Digital Echoes Symposium 2018
Coventry University

Call for Proposals: Digital Echoes Symposium 2018
Reflections off the Future
Date: 23 April 2018

As an acoustic phenomenon, an echo is a reflection of sound off a surface. The time it takes to reach this surface and return is proportional to the distance between the sound source and the surface. Digital Echoes began in 2011 engaging with reflections off the surfaces of the past, in the form of artistic responses to two digital dance archives. For Digital Echoes 2018, we invite contributions that reflect off the surfaces of the future. As the question “Where are we now?” was the starting point for the Dance Fields symposium at Roehampton in April 2017, we propose for Digital Echoes 2018 to ask, “Where are we going?” Therefore, for Digital Echoes 2018 we ask you to let your imaginations run free, to dream up how this future echo might appear. We make this proposal in the wake of the publicity surrounding Yuval Noah Harari’s Homo Deus: A Brief History of Tomorrow (2015) and inspired by the concept of Future Studies, an interdisciplinary field not without its controversies (is it or is it not a field?). What interests us is the possibility of a certain rigor: the study and analysis of patterns of the past and present to explore “sustainable futures”.
In 2018, we are also going against the historical digital grain of the symposium (see Summary below), and encouraging contributions from a broader range of perspectives whether they consider themselves to be analogue, beyond- or Post-digital. It is up to you how far in the future you wish to travel, but just in case you get the impression this call is open for ‘anything’, we provide the following list of keywords: collective choreography, other bodies, touch and stillness, new materialism, immersive experience, what remains, inclusivity, forgetting, dance in museums, annotation practice, dance valuation, rethinking archives, trauma and the somatic, screen bodies, collecting societies, ownership and intangible Heritage. Presenters should aim to integrate concepts based on one or more of these keywords into their proposals.



For the first Digital Echoes 2011 two artists, Oliver Scott and Efrosini Protopapa, were invited to use the digital dance archives (see Footnote 1) as a source for an artistic response. In 2012, Digital Echoes again took the digital dance archive as a key point of departure and connections were made between the archive and other digital cultural resources, and in 2014 the discussions turned to a wider consideration of the implications of digitization on openness and new models of access. In 2015, the symposium featured discussions and debate inspired by two large-scale European projects exploring how digital environments impact cultural heritage. The 2016 symposium called for a critical review of the impact of participation, “one of the most prominent legacies of the digital,” on how we imagine our future. In 2017, Digital Echoes took “dance digitization” as an opportunity to ask fundamental questions about dance “as we know it” in the time of networked computational media.



Paper presentations are limited to 20 minutes. Proposals for roundtables, demonstrations and other non-standard presentations will be dealt with on a case-by-case basis.

In your proposal please include the following:

Names of presenters and organisational/institutional affiliation(s)

Technical, space and duration requirements

Biography (max 100 words)

Title and type of submission (panel, poster, performance, etc.)

500 word abstract/description Bibliography (optional)

The deadline for submission of proposals is January 25th, 2018

Proposals should be emailed to

Registration for the event will cost £10/£20/£30 (internal/unwaged or student/standard) Organising committee: Prof. Scott deLahunta, Dr. Hetty Blades, Dr. Simon Ellis, Rosa Cisneros and Lily Hayward-Smith.

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Virtual Creativity 7.2 – special issue

Intellect is delighted to announce that the new issue of Virtual Creativity is now available.

This special issue of VCR gathers articles, art projects and visual essays, presented at ISEA2017 held in Manizales, Columbia, between 11 and 18 June 2017.

Articles within this issue include (partial list):

On space curves as a substrate for audio-visual composition

Authors: Lance Putnam

Page Start: 93

Technology has long provided artists with new tools and materials to inform or drive the concept, production and/or communication of their artworks. With the advent of computers, artists have an unprecedented degree of access to a vast realm of mathematical structures to use towards the production of artefacts. Harmonic space curves are a basic, yet rich virtual material for construction of audio-visual works that are noteworthy for their persistence across a diverse range of technologies. This is evidenced by a brief foray into mechanical, electronic and digital systems that produce space curves and the author’s own successes in utilizing space curves as a substrate for audio-visual synthesis and composition.

Avatar life-review: Virtual bodies in a dramatic paradox

Authors: Semi Ryu

Page Start: 121

This article will examine ongoing avatar life-review projects, in the light of drama therapy concepts and methods, exploring a hybrid model of avatar/drama therapy in a virtually mediated environment. The avatar life-review platform will incorporate techniques/methods of drama therapy and psychodrama such as role playing, role-reversal, doubling and mirroring as a hybrid therapeutic model between VR and theatre. It will address multiple states of self in dramatic paradox, especially for people with traumatic memories, disabilities, memory loss or mental health complications.

White Cart Loom

Authors: Vicky Isley and Paul Smith

Page Start: 147

British artists Vicky Isley and Paul Smith (collectively known as boredomresearch) were commissioned in 2016 by the University of the West of Scotland (UWS) to produce a new digital artwork with the aim of supporting Paisley’s bid to be City of Culture 2021. The commission was co-funded by UWS and Renfrewshire Council, Scotland. The resulting artwork titled White Cart Loom weaves a narrative combining Paisley’s rich industrial past with current scientific and ecological work, fighting to save a rare organism from extinction.

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International Journal of Islamic Architecture 7.1 is out now!

Intellect is delighted to announce that the new issue of the International Journal of Islamic Architecture is now available.

Articles within this issue include (partial list):


Reordering nature: Power politics in the Mughal shikargah

Authors: Shaha Parpia

Page Start: 39


The Mughal shikargah (hunting ground) defies conventional spatial and functional definitions. Although fragmentary, references to the imperial shikargah in Indo- Mughal literature, memoirs, biographies, gazetteers, and documents suggest that the typology of the shikargah cannot be reduced simply to one form of natural terrain; nor was hunting game its sole purpose. The shikargah was conceptualized to accommodate multifarious functions. Whether areas of wilderness or dedicated preserves, the spaces used for hunting were transformed into public arenas in which the emperors could enact the hunt. In addition, other alterations to the natural environment enabled the occurrence of courtly activities. As the stage for imperial ceremonials and for the meting out of justice, or as sites of encampment and halting during royal inspection tours, the shikargah was inextricably linked to the administration and bureaucracy of the Mughal Empire. The hunt was also a pretext to mobilize armies for reconnaissance and intimidation of restive provinces, during which the shikargah became a venue for military training and armed intervention. Using the framework of the hunt to interpret natural landscapes, this article aims to examine the physical and political processes of modification underlying the Mughal shikargah, those that carried with them semiotics of political power and control.

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CFP for DRTP 3.2


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Special issue: Book 2.0 7.2 out now!

Intellect is delighted to announce that the new issue of Book 2.0  is now available.


For more information about this issue please click here.


This special edition of Book 2.0 is for Jack Zipe’s 80th birthday. Jack is series editor for the Princeton University Press series: Oddly Modern Fairy Tales. The selection of essays, stories and poems within BTWO 7.2 represent a tiny fraction of the many colleagues and friends who have benefitted from Jack’s generous support and advice throughout his long career as a teacher, storyteller and academic.

Content within this issue includes (partial list):


To Jack Zipes

Authors: Philip Pullman

Page State: 123–125


Utopia as method in children’s literature research

Authors: Justyna Deszcz-Tryhubczak

Page Start: 137–144

Luzel’s ghosts: The unfinished business of translating folk tales for performance

Authors: Michael Wilson

Page Start: 159–168


The days of the wolf trial

Authors: Hamish Fyfe

Page Start: 209–213

Autumn Princess

Authors: Sara Maitland

Page Start: 215–219


Josephine Birch and John Williams

Page Start: 221–227

Oliver St Clair Terry and Holly Akrill

Page Start: 237–243


Song of the Fens

Authors: Mick Gowar

Page Start: 229–231

The Magician Claimants: Seahenge 1998

Authors: Kevin Crossley-Holland

Page Start: 233–235

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Philosophy of Photography: The Warburg Haus: Apparatus, Inscription, Data, Speculation, (special double issue), Volume 8. 1&2, 2017.

Guest editors: Mick Finch and Martin Westwood

This special issue of Philosophy of Photography contains 15 articles relating the work and the heritage of Aby Warburg and, in particular, the apparatus of his library to the present. The articles collected here were first delivered to an international colloquium held on 29-30 June 2016 at the Kulturwissenschaftliche Bibliothek Warburg in Hamburg. The aim of this event was to reconsider Warburg’s celebrated institution as a form of machinery that not only orchestrated his research practice but that also promises to inform our understanding of the digital, of images in general and their modes of temporal inscription.

Articles within this issue include: ‘Hades as an accumulation of tertiary retentions, by Bernard Stiegler, ‘‘The technical apparatus of the Warburg Haus: Possible returns from oblivion’ by Mark Finch and ‘‘Anna Piaggi, Aby Warburg and the Judgement of Paris, 2011’, by Judith Clark.,id=3375/

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Interview with Camilla Reestorff author of Culture War

We asked Camilla a few questions about her recently published book Culture War: Affective Politics, Tepid Nationalism and Art Activism

Could you describe this book in a few words?

a. This book concerns art activists and politicians’ use of affective cultural politics in their negotiation of the national symbolic in the Danish culture war.

2. Were there any challenges you face whilst writing this title?

a. The difficulty of writing on culture wars is that the topic develops rapidly. Immigration policies are, for instance, strengthened and the emphasis on national identity and borders is amplified – not only in Denmark, but also in other European countries, the US and Australia. Due to the rapid development the challenge is to keep up with the continuous changes in the culture wars.

b. Another difficulty of writing on culture wars is that they are not limited to the traditional institutional political system. This is a challenge because it requires an understanding not only of the different kinds of participants that make up culture wars, but also their mediatized practices. This is also a challenge because it requires a transdisciplinary approach.

c. After I submitted the book the so-called “refugee crisis” caused by the humanitarian catastrophe in Syria resulted in further restrictions in the Danish immigration policies and in a border control that challenged the Schengen Agreement. I felt that it was necessary to reflect this development in the book and luckily Intellect agreed and allowed me to add an extra chapter. This made it possible to investigate how both tepid nationalism and art activism influence the ways in which the refugee crisis is articulated on social media.

3. How did you first become interested in culture war and art activism?

a. My interest in culture war and art activism began quite early. When I was a student in primary school the teachers were always accused of left-wing indoctrination. Furthermore, my father was born in Germany and I was therefore often called ‘sausage-German’. This meant that I had an awareness of the ongoing struggle to define the national symbolic – for instance in terms of identity and curriculum.

Later, around the turn of the century, the Prime Minster launched his culture war against what he called “left-wing arbiters of taste” and the “Culture canon” was made to signify Danish culture and identity. Several of the artists on the culture canon protested. I was intrigued by the clashed between artists and politicians and began to study what happens when politicians use art and culture and how artists and art activist resists and protests certain national frameworks.

4. What did you enjoy most when writing this book?

a. Sometimes the study of politics and affect, especially on social media, can be exhausting because it often contains intense outburst of anger – especially when the topic is culture wars and issues of national identity and immigration. Nevertheless it is academically rewarding to find the logics that motivate political participation and affective intensifications. Furthermore, by writing this book I became aware of the multiple interpretations of the national symbolic and of the many different participants, including art activists, who in various ways engage in politics. Finally, at the end of the writing process, I was truly happy that many art activist agreed to represented in the books’ intermezzos and contribute to the book’s visual representation of art activism in the culture war.

5. How do you think this subject / research area will develop over the coming years?

a. The development of national and international politics will only contribute to intensify culture wars in Denmark and internationally. There is an increasing tendency, not only in Denmark, to understand citizenship, national identity and culture as tied to the non-immigrant population – a notion that is conflictual a world characterized by global connectivity. This will also lead to an increase in art activism that opposes specific policies and attempt to visualize and affectively intensify relations and communities that are not tied to the nation state.

b. The development of the subject area will most likely lead to an increase in research that studies new types of nationalism and the kind of affective cultural politics that this book has outlined. It is necessary to continue researching the importance of affective cultural politics in a political climate increasingly characterized by communication that concerns facts less than affects. Likewise research will have to come to terms with the multiple way in which art activism navigate counteract and utilize affective cultural politics.

For more information and to order Culture War please visit the book's page.


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CFP for the Journal of Science & Popular Culture 1.2 closing soon!

Submission deadline: 20th December 2017

The integral place of science in global society as well as the proliferation of science and technology on television, in films, and across the internet, makes it more important than ever to examine the dynamic and complex connections between popular culture and science. The Journal of Science and Popular Culture - a new, peer-reviewed publication - aims to create a unique forum in which to analyse, chronicle, and interpret the interrelationship of science and society. The first issue is available for free download and the second issue will be published early 2018.

Full articles of 6-8,000 words, shorter proposals and inquiries can be sent to Steven Gil:

More info on CFP and how to submit:,id=250/view,page=2/

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Livestreaming the launch of Plays in Time at the Martin E. Segal Theatre Center in New York
Monday 11 December 2017

The Martin E. Segal Theatre Center presents the launch of Karen Malpede's new book, Plays in Timelivestreaming on the global, commons-based peer-produced HowlRound TV network at on Monday 11 December 2017 at 4:30 p.m. EST (New York) / 3:30 p.m. CST (Chicago) / 1:30 p.m. PST (San Francisco).

Join us to celebrate the launch of Karen Malpede’s new book, Plays in Time, honoring twenty-two years of Theater Three Collaborative.

The afternoon will feature the premiere public reading of Malpede’s new play, Other than We–a futuristic Climate-Fiction tragi-comedy for the Anthropocene age.

The evening will present excerpted readings from the anthology Plays in Time published by Intellect, 2017. Readings will include The Beekeeper’s Daughter, Prophecy, Another Life, and Extreme Whether by Theater Three Collaborative actors and contributors to the book: Kathleen Chalfant, Christen Clifford, Najla Said, and George Bartenieff.

Followed by a discussion about Theater Three Collaborative’s antiwar and ecojustice plays in the US and Europe with artists and scholars represented in the book. Panelists include theatre professors Marvin Carlson and Cindy Rosenthal, actor Kathleen Chalfant, and the theater’s founders–George Bartenieff, and Karen Malpede, moderated by Frank Hentschker. There will be live music by Arthur Rosen.

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Call for Papers! International Colloquium Philosophies of Communication: East and West
Date: 2 and 3 February 2018 Venue: School of English, The University of Hong Kong

For this international colloquium we welcome papers that explore aspects of language philosophy with a focus on the relation between Eastern and Western paradigms. Contributions can be historical, philosophical, literary, linguistic, or related to media/communication, but all in one way or another connected to the question if and how the intercultural perspective can be useful or informative for the study of language and communication in the broad sense. We plan to publish a number of papers presented at the colloquium in a 2018 special issue of the European Journal for the Philosophy of Communication (Intellect, Editor:Johan Siebers).

We invite you to submit your abstract (ca. 300 words) by the deadline of 15 December 2017.
Please send it to and

Adrian Pablé (University of Hong Kong)
Johan Siebers (Middlesex University)

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