[ecrea] Call for Papers: Reimagining the Archive

>*Reimagining the Archive: Remapping and Remixing 
>Traditional Models in the Digital Era*
>
>*A Three-Day Symposium
>November 12-14, 2010
>School of Theater, Film & Television**
>University of California, Los Angeles*
>
>Organized by:
>*
>UCLA Film & Television Archive
>UCLA M.A. Program in Moving Image Archive Studies (MIAS)
>Institut National de lAudiovisuel (INA), Paris
>INASup / European Centre for Research, Training and Education on Digital
>Media*
>
>With additional support from:
>
>*National Digital Information Infrastructure Preservation Program (NDIIPP),
>     U.S. Library of Congress
>Department of Information Studies /
>     Graduate School of Education & Information Studies, UCLA
>Cinema & Media Studies Faculty, Department of Film, Television & Digital
>Media /
>     School of Theater, Film & Television, UCLA
>*
>
>Digitality has radically and dynamically transformed the role of traditional
>archives and museums as repositories for revered, to-be-safeguarded cultural
>objects. As de facto archives created by users and industry organizations
>proliferate online; as the social engagement and complexity of Web 2.0
>culture expand; and as expansive copyright regimes entail ever more
>intrusive forms of monitoring and enforcement, archives traditional
>missions of custody and controlled access are being challenged by the new
>habits and expectations of scholars, researchers, and the general public
>alike.
>
>The unquestioned trust and task of defining the authenticity, provenance,
>and movement of archival objects and collections ­ once the sole province
>and prerogative of legacy institutions and expert curators ­ has become more
>open, participatory, and fluid. In the face of remix culture, archive
>fever, and emergent long tail phenomena, institutions and rights holders
>are struggling to come to terms with these new, shared missions and
>responsibilities. The way ahead for reinventing cultural heritage
>institutions is uncharted, but inaction is not an alternative. They must
>adapt or risk irrelevance.
>
>Reimagining the Archive will explore the changing role of archives and
>cultural heritage institutions, and the new opportunities presented by the
>remapping and remixing of traditional, cherished, and seemingly immutable
>institutional models and practices. How might archives build new
>relationships and professional paradigms, and perhaps ultimately a new
>philosophy of archives and archiving that embrace and enrich the
>contemporary many to many landscape of media culture?
>
>The Symposium aims to bring together archival and cultural scholars,
>professionals from private and public cultural organizations, mainstream and
>independent creative artists who make digital media and artworks, and
>specialists from major information technology and media firms engaged in all
>aspects of digital asset management, conservation, and preservation. The
>Symposium will provide a forum for wide-ranging discussion and debate on all
>aspects of archival practice, technology, and research.
>
>*Symposium organizers invite the submission of competitive presentations in
>a range of formats (e.g., papers, posters, interactive demonstrations, media
>projects, artworks) related to any of the following conference themes,
>broadly conceived:  *
>
>"  *Transition*
>
>New roles for archives: circulation, annotation, mediation and evaluation
>Shifts in institutional focus from archives of objects to archives of events
>-- from archive as entity/repository to archive as activity and performance
>The proliferation of de facto archives
> >From audiences to users: from reception to engagement and social
>production
>The documentation, annotation and evaluation of emergent and innovative
>objects, forms, genres, e.g., games, net apps, social media, worlds
>
>"  *Navigation*
>
>The changing legal, regulatory, ethical, and policy landscape of digital
>cultural heritage, nationally and internationally; threats fair use and the
>public domain
>Digital creation and clearance culture: remix and policing
>Intellectual freedom v. digital rights management (DRM)
>Peer-to-peer architectures and collections
>The cloud and the archive
>Internet, archives, or both? Does the Internet need to be archived? Is it a
>container of content, content in itself, or both? Can it be archived in the
>absence of designated archival responsibility or action?
>
>"  *Curation*
>
>The future of archives as knowledge references and authorities
>Digital challenges to core archival principles
>Assigning value, selection, collecting
>The significance of independent / amateur media production
>Persistence of memory, ecstasy of forgetting: issues of exclusion,
>selection, sorting, and choice; what to keep and why? Where and when is
>memory, remembering, forgetting?
>Archives as memory and knowledge. Digitization and new possibilities for
>scholarly, analytical and critical reading. Do digital media convey
>knowledge in a new way, and if so, what kinds of knowledge? What are the
>implications for education, cultural transmission, and pedagogy?
>
>*Submission Guidelines*
>
>*All proposals must include the following information*:
>
>" Name, title and affiliation of each author (please indicate student
>authors)
>" An extended abstract (500 words) describing the presentation, including
>illustrations or
>     diagrams for installation as needed
>" Requirements for technical support (e.g., AV, space, electrical) required
>for presentation or
>     installation, if needed
>" First authors name and page numbers on all proposal pages
>
>*Student submissions are strongly encouraged.
>*
>*Proposals should be submitted as attachments to email.
>Please send proposals and other inquiries to:*
>
>(digital /at/ ucla.edu)
>
>*Important Deadlines*
>
>" Proposals will be considered as they are received
>" Preliminary deadline for receipt of proposals: *August 1, 2010 *
>" Acceptance notification by September 1, 2010
>

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