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Call for papers: Studies in Comics conference 'Graphic Gothic'
 The Seventh International Conference of Graphic Novels and Comics present:

GRAPHIC GOTHIC
Manchester Metropolitan University, UK
w/c 11 July 2016
 
In association with Studies in Comics (Intellect Books), the Journal of Graphic Novels and Comics (Routledge), and the Gothic Studies Network.
 
Proposals (for 20 minute papers) on the relationship between comics and Gothic are now invited for our seventh annual conference, including but not limited to the following:
 
·    Gothic icons and archetypes in comics (vampires, zombies, witches, monsters, ghosts, and everything else!)
·    Gothic symbols and structures in comics (the crypt, the Other, etc.)
·    Psychoanalytic readings and themes of comics (the uncanny, the abject, fragmented identity, etc.)
·    Horror and violence
·    Censorship, sensation and outrage
·    Monstrosity and the grotesque
·    Caricature and subversion
·    The Grand Guignol, the theatrical and the Romantic
·    Absorption, inversion, subversion, authenticity
·    Classic gothic texts, adaptation and rewriting
·    Gothic and underground subcultures and music
 
Papers not related to any of the above themes will be considered for the third day of the conference. Selected conference papers will be published in one of the above journals, or an edited collection.
 

Please submit an abstract (300 words) and brief biography (100 words) to igncc16@gmail.com before 1 December 2015.  

Read more Posted by Jessica Pennock at 14:47 (0) comments
Interview with Francesca Zampollo, editor of International Journal of Food Design
Intellect is delighted to be adding International Journal of Food Design to our Visual Arts list for 2016. We caught up with editor Francesca Zampollo and asked her about Food Design and what motivated her to start the new journal. To find out more about the journal click here.
 
1.     What first attracted you to Food Design as an area of study?
 
This is a good story actually. I was in my second year BA in Industrial Design at Polytechnic of Turin. We were designing washing machines and blenders, and typical industrial stuff. Looking back I now see that I was going through my studies a bit numbed I think. I never complained, but I sure didn’t love it. I just didn’t know I didn’t love it. I found out soon enough, when one day I went to a workshop in between semesters; not knowing which one to choose of the different options I chose the one with the least boring title. That day a chef came in, a chef with his white chef shirt, and started talking about Food Design. He did not talk about cooking food, he talked about designing food. In that moment my life changed forever. That chef was Davide Scabin, chef and owner of the two Michelin star restaurant Combal Zero, in Rivoli, Italy. The time of washing machines was over, and the time of food started. From there, every project I did was related to food and eating, and I did my internship at Venchi, a chocolate factory in Cuneo, Italy, where I designed a chocolate snack called Unico, which is still produced today, 9 years later. From there I moved to London where I continued with my postgraduate studies of course on Food Design, and more in particular on food experiences considered from a design perspective. What captured me so much, that day at that workshop, what opened my eyes and made me fall in love with Food Design, is that fact that I started thinking about the possibility of designing with and for food. Food, a material of similar qualities to those I was more used to (like polymers, glass, etc.) but at the same time very different, and this is why: food disappears. Food doesn’t last. As a designer you think of making your mark in the world through the products you put in the world: a furniture designer might make a chair that lasts decades, and an architect might make buildings that last centuries. As a food designer you most likely will design products that last a few hours to a few weeks. And anyway, they are designed to be eaten and therefore disappear. This to me is the most exciting aspect of Food Design: we don’t really design products, we design memories. Only memories of the experience that or product creates can last forever.
 
2.     What drew you to the idea of editing an academic journal?
 
Simple: there wasn’t an academic journal on Food Design, but I started feeling the need for people to have a space where to publish their research with the possibility to call if Food Design. Food Design is a discipline that has always existed, as we have always been applying the Design process to food products and services. The term Food Design though, was probably used for the first time about 30 years ago. Awareness of this discipline has been growing since mainly amongst professionals. Research on Food Design has been slower to develop, but in the last 5 years we have seen a growing interest: undergraduate and postgraduate courses have started to emerge, and researchers have started to respond to various conference calls. The International Food Design Society has pioneered this area with the First International Symposium on Food Experience Design (London, 2010) the First International Conference on Designing Food and Designing for Food(London, 2012, www.fooddesign2012.com), and the Second International Conference on Food Design (New York, 2015, www.fooddesign2015.com). The conference in 2012 in particular was the first international research conference on Food Design, and the interest it generated was the proof that within the research community there was plenty of people wanting to contribute to this field. So the Journal was the obvious second step: creating a place for these researchers and practitioners to publish.
 
3.     What aspirations do you have for the journal?
 
The aspiration is for all research that connects food and Design to be collected into an international dedicated academic journal. It is my intention and primary goal to make this a respected journal, by building issues of high quality content. Authors should choose to publish with us not because this the only Food Design journal, but because this is a very good quality journal, which also happens to be the only one entirely dedicated to Food Design 
 
 
4.     Approaches to food and food consumption have changed dramatically in recent years; do you feel this has been reflected adequately in Food Design research?
 
I think we are getting there. Research on Food Design is research on food and eating related issues being addressed with a Design awareness, and research on Design that focuses on food and eating in particular. There is plenty of research being done on food and eating with particular interest in the changing aspects of consumptions, some of this embraces a Design perspective and can therefore be called as research on Food Design. The challenge within Food Design research is just to align or combine what is done on food, with Design, and what is done on Design, with food.
 
5.     Where do your personal research interests and background lie?
 
As I’ve mentioned above my background is Industrial Design, and with my Master and PhD I move towards less tangible aspects of Design, towards Design theory applied to Food Design. In particular I am investigating the possibility for a branch of Design Thinking I call Food Design Thinking: a branch of Design Thinking that is specific for food and eating related design process, where the design methods themselves are specifically designed to investigate or generate ideas related to food and eating. My design approach though is Design-Driven Innovation, which at its core asks designers to design for radical change in meaning. So the design methods for Food Design Thinking I have designed so fare all aim at helping designers to generate outcomes (food products, services or systems) that have the potentials to generate radical change in meanings. This triggered my interest in starting a research project that aims at understanding meaningful food: this project is called In Search of Meaningful Food, a collection of videos where people tell the story of their most meaningful food. Once I’ll be able to create a picture of what makes food meaningful, I’ll be able to design design methods that can better help achieving meaningful solutions.
 
6.     What new areas of Food Design do you hope the journal will explore in the future?
 

Since I am particularly interested in Design Theory, I’m really looking forward to more discussion on Food Design Theory, and from the submissions I have received so far I can see that there are other researchers out there with the same interests, and who are creating original contribution to knowledge on this with their research. I am also at the moment fascinated with the intersections between Food Design and Fashion Design and looking at gathering likeminded people to discuss such connections. I am also interested in starting a debate on the existence of a branch of Design History specific to food: Food Design History. Is there a scope for such sub-discipline? And finally, what I am really looking forward, is interdisciplinary research on food and eating topics, made accessible to the Design world: I’m looking forward to collaborations between food scientists and Designers, to propose not only very interesting findings on food perception or preference, for example, but also its application through Design. This is the perfect marriage between food and Design. 

Read more Posted by Jessica Pennock at 14:22 (0) comments