Archive for calls, March 2008

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

Thu Mar 13 15:43:56 GMT 2008

>Dear all,
>below is a CFP for a conference that may be of interest to some of you.
>Fabian Holt
>Fabian Holt, Ph.D.
>Associate Professor
>Performance Design
>University of Roskilde
>Universitetsvej 1, 44.2
>4000 Roskilde
>* Please circulate widely *
>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/>(fabianh /at/, please 
>write Roskilde conference in the subject line
>Secretary:Hanne Tofteng (<mailto:(hannet /at/>(hannet /at/
>Venue:Roskilde (more details will be announced soon)
>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.
>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.
>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.
>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/>(fabianh /at/ 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/>(fabianh /at/ 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.
>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.
>300 Euros including meals and accommodation.
>All participants should by sending an e-mail to 
>e-mail to Hanne Tofteng, Roskilde University, 
><mailto:(hannet /at/>(hannet /at/ 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
>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
>19.30-23.00            Dinner and concert in Roskilde
>November 14, 2008
>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
>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

Nico Carpentier (Phd)
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
F: ++ 32 (0)2-629.36.84
Office: 5B.401a
Katholieke Universiteit Brussel - Catholic University of Brussels
Vrijheidslaan 17 - B-1081 Brussel - Belgium
Facultés Universitaires Saint-Louis
Boulevard du Jardin Botanique 43  - B-1000 Brussel - Belgium
Sponsored links ;)
Understanding Alternative Media
by Olga Bailey, Bart Cammaerts, Nico Carpentier
(December 2007)
Participation and Media Production. Critical Reflections on Content Creation.
Edited by Nico Carpentier and Benjamin De Cleen
(January 2008)

European Communication Research and Education Association
ECREA's Second European Communication Conference
Barcelona, 25-28 November 2008
E-mail: (Nico.Carpentier /at/

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