Publication Fall 2013

Edited by Christine Davis and Scott MacKenzie
One of the greater ironies of human existence has been the persistent anticipation of its end. Prophecies and prognostications about the world’s demise are as easily at home in the pulpit of Hellfire as the projection booth of Hollywood. And whether as the result of rising waters, unstoppable pandemics, nuclear conflagration, machines on the rampage or the sun ceasing to shine, the idea of Doomsday – that revelatory moment of the end of the world – can be at once the fire of speculative lamentation and the spark of creativity. In this way, the Wunderkammen, with its princely mission of amassing, cataloguing and displaying and its legacy in the development of the museum, was fueled by a fear of oblivion. The exhibition turns on a simultaneous exercise in creativity and crisis to represent a vibrant and varied investigation of art and life under the veil of oblivion.
This issue of PUBLIC explores a shift from global consciousness (McLuhan) to planetary awareness (Serres) of a world of radical interdependencies, where ecology must win out over political economy, where a history of the earth must become a history of the world. What does it mean to say that the world is ending? How do we create and live a radical present tense on this planet? Can one transform the temporal concept of an end?
We are interested in all issues pertaining to critical reflections on contemporary discourses of end times. Potential topics include:
- The End of Ethnography
- The End of the Environment
- The End of Nations
- The End of Art
- The End of Religion
- The End of the American Empire
- The End in Science Fiction
- The End in Science
Proposal deadline (250 words; review begins immediately): January 4, 2013
Text and project deadline (3,000-5,000 words): Feb 15, 2013 Please send proposal, c.v. and bio to:
CHRISTINE DAVIS is an artist and founding editor of PUBLIC. Her work, through a cosmological impulse and experimental process, engages the historical relation between science, sentience and language. She has worked with morpho butterflies, genetic sequences, planetarium shows, feathers and iphones; employing slide dissolves, glass blowing, 35mm film, video and etched words onto contact lens using laser technology developed for Canadarm. Each technology is chosen specifically for its conceptual implications within the project. Amongst other venues she has exhibited at Frankfurter Kunstverein, The Power Plant, Musée d'Art Contemporain de Montréal, Kunsthalle Munich, Haus am Waldsee , Seoul Museum of Art, The New Museum, National Gallery of Canada, and Le Confort Moderne.
SCOTT MACKENZIE is an Adjunct Professor at Queen’s University and a co-investigator on the Visible City Project + Archive. He has published widely on experimental and documentary films, national cinemas, video and media art. He is co-editor of Cinema and Nation (Routledge, 2000), Purity and Provocation: Dogma '95 (BFI, 2003) and The Perils of Pedagogy: The Works of John Greyson (McGill-Queen’s, 2013), author of Screening Québec: Québécois Moving Images, National Identity and the Public Sphere (Manchester UP, 2004) and Guy Debord (French Filmmakers Series, Manchester UP, forthcoming). 
He is currently completing Film Manifestoes and Global Cinema Cultures, a critical anthology of over 150 film and moving image manifestoes from 1898 to the present, to be published in 2014.
PUBLIC is a beautiful peer-reviewed journal based in Toronto. Founded in 1988 by the Public Access Collective, it exists as an intellectual and creative forum that focuses on how theoretical and critical issues intersect with art and visual culture. Each issue's editors explore a contemporary theme by bringing together a unique assemblage of art projects with writing by scholars, curators, and artists. PUBLIC Journal is published in partnership with Intellect Ltd and is supported by the Canada Council for the Arts, the Ontario Arts Council and York University.
Aleksandra Kaminska
Managing Editor
PUBLIC Art Culture Ideas Toronto, Canada 
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