Co-Editors: Steven Gil and Bill Lott
Proposal Abstract due 30 November 2014
Full Articles due 31 March 2015
Contributions are now invited for a special issue of the Journal of Popular Television which seeks to analyse the presence, representation, and role of science in television.
As science has become more and more integrated into mainstream society, increasingly varied and sometimes sophisticated representations of science have taken centre stage in popular culture. Science content, both factual and fictional, manifests today in many forms of entertainment and infotainment. Much of this content is produced for, disseminated through, and consumed as popular television.
Recent years have seen an expansion in scientifically themed and related programs. Cosmos: A Space Time Odyssey (2014), a revival of Carl Sagan’s Cosmos: A Personal Voyage (1980), illustrates the sometimes high-profile nature of science on television. Hosted by Neil deGrasse Tyson and produced by Seth MacFarlane, it includes segments on the history of science alongside up-to-date information, and slick special effects that make full use of televisual capabilities for inventive and engaging storytelling. Similarly, Through the Wormhole (2010-ongoing) merges both scientific and popular concerns into an informing and engaging series narrated by celebrity host, Morgan Freeman. It is not only straightforwardly science oriented documentaries that are noteworthy here but also series such as the long-running Mythbusters (2003-ongoing) which explicitly utilises science as an approach to systematic and reliable problem solving. Little academic attention has been given to either Mythbusters or the many shows built on the same model despite its rise to mass popularity.
Beyond factual and educational programmes, science is also present in television fiction. One recently successful and noteworthy series in this regard is The Big Bang Theory (2007-ongoing) which sought to include a high level of real science content, and is marketed on an image of being scientifically literate and accurate. Additionally, the CSI franchise and other crime series, as well as some medical dramas, often centralise the role of scientific expertise and investigation. Science fiction television also has a long and complex relationship with science. Within the Star Trek franchise, Doctor Who (1963-89), The X-Files (1993-2002), and Battlestar Galactica (2004-09) among others, science and scientist characters are highly prominent. Although there has been an increase in academic attention towards science fiction television, little of that literature focuses on the role of science.
This growth of science content on television has opened a large space in the academic landscape for new and original analyses. The increased complexity, diversity, and salience of science in popular television signals the pressing need for critical engagement with the subject.
Articles can examine any part of the theme, including (but not limited to):
- Representations of science and scientists on television (whether fictional, dramatized, or real)
- Use of scientific knowledge and practices in television series and documentaries
- Documentaries about science
- The cultural influence of science as shown through television
- The influence of popular television on science and scientists
- Scientists as television celebrities
- What television as a medium enables and restricts with regards to the presentation of science
- Television and popular science
- Science communication and education through television, or the use of televisual materials in communicating and teaching science
- How/where scientific debates are shown on and contributed to by televisionScience on non-Western television
- Science and scientists in science fiction television
- Scientific accuracy and method as part of the marketing of shows such as The Big Bang Theory, and Mythbusters
- Food science in television cooking shows
Send a titled abstract of 300-500 words and a short CV by 30 November 2014 to: firstname.lastname@example.org
Accepted articles must be 6,000-8,000 words inclusive of all notes etc. and conform to Intellect style guidelines.
Intellect and The Cuban, Bristol are delighted to invite you to the launch of Havana Street Style.
Thursday, 11th September 7pm-10pm
The Cuban, Unit 2, Building 11, Harbourside, Bristol, BS1 5SZ
Havana Street Style is the first book that explores the relationship between culture, city and street fashion in Cuba's vibrant capital. The book documents a unique street style that few in the rest of the world have yet experienced and is a visual celebration of an emerging fashion capital in the throes of profound economic and cultural changes.
Join the book's editor Gabriel Solomons and photographer Martin Tompkins at The Cuban, on 11th September from 7-10pm for Cuban food, live music, and a chance to pick up a copy of the book at a special discounted launch price.
RSVP to email@example.com by Sept 1st.
Launch events in New York and September
The authors of forthcoming Intellect title Some Wear Leather, Some Wear Lace: A Worldwide Compendium of Postpunk and Goth have organised two very cool launches in two very unique cities, Berlin and New York.
The attractive coffee table book is chock-full of original photos from the postpunk and goth era. This is a book about the music, the individual, and the creativity of a worldwide community and this will be reflected in the two event which have been orgnised to celebrate its release.
The first event is a panel on Saturday 6th September at Rough Trade in New York. For more information visit their website here.
The event in Berlin is on 19th September and will include DJs and live bands, as well as copies of the book for sale. For more information visit their Facebook page.
Terrific photographs, a wide range of interviews, and an international perspective on the goth phenomenon make this an original contribution to the field of subcultural studies – Valerie Steele, author of Gothic: Dark Glamour
Wednesday 20th August, 3-5pm
Presented by BBC ARTS and LUX SCOTLAND
Viewing Theatre, BBC Scotland
40 Pacific Quay, Glasgow, G51 1DA
In recent years, the TV studio has figured prominently in contemporary art, whether used as a shooting location, repurposed as an exhibition space or restaged within the gallery, in works by Gerard Byrne, Celine Condorelli, Michelle Deignan and Olivia Plender, among others. Maeve Connolly’s talk examines why and how the meaning of the TV studio has changed since the 1970s, addressing its initial importance as a space of imagined experimentation, in the work of artists such as Peter Donebauer, John Hoppy Hopkins, Otto Piene, Aldo Tambellini and Stan VanDerBeek, and also exploring its future as a potential context and setting for collaboration.
Click here for booking information.
The Only Way Home Is Through the Show
The Live Art Development Agency, who co-publishes the Intellect Live series, has started a Kickstarter in support of their forthcoming book, The Only Way Home is Through the Show: The Performance Work of Lois Weaver.
Lois Weaver is one of the most important feminist and lesbian performance makers of the 20th and 21st centuries. This major publication is the first ever book about her work and her life.
LADA is inviting contributions to the making of this book, to help them produce the best possible record of Lois’s life and work, featuring as many wonderful and often previously unpublished photographs they can.
The book will be published in September 2015 as part of the series Intellect Live, co-produced by the Live Art Development Agency (LADA) and Intellect.
This crowdfunding campaign offers you the opportunity to support this book project – and to receive credit for doing so, plus perks. The funds will be used to enhance the book visually, allowing LADA and Intellect to include many more photographs, to achieve the quality of production that Lois’s life and works deserve, and to create a beautiful object for her fans and admirers to cherish. Co-publishers Intellect and LADA are financially supporting the book, but your contribution will help us produce an even better book, with higher production values and more images than would otherwise be possible.
To learn more about the book and find out how you can help to make the book the best it possibly can be click here.
July 30th - August 3rd 2014
Performing Ethos: ‘Performing Ecos’
Journal of Dance and Somatic Practices Issue 8.1, Embodiment, Interactivity and Digital Performance (published March, 2016)
Edited by Tamara Ashley with Rachel Cherry and Luke Pell
Deadline for Proposals: 1st December 2014
Deadline for Full Papers: 30th March 2015
Proposal Submissions: Please include title, abstract/description of contribution (250-500 words), keywords and bibliography. In another document, please include author’s name and affiliation, biography (200 words), postal and email address. Please submit in Word format.
The special issue on Embodiment, Interactivity and Digital Performance explores questions, dialogues and themes emerging from the 2014 dancedigital Festival. Becoming more pervasive and diverse, digital dance practices propose new understandings of embodiment in which the practitioner negotiates a complex configuration of individual biological, experiential, social and technological data. What might be somatic experiences of these flows of information and energy that occur between and through the biological, experiential, social and the technological? Additionally, digital dance practices can encourage a mobility of collaborations across the disciplines that bring together the expertise, vision and innovation of artists, technologists, scientists and users in the creation of new art works.
We invite scholarly and artistic contributions to an exciting issue that will explore these discourses of embodiment, somatic experiences and the feeling of what happens in movement practices in a wide range of digital and interactive performance contexts.
Contributions might address the following questions and sub-themes of investigation:
Embodying Interactive Systems: Interactive stages create design systems that choreograph bodies, light and sound. How do these configure the embodied experiences of the dancer and the choices of the choreographer? What ways of knowing emerge from performance thinking and technological thinking?
Augmented reality and embodying public space: Sensory technologies have the potential to re-organise and re-invent our experiences of the public space. The city can be re-configured as a play space of multiple reactive surfaces, textures and sounds that transform experiences of mobility and ambulation in time, space and body.
Audience Experiences of Embodiment: Interactive designs have the potential to engage audiences in new ways, sometimes incidentally, sometimes by invitation and sometimes by intervention. How do performance makers understand the role of the audience?
Changing Mobilities: How are new movement spaces of access and participation opened by the harnessing of digital technologies? How does the social create access to movement and participation in digital practices? What modes of embodiment are articulated in digital performance and how do they change perceptions of mobility?
Digital Futures: How will future generations create and participate in artwork? What will be the interests of future artists? What skills and training might prepare the next generation of digital dance artists?
Collaboration and Community Building: What is the nature of collaboration in digital performance and in the design and implementation of interactive performance systems? How do performance systems, scores and codes facilitate communication and what are the qualities of communities of practice? What are relationships between performance making and community building? How do artists and audiences navigate biological, experiential, social and technological information in performance contexts? How do contemporary performance practices address issues of collaboration, ownership, data, privacy and sharing?
Archiving and Access: How do digital archives affect audience experiences of dance? How are embodied knowledges communicated and transformed in the digital archiving process? How might the artist offer an accessible live archive of practice? What creative strategies can be used to facilitate meaningful audience engagements with archives and online performances?
Essays should be 4000-6000 words.
Shorter artistic reflections, conversations, poetry and provocations will also be considered.
Visual essays are encouraged.
Contributors need to work within the existing Journal template in terms of design and lay-out (see free issue http://www.ingentaconnect.com/content/intellect/jdsp/2009/00000001/00000001 ). More playful contributions are welcomed, particularly those that include images, but if a contributor has a particular idea in mind that might deviate from the template they must contact Emma Meehan first to discuss the possibilities and prior to submitting a contribution that is necessarily dependent on a lay-out that deviates from the template.
Artist’s pages: Please submit a pdf with how you wish the article to appear in print, along with text (Word) and any images (tiff/jpeg/pdf, 300dpi) attached separately in the same email.
All proposals, submissions and general enquiries should be sent direct to:
Emma Meehan firstname.lastname@example.org
Issue-related enquiries should be directed to the issue editor: