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[Commlist] CFP - 2nd Global Audiovisual Archiving Conference: Exchange of Knowledge and Practices
Wed Aug 16 21:54:47 GMT 2023
2nd Global Audiovisual Archiving Conference: Exchange of Knowledge and
Practices
Toronto, Canada, 12th - 14th July 2024
Presented by Archive/Counter-Archive, Eye Filmmuseum and the Toronto
International Film Festival® (TIFF)
Deadline for submissions: Sunday, 1 October 2023. Proposal Submission
Form: https://forms.gle/pcveiADtgP7qvLBC7
<https://forms.gle/pcveiADtgP7qvLBC7>
2024 Conference Theme: Building Alliances
(A)rchival endeavors should not be about documenting the past, nor even
about imagining the future…but about building a liberatory now.
-Michelle Caswell, Urgent Archives: Enacting Liberatory Memory Work
(2021, 13)
(T)he archival impulse could be recast… as the possibility of creating
alliances: between text and image, between major and minor institutions,
between filmmakers, photographers, writers and computers, between online
and offline practices, between the remnant and what lies in reserve,
between time and the untimely. These are alliances against dissipation
and loss, but also against the enclosure, privatization and
thematisation of archives, which are issues of global, and immediate,
concern.
- Pad.ma, “10 Theses on the Archive” (2010) https://pad.ma/documents/OH
<https://pad.ma/documents/OH>
The biennial Global Audiovisual Archiving Conference is an opportunity
for scholars, archivists, artists, curators, filmmakers, students, and
film enthusiasts from across the world to gather and explore
contemporary professional, artistic, and socio-political issues
affecting audiovisual heritage today. The aim of the conference is to
broaden the knowledge and connections within the global archival
community, leading to new insights into the material and cultural
resonances of archival approaches to sound and moving image in different
parts of the world.
Audiovisual archives are being redefined by the communities who care for
and use them. In the 21st century, new names for archival collections
and new approaches to archives are helping to shape collective
histories, often informed by a plurality of regional, local, activist,
and cultural communities rather than broadly based nationalist
identities. These are fostering new understandings of what it means to
“decolonize memory institutions” such as public archives, cultural
memory centres, galleries, and museums (Thorkelson, 2019) as well as de
facto repositories or accidental archives (Cheeka, 2023) such as media
distribution centres, co-ops, academic institutions, and public
libraries – not to mention all kinds of private and personal archives.
The problems that smaller archives face include a lack of space for
storage, funds to access digitization technologies (Declercq, 2020;
Suárez, 2021), and the specialised labour, informed by archival training
in best practices that are often required to safeguard material
histories, especially those carried by analogue and born-digital media
(Jaillant, 2022; Liebermann, 2021; Moravec, 2021). Often these “best
practices” are drawn by richer institutions, without due consideration
of or engagement with the contexts, resources, and politics of other
regions. Equally important is the reuse and co-creation of media that
activates archival materials in novel ways for contemporary audiences in
a way that ensures their longevity. There is no doubt that the practices
of “doing archives” are “on fire” around the world (Caswell, 2021; Chew
et al., 2018; Paalman et al., 2021).
The 2nd Global Audiovisual Archiving Conference invites papers and
presentations in a variety of formats that address the challenges and
generative opportunities afforded by diverse media archives, from those
that are publicly/privately funded to those surviving on very little
support. We are especially interested in marginalised audiovisual
archives, whether collections vulnerable to disappearance and
inaccessibility or archives that are invisible and need to come into
being. Central to our conference is the importance of identifying gaps
in the field, building bridges, creating archival networks, fostering
collaborations (Pretlove, 2021), and uncovering or deepening alliances
(Heidiger et al., 2021). Such approaches may be tied to designing
practices of care (Campanini, 2023) and pedagogical approaches for the
next generation of archivists, artists, activists, humanists, and
historians in ways that are inclusive, expansive, liberatory, and that
might reinvent and redefine archival language and protocols. The
conference also explores the emergence of theoretical questions, and
novel ways of understanding history through notions of entanglement
(Namhila and Hillebrecht, 2022) and redefinitions of allyship and
stewardship that mark a critical paradigm shift in the field of archival
studies.
We encourage proposals from participants located in parts of the world
and on topics that are underrepresented in conferences related to
audiovisual heritage.
The programming committee will be especially interested in proposals
that address the following topics which include but are not limited to:
Specialist Archives
*
Human rights frameworks and archives; activist archives; social justice
*
Archival protocols and languages of Indigenous and other communities
of traditional knowledge; living archives and ancestral memory;
decolonizing practice and policy
*
Women’s archives and networks and feminist ethics of care
*
Queer LGBTQS+ archives and collaborations
*
Critical disabilities in the archives; building accessible archives
*
Mobile archival engagements with remote or underserved communities
*
Enriching metadata on sensitive objects; improving metadata
language(s) for enhancing access and collaboration on a global scale
New Approaches to Archiving
*
Decolonizing the archive; decolonial and postcolonial approaches to
archiving and archival studies
*
Sustainable approaches to archiving: environments, climate change
and disappearing archives, planetary archives
*
Identifying archives at risk and sharing resources
*
Developing new networks, kinships, collaborations, and alliances;
sharing resources across political/cultural, economic, and
geographic spheres
*
Transnational, transcontinental, translocal archival projects and
networks
*
Global repatriation efforts across borders and governments; digital
forms of repatriation
*
New approaches to archival pedagogy; training the next generation of
archivists
*
Participatory and communal forms of archiving; building sustainable
cooperative projects in AV archiving; recognizing the invisible
labour(ers) at the archive
*
Addressing financial inequality across archives across borders in
neoliberal contexts; finding alternatives to neo-colonial financial
structures
Theoretical and Activation Insights
*
Creative activations of archives through artist residencies and
community collaborations
*
Building bridges between academic, archival, and cultural
communities that use archives
*
Theory building: what can we learn from the new theoretical
questions (ontology of the archives), and creative artistic
approaches to working with archives?
*
The alternate histories of audiovisual heritage and culture thanks
to new, inclusive archival practices
*
The future of archives and archiving; new approaches to
digitization; digital archives, platforms, and repositories
Guidelines
You can submit your proposal for a single paper or panel format (panel,
roundtable, poster, etc.) online via the Google Form linked below.
Proposals received by 1 October 2023 will receive full consideration,
and acceptance results will be sent out in December 2023. Among other
information, the form will ask for the following:
*
A short biography for all the participating speakers.
*
An abstract for your presentation that will appear in the conference
program if your presentation is accepted.
*
A list of your required A/V equipment and details (title, date,
length, etc.) for any media you will be presenting.
We welcome presentations in a wide range of formats, including the
following:
*
Report or Paper Presentation: Fully prepared papers/reports of 15
minutes that will be grouped with cognate presentations on the
panel, with time for Q&A.
*
Panel: A 50-minute session consisting of a panel of three to four
individuals who discuss a variety of theories or perspectives on the
given topic. Panels are up to 40 minutes of presentation with 10
minutes of Q&A.
*
Show-and-Tell: A 10-minute short presentation of a case study or
archival material with 5 minutes of Q&A.
*
Roundtable Discussion: A 50-minute session of informal presentations
on a general subject area. Proposals in this category normally
include a facilitator who will moderate the session and any discussion.
*
Screening Session: Up to 50-minute screening presentation. The
session may include speakers/discussion along with a program of
films/media.
*
Poster Presentation: A 5-minute pre-recorded session with a poster
image. The poster image will be posted on the conference website.
Posters are scheduled five per session slot, and all poster
presenters are required to participate in the live Q&A during their
session.
*
Evening Screenings: A film program or feature film with a short
introduction.
We may discuss with presenters appropriate alteration of a proposed
format or duration when this makes curatorial sense for the programme as
a whole.
We will consider a number of live or recorded video presentations for
those who may be unable to or who choose not to travel. Please direct
any questions you may have about your proposal or the submission process
to (globalarchiving /at/ gmail.com)
Proposal Submission Form:
https://forms.gle/pcveiADtgP7qvLBC7 <https://forms.gle/pcveiADtgP7qvLBC7>
Travel Grant Program
We have established a limited number of travel grants for speakers at
the Global Audiovisual Archiving Conference. The grants, up to $500
each, can be used to partially offset registration and travel costs. To
apply, please complete the final Travel Grant Application section of the
proposal form, where you will be asked to submit a brief paragraph
outlining your financial need and how attending the conference will
contribute to your professional development. Please email any questions
you might have about these travel grants to (globalarchiving /at/ gmail.com)
<mailto:(globalarchiving /at/ gmail.com)>.
Registration
For this edition, we offer a hybrid conference format to accommodate
everyone. Please note that all presenters must register for the
conference and that we do not provide registration or financial
compensation for speakers, with the exception of a limited number of
travel grants.
Program Committee
*
Keith Bennie (Toronto International Film Festival)
*
May Chew (Concordia University)
*
Almudena Escobar López (Toronto Metropolitan University)
*
Giovanna Fossati (Eye Filmmuseum/University of Amsterdam)
*
Susan Lord (Queen’s University)
*
Janine Marchessault (York University)
*
Natania Sherman (Toronto International Film Festival)
*
Michael Zryd (York University)
Advisory Board
*
Ines Aisengart Menezes (Witness)
*
Carolina Cappa (Elias Querejeta Zine Eskola)
*
Karen Chan (Asian Film Archive)
*
Martino Cipriani (RMIT University Saigon/University of Amsterdam)
*
Tamer El Said (Cimatheque - Alternative Film Centre)
*
Anne Gant (Eye Filmmuseum)
*
Maral Mohsenin (Geneva International Film Festival)
*
Judith Opoku-Boateng (University of Ghana)
*
Nour Ouayda (Filmmaker & Researcher)
*
Asli Ozgen Havekotte (University of Amsterdam)
*
Floris Paalman (University of Amsterdam)
*
Lisabona Rahman (Freelance Moving Image Preservation and
Presentation Consultant)
*
Aboubakar Sanogo (Carleton University)
*
Gerdien Smit (Eye Filmmuseum)
*
Stefanie Schulte Strathaus (Arsenal - Institute for Film and Video Art)
*
Juana Suárez (New York University/APEX)
*
Eleni Tzialli (Eye Filmmuseum)
*
Nadine Valcin (Sheridan College)
This event is organised by Archive/Counter-Archive in collaboration with
Eye Filmmuseum and the Toronto International Film Festival.
For more information, please visit the following link:
www.counterarchive.ca/gava-2024
Bibliography
Pad.ma. "10 Theses on the Archive: Pad.ma April 2010, Beirut." In
Dissonant Archives: Contemporary Visual Culture and Contested Narratives
in the Middle East, edited by Anthony Downey, 352–363. London & New
York: I.B.Tauris, 2015.
Campanini, Sonia. “Accidental Encounters, Incidental Care, and Shared
Archival Practices.” In Accidental Archivism: Shaping Cinema’s Futures
with Remnants of the Past, edited by Vinzenz Hediger and Stefanie
Schulte Strathaus. Lüneburg: meson press, 2023.
https://archivism.meson.press/chapters/i-never-wanted-to-be-an-archivist-accidental-archivism-and-biographical-turning-points/accidental-encounters-incidental-care-and-shared-archival/
<https://archivism.meson.press/chapters/i-never-wanted-to-be-an-archivist-accidental-archivism-and-biographical-turning-points/accidental-encounters-incidental-care-and-shared-archival/>.
Caswell, Michelle. Urgent Archives: Enacting Liberatory Memory Work.
London: Routledge, 2021.
Cheeka, Didi. “Accidental Archivism: A Necessary Accident.” In
Accidental Archivism: Shaping Cinema’s Futures with Remnants of the
Past, edited by Vinzenz Hediger and Stefanie Schulte Strathaus.
Lüneburg: meson press, 2023.
https://archivism.meson.press/chapters/i-never-wanted-to-be-an-archivist-accidental-archivism-and-biographical-turning-points/accidental-archivism-a-necessary-accident/
<https://archivism.meson.press/chapters/i-never-wanted-to-be-an-archivist-accidental-archivism-and-biographical-turning-points/accidental-archivism-a-necessary-accident/>.
Chew, May, Susan Lord, and Janine Marchessault. “Introduction.” PUBLIC
57 (2018): 5.
Declercq, Brecht. “Feels Like Heaven: Five Major Challenges for
Audiovisual Archives in the Era of ‘Full Digitisation.” Flash: News from
ICA, 39 (2020): 3-4.
Hediger, Vinzenz, Cheeka, Didi, and Sonia Campanini. “Reconfiguring the
Audiovisual Heritage: Lessons from Nigeria.” The Moving Image: The
Journal of the Association of Moving Image Archivists, 21, no. 1-2
(2021): 55-76.
Jaillant, Lise. “How can we make born-digital and digitised archives
more accessible? Identifying obstacles and solutions.” Archival Science
22 (2022): 417-436.
Liebermann, Yvonne. “Born digital: The Black lives matter movement and
memory after the digital turn.” Memory Studies 14, no 4 (2021): 713-732.
Moravec, Michelle. "Feminist Research Practices and Digital Archives."
Archives and New Modes of Feminist Research, edited by Maryanne Dever,
186-201. London: Routledge, 2020.
Ndeshi Namhila, Ellen, and Werner Hillebrecht. “Archival Entanglements:
Colonial Rule and Records in Namibia.” Disputed Archival Heritage,
edited by James Lowry, 192-210. London: Routledge, 2022.
Paalman, Floris, Giovanna Fossati and Eef Masson. “Introduction:
Activating the Archive.” The Moving Image: The Journal of the
Association of Moving Image Archivists, 21, no. 1 & 2 (2021): 1-25.
Pretlove, Lee. “Archives, Activism and Social Media: Building Networks
for Effective Collaboration and Ethical Practice.” Archives and
Manuscripts 46, no. 2 (2018): 239-241.
Suárez, Juana. "New Buildings, New Pathways: Toward Dynamic Archives in
Latin America and the Caribbean." The Moving Image: The Journal of the
Association of Moving Image Archivists, 21, no. 1 & 2 (2021): 26-54.
Thorkelson, Erika. “Archives are adapting to an era of digitization and
decolonization.” University Affairs. September 8, 2019.
https://www.universityaffairs.ca/features/feature-article/archives-are-adapting-to-an-era-of-digitization-and-decolonization/
<https://www.universityaffairs.ca/features/feature-article/archives-are-adapting-to-an-era-of-digitization-and-decolonization/>.
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