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Call for Contributions PARSE Journal Issue #3

Nyhet: 2015-01-15

PARSE Journal supports an innovative and multidisciplinary research culture in the arts (including music, performing arts, art, design, architecture, literature, film and media) through publishing original artistic research; creating dialogues and promoting collaborations between researchers in the arts and in other disciplines; and through bringing together different modes of artistic enquiry within an open peer review framework. PARSE Journal is one strand of activity hosted by the PARSE research platform of the University of Gothenburg, Sweden.

We invite submissions from all fields and disciplines. Contributions are invited in the form of text or media.

The deadline for abstracts is, March 20, 2015 and for full articles; June 15, 2015

Proposals should be sent to editor Anders Hultqvist: anders.hultqvist@hsm.gu.se
In the headline of your mail, please indicate PARSE Journal Issue #3.

For more information about PARSE, PARSE Journal, Peer Review and Submission Please visit: www.parsejournal.com


Repetitions and Reneges: Interpretation, iteration, and re-performance across the arts.
Editors: Darla Crispin, Anders Hultqvist & Cecilia Lagerström

The possibility of repetition in general, and more specifically repetition or reiteration of artistic work raises questions that emerge, and are negotiated differently, across the various art fields. This is because these various art fields are connected to divergent practices and conceptions of tradition, authorship, interpretation, ownership, originality, performativity and artistry.

The issues that might be addressed under the heading of “repetitions and reneges” range from the relation to repetition and reiteration in theatre and dance practices to non-repeating strategies in performance art; from the legitimate interpretation of canonical works within the various music traditions to the re-performance of improvisational practices; from the vogue for re-enactments in contemporary art to the construction of poetic texts exclusively from explicit or implicit citations of other works; from the normalisation of appropriation in some visual arts and literary practices to the scandal of subsequent performances that deviate from interpretative standards in some areas of the performing arts; from the re-interpretive acts of appropriation within design and architecture to the iterative momentum inherent in craft; from the politics of preservation and reclamation in some cultural heritage practices to the rhetorics of post-memory and the intrinsically contested nature of any re-construction of the past; from the tensions incurred through the proliferation of documentation simultaneous with the “weakening” ontology of the individual work of art to the complex aesthetic and epistemic quandaries thrown up by the attempt to construct “living” archives of ephemeral and evanescent practices.

These questions of repetition touch upon both the philosophical themes of intention, tradition, identity, individuation, type and event and the performative themes of ownership, style, oeuvre and artistic agency. Within, for instance, theatre and (classical) musical interpretation there are often strong tendencies to police the legitimate interpretational possibilities of canonical works. These works are for some critically proscribed from realisation outside a predefined set of performance strategies.

The third issue of PARSE invites research submissions that operate within this complex space of the repetition or reiteration of works of art and of artistic practices. We are especially interested in contributions based on current research that may in some way help to inform and foster a transdisciplinary debate on the different potentials, proprieties and politics of repetition across artistic practices including, but not restricted to, questions of originals, copies, translations, interpretations, re-performances, re-enactments, re-iterations and the possibility of reneges – acts of going back upon, or failing to honour the promise or contract of “the work"– in the actualisation of the work of art.

 

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