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Call for Papers

Imagining Imagination

International Conference, 10 & 11 June 2011, Royal College of Art, Kensington Gore, London

CFP deadline: 15 March 2011


Imagining Imagination will bring together researchers from multiple disciplines in order to create novel crossovers between artistic and scientific research and their respective methodologies. For this to happen, imaginatory knowledge requires picturing, mapping or description of some sort, and the modes in which this happens are of great importance in particular in respect to the discussions surrounding artistic research. The conference will explore the implications that interdisciplinarity has for our understanding of the role and function of imagination in  knowledge production in particular, when image and imagination are more than agents of visibility. The conference aims to open up a dimension in which seeing itself gains an additional value based on the certainty that art does not necessarily have to reproduce what is visible, but instead what one has not yet seen.

Questions that might be addressed include:

  • What is the role and power of the imagination? Does it compensate for a loss of reality?
  • What is the epistemic status of the imagination?
  • What examples can be given of imagination playing a central role in research?
  • What is the importance of the fictive, the possible and the projected within research processes?
  • How factual is imagination?
  • How does one describe the particular state one is in when one imagines?
  • What is the relationship between imagination and fantasy?
  • How do attention and concentration operate in the imagination? Is a lack of focus beneficial to the imagination?
  • How important is imagination for mental health?
  • What are the social implicat ions of imagination?
  • What role does the imagination play in art-making? Is imagination a creative process?
  • What are the creative processes within imagination?
  • How much imagination is hidden in scientific knowledge?
  • How does imagination actually work?
  • Are there different types of imagination?
  • How does one describe mediality in the context of imagination?
  • How important is imagination for visual knowledge?
  • How is imagination (re)presented in research and its methodologies?

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http://anat.org.au/news_items/312

WHEN

31 October - 5 November 2010 :: Perth, Australia.
 
WHAT

The emergence of ‘destination cinema’ and the proliferation of large-format screens in public spaces present a challenge - and opportunity - to filmmakers and artists working in more traditional screen formats. At the very least a new cinematic language is required, one taking account of the audience’s very different experience of stories presented on ‘frameless’ screens. Fulldome, with its hemispherical screens and surround-sound, is an accessible and powerful test-bed enabling filmmakers and artists to experiment with and develop this new language.
 
WHY
Reflecting its provenance, most fulldome content to date has been educational and comprised of computer-generated animation, data visualisation, or a combination of both. Now, however, there is a shifting focus, with producers turning their sights to the entertainment potential of live-action story-telling for large-formats such as fulldome.
 
Dome Lab is a world-leading intensive workshop investigating this potential and the specific challenges involved in creating compelling live-action narrative content for large format and frameless screens.

WHO
Filmmakers and artists excited by the chance to leap beyond the frame and into the expansive creative potential of large-format, immersive screen experiences are invited to apply. Participants will work alongside a team of creative and technical luminaries including Academy-Award winner, Ben Shedd, 2010 Peter Rasmussen award-winner, Peter Morse and international fulldome pioneer, Hue Walker Bumgarner-Kirby.
 
Applicants must have a minimum of three years professional experience in their field (except for SDA Subsidy applicants - see guidelines). Selection will be based on skill-set, with a view to putting together four to five small production teams. Accordingly, applicants from the full production chain, including writers, directors, camera and audio operators, editors, and designers are encouraged to apply.
 
HOW
Deadline for applications is 5pm CST, Friday 3 September 2010.

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