Drawing: Research, Theory, Practice (DRTP) promotes and disseminates contemporary drawing practice and research in its current cultural and disciplinary diversity. The journal encourages pluralist forms of discourse, addressing current issues of theory and practice. It is concerned with drawing as an interactive process and product, as a form of writing or visual narrative, as a model of representation; an investigative, descriptive or interpretive pursuit, a recording and communicative tool; an interactive and dynamic 'site of conception'; as performance, an aid to critical thinking, an interpretative medium and as a site of production.
DRTP invites practitioners, researchers, educators and theorists in the disciplines of fine art, architecture, design, visual communication, technology, craft, animation, etc. to contribute articles, projects, essay and papers that deal with the various knowledges and representations of drawing.
Deadline: 1 June 2016
Submissions will be double-blind peer-reviewed and must be uploaded via the Drawing: Research, Theory, Practice webpage:
All enquiries should be addressed to the principal editor:
Intellect is delighted to announce the new issue of Design, Business & Society 2.1, which aims to promote transdisciplinary approaches to research in design, as well as examining design in all multi-faceted forms whether they are social, environmental, commercial or educational in nature.
If you have any questions about the journal click here
To subscribe to this journal click here
Deadline: May 6, 2016
About the Conference
The In Pursuit of Luxury conference provides an opportunity for academia and industry to come together to discuss issues that have a key impact on the global luxury and luxury brand market.
The conference aims to explore the concept of luxury from a variety of academic and commercial perspectives. It also provides an interdisciplinary forum to examine the subject of luxury from the disciplines of history, cultural studies, business studies, communication studies, branding, marketing, manufacturing, technology and economics. Academic and commercial delegates come from a global constituency who will bring a correspondingly wide range of perspectives to the subject of luxury.
The idea of luxury has secured a place in modern western culture as the term is part of common parlance. This conference will aim to explore the many issues and debates surrounding the idea of luxury. When and where did the concept of luxury emerge? What is its history? How does luxury relate to social class? Is luxury necessarily the preserve of the few and, if so, what are the qualifications to consume luxurious objects? How important is social status v the accumulation of money in luxury acquisition? How does an object or experience acquire luxury status? Is it through branding or high quality materials and craftsmanship? Is it possible to mass-produce luxury, and, if so, what are the ethical implications of this? In a global world of mass consumption, is luxurious consumption becoming politically and/or ethically suspect? Similarly, as the world's resources diminish, might we expect the political implications of conspicuous consumption to take on greater resonance? And, not least, what is the future of luxury in a world beset with financial turmoil? All of these questions stack up to make for a subject of pressing concern and febrile debate.
Find out more about the call for papers and the conference here
If you're attending the Cumulus Conference at Nottingham Trent University (27th April - 1st May) be sure to catch Katherine Townsend and Kristina Niedderer's - Editors of Craft Research - presentation on The Role of Craft in Creative Innovation.
For more information on this conference please visit http://www.cumulusnottingham2016.org/
Available to Pre Order Now!
The Beijing Film Academy (BFA) is one of the most revered film institutions in the world. Since 1984, the BFA’s Department of Film Studies has been publishing the Journal of the Beijing Film Academy, the only journal of film theory that integrates film education in higher learning with film theory studies. Now, coinciding with dramatically increased interest in Chinese cinema, comes the Beijing Film Academy Yearbook, showcasing the best academic debates, discussions, and research from the academy in 2015 - all available for the first time in English. Aimed at narrowing the cultural gap for cross-cultural research, the book contributes not only to scholarly work on Chinese cinema, but also to film and media studies more generally.
The Journal of the Beijing Film Academy, founded in 1984, is edited by the Beijing Film Academy’s Department of Film Studies.
More information on this publication can be found here: http://www.intellectbooks.co.uk/books/view-Book,id=5202/
Intellect is delighted to announce the release of ISCC 6.3: Masculinity in the Twenty-First Century, guest-edited by Elwood Watson.
This special issue focuses on diverse depictions of masculinity in popular culture – Isaac Vayo's discussion of Rob Lowe's DIRECTV commercials is joined by Micky Lee, Monika Raesch and Frank Rudy Cooper on working-class masculinity in post-2008 economic crisis documentaries. The issue also includes Ann Castillo and David Magill's article on bromance in the Jump Street films; a piece on the black male body in the context of celebrity, sex, class and jazz culture by Alphonso McClendon; and Tom Pace on Generation X men and Baby Boomers in popular rom-coms. We close with Yannick Kluch's analysis of the wildly successful Old Spice campaigns, featuring Isaiah Mustafa and Terry Crews. We hope you enjoy this issue! Now, look at your man...
To access the full issue online, follow this link
Models of Design: envisioning a future design education
This article offers a large-scale view of how design fits in the world economy today, as well as the role of design education in preparing designers for their economic and professional role. The current context of design involves broad-based historical changes, including a major redistribution of geopolitical and industrial power from the West to the East. A model of six global economies delineates the challenge and opportunity for design practice and education. While the six economies developed over time, all now fit together and design creates value in different ways across them. Understanding the economic context of design education gives clarity to the educational mission, differentiating it from other forms of education. The author argues that design professionals now require a broad range of analytical, conceptual and creative skills related to the social and economic context of design, along with advanced skills in a design specialty. A taxonomic chart of design knowledge delineates the range of skills and knowledge domains involved.
The context in which we live exerts a decisive influence on the nature of education, and determines the meaning of what it is to be educated. History, economics and politics shape the nature of our times and the education that suits them. Design education today takes place in the context of a post-industrial society and the industrial age that gave rise to it. It also takes place in the context of the multiple economies that weave together to shape our times. To understand what design education is today – and what it must become – requires us to understand the changing shape of the contemporary industrial economy against the global background of the new Asia-Pacific century.
The rise of China as the world’s second most powerful economy challenges the assumptions of western industrial democracies. Eric X. Li recently argued in the New York Times that the competition between the West and China is not a clash between democracy and authoritarianism, with democracy is an obvious and necessary goal. He argues that a ‘form of government, or any political system for that matter, [is] merely [...] a means to achieving larger national ends’ (Li, 2012).
Li poses the two great experiments in democracy against the durability of China. Athens was the world’s first experiment in democracy, but lasted little longer than a century and a half. Democracy in the modern West is the second such experiment; but democracy as a system within which each citizen has one vote is less than a century old.
For Li, the contemporary experiment in democracy dates to the European Enlightenment and the success of the Industrial Revolution. He argues that the current politics of democracy is leading to the uncontrolled and unequal accumulation of wealth – a form of excess that will shape a modern version of the demagogy that destroyed Athens. Li quotes Nobel Laureate Michael Spence (as quoted in Kristof, 2011) on the shift from ‘one propertied man, one vote; to one man, one vote; to one person, one vote; trending to one dollar, one vote’. In the 1780s, Pennsylvania politician William Findlay articulated the central rationale for interest-group politics. This worked reasonably well in the eighteenth and nineteenth centuries in a world in which America was one power among many. When America holds a position as the world’s most influential economy, the triumph of special interests affect more than the greater society of the United States: they dominate the globe (Wood, 2003, pp.165–66; see also Cornell, 1999). Today, the once plausible democracy of Findlay’s special interests has given way to the paid-for politics of the new demagogues. One result is the struggle of western industrial democracies and the difficulty they have creating enough decent jobs to support all their citizens, themselves and their families with dignity. Since most design professions involve shaping goods and services within large industrial economies, this political-economic context is one key to the realities of design education today and in the future.
The profession for which we educate designers today takes place against a context with several dimensions. One of these is the context of the democratic industrial societies that gave birth to (and require) design services. At the same time, other models of industrial society are reshaping the world.
The clash between Chinese dissidents and the government at Tiananmen Square in 1989 rendered the conflict between the democracy of individual freedom and organized state economies visible (for example, see Thornton, 2000, pp.162–87). This conflict became visible again in the global financial crisis of the current decade. The radical power of financial interests to uproot businesses and destroy individual lives has grown in the wake of deregulation. In this era, legislators in the world’s greatest industrial economy redesigned the tax system to distribute wealth upward to the wealthiest one tenth of one percent of the population. In turn, increasing their wealth and their capacity as an interest group to reshape the economy increases the wealth of those who benefit from systemic change, despite the fact that the system as a whole grows poorer. On a global basis, an even smaller percentage of the world’s population shares the world’s wealth. One result has been to hollow out manufacturing and the productive capacity that once defined industrial democracy.
To continue reading this article purchase your copy of Design for Business volume 3 here
In a searing 2012 Guardian op-ed, Hannah Azieb Pool took Western fashion designers to task for their so-called African inspired clothing. “Dear Fashion”, she wrote “Africa is a continent, not a country. Can you imagine anyone describing a fashion trend as ‘European-inspired?’ Of course not. It’s meaningless.” Now, with Fashion Cities Africa, Pool aims to correct the misconceptions about African fashion scenes and capturing the depth and breadth of truly African fashion.
Tied to the Fashion Cities Africa exhibition at the Brighton Museum, the book gives much-needed attention to four key African fashion scenes: Nairobi, Lagos, Casablanca and Johannesburg – one from each region of the continent. Filled with interviews of leading African fashion designers, stylists and commentators, alongside hundreds of exclusive street-style images, Fashion Cities Africa is a landmark book that should be celebrated in fashion houses the world over.
For more information on the exhibition at the Brighton Museum please Click here
Further information on Fashion Cities Africa: www.intellectbooks.co.uk/books/view-Book,id=5183/
Ohio State University presents Journal of Short Film, Volume 36
From animation to live action, narrative to augmented-reality essay, The Journal of Short Film, Volume 36 brings together films produced in an array of styles and modes. In spite of their diversity, all of these films deal with the connections that, for better and for worse, define human beings’ experiences of the world: connections with other people, with nature, and with higher powers. The films are interested in visualizing how these formative connections emerge and how they break down. They explore the simultaneously creative and destructive aspects of relationships, at a time when our relationship with the screen – liberated from the theatre and the living room and appearing in our palms, cars, and glasses – seems increasingly primary. The Journal of Short Film is in partnership with Intellect's Short Film Studies, now entering its seventh volume.
To read more, click here.
This issue features:
- Bye-Bye Blackbird, Gaia Bonsignore (2013). A conversational but visually complex live-action short, Bye-Bye Blackbird transports the viewer from a bedroom, to a deserted country road, to the beach, and back. Repeatedly reframing reality as artifice, the film reflects on the power of travel, imagination, and storytelling. (15:30)
- Animation Hotline, Dustin Grella (2013). Animation Hotline is a series of animated micro-shorts based on anonymous messages left on the artist’s voicemail. Kinetic, chalkboard-style drawings illustrate and provide ironic counterpoint to the words of the eclectic speakers’ sometimes insightful, sometimes bizarre anecdotes. (5:24)
- Three-O-Seven, Spencer Howson and Cole Becker (2014). A detective investigating a puzzling murder quickly finds himself locked in a dangerous game with a smart, calculating killer. In its setting and visual style, Three-O-Seven situates itself squarely in the tradition of film noir, even as its frenetic handheld camerawork suggests the influence of more contemporary procedurals. (8:53)
- The Umbrella Factory, Nick and Lexie Trivundza (2013). Spare animations harkening back to the Victorian Era bring a narrator’s macabre tale to life in The Umbrella Factory. One rainy evening, a traveler knocks on the door of three brothers’ house, offering them a wish-granting talisman in exchange for room and board. The brothers attempt to exploit the talisman’s powers, failing to heed the old adage, Be careful what you wish for. (3:52)
- Jump, Franz Ross and Dara Eliacin (2014). Jump is a silent film with musical accompaniment, which relies on point-of-view editing and actor movement for its effects. In this tragicomic vignette, the paraphernalia of a playground frustrates and eventually enables two young children’s effort to play together. (2:19)
- Street Views, Annie Berman (2013). Set in New York City’s West Village, but “shot” almost entirely within Google’s Street View, this subtle essay film explores how virtual mapping alters our experience of space and identity. Street Views is a somnambulist tour, which defies natural laws of perspective, time, and continuity, allowing one to get lost without ever straying from the map. (8:10) www.annieberman.net, firstname.lastname@example.org
- Big Willow, Jared Katsiane (2013). Blurring the line between dramatic narrative and observational documentary, Willow offers an elliptical narrative about an aspiring artist facing the impending destruction of his favorite subject, “Big Willow.” Through the juxtaposition of the artist’s younger sister’s voiceover and often impressionistic images, the film makes the eponymous tree a potent symbol of hope and frustration. (10:29) www.jaredkatsiane.com
- Teddy, Margaret Orr (2014). In this animated short, a stuffed toy acts heroically to protect a sleeping child from the monster lurking under the bed. With its unusual blend of the cute and the violent, Teddy offers intriguing echoes of Edwin Porter’s groundbreaking novelty film, The “Teddy” Bears (Edison, 1907), which introduced the iconic toy to the American screen. (1:47)
- A Well-Proved Helpmate, Richard Bailey (2013). Speaking directly into the camera, folk preacher Pontain Mitchell attempts to explain his beliefs and ministerial practices. As decontextualized images punctuate his discourse, A Well-Proved Helpmate becomes a meditation on the limitations of linguistic sense and the evocative powers of the word. (14:35)
Drama Therapy Review: Call for Papers Special Issue (3.1): The Influence of Robert Landy on the Field of Drama Therapy. Submission deadline: August 1, 2016. Guest Co-Editor: Maria Hodermarska
For this special issue, we invite articles that examine and illustrate the influence of Dr. Robert Landy on the field of drama therapy. In particular, we encourage studies that draw upon his role theory and method.
Dr. Robert Landy is a Licensed Creative Arts Therapist (LCAT), a Registered Drama Therapist (RDT) and Board Certified Trainer (BCT). A pioneer in the profession of drama therapy, he founded the drama therapy program at New York University in 1984 and has lectured and trained professionals internationally. As a drama therapist, Landy has more than 35 years of clinical experience, having treated children and adults with a wide range of psychiatric, cognitive and adjustment challenges. He has worked in prisons, developing programs to treat mentally ill offenders, as well as the general population within New York State correctional facilities.
As a researcher and writer, Landy has published and produced numerous books, articles, films and plays in the fields of drama, drama therapy, educational theatre, musical theatre and related topics. He has been featured in the media in the educational CBS-TV series Drama in Education, the award-winning documentary film, Standing Tall, and his own production, Three Approaches to Drama Therapy. Persona and Performance was one of the first full-length books to articulate a theory and method of drama therapy, focusing on a postmodern understanding of self as made up of a variety of roles chosen and given that might also point towards an effective action-based method for greater wellbeing. His book The Couch and the Stage: Integrating Words and Action in Psychotherapy (2008) examined the relationship between psychotherapy and drama therapy, articulating a long history of action methods and embodiment being considered part of psychological healing. His book (with David Montgomery), Theatre for Change: Education, Social Action, Therapy (2012), examined the relationship between drama therapy and applied forms of theatre. Dr. Landy and his colleagues continue to innovate today with a groundbreaking series entitled “As Performance...” which, to date, has produced 22 original plays which illuminate the performative aspects of illness, recovery, identity and community.
General Issue 3.2. Submission deadline: February 1st, 2017.
Drama Therapy Review seeks articles that reflect the journal’s intention to document and disseminate research on the relationship between drama, theatre and wellness, and which promotes scholarship about drama therapy theory and practice. DTR profiles and critically reflects upon current and emerging practices involving the therapeutic uses of improvisation, playwriting, directing and performance in health, educational, community, organizational and theatre contexts. DTR welcomes contributions from a wide range of scholarly work including, but not limited to:
• Quantitative studies
• Qualitative analysis
• Practice and arts-based research
To submit work for consideration please download our submission guidelines or contact the editor, Nisha Sajnani: email@example.com.