[ecrea] CFP - Cultural Production and Experience: Strategies, Design, and Everyday Life

>
>
>Dear all,
>
>below is a CFP for a conference that may be of interest to some of you.
>
>Cheers,
>Fabian Holt
>
>***
>Fabian Holt, Ph.D.
>Associate Professor
>Performance Design
>University of Roskilde
>Universitetsvej 1, 44.2
>4000 Roskilde
><http://www.ruc.dk/~fabianh>www.ruc.dk/~fabianh
>***
>
>
>* Please circulate widely *
>
>RESEARCH CONFERENCE - CALL FOR PAPERS
>
>Cultural Production and Experience: Strategies, Design, and Everyday Life
>
>
>Time:November 13-14, 2008
>Proposal deadline:May 1, 2008
>Main contact person:Fabian Holt 
>(<mailto:(fabianh /at/ ruc.dk)>(fabianh /at/ ruc.dk)), please 
>write Roskilde conference in the subject line
>Secretary:Hanne Tofteng (<mailto:(hannet /at/ ruc.dk)>(hannet /at/ ruc.dk))
>Venue:Roskilde (more details will be announced soon)
>Web 
>site:<http://web.mac.com/fabsound/Site/Conf.html>http://web.mac.com/fabsound/Site/Conf.html
>Organizers:Center for Experience Research
>Roskilde University, Denmark
>Keynote speakers:Angela McRobbie (Goldsmiths College)
>David Hesmondhalgh (University of Leeds)
>Gerhard Schulze (University of Bamberg)
>Kevin Hetherington (Open University)
>
>The overall theme of this conference is the 
>changing role of professional entertainment in 
>contemporary, post-industrial society. Concepts 
>such as the culture society, creative 
>industries, and experience economy all signal 
>an increase in the volume of production and 
>consumption of cultural commodities. This 
>development has implications for producers, consumers, and society at large.
>
>The shifting relations between producers and 
>consumers, between production and experience, 
>generate two key questions: The first is how new 
>strategies and forms of cultural production 
>relate to changing forms of consumption and 
>experience. This concerns the embodiment of 
>cultural production in social life. The second 
>question is how cultural commodities, live or 
>mediated, are being consumed and how they affect 
>consumers on both macro- and micro-levels of social life.
>
>The conference organizers value new approaches 
>and original perspectives grounded in empirical 
>research. We welcome work in all areas of the 
>creative and cultural industries, including 
>tourism, media, publishing, music, theatre, 
>film, event, national and amusement parks, and 
>ICT (e.g. computer games and mobile phone 
>entertainment). Presenters are also encouraged 
>to explore connections across industries and 
>genres in various aspects of production and 
>consumption. This could include issues of convergence and cross-branding.
>
>A major aspect of the theme is the 
>organizational and institutional contexts of 
>production. It is pertinent to recognize the 
>changing roles of national and city governments 
>and new alliances and networks between private and public sectors.
>
>Research in these areas has responded to 
>commercial and political agendas organized 
>around the concepts of the creative and cultural 
>industries and the experience economy. 
>Interdisciplinary research and collaborations 
>between the social and human sciences, business 
>studies, and schools of art and design are still 
>relatively few and far between. We welcome such 
>initiatives and provide space for discussions of 
>different and even conflicting notions of 
>cultural production, consumption and experience. 
>A particular concern is how the feedback loop 
>between theory and practice, idea and product, 
>can be sustained via methods of product design.
>
>Thematic cores
>The following paragraphs outline three thematic 
>cores, which should guide and motivate. They are 
>not intended to be rigidly exclusive.
>
>
>1. STRATEGIES
>
>The concepts of creative and experience 
>economies have been used strategically in a wide 
>range of commercial and political contexts. Many 
>countries have adopted these concepts from the 
>United Kingdom and the United States and applied 
>them as models in their own national contexts. 
>The concepts have been used to build new 
>alliances and sustain innovation at various 
>levels to boost sales and create more jobs. What 
>have people accomplished with these strategies? 
>Have some strategies been more useful than 
>others? And what are the criteria of success? 
>Who are the winners and losers? A type of papers 
>we encourage here is case studies of the kind of 
>collaborations between professional producers, 
>businesses, and public institutions instigated 
>by a narrative umbrella such as the creative economy, for instance.
>
>2. DESIGN METHODS AND EXPERIENCE
>
>Aesthetic products and cultural performance have 
>gained popularity in a variety of entertainment 
>and art and their business-related domains. The 
>implications have been different for artists and 
>their managers and business sponsors, for 
>instance. The trend opens up new cross-cutting 
>approaches and stimulates further integration of 
>analytical and design methods. New experimental 
>efforts in innovation, participation, and 
>planning involve information technologies as 
>well as ideas of cultural performance. A common 
>question here is if and how academically 
>informed tool boxes or production guides work 
>for professionals producing tourist travels, 
>concert, museum exhibitions, gastronomic events, 
>shopping malls, and so on. User-based innovation 
>and collaboration between academics and creative 
>professionals are among the models that deserve further critical scrutiny.
>
>3. EVERY DAY LIVES
>
>A major challenge to inter-sector collaborations 
>is the discursive barriers and especially the 
>disparate and elusive notions of cultural 
>experience. When is it productive and 
>counterproductive to generalize the concept of 
>experience in, say, amusement parks and the 
>avant-garde art scene? Every day life is a vital 
>context for understanding particular concepts of 
>experience and what individuals expect from 
>cultural commodities. Live entertainment in 
>particular offer marked moments that are 
>somewhat distanced from every day life, but they 
>are usually also occasions for reflecting upon 
>every day life and have the capacity to shape 
>attitudes and create new public spheres. Another 
>aspect in ritual and performance theory that 
>needs to be re-examined at this point is the 
>relation between experience and participation. 
>The multiple forms of participation and consumer 
>regulation in everyday consumption illustrate 
>how entertainment has become integrated in the 
>every day and cut across marked and unmarked 
>moments. How do consumers make choices and 
>evaluate their experiences? What are the 
>challenges to academia? These questions can lead 
>back to the producer perspective and the 
>conditions for professionals in the cultural industries.
>
>Organization of the conference
>The basic model is plenary keynotes alternating 
>with parallel tracks of paper presentations and 
>a few roundtable discussions. We accept 
>proposals for research papers and for roundtable panels.
>
>Paper proposals: Max. 500 words must be sent to 
>Fabian Holt of the conference committee at 
><mailto:(fabianh /at/ ruc.dk)>(fabianh /at/ ruc.dk) by May 1, 
>2008. Again, please write Roskilde conference 
>in the subject line. The proposals will be 
>reviewed by a committee. Notification of acceptance will be given by June 1.
>
>Roundtables: The roundtable panels should 
>facilitate dialogue between scholars and 
>professional producers. Each roundtable is 
>expected to begin with a two-minute statement by 
>up to five presenters and then move on to 
>discussion with a moderator. The presenters must 
>submit a one-page written statement prior to the 
>conference, which will be available at the 
>conference Web site one week before the conference.
>
>Deadline for paper submissions: Papers for the 
>ordinary panels (max. 8000 words) and statements 
>for roundtable panels (max. 1 page) must be 
>submitted to <mailto:(fabianh /at/ ruc.dk)>(fabianh /at/ ruc.dk) by October 15.
>
>Conference committee:
>The conference committee consists of Fabian 
>Holt, Jørgen Ole Bærenholdt, and Jon Sundbo of 
>the Center for Experience Research at Roskilde University, Denmark.
>
>Publication
>Some presenters will be asked to write their 
>paper into an article for a special issue of a 
>distinguished international journal. Our 
>decisions will be based on the criteria of the 
>quality and relevance of the papers.
>
>Price
>300 Euros including meals and accommodation.
>
>Registration
>All participants should by sending an e-mail to 
>e-mail to Hanne Tofteng, Roskilde University, 
><mailto:(hannet /at/ ruc.dk)>(hannet /at/ ruc.dk) before October 15, 2008.
>
>
>
>
>
>Preliminary schedule
>
>November 13, 2008
>
>             Morning
>
>11.00-11.15            Welcome by Fabian Holt
>
>11.15-12.15            Keynote #1: David 
>Hesmondhalgh: Why Creative Labour Matters
>
>12.15-13.15            Paper sessions
>
>
>Lunch
>
>13.15-14.00
>
>
>Afternoon
>
>14.00-15.00            Paper sessions
>
>15.00-16.00            Keynote #2:  Angela 
>McRobbie: Feminism and Immaterial Labour
>
>16.00-16.15            Coffee break
>
>16:15-18:15            Paper sessions 2 and roundtables
>
>
>
>Evening
>
>19.30-23.00            Dinner and concert in Roskilde
>
>November 14, 2008
>
>
>
>Morning
>
>9.00-10.00            Keynote #3: Gerhard 
>Schulze: In Search of Aura: Cultural Production 
>and Experience in the Age of Unlimited 
>Reproducibility  the Case of Live Music
>
>10.15-10.30            Coffee break
>
>10.30-12.30            Paper session 3 and roundtables
>
>
>
>Lunch
>
>12:30-13:30
>
>
>
>Afternoon
>
>13.30-14.30            Keynote #4: Kevin 
>Hetherington: The Museum without History: 
>Cities, Regeneration, and the Problem of Heritage.
>
>14.30-15.30            Paper session 4
>
>15.30-15.45            Closing remarks by Jørgen 
>Ole Bæhrenholdt, coffee, and networking
>
>
>
>
>
>
>

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Nico Carpentier (Phd)
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Vrije Universiteit Brussel - Free University of Brussels
Centre for Studies on Media and Culture (CeMeSO)
Pleinlaan 2 - B-1050 Brussels - Belgium
T: ++ 32 (0)2-629.18.56
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Office: 5B.401a
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&
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European Communication Research and Education Association
Web: http://www.ecrea.eu
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ECREA's Second European Communication Conference
Barcelona, 25-28 November 2008
http://www.ecrea2008barcelona.org/
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