Sohei Nishino - The Diorama Map Series 24.02.11 - 02.04.11

 

Diorama Map London
© Sohei Nishino courtesy Michael Hoppen Contemporary/EMON PHOTO GALLERY

http://www.michaelhoppengallery.com/exhibition,current,2,0,0,1565,103,0,0,0,_diorama_map_london.html

Sohei Nishino is one of the rising gems of contemporary Japanese photography. Discovered in 2008 by Michael Hoppen, 28 year old Nishino’s extraordinary photographic dioramas, monumental in size, map out the artist’s personal impressions of the world’s major cities in several thousand intimate details.

Nishino’s collages are not precise geographic recreations, but an imperfect mix of landmarks and iconic features conceived from his personal ‘re-experiencing’ of a city. Never before exhibited outside of Asia, Michael Hoppen Contemporary will present the Diorama Map series for his inaugural European show, featuring ten of Nishino’s most striking collages as well as his latest creation: the map of London.

When photographing London, Nishino walked the entire city on foot for a month, wandering the streets and recording from every possible angle, from building tops to get an overview of the Gherkin, to shooting in step with the Queen’s Guard marching on the Mall. In total he used over 300 rolls of black and white film and took over 10,000 pictures.

In the following three months Nishino selected some 4,000 of these photographs, hand printed in his own dark room, which he then meticulously pieced together with scissors and glue in his Tokyo studio. The result was an aerial view of London, which was then reshot as a completed collage to produce a final image in photographic form. This lengthy and painstaking process, all done by hand, only allows for the creation of three maps per year. Nishino’s re-imagination of a city presents a convincing record despite its geographical inaccuracies, a map embodying the intricacies of a city through the eyes and recollection of an outsider.

Nishino’s process began during a portfolio review when studying at Osaka University of Arts, when he realised he was far more interested in the mass of photographs not selected, than the few that were actually chosen to be displayed. For him, the whole selection was more of a true representation than the refined final edit of one photograph. This, together with his love of walking and the influence of 18th Century Japanese cartographer and surveyor Inō Tadataka, led to Nishino’s creation of the first diorama map of his hometown of Osaka.

In addition to the Diorama Maps, Nishino has also created two colour works using the same process, ‘i-LAND’ and ‘Night’. These collages are composites of images taken in multiple Japanese cities, photographed and recreated in the studio as fantastical urban landscapes.

In 2005, Nishino received the top award in the Canon New Cosmos of Photography competition for his first five Diorama Maps. Since then his work has continued to receive critical acclaim, particularly for appearances at this year’s Hong Kong International Art Fair, Seoul Photo and South Korea’s Daegu Photo Biennale.

Ruins in Twentieth Century British Art and Fiction

CONFERENCE - Organised by the Institute of English Studies and the French National Association of English University Professors and Senior Lecturers (SAES).

http://ies.sas.ac.uk/events/conferences/2011/Ruins/index.htm

As opposed to the Gothic labyrinths of vaults and broken palaces or shattered abbeys, in the nineteenth century the picturesque legacy grew into a passion for sublime ruins as crystals of time, suffused with melancholy pleasure. From Romantic hubris (and the fascination for Troy or Pompeii) to Turner's luminous visions or Hardy's carved windows and stone coffins, ruins offered dwindling points of aesthetic stability as well as symptoms of mutability in a changing world stamped by Darwinian ruthlessness.

This conference proposes to analyze the hybrid function of ruins as they shift from sublime metonymies to broken hints of shattered times and troubled consciousness, focusing not only on the visual motif of ruins but on the function of citation as an attempt to include the ruined pieces of bygone art and cultural systems, whether the purpose be to "shore fragments" against ruin, as in the case of Modernism, or to challenge and deconstruct present exhaustion and past master discourses, as in the case of post-modernism. The postmodern emphasis on remains, from Ackroyd to Ishiguro or Stoppard, on textual experimentation with broken fragments, the function of architecture and visual motifs will be of interest, showing that twentieth-century British art and fiction revisit ruins not only as the broken pieces of a vanished past, but as artificial to begin with. Emphasis on architecture will necessarily include cultural context, and moments of acute fragmentation such as the Blitz, the British equivalent of the Twin Towers, faultlines leaving not only the smell of smouldering remains, but a division between before and after, an intense sense of the collapse of ideologies and promises. The ultimate negotiation of the bankruptcy of meaning may lead to repetition and elegy or parody, or to the intense attempt to create an ephemeral art retaining the traces of a glorious past but displacing them, leading to brief presences and vanishing points, as residue becomes resistance and art articulates waste.

Please send abstracts of 300 words (certainly no more than 500) plus a biographical note or CV to Catherine Lanone by 15 May 2011 at: catherine.lanone@univ-tlse2.fr.


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General Enquiries & Registration: Jon Millington, Events Officer, Institute of English Studies, Senate House, Malet Street, London WC1E 7HU; tel + 44(0) 207 664 4859; Email jon.millington@sas.ac.uk.

The School of Advanced Study is part of the central University of London. The School takes its responsibility to visitors with special needs very seriously and will endeavour to make reasonable adjustments to its facilities in order to accommodate the needs of such visitors. If you have a particular requirement, please feel free to discuss it confidentially with the organiser in advance of the event taking place.

http://ies.sas.ac.uk/events/conferences/2011/Ruins/index.htm

General Enquiries & Registration: Jon Millington, Events Officer, Institute of English Studies, Senate House, Malet Street, London WC1E 7HU; tel + 44(0) 207 664 4859; Email jon.millington@sas.ac.uk.

The School of Advanced Study is part of the central University of London. The School takes its responsibility to visitors with special needs very seriously and will endeavour to make reasonable adjustments to its facilities in order to accommodate the needs of such visitors. If you have a particular requirement, please feel free to discuss it confidentially with the organiser in advance of the event taking place.

Cinema and the Museum

Thoughts about the museum - collections - Warburg's Mnemosyne Atlas
(Image above - Warburg Library, Warburg Institute, London)

Deadline for submissions for "Moving Image and Institution: Cinema and the Museum in the 21st Century" Conference is Friday 18 February.

Moving Image and Institution: Cinema and the Museum in the 21st Century seeks to establish a new international forum for discussion of the physical and theoretical intersections between cinema, screen media and the moving image, and the museum and institutional art space. This international, interdisciplinary conference will run alongside a range of public events in and around Cambridge in early July, to draw attention to the converging interests of both Cinema and the Museum.

Attracting academic speakers, museum professionals and artists across the spectrum of the Arts and Humanities from a range of disciplines and sectors including film studies, museum studies, architecture, history of art, modern languages, cultural geography, anthropology, ethnography and archaeology, the conference will offer an exceptional environment where cross-connections can be fostered between these fields, in order to interrogate the future shape of the very cultural institutions in which they are so heavily invested.

Cinema and the Museum have a shared heritage of historical and socio-cultural development. Both emergent in the late 19th century as public institutions, but with very different infrastructures, the public concerns of the cinema and the museum have established them firmly within the cultural imaginary of many of the key dynamics of the 20th century – from popular spectacle to Futurism, from Surrealism to the emergence of the post-colonial world, from the avant-gardes to the aftermath of total war, from the information network to the cusp of the virtual world. Both Cinema and the Museum share an ambivalent relationship between the past and the future: while safeguarding, documenting and archiving the past is a part of their shared role, the shifting technologies and modalities of cinema and the museum are also instantiating fundamental changes to what constitutes the very concepts of ‘Cinema’ or ‘The Museum’. In the 21st century museums have become extraordinary 'laboratories of change'; audio-visual media have permeated the museum space: from handheld devices to large screen projections, to interactive technologies at the intersections of material and digital culture. Cinema is entering the Museum, and the Museum is disseminating itself within the cinematic as a means of expanding its engagement with the public on multiple levels, including but certainly not limited to notions of viewing experience, immersion and object-interaction.

The conference organisers welcome the submission of abstracts for a 20 minute paper, or a 10 minute moving image/lens-based media presentation + 10 minute talk. Presentations should not exceed 20 minutes in total.
The organisers would also welcome proposals for roundtables or structured discussion from groups of 2-4 museum professionals, artists or other practitioners.

The call for submissions is open to academics, curators, museum professionals, filmmakers and artists and all others with professional interests in this emerging field. The focus of these papers is not limited to the contemporary period: presentations may choose to explore earlier case studies or period with a contemporary methodology, for example. It is anticipated that a publication will arise from this conference.

Topics may include, but are not limited to the following themes:

• Creative geographies
• Transformative spaces of the cinematic
• Film and moving image installations
• Proto-cinematic technologies and the museum
• Visual narratives in cultural institutions
• Materiality and digital media
• Sociological trajectories in cinema and in the museum space
• The role of the public institution in moving image practice
• Exhibition practices and cinematic exhibition
• Curatorial practice in the new museum
• Cinema and the new museology
• Ethnographic film
• Filming the archive and archiving the film
• Performative spaces and screen language
• The Virtual Museum
• Film and user/visitor experience
• Audio-visual mediation and the presence of the screen in the museum space
• Museums on film
• Museums and genre cinema
• Period film and questions of authenticity
• Museums, memorials and commemoration: display and exposure

Abstracts of not more than 250 words should be directed to jlgc3@cam.ac.uk  with the subject heading “CINEMA AND THE MUSEUM CONFERENCE” no later than 18 February 2011.

http://cambridge.academia.edu/JennyChamarette/Blog/5894/Moving-Image-and-Institution-Cinema-and-the-Museum-in-the-21st-Century

The Cinemas of Transactions

by Leon Gurovitch on Dec 22, 2010 • 8:44 am

This research offers a reading of the relationship between the cinematic image and the promotional process in the context of emerging digital technologies. Asserting that computer generated image forms now function as a single currency across multiple audiovisual economies, this thesis posits a new understanding of digital attractions as constituting a ‘cinemas of transactions’. Neither a singular, unitary ‘cinema’ nor a singular ‘transaction’, the cinemas of transactions constitutes a complex and multiply interrelated system of textual, technological, aesthetic and economic developments whereby computer generated attractions and promotional practices span many media and textual forms. While Anglo-American film theories of the twentieth century separated the study of film form from those of spot advertising, the contemporary context, characterised by a wane in Marxist aesthetic discourse and a rise in theories of converging new media, offers a moment in which to question this separation. In this theoretical context, the relationship between the computer generated attraction and the promotional process is explored through the analysis of a broad range of media texts which all feature spectacular digital special effects. Through case studies of Hollywood films, trailers, net attractions and spot advertisements this thesis expands the work of film theories conducted in the 1980 and 1990s into the expanding domain of new media discourse.

Keywords:
Cinema of Attractions, Digital Media, CGI, Advertising, High Concept, New Media, Product Placement, The Train Effect, Cinemas of Transactions, Youtube, Digitextual, Audiovisual Culture.
Publisher:
Television and New Media
Link to Article:
Article can be accessed here

WEBSITE: http://www.drleongurevitch.com/?p=68

Collected Works

Aby Warburg's Mnemosyne Atlas

Review - Books http://www.frieze.com/issue/article/collected_works/

Warburg conceived of the art historian as a ‘necromancer’ who conjures up the art of the past to give it an enigmatic new life, a ‘strange figural floating’. 2 He was intrigued by the representation of movement, by the way in which the gestures of Classical bodies in motion survive into the art of the Renaissance and beyond, each image possessed by a particular ‘pathos formula’ which gives it a specific allure and is resurrected centuries later in similar attitudes and expressions. Obscurely linked by the ‘conductive medium’ of the black ground, human bodies flex and falter in an array of gestures that stretches from Sandro Botticelli’s Birth of Venus (c. 1485) to the contemporary physique of a woman golfer, from medieval zodiacal figures to a 1920s advertisement for 4711 cologne. Zeppelins float in the darkness beneath ancient cosmological maps; the entire anachronistic discordia concors is dedicated to finding the most startling relationships between images that are worlds apart. The Atlas proposes an art of the in-between, what Warburg called the ‘iconology of the interval’. God, he famously declared, resides in the details; the inhuman presence that hovers in the darkness between these images is, says the philosopher Giorgio Agamben, ‘the dark demon of an unnamed science whose contours we are only today beginning to glimpse’. 3

In 1879 the 13-year-old Aby Warburg, the eldest son of a wealthy Hamburg banking family, is said to have traded his birthright for a more lasting inheritance. Already convinced (despite parental objections) of his future as an art historian, he struck a deal with his younger brother Max, who would inherit the family business on condition that he agreed to supply the elder Warburg with as many books as he required. (Max later wrote: ‘I gave him what I must now admit was a very large blank cheque.’) When Warburg died in 1929, his library contained 60,000 volumes and had been transformed by his colleague Fritz Saxl from a private collection into a research institution. Four years later it was transplanted to London and became the Warburg Institute, now part of London University.
If his library was already the most eccentric of collections - organized not alphabetically or according to subject but by ‘elective affinities’, the secret intimacies that Warburg himself intuited between its volumes - its oddest offshoot is surely the massive and fragmentary constellation of images that Warburg, in the last five years of his life, obsessively tended and reorganized: the Mnemosyne Atlas. It is the strangest of art-historical artefacts: the kaleidoscopic image of the scholar’s enigmatic reordering of a lifetime’s meditation on the image. The Atlas, wrote Warburg, was ‘a ghost story for adults’: it invents a kind of phantomic science of the image, a ghost dance in which the most resonant gestures and expressions its creator had discovered in the course of his career return with a spooky insistence, suddenly cast into wholly new relationships.
In a sense, the Mnemosyne Atlas has never really existed, at least not in the form Warburg envisaged. At the time of his death it comprised 79 wooden panels, covered with black fabric, on which were pinned some 2,000 photographs from Warburg’s collection. The project was never completed, and only ever constituted a provisional version of its eventual incarnation in book form. 1 The panels themselves were lost when Warburg’s colleagues, fleeing Nazi Germany, relocated to London, and the images are now dispersed in the archives of the institute. Warburg’s final arrangement of the Atlas survives, however, as a series of 79 photographs. In reproductions these are often cropped to show only the black background and the luminous images, but the original photographs include the edges of the panels, beyond which can be glimpsed the shelves of Warburg’s library, so that you cannot fail to imagine the scholar himself at the centre of his grand photographic planetarium, setting the whole thing in fantastic motion as he searches for the proper arrangement of his fragmentary universe.
Warburg conceived of the art historian as a ‘necromancer’ who conjures up the art of the past to give it an enigmatic new life, a ‘strange figural floating’. 2 He was intrigued by the representation of movement, by the way in which the gestures of Classical bodies in motion survive into the art of the Renaissance and beyond, each image possessed by a particular ‘pathos formula’ which gives it a specific allure and is resurrected centuries later in similar attitudes and expressions. Obscurely linked by the ‘conductive medium’ of the black ground, human bodies flex and falter in an array of gestures that stretches from Sandro Botticelli’s Birth of Venus (c. 1485) to the contemporary physique of a woman golfer, from medieval zodiacal figures to a 1920s advertisement for 4711 cologne. Zeppelins float in the darkness beneath ancient cosmological maps; the entire anachronistic discordia concors is dedicated to finding the most startling relationships between images that are worlds apart. The Atlas proposes an art of the in-between, what Warburg called the ‘iconology of the interval’. God, he famously declared, resides in the details; the inhuman presence that hovers in the darkness between these images is, says the philosopher Giorgio Agamben, ‘the dark demon of an unnamed science whose contours we are only today beginning to glimpse’. 3
It is perhaps fitting that the sturdy panels of Warburg’s unfinished project have vanished somewhere between Hamburg and London, evanesced into the dark drawers of the institute’s present archive. The notion of its essential immateriality, its existence as a pure phantasmagoria in the imagination of its author, is given a faint outline on the pages of the large hardback notebooks in which Warburg ceaselessly planned and revised its shape. The pencilled ghosts of absent images haunt these volumes’ notional arrangements of the actual material. With their blank squares and scrawled captions, they are the perverse mirror images of the textless patterns on the photographic plates, hastily sketched storyboards for a movie that only ever played in the mind of the scholar/director. Warburg, who was obsessed by the figure of Laocoön, the dying Trojan prince, seems to have conceived of art history according to an image from G. E. Lessing’s Laocoön (1766), in which the German writer describes the poetic and painterly depiction of mist: ‘it is used to render both the visible invisible and the invisible visible’. Gaze long enough at the dark screen of Mnemosyne and it is like looking at a ‘black’ cinema screen; as your eyes grow used to the dark, something comes to light: the screen itself, the empty but meaningful interval between images.
If there is a ghostly quality to the Mnemosyne Atlas, perhaps it resides in the odd amalgam of science and superstition that it shares with other works on the image and memory. It looks back to the taxonomic efforts of Charles Darwin to photograph the essences of human emotions, and forward to the memorial extravagance of Gerhard Richter’s Atlas (1962-ongoing). But it also brushes up against Walter Benjamin’s ‘aura’ and Siegfried Kracauer’s ‘monogram’: the memory-image that adheres to the last photograph of a loved one. Despite Warburg’s intense effort to bring the past into focus in the present, it appears to suggest that an anatomy of the image is only ever a science of spectres: an impression heightened by its sudden demise in 1929, as if Warburg had succeeded in freeze-framing European culture in a paradoxical pose of frenzied immobility, just before the continent was plunged into the terrible mass-mobilization that sent his colleagues into exile in 1933. Warburg turned the scholarly archive into a mobile (and moving) artwork, transforming, as Karl Kraus wrote of the true artist, a solution into an enigma.

1. Eventually published as Der Bilderatlas Mnemosyne, ed. Martin Warnke and Claudia Brink, Akademie Verlag, Berlin, 2000.
2. Philippe-Alain Michaud, Aby Warburg and the Image in Motion, trans. Sophie Hawkes, Zone Books, New York, 2004, p. 261.
3. Giorgio Agamben, ‘Aby Warburg and the Nameless Science’, in Potentialities, trans. Daniel Heller-Roazen, Stanford University Press, Stanford, 1999, p. 90.

Brian Dillon


REVIEW: Philippe-Alain Michaud, Aby Warburg and the Image in Motion, trans. Sophie Hawkes, Zone Books, New York, 2004,
http://glasgow.academia.edu/RichardWoodfield/Papers/154061/Review_of_Philippe-Alain_Michaud_Aby_Warburg_and_the_Image_in_Motion

ABY WARBURG - In 1886 Warburg began his study of art history, history and archaeology in Bonn and attended the lectures on the history of religion by Hermann Usener, those on cultural history by Karl Lamprecht and on art history by Carl Justi. He continued his studies in Munich and with Hubert Janitschek in Strasbourg, completing under him his dissertation on Botticelli’s paintings The Birth of Venus and Primavera.

THE WARBURG INSTITUTE - http://warburg.sas.ac.uk/index.php?id=119

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The future of 'cinema'?

Cinema is dead. Long live cinema!

The moving image as an institution does not exist as it once did, yet this thing we call cinema is growing, developing all the time; getting bigger, stronger, more flexible, influential, seductive, and ultimately more powerful. As a constructed environment, a solid structure ('the cinema') this monolithic force held sway over the first half of the twentieth century, yet in the period following World war II, the edifice started to crack, and - in the form that the movie industry itself expanded into which was TV - it looked like cinema was starting to crumble, shrink, fade away. Yet, of course, that didn't ever happen. What happened was a strange divide in that the film industry took refuge in the blockbuster - the juggernaut product - while cinema lives on in another form for the audience.

The space of desire....that role of cinema to provide our dream place, our projection of fantasy, is now transformed into what the audience is now able to construct for itself. What I am doing as I write this blog. Creating My (cinematic) space...

To be continued......

IMAGINING SPACES / PLACES University of Helsinki, Finland

An international interdisciplinary conference
24−26 August 2011, University of Helsinki, Finland




Call for papers

Literature and art mediate our experiences of the spaces and places surrounding us as well as within us. In contemporary discussion we use, besides the old term ‘landscape’, other ‘scapes’ which reflect a new interest and new thinking with regard to spaces: we speak of cityscapes, bodyscapes, mindscapes and even memoryscapes, and their relationships to one another. The intertwining of what, of old, was called ‘macrocosm’ (nature and society) and ‘microcosm’ (body and mind) and the role various art forms and media play in articulating and negotiating these chiasmic encounters is the focal point of the Imagining spaces/places conference. How are the interfaces between ‘the place in you and you in the place’ depicted? How are these imagined and material landscapes gendered and sexualized?

The conference seeks to produce an interdisciplinary dialogue between art history, literature and gender studies. We welcome papers addressing issues of representing and creating spaces in literature, art or film, and emphasizing the gendered, emotional and political or ideological character of these cultural mediations and re-mediations.

The conference is organized by the Finnish Doctoral Programme in Art History, the Finnish Doctoral Programme for Literary Studies and the Finnish Research School in Women’s and Gender Studies.

Sessions and suggestions of possible approaches:

LANDSCAPES
* landscapes as medium for political, religious, psychological themes
* landscape as pictures vs. (nature) as process
*man in landscape; space, place, genius loci as objective places or subjective experiences
* borderlines between nature and culture/cultural landscape and wilderness
CITYSCAPES
* urban spaces and urban people
* city images and chronotopes
* the idea of metropolis
* gendered/utopist/political/public/private city
MINDSCAPES
* invisible cities and erewhons: fantasies of places and spaces and their role in arts
* allegories of mind
* dreams and other alternatives to actual world(s)
BODYSCAPES
* bodies and belongings
* affective, material, represented bodies
* postcolonial corporealities
* bodies of knowledge
MEMORYSCAPES
* sites of mediations of past, present, future
* methods of memorializations: regimes, archives, museums
* collective memory (nation and nation building) /private memory
* missing past, negative heritage (palimpsest traditions), melancholia

Deadline for abstracts: March 15, 2011.

Space and Place - Conference Oxford Mansfield College

Space and place - exploring critical issues
Call for Papers
Mansfield College website

Questions of space and place affect the very way in which we experience and recreate the world. Wars are fought over both real and imagined spaces; boundaries are erected against the “Other” constructed a lived landscape of division and disenfranchisement; and ideology constructs a national identity based upon the dialectics of inclusion and exclusion.  The construction of space and place is also a fundamental aspect of the creative arts either through the art of reconstruction of a known space or in establishing a relationship between the audience and the performance. Politics, power and knowledge are also fundamental components of space as is the relationship between visibility and invisibility. This new inter- and multi-disciplinary conference project seeks to explore these and other topics and open up a dialogue about the politics and practices of space and place.  We seek submissions from a range of disciplines including archaeology, architecture, urban geography, the visual and creative arts, philosophy and politics and also actively encourage practioners and non-academics with an interest in the topic to participate.

We welcome traditional papers, preformed panels of papers, workshop proposals and other forms of performance – recognising that different disciplines express themselves in different mediums. Submissions are sought on any aspect of space and place, including the following:

1. Theorising Space and Place

• Philosophies and space and place
• Surveillance, sight and the panoptic structures and spaces of contemporary life
• Rhizomatics and/or postmodernist constructions of space as a “meshwork of paths” (Ingold: 2008)
• The relationship between spatiality and temporality/space as a temporal-spatial event (Massey: 2005)
• The language and semiotics of space and place

2. Situated Identities

• Gendered spaces including the tension between domestic and public spheres
• Work spaces and hierarchies of power
• Geographies and archaeologies of space including Orientalism and Occidentalism
• Ethnic spaces/ethnicity and space
• Disabled spaces/places
• Queer places and spaces

3. Contested spaces

• The politics and ideology of constructions and discourses of space and place including the construction of gated communities as a response to real/imagined terrorism.
• The relationship between power, knowledge and the construction of place and space
• Territorial wars, both real and imagined.
• The relationship between the global and the local
• Barriers, obstructions and disenfranchisement in the construction of lived spaces
• Space and place from colonisation to globalisation
• Real and imagined maps/cartographies of place
• Transnational and translocal places

4. Representations of place and space

• Embodied/disembodied spaces
• Lived spaces and the architecture of identity
• Haunted spaces/places and non-spaces
• Set design and the construction of space in film, television and theatre
• Authenticity and the reproduction/representation of place in the creative arts
• Technology and developments in the representation of space including new media technologies and 3D technologies of viewing
• Future cities/futurology and space
• Representations of the urban and the city in the media and creative arts
• Space in computer games

For 2011, the  Space and Place project will meet alongside our project on The Patient. It is our intention to create  cross-over sessions between the two groups – and we welcome  proposals which deal with the relationship between these two topics.

300 word abstracts should be submitted by Friday 25th March 2011. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd July 2011. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract
E-mails should be entitled: SP Abstract Submission

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:
Colette Balmain
Conference Leader
Inter-Disciplinary.Net,
London, United Kingdom
Rob Fisher
Network Founder and Network Leader,
Inter-Disciplinary.Net, Oxfordshire, United Kingdom.
The conference is part of the ‘Ethos’ series of research projects, which in turn belong to the Critical Issues programmes of ID.Net. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and challenging. All papers accepted for and presented at the conference will be published in an ISBN eBook. Selected papers may be invited to go forward for development into 20-25 page chapters for publication in a themed dialogic ISBN hard copy volume.