Angelo Vermeulen over kunst en wetenschap

Posted by Leen on Saturday January 18th 2014 at 19:07

Kunst in het labo

Wetenschappen en kunst hebben een historische band. De hedendaagse, hybride kunst lijkt die band te herontdekken. Op 29 januari 2014 komt bioloog-kunstenaar Angelo Vermeulen naar Diepenbeek om over zijn werk als kunstenaar en wetenschapper te vertellen. Biologie, technologie en sociale verbinding staan in zijn werken centraal.

In educatie worden de vakgebieden wetenschap en kunst ver van elkaar gehouden. Binnen community art is de drempel minder hoog. Co-creatie is de motor van Angelo’s artistiek-wetenschappelijk werk. Hij levert een basisidee en de uitwerking gebeurt door een interdisciplinaire groep vrijwilligers. Door die connectie tussen werelden (vakinhoudelijk, culturen, leeftijden) blijft het kunstwerk in beweging.

Is community art een vorm van kunsteducatie? Hoe kan je wetenschappen, techniek en kunst in een participatieve – of educatieve – setting samenbrengen? Is beweging ook het doel van kunstonderwijs? Deze en vele andere vragen kunnen na de lezing aan Angelo gesteld worden.

Angelo Vermeulen is TED Senior Fellow, werkt voor NASA en is expert voor ESA. Ook geeft hij les aan LUCA School of Arts Gent. In het volgend nummer van Eos verschijnt een interview met Angelo.

Inschrijven

Inschrijving is noodzakelijk. De avond is gratis.

Inschrijven kan via deze link.

Praktische informatie

Wanneer:

29 januari 2014 om 20.00 u.

Waar:

Technologiecentrum
Wetenschapspark 27
3590 Diepenbeek

Hoe:

Lezing
Gespreksronde
Napraten met een drankje

Inschrijving

Deelname aan deze activiteit is volledig gratis. Inschrijven is wel verplicht.
Meer informatie en de inschrijflink vind je op http://www.krizoom.be.

 

Special Issue of LWU (Literatur in Wissenschaft und Unterricht): “Serial Narratives”

Posted by Leen on Thursday January 16th 2014 at 10:43

Since the nineteenth century, serial narration has been a preferred mode of popular storytelling. From serialized novels to comic strips and film serials, from radio plays and television series to video games, and digital forms of storytelling—serial narratives have proven to be an effective means of attracting and engaging mass audiences, especially when new technologies (like color printing in newspapers) and new media (like film, radio, television, and the Internet) emerge. Producers rely on recurrent characters, ongoing storylines, and delayed narrative closure in order to generate audience desire for future installments. In that regard, serial narratives essentially promote themselves and the medium in which they appear, as consumers must continue to read, watch, or listen over extended periods of time if they want to gain access to the full story. Serial narratives make perfect economic sense from the producers’ point of view, then, but they also provide various pleasures for their audiences. The particular appeal of a television series, to name just one example, may lie in ritualized viewing practices, in a long-term emotional engagement with fictional characters and their experiences, or in creative responses like fan fiction.Existing studies of nineteenth-century serialized novels, early comic strips, and contemporary television shows seldom look at serialization as a dynamic practice that crosses media boundaries and constantly adapts to the ever-changing media landscape and its latest technological innovations. This special issue of LWU seeks to explore narrative, cultural, and historical dimensions of serial narratives in an effort to come to terms with their changing forms and functions within the field of popular culture. We are interested in questions relating to the production and reception of serial narratives in the past and present. How can the evolution of serial forms be understood within particular theoretical frameworks? How does the sprawl of serial narratives across different media challenge established notions of authorship, narrative closure, and cultural legitimacy? How does it work to increase audience loyalty and engagement? How do authors and producers respond to new modes of consumption that differ from the ritualized experience of daily, weekly or monthly installments? Do DVD sets, VOD services, and streaming, for example, demand new narrative strategies and storytelling techniques to satisfy the binge or repeat viewer of television series? What effect has the “second screen” on viewing experiences and (the semblance of) audience participation?We invite theoretical reflections as well as analyses of individual serial narratives.

Please send an abstract of 250-300 words and a short CV to Kathleen.Loock@fu-berlin.de.

The deadline for abstracts is April 1, 2014. All accepted essays have to be submitted by November 1, 2014.

European Cinema after the Wall

Posted by Leen on Tuesday January 14th 2014 at 10:27

Since the fall of the Berlin Wall in 1989, transnational European cinema has risen, not only in terms of production but also in terms of a growing focus on multiethnic themes within the European context. This shift from national to trans-European filmmaking has been profoundly influenced by such historical developments as the collapse of the Iron Curtain and the subsequent ongoing enlargement of the European Union.

EngelenIn European Cinema after the Wall: Screening East–West Mobility, Leen Engelen and Kris Van Heuckelom have brought together essays that critically examine representations of post-1989 migration from the former Eastern Bloc to Western Europe, uncovering an array of common tropes and narrative devices that characterize the influences and portrayals of immigration. Featuring essays by contributors from backgrounds as divergent as film studies, Slavic and Russian studies, comparative literature, sociology, contemporary history, and communication and media studies, this volume will appeal to scholars of film, European history, and those interested in the impact of migration, diaspora, and the global flow of cinematic culture.

 

Leen Engelen is a lecturer at the Media, Arts & DesignFaculty and researcher at KU Leuven (Belgium). She has published on film history and visual culture in several national and international academic journals and is coeditor (with Roel Vande Winkel) of Perspectives on European Film and History (2007). She is secretary general of the International Association for Media and History.

Kris Van Heuckelom teaches Polish language and culture at KU Leuven (Belgium). His books include (Un)masking Bruno Schulz: New Combinations, Further Fragmentations, Ultimate Reintegrations (2009, coedited) and Visuality in the Poetry of Czeslaw Milosz (2004).

 

 

Mädchen mit totem Vogel

Posted by Leen on Tuesday January 14th 2014 at 10:17
A new book by our LUCA colleague Wolfgang Mühleis: Mädchen mit totem Vogel. Eine interkulturelle Bildbetrachtung

Research grants History and Theory of Photography Research Centre, Birkbeck (UK)

Posted by Leen on Tuesday January 14th 2014 at 09:02

The School of Arts is delighted to invite applications for M.Phil/PhD research funding for the 14/15 academic year. Please see link below for information on our studentships (including AHRC, Birkbeck Anniversary Scholarships, and Arts Research Studentships), guidance, application forms and deadlines. We welcome research projects on a variety of topics including photography, for part-time as well as full-time study.

http://www.bbk.ac.uk/arts/research/research-bursaries-studentships-funding

 

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