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  1. http://www.digitallyengagedlearning.net/2019/submission-guidelines/ As this year is the Bauhaus' centennial, our theme is “Teaching Futures”. What do you think the next 100 years of art & design education should look like, and what have you taught/speculated on that you would like to share? Read on for more details and be in touch if you have any questions. This year’s awesome keynote speakers are Leah Gilliam and Zach Lieberman! Please be in touch if you have any questions. Warm regards, Cynthia Lawson
  2. Symposium Dates: Ongoing to 1 January 2019 Organized by: Leonardo Journal Publication: Leonardo Scope — In 2017 Leonardo celebrated 50 years of publishing work and research at the intersection of art, science and technology. As part of the celebrations, we are initiating a 3-year symposium that will address issues surrounding the development of the PhD in Art and Design. Today, universities around the world are debating this issue. While the MFA is a terminal degree for professional practice, the PhD is a research degree—the doctor of philosophy. The debate began in the U.K. when independent art and design schools were merged with universities or raised to university status. This led to the question of equivalent standards for academic appointment to once-separate programs within now-unified universities. Universities in Europe, Asia, Australia and North America have now joined the conversation by establishing new PhD programs or initiating serious debates on whether—and how—to build them. The question of the PhD for art and design raises many challenging issues. First among these is the nature of research, research training and the PhD. This issue may seem obvious to those who have earned a PhD in the natural sciences, social sciences or liberal arts, but it remains a complicated issue to address in understanding the PhD for art and design. What is the PhD in art? What is the PhD in design? What should a PhD be in a field of professional practice? Should there be several kinds of PhD in art and design or one major model? Why pursue such a degree? What is the nature of such a PhD with respect to research quality as distinct from the quality of art or design practice? Why are so many programs struggling or going wrong? Why do universities and accrediting authorities permit problematic programs to continue? Why, in the past, did artists interested in research choose to take a PhD in disciplines outside art? Are there specific skills all researchers require without respect to their discipline? These are questions to consider, and there are people who have something to say about them, including experienced supervisors. With this symposium, we are reaching out to those with solid experience in doctoral education to draw on their skills and wisdom. The fresh debate on the PhD for art and design taking place in North American universities has global implications. This debate makes it imperative to consider the different models of doctoral education elsewhere in the world. Is it reasonable to earn a PhD for a practice-based thesis with an artifact or an exhibition in place of the thesis, accompanied by an essay of 20,000 words? Should doctoral programs admit students to research training programs without undergraduate experience in such key skills as analysis, rhetoric, logic or mathematics? Can undergraduate art and design students with a focus on studio skills hope to succeed in doctoral work when they have had little or no experience in the kinds of information seeking or writing that form the basis for earning a research degree? Is it possible to award PhD degrees for skills and capacities completely different from those in any established research field? In North America, an exhibition of artifacts with a short thesis is the basis for awarding an MFA degree; in the U.K. and Australia and at some European art schools, this is the basis for awarding a PhD. Is it possible to merge these two traditions? The SEAD and STEAM Challenge — One of the specific challenges we face internationally is finding new ways to enable collaboration between science and engineering with the arts, design and the humanities (SEAD). The United States National Science Foundation funded a SEAD study(link is external) highlighting a number of international developments and best practices that inevitably will influence the question of the PhD in art and design. One of the areas in this study was the emerging discussion on “STEM to STEAM.” Call for Papers — The PhD for art and design has become a significant issue in worldwide university education. As the world’s oldest peer-reviewed interdisciplinary journal for the arts, sciences and technology, Leonardo has a responsibility to serve as a forum for the conversation. This symposium is our contribution to the emerging dialogue on this issue in North America and around the world. We seek several kinds of contributions to a 3-year symposium on the PhD in art and design. • First, we seek full-length peer-reviewed articles for publication in the Leonardo addressing key issues concerning the PhD in art and design. • Second, we seek significant reports, research studies and case studies. Since these will be longer than journal articles, we will review them for journal publication as extended abstracts with references, and we will publish the full documents on the Leonardo website. • Finally, we will welcome Letters to the Editors in response to published articles and to the documents on the website. Proposals and Inquiries - Interested authors should submit inquiries to: Jack Ox <jackox@intermediaprojects.org> Articles to Date — The first five articles in the symposium are available open access from the Leonardo web site, or from WeTransfer at URL: https://we.tl/j3D2OCpgRK These are: • Meredith Davis. “Confronting the Limitations of the MFA as Preparation for PhD Study” • Linda Candy & Ernest Edmonds. “Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line” • Diane Zeeuw. “The Devlopment and Evolution of the Creative Arts Practice-led PhD at the Victorian College of the Arts” • Virginia Maksymowicz & Blaise Tobia. “An Alternative Approach to Establishing a Studio Doctorate in Fine Art” • Ken Friedman & Jack Ox. “PhD in Art and Design: Introduction” We welcome proposals and inquiries. Guest Editors — Ken Friedman, PhD, DSc (hc), FDRS, is Chair Professor of Design Innovation Studies at Tongji University; University Distinguished Professor at Swinburne University; and Adjunct Professor at James Cook University. Jack Ox, PhD, MFA, Research Fellow at ART/SCI Lab, ATEC, UTDallas Research Associate with the Center for Advanced Research Computing (CARC) University of New Mexico. — (originally listed in Design Studies Forum)
  3. Call for Papers: “MADE IN NEW YORK” The Twenty-Seventh Annual Parsons/Cooper Hewitt Graduate Student Symposium on the History of Design Cooper Hewitt, Smithsonian Design Museum, New York. April 26 and 27, 2018. >>DEADLINE EXTENDED TO FEBRUARY 26, 2018<< A unique confluence of circumstances made New York City both a chief entrepot of early America and something of a cultural anomaly in the country. More diverse than many other American cities, even in the 18th century, a major center of immigration, more highly urbanized, and more open to social experimentation than other parts of the country, New York has often been seen as in but not fully of America: a symbol of otherness. We are looking for papers that explore the history of making, fabrication, industry and crafts in New York--on large and small scales, high design and popular culture, tangible goods and media product--from the Dutch founding of the city, or even before, to the present day. By the early 19th century, the city grew to be one of the largest manufacturing centers in the country: the leader in fashion and high style, and in shopping culture, earning it the sobriquet The Great Emporium. New York City was also the media center of the country in the 1800s, home to publishing houses and, by the early 20th century, a nascent film industry, establishing and disseminating American cultural norms and archetypes. Today, large-scale manufacturing has long since left the city, but a vibrant culture of making remains. From artisanal workshops to medium-scale factories, New Yorkers continue to produce tangible goods. Local production is also an essential factor in creating an environmentally sustainable city. In examining the material culture output of the city both past and present, we hope to explore these and other themes. • What has been manufactured in New York, by whom, and for whom? • What is being made now? • What roles have New York-made products had in the formulation of American culture? • How have the cultural associations of the city developed, been contested, and shifted amongst different constituencies, and how have those meanings accrued onto objects made in the city? • How has consumer culture developed in the city? • How have goods been advertised and sold? • What aesthetics and styles grow out of the unique circumstances of the city’s street grid, buildings, and/or modes of living? Proposals are welcome from graduate students at any level in fields such as History of Art and Architecture, History of Design, History of the Decorative Arts, Design Studies, American Studies, Architectural Theory and Criticism, Fashion Studies, Cultural Anthropology, Consumer Studies, Design and Technology, Media Studies, Museum Studies, Food Studies, etc. This year’s Voorsanger Keynote speaker will be Peter M. Kenny, co-President of Classical American Homes Preservation Trust and former Ruth Bigelow Wriston Curator of American Decorative Arts and Administrator of the American Wing at the Metropolitan Museum of Art. As a historian of American furniture and interiors, much of Dr. Kenny’s work has been with New-York-based makers, including publications such as Duncan Phyfe: Master Cabinetmaker in New York (2011), Honore Lannuier, Cabinet Maker from Paris: The Life and Work of a French Ebeniste in Federal New York (1998), and American Kasten: the Dutch-Style Cupboards of New York and New Jersey, 1650-1800 (1991). The symposium's keynote address is dedicated to the late Catherine Hoover Voorsanger. The Keynote will be on Thursday evening, April 26, 2016 and the symposium sessions will be in the morning and afternoon on Friday, April 27. To submit a proposal, send a two-page abstract, one-page bibliography and a c.v. to: Ethan Robey MA Program in the History of Design and Curatorial Studies robeye@newschool.edu Deadline for proposals: February 26, 2018. The symposium is sponsored by the MA Program in the History of Design and Curatorial Studies offered jointly by Cooper Hewitt, Smithsonian Design Museum and Parsons School of Design.
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