Marxism; expenditure and the general economy; psychoanalysis;
the artistic avant-garde; digital reproduction in the culture
industry; material baseness; mythology; deconstruction; literature;
power / knowledge; the spectacle; feminist theory; desire; queer
theory; libidinal economy; technoscience; seduction; simulation;
transeconomics; the political economy of speed; chaos theory; global
and virtual capitalism; cyberculture.
The edition seeks to offer an examination of the economies of excess
and also to locate itself among theoretical perspectives stemming
from: continental philosophy, the arts, and _critical_ cultural
studies. It is anticipated that the publication will make a crucial
input to these and other gestures to economic excess. Of course, one
of the key obstacles facing such a venture is the near certainty that
economic excess will itself disrupt any academic, philosophical,
artistic, and cultural appeals, along with the practices that attempt
to engage with it. ECONOMIES OF EXCESS will therefore open itself up
to all forms of critical encounter, inclusive of articles, texts,
representations, essays, reviews, and interviews. After all, nothing
succeeds like _excess_.
Submission Deadline
~~~~~~~~~~~~~~~~
Final material for peer review by December 31, 1999.
_parallax_ is a peer-reviewed journal. Conventional scholarly
submissions for ECONOMIES OF EXCESS will be reviewed in the normal
way; all material will be read by at least two readers in addition to
the Guest Editor.
Submission Details
~~~~~~~~~~~~~~
People considering a submission are welcome to contact the Guest
Editor beforehand to discuss their idea(s) or to request further
information.
A brief biographical note should accompany all submissions and marked
ECONOMIES OF EXCESS.
Potential contributors are encouraged to contact the Guest Editor for
discussion. For example, if you wish to email material, please contact
the Guest Editor first and email an abstract of your piece.
E-mail: [email protected]
Before preparing your submission, please contact Taylor & Francis for
a complete style guide, or visit the _parallax_ web page; contact
details for _parallax_ style guides are given below:
Lora Sharples, Editorial Assistant Journals, Taylor & Francis Ltd.,
One Gunpowder Square, London EC4A 3DE, UK. (http://www.tandf.co.uk).
Papers for this issue of _parallax_ should be sent to the Guest
Editor, at the address given below.
Papers are accepted for consideration on condition that: the work is
original; you own the copyright; you have secured the permission of
all named co-authors, and have agreed the order of names for
publication; you have secured all permissions for the reproduction of
original or derived material from a copyright source; the paper has
not been previously published; the paper is not under consideration
elsewhere; you will transfer copyright to Taylor & Francis Ltd. if the
paper is accepted for publication. No submissions will be returned.
There are no page charges in _parallax_.
Hard copy: should be sent in triplicate (A4, font size 12,
double-spaced, paginated). Word length: should be 2,000 - 7,000
maximum, inclusive of notes and references. Discs: should be IBM
compatible (Not MAC). Microsoft Word for Windows.
Contact address:
John Armitage
(ECONOMIES OF EXCESS)
Division of Government & Politics
Room 440
Northumberland Building
University of Northumbria at Newcastle
Newcastle upon Tyne
NE1 8ST
United Kingdom
Tel: +44 (0) 191 227 3943
Fax: +44 (0) 191 227 4654
About _parallax_
~~~~~~~~~~~~~
_parallax_ is an exciting and provocative cultural studies journal,
which seeks to initiate alternative forms of cultural theory and
criticism through a critical engagement with the production of
knowledge's.
Editors
Joanne Morra and Marquard Smith
Editorial Office:
Centre for Cultural Studies, Department of Fine Art, University of
Leeds, Leeds, LS2 9JT, UK. Tel: +44 (0) 113 2335277; Fax: +44 (0) 113
245 1977; Email: [email protected].
_parallax_: aims and scope
~~~~~~~~~~~~~~~~~~~~
_parallax_: FR. parallax f. mod. L parallaxis f. Gk + change,
alternation, angle between two lines, f. parallassein, alter,
alternate, f. as PARA- + allassein to exchange, f. allos other.
_parallax_ seeks to reconfigure contemporary critical theories and
cultural practices through a critique of their productions. This is a
basis for practicing otherwise. It is an exchange between theory and
cultural productions that attempts to radically alter both.
Alterations enacted in order to remobilize and repoliticize cultural
studies.
The advances and successes of the discipline of cultural studies
cannot be over-emphasized. Its destabilization of disciplinary
boundaries has productively damaged many of the conservative and
traditional ways in which the Academy functions. The inter, cross -
and anti-disciplinary approaches that form the genealogy of cultural
studies have produced a great deal of critical and important
scholarship.
But _parallax_ is not a celebration of cultural studies. Rather it is
an attempt to make a space available in which dialogue, debate and
philosophical contestation can be generated in an interrogation of our
own practices. Thus, the predominantly themed nature of each issue of
_parallax_ is an attempt to bring together diverse approaches,
methodologies, subjects and writers in order to produce lively and
contentious struggles between them while also bringing to light
often-surprising similarities. In a sense, what becomes important in
the fusion of these disparate positions under one cover is an utmost
concern for the political within the production of knowledge's. It is
this that _parallax_ seeks to address.
And it is here that _parallax_ situates itself and from which it
hopes to participate in a redefinition of the study of culture. By
continually re-assessing its project and its political strategies
_parallax_ hopes to contribute to a study of cultural production
that is constantly mobile and provocative.
Recent and Forthcoming Issues
~~~~~~~~~~~~~~~~~~~~~~~~~
Recent:
TRANSLATING ALGERIA
CULTURAL STUDIES AND PHILOSOPHY
THEORY AND PRACTICE
DISSONANT FEMINISM'S
KOJEVE'S PARIS. NOW BATAILLE
Forthcoming:
KRISTEVA: AESTHETICS, ETHICS, POLITICS
NEO-PRAGMATISM & NEW ROMANTICISMS
PRACTICES OF PROCRASTINATION
POLEMICS. AGAINST CULTURAL STUDIES
IN VIOLENCE
Distinguished Contributors include: Jacques Derrida; Helen Cixous;
Jean Baudrillard; Gayatri Spivak; Christopher Norris; Sadie Plant;
Susan Buck-Morss; Kristin Ross; Linda Hutcheon; Slavoj Zizek; Stanley
Rosen; Alphonso Lingis; Sue Golding, and many more...
_parallax_ will be of interest to those working in many areas
including critical theory, cultural history, gender studies,
philosophy, queer theory, english and comparative literature,
post-colonial theory, art history and of course cultural studies.
_parallax_ is published quarterly (ISSN 1353-4645) at the following
subscription rates: Volume 5 1999 Print & Online: Institutional: US
$198/stlg120 Personal: US $58/stlg35 (print only)
_parallax_ is now available online.
To subscribe to _parallax_ send an email to: [email protected]
PLEASE DISTRIBUTE THIS CALL FOR PAPERS
John Armitage
Guest Editor, ECONOMIES OF EXCESS.
parallax 18
a journal of metadiscursive theory
and cultural practices
(http://www.tandf.co.uk/JNLS//PAR.htm)
Division of Government & Politics
Room 440
Northumberland Building
University of Northumbria at Newcastle
Newcastle upon Tyne
NE1 8ST
United Kingdom
[email protected]
Tel: +44 (0) 191 227 3943
Fax: +44 (0) 191 227 4654
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