*DEADLINE EXTENDED* Apparition: the (im)materiality of modern surface (An interdisciplinary symposium
)

deadline for submissions: 
December 16, 2017
full name / name of organization: 
Design Cultures (De Montfort University) and Fashion Research Network
contact email: 

Friday 9 March 2018. Leicester Castle, De Montfort University, Leicester, U.K.

apparitiondcfrn.com

Keynote speaker: Professor Jussi Parikka (Winchester School of Art, University of Southampton)

Call for Papers

This one-day symposium examines the contemporary fascination with the surfaces, surveying the (im)material surface qualities of our everyday environment. It brings together scholars and practitioners from a range of disciplines—creative arts and design, architecture, performance, cultural studies, anthropology, sociology, history, literary studies and social studies of science and technology—to discuss the construction, dissolution and deconstruction of the surface.

 

Siegfried Kracauer wrote, in the 1920s when the Western world was captivated by technology and mechanised production, that urban mass culture was defined by surface affects and described the experience of modernity as being that of a surface condition.1 Modernity’s obsession with the surface was revealed most clearly in built, designed and manufactured everyday things. The ‘surface splendour’ filled picture palaces2; glass architecture alluded to utopian milieu that breeds revolutionary subjectivity3; Josephine Baker wore her naked skin like a shimmering sheath4; factory spaces full of gleaming machinery were worshipped like a temple; the sleek surface of Bakelite signalled a new era of consumer goods.

Today, almost 100 years on, in the midst of another technological revolution, the creative industries are again preoccupied with the surface and its dissolution, disintegration or efflorescence, accentuating the surface’s function of mediation or passage, rather than that of separation or boundary. The surface evaporates, percolates, become blurred or spectral in Diller and Scofidio’s Cloud Machine; Bill Morrison’s Decasia; Bart Hess’s Digital Artefact; Sruli Recht’s translucent leather collection Apparition. James Turrell’s light architecture is simultaneously material and immaterial, and the surface seems to disappear altogether with Surrey Nanosystems’ Vantablack.

If the everyday surface can be regarded as a site for the projection and display of psychical, cultural, social, and political values, what is the implication of the dissolving surface? How does the (im)materiality of surface affect our experience of the body, self and society today? What is our attitude towards these surface qualities? In what forms does surface materiality exist in the virtual age? What kind of moral, functional, aesthetic values does the surface conceal or reveal?

 

We welcome papers for 20-minute presentations on themes including but not limited to:

• Material, processual, affective and symbolic aspects of the surface;

• The conflation of diverse surfaces: the surface of the body, garment, product, furniture, interior wall, digital screen, painting, architectural façade;

• Immaterialisation, fragmentation, corrosion, decomposition, disintegration of surface;

• How contemporary art and design express the disruptive potential of surface;

• The ways in which surface conditions can influence surrounding space, going beyond physical structure;

• the (im)materiality of an artistic/technological medium and its potential to create a transgressive surface quality or atmosphere.

 

Submission Information:

 •  Please send an abstract (400 words max.) with a brief profile (150 words max.) to apparition9march2018@gmail.com with ‘Abstract submission: Apparition’ in the subject line, using the Submission Form (download HERE). The Call closes on 16 December 2017 (midnight GMT). DEADLINE EXTENDED

•  Language for the abstract submission and presentation is English.

•  Accepted contributors are invited to submit their full chap­ters of 6000–8000 words by 29 June 2018. The edited volume will be submitted for publication to a major academic publisher in September 2018.

 

Registration:

• Registration fee (Includes lunch, day and evening refreshment): standard: £15/ students: £10.

• Limited number of free places are reserved for DMU students.

• Information on registration and updates on the programme will be available from January.

 

Important dates:

16 December 2017

Deadline for Abstracts midnight GMT

5 January 2018

Notification of acceptance and invitation

12 January 2018

Confirmation of attendance received until midnight GMT

January 2018

Registration opens + Symposium programme published

6 March 2018

Registration closes

9 March 2018

Conference

29 June 2018

Full paper submission for publication

 

Inquiries: Dr Yeseung Lee (yeseung.lee@dmu.ac.uk)Dr Ellen Sampson (ellen.sampson@network.rca.ac.uk)

 

References:

1. Oppenheimer, Sarah (2014) ‘Interview: Giuliana Bruno by Sarah Oppenheimer’, Bomb Magazine, Available at:   http://bombmagazine.org/article/10056/giuliana-bruno, Accessed on: 23 December 2014.

2. Kracauer, Siegfried (1995) ‘Cult of Distraction: on Berlin’s picture palaces’, in Levin T. Y. (ed.) The Mass Ornament: Weimar Essays, London; Cambridge, MA: Harvard University Press, pp.323–328, first published in German in 1926.

3. Scheerbart, Paul (1972) ‘Glass Architecture’, in Sharp D. (ed.) Glass Architecture and Alpine Architecture, London: November Books, pp. 41–74; Benjamin, Walter (1999) 'Experience and Poverty', in Jennings, M.J., Eiland, H. and Smith, G. (eds.) Selected Writings: Vol 2, Part 2, 1931-1934, Cambridge, MA: Harvard University Press, pp. 731–736, first published in German in 1933.

4. Cheng, Anne Anlin (2011) Second Skin: Josephine Baker and the Modern Surface, New York: Oxford University Press.