CFP” “Towards Ecocultural Ethics: Recent Trends and Future Directions”
09 – 11 October 2014, Goa, India
Complete Call for Papers:
http://www.bits-goa.ac.in/EcocultralEthics/index.html
Every culture has its implications on land and the way land is being used in various ways. In fact, cultural appropriation is done through modifications and manipulations of land and environment. In that sense, culture and cultural studies are closely related to ecology (interrelationships) and ecological studies but seen as different disciplines. But the term “ecoculture†brings these two disciplines in a single platform. Ecocultural studies has become a rumble in many western and eastern Universities and other research institutions as an academic discipline and a sought after research area. The area that is intrinsically interdisciplinary / transdisciplinary is slowly and steadily developing into many disciplines in Indian academia as well.
The present conference strives to build a platform to initiate an ecocultural dialogue between theorists and practitioners belonging to various disciplines. It is here that ethics becomes a relevant and vital point of focus. As the methodologies of the fused disciplines are diverse, the perspectives on ethics can also be seen from various dimensions. The principal issue is how values about nature could be best described. Such a query may open up questions like: Does nature have any direct influence on humans? Does it have any moral influence on humans? Should one be apprehensive / inapprehensive about nature? How do we expand the existing ethical framework to encompass the interaction between human and non-human entities?
The following pointers could draw an outline of the ecocultural and ethical perspectives. Some of problems that you could discuss in your paper are: ethical issues in the fusion of disciplines, how scientific can the humanities be, how biocentric can science be, objects and subjects used in the study, the contexts of the subjects and objects in focus, the relationships between subjects and objects, socio-cultural-political and economic aspects of the subjects/objects, transparency and responsibility, science and technology for all life forms, science and technology for even non-living entities, secularity of research, a just methodology to analyse crisis, realism and relativism, animal rights, domestication of animals, vegetarianism and meatarianism, and analysing food and population explosion.
Though these pointers are cursory they could have implications in all disciplines. Moreover, the cultural implications of these pointers cannot be undermined because, if done so, an ethical study becomes partial and shallow outside a cultural context / cultural studies.
The conference will be a pioneering one in the area of ecocultural ethics in India. The conference will prepare the field for this discourse in all disciplines which will be a collective and collaborative effort. This discourse will encourage researchers and scholars to work in this upcoming and most relevant area and would help them launch courses and programmes. Apart from initiating such new ecocultural insights in Indian Academia, it will also promote healthy academic interactions between theorists and practitioners from the disciplines of sciences and social sciences.
Subthemes:
- Indian Philosophy and Ecoethics
- Society, Culture and Ecoethics
- Deep Ecology and Ethics
- Gender, Ecology and Ethics
- Climate Change and Ethics
- Ecological Justice and Ethics
- Ecology, Religions and Ethics
- Ecospirituality and Ethics
- Ecoethnicity and Ethics
- Ecoindigeneity and Ethics
- Econativism and Ethics
- Geography and Ethics
- Political Ecology and Ethics
- Business, Environment and Ethics
- Ecocriticism / Ecoliterature and Ethics
- Ecocinema / Ecoart and Ethics
- Zoocriticism / Geocriticism / Bioregionalism and Ethics
- tiNai criticism and Ethics
Abstracts not exceeding 300 words should be copied to the filled in registration form (only on M.S. word document) and emailed to ecoethicsconference@gmail.com  before 15 May 2014 for acceptance. The contributors will be informed of the acceptance of the abstract by 15 June 2014. Full papers, not exceeding twelve pages and typed in single space in A4 following MLA style sheet, should be submitted by 31 August 2014. Kindly note that a maximum of 100 papers will be selected for presentation. In case of papers written by more than one author, only the presenter (who is one of the authors) of the paper will be entitled to receive the certificate. Selected papers will be published in the form of a book, preferably with an International publisher.
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Call for Papers: http://litsciarts.org/slsa14/call-for-papers/
FLUID
28th Annual Conference for the
Society for Literature, Science, and the Arts
October 9-12, 2014
Dallas, Texas
The concept of fluid in the arts, sciences, and humanities evokes multiple, overlapping definitions that work across and around the edges of disciplinary boundaries. Fluid can describe the property of flow, particles that move freely among themselves and that form and deform under pressure. It can refer to liquids both bodily and cultural, for example, blood and capital. It evokes anything that is not solid, fixed, or stable.
For this year’s conference, we encourage presentations, papers, and artworks that explore fluid as a word, idea, and process applied to borderlands, canvases (and other media in other art forms), philosophical indeterminacies, or dynamic systems, to offer a few suggestions. This is a deliberately expansive topic intended to appeal to a broad range of work in fields, including
- bioarts
- critical media theory
- bioethics
- medical humanities
- new frontiers in digital media
- animal studies
- liminal studies
- environmentalism and ecological studies
- science and critical race studies
- the history and philosophy of science
- gender and/in science studies
- rhetoric
This list is suggestive, not exhaustive. Other topics falling within the boundaries of SLSA work will also be welcome.
Abstracts of 150-250 words are due by April 30. Panel proposals must include full contact information for all panelists.
For its twenty-second issue, InVisible Culture: An Electronic Journal for Visual Culture invites scholarly articles and creative works that address the multiple meanings of opacity.
In the spring of 2013, former US intelligence contractor Edward Snowden began releasing documents pertaining to the wide-ranging data collection methods of the National Security Agency. Alternately hailed as hero and traitor, Snowden’s actions have fueled intense public debate regarding issues of privacy and transparency. For Issue 22, we would like contributors to consider the tension between transparency and opacity and reflect on the cultural and political contexts that gave rise to their connotations of openness and secrecy. What does it mean to claim either as a right? The late writer, poet, and critic Édouard Glissant (1928-2011) developed a model of opacity as a means of creating ethical relationships, writing in Poetics of Relation, “Transparency no longer seems like the bottom of the mirror in which Western humanity reflected the world in its own image. There is opacity now at the bottom of the mirror, a whole alluvium deposited by populations.†How could opacity be used as a tool of resistance? What stakes are involved in the revelation or obscuring of artworks’ racial, cultural, or gendered origins? How might we imagine opacity to be useful or limiting to the work of visual culture?
We also seek to address optical properties of opacity more broadly as a conceptual tool for approaching medium specificity, innovations in color theory, and other subjects. Does our understanding of opacity shift in regard to digital technologies as it may between cultural spheres and political territories? How might visual culture be invested in the theoretical and physical properties of opacity and transparency?
We welcome papers and artworks that further the various understandings of opacity. Possible topics of exploration include, but are not limited to:
- Aesthetic and political dimensions of transparency and opacity
- Identity politics, “the right to opacityâ€
- Privacy and visibility, surveillance
- The “transparent society†and digital panopticism
- Scientific and medical visualization, the body, big data
- Opacity of architectural traditions
- Liminal spaces, borders, zones of conflict
- Transparency and globalization, geopolitics
- Emerging, established, and decaying democracies
- Politics of clothing, fabric, screens, interstitial space and material
- Camera obscura/lucida, properties
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of darkness and light, color, pigmentation
- Transparency and opacity in the plastic arts (painting, film, sculpture)
- Penetration and resistance
Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to ivc[dot]rochester[at]gmail[dot]com by May 1, 2014. Inquiries should be sent to the same address.
Creative/Artistic Works
In addition to written materials, InVisible Culture is accepting work in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. For questions or more details concerning acceptable formats, go to http://ivc.lib.rochester.edu/contribute or contact ivc[dot]rochester[at]gmail[dot]com.
Reviews
InVisible Culture is also currently seeking submissions for book, exhibition, and film reviews (600-1,000 words). To submit a review proposal, go to http://ivc.lib.rochester.edu/contribute or contact ivc[dot]rochester[at]gmail[dot]com.
Blog
The journal also invites submissions to its blog feature, which will accommodate more immediate responses to the topic of the current issue. For further details, please contact us at ivc[dot]rochester[at]gmail[dot]com with the subject heading “blog submission.â€
* InVisible Culture: An Electronic Journal for Visual Culture (IVC) is a student run interdisciplinary journal published online twice a year in an open access format. Through peer reviewed articles, creative works, and reviews of books, films, and exhibitions, our issues explore changing themes in visual culture. Fostering a global and current dialog across fields, IVC investigates the power and limits of vision.
Green Documentary: Environmental Documentary Film in the 21st Century, a fantastic looking new book by Helen Hughes, will be published in June by Intellect. Hughes is a senior lecturer in film studies at the University of Surrey.
Here’s a peak at the book’s description:
“During the first decade of the twenty- first century, a stunning array of documentary films focusing on environ- mental issues, representing the world on the brink of ecological catastrophe, has been met with critical and popular acclaim. This cohesive and accessible volume is the first book-length study of environmental documentary filmmaking, offering a coherent analysis of controversial and high-profile documentary films such as Gasland, An Inconvenient Truth, Manufactured Landscapes, and The Cove. With analysis that includes the wider context of environmental documentary filmmaking, such as Modern Life and Sleep Furiously, about local rural communities in Britain and Europe, Green Documentary also contributes to the ongoing debate on representing the crisis.”
Sponsored Panels
On March 10, Democrats in the US Senate held an all-night session on the issue of global climate change. Media coverage was sparse at best. The primary take away seems to be a series of jokes on late night television, a back and forth between Sarah Palin and Democrats using Dr. Seuss rhymes to reach voters, and a general lack of enthusiasm. I’m teaching an upper-division class this term on Ecocinema at the University of Oregon and most of my students had no idea that the Senate was even holding the session. A tweet by someone named Ryan Piper that was included on an Independent Journal Review list of “11 of the Best Tweet About the Democrats Climate Change Slumber Party” summed up the feelings of many people around the country: “How about fixing the economy before you play God and try to fix the weather?”
According to data tracked by NASA and other sources, 97% of climate scientists “agree that climate-warming trends over the past century are very likely due to human activities.” That percentage is higher, by the way, than the percentage of doctors (95%) who were willing to agree with Surgeon General C. Everett Coop’s report in the 1980s that cigarette smoking causes cancer. The US military has taken climate change into account for its long term strategic planning since the early 2000s and current US Secretary of State John Kerry has recently taken on the issue as a “the greatest challenge of our generation.”
According to data collected by the Huffington Post, 90% of the Republican leadership in the House and Senate deny climate change. 17 out of 22 (77%) of Republicans on the House committee on Science, Space and Technology and 22 out of 30 Republicans (73%) on the House Energy and Commerce committee deny climate change science. Many in fact refer to climate science a “snake oil”. Here is a link to a recent edition of the Huffington Post web show “Political Junkies” discussing the Senate’s publicity stunt to hold the all night session. Just last week, Gallup polled 513 Americans on a list of 15-issues facing the country and only one quarter claimed they worried about climate change “a great deal” while more than half said they worry about change only “a little” or “not at all” as noted in a recent article on Grist.com.
As a scholar and teacher who work with students from across the political spectrum, climate change is a particularly difficult issue to teach. I pride myself on being non-partisan in the classroom but when trusting the work of the scientific community and sharing that work in the classroom is seen by some student as partisan and ideological, not only can it impact the willingness of those student to engage in the work of the class but can also impact how those students evaluate my courses. Yet the more politicized climate change becomes and the more difficult it comes to overcome the “yawn factor”, the more important it becomes to teach.
Reposted from UN.org
World Wildlife Day is an opportunity to celebrate the many beautiful and varied forms of wild fauna and flora and to raise awareness of the multitude of benefits that conservation provides to people. At the same time, the Day reminds us of the urgent need to step up the fight against wildlife crime, which has wide-ranging economic, environmental and social impacts.
Wildlife has an intrinsic value and contributes to the ecological, genetic, social, economic, scientific, educational, cultural, recreational and aesthetic aspects of sustainable development and human well-being. For these reasons, all member States, the United Nations system and other international organizations, as well as civil society, non-governmental organizations and individuals, are invited to observe and to get involved in this global celebration of wildlife.
The secretariat of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), in collaboration with other relevant United Nations organizations, facilitates the implementation of World Wildlife Day.
Background
On 20 December 2013, the Sixty-eighth session of the United Nations General Assembly decided to proclaim 3 March as World Wildlife Day to celebrate and raise awareness of the world’s wild fauna and flora. The date is the day of the adoption of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) in 1973, which plays an important role in ensuring that international trade does not threaten the species’ survival.
Previously, 3 March had been designated as World Wildlife Day in a resolution made at the 16th meeting of the Conference of the Parties to CITES (CoP16) held in Bangkok from 3 to 14 March 2013. The CITES resolution was sponsored by the Kingdom of Thailand, the Host of CITES CoP16, which transmitted the outcomes of CITES CoP16 to the UN General Assembly.
The 130th annual meeting of the Modern Language Association will be held January 8-11 in Vancouver, British Columbia. The following is a call for papers for the conference. Please note that MLA paper calls are always necessarily short. Please contact the panel organizer Ted Geier for more information.
CFP: Actual Ecomedia: Environmental Form Without Environmentalism
Cinema, poetry, other ecomedia invoke ecological thought through form/technique, not always articulating prescriptive narrative environmentalism. Interdisciplinary examination of the consequences and prospects.
CV, 300 word abstracts by 15 March 2014; Ted Geier (tegeier@ucdavis.edu).