The PSN conference programme for Bolton 2017 is now available click here
Curating Resistance: Punk as Archival Method
February 9th and 10th at UCLA
At a time when performative resistances to exploitative mainstream cultural practices are increasingly under attack, punk persists as an important space for cultivating and curating expressive means. Punk’s resistant literacies and performances are often in defiance of institutional rigors that carve exclusionary boundaries. Yet, as punk celebrates its long fortieth birthday, punk’s contested annals are increasingly not only part of but also help shape institutional efforts to exceed canonic representations. Bringing together scholars, musicians, fans, writers, and community members, including bands, public intellectuals, and workshops to augment the conventional structure of the academic panel, Curating Resistance: Punk as Archival Method is teaming up with the UCLA Library Special Collections “Punk Archive” for hands-on, thoughtful community building within, across, and beyond the university. This two-day event, hosted by the UCLA Center for Musical Humanities, focuses on the interstices of punk and archive, using both as method, so as to push the boundaries of these three terms and practices. The conference focuses on documenting punk musicality, how sound repertoires and archival practices can give shape to the lived contours of diversity across scale, from the local to transnational, and what this means in terms of empowerment for research and endeavors that destabilize this colonial history of the academy. Punk as archival method curate’s resistance by contributing to these larger conversations via the possibilities of musical subcultures’ collaborative systemic interruptions.
We invite submissions from all punk scholars, public intellectuals, music writers, resistant historians, critical students, misfit theorizers, queer thinkers, feminists, archivists, freaky writers, and anyone interested in the ways in which punk’s resistant musical literacies are protected, preserved, and circulated as well as the stakes of these practices. Papers, or alternative format presentations, may address any aspect of “curating resistance” and “punk as archival method,” such as punk identities that have been made marginal–queer, trans, punks of color, disability, women, among others–and expressive modes, intersectional oppression and inscriptive methods of resistance, the politics of punk preservation, critical approaches to punk media, dismantling white supremacy in archives or in punk, punk pedagogies, hidden transcripts and markets, border/genre transcending and crossing, resistant literacies and DIY genealogies, tensions between punk and institutions, punk as a space for historical presence/presents and futurities, and punk as space for the creation/maintenance of alternative genealogies, unconventional families, and community dialogue.
Please submit proposals via a single Word document [labelled last name first name.docx] to PunkUCLA2018@gmail.com by November 15, 2017. Individual presenters should submit a paper title, 250-word abstract, and author information including full name, institutional affiliation, email address, and a 50-word bio. Alternative-to-paper proposals should specify the style and logistics of presentation. Please indicate any audio, visual, or other needs for the presentation. For more information about the conference, please see the conference website
organizer and program committee chair, at firstname.lastname@example.org, and Candace Hansen,
conference and program logistics/community outreach, at email@example.com.
Call for Papers
PIND 14, 30 septembre 2017
FGO Barbara, 1 rue de Fleury, 75018 Paris
Organisers : Camilla Cavicchi, Luc Robène, Marine Schütz and Solveig Serre
“Draw me a punk”
This fourteenth one-day conference is part of the PIND (Punk is not dead: pour une histoire de la scène punk en France (1976-2016)) research project, funded by the CESR, THALIM and the ANR (National Research Agency).
Despite the fact that punk musicians always prided themselves on their anarchic approach to their output, the use of recurring codes, signs and motifs in both musical and visual works helped produce a singular and cohesive aesthetic. This one-day conference aims to explore the part played by images and aesthetic practices in the construction of a punk world, by revealing the parallels between sound and image.
The art of drawing and more generally graphic arts are an important lens of analysis of the homologies which exist between music, art and aesthetics. From 1976 onwards, it was within the field of graphic arts that a whole range of artefacts were produced – album covers, fanzines, posters, record or cassette sleeve notes, tattoos, dress style – which shaped punk iconography. Drawing is both a central, essential practice – the foundation on which works of art and art theory are built – and one which is underemphasised and marginalised – because of its association with outsider art, children’s cartoons, etc. Drawing is a space where the boundaries between high and low, legitimate and illegitimate culture are blurred; it is conducive to the stimulation of empowerment.
The aim of this conference devoted to punk culture and aesthetics is thus to examine this hypothetical structural coherence in the light of artistic practices and through an iconographic approach. To what extent does punk signal both a rejection of established forms and the reappropriation and détournement of historical sources as a mode of resistance and transgression? If we define visual culture as the study of all the images which are ignored in the field of art history, what space is to be given to visual culture and cultural studies, which consider the question of power when analysing collective attitudes?
This one-day conference hopes to make use of the methodologies of those fields, along with the tools provided by art history, because, when applied to images and practices, they enable us to uncover social implications and to reassess the importance of what has been forgotten or brushed aside.
Proposals are to be sent to the following addresses before 1st September : firstname.lastname@example.org;email@example.com
PSN members. Apologies to all but it has been a while since the PSN steering committee has convened to discuss the potential direction of the PSN. However, after a recent meeting, the steering committee now have a number of announcements and requests they would like to share with you.
Firstly, the PSN steering group are in the process of completing an Arts and Humanities Research Council (AHRC) network bid, led by Russ Bestley. If /once successful this bid will enable the PSN to formulate a more organised approach to the network. This will in turn enable the PSN to extend our reach to become more globally inclusive. With this come a number of opportunities, to develop the PSN in a more positive and productive direction that will include (but is not limited to):
· The development of a much needed online presence in the form of an international PSN website. This will initially be a conduit for PSN information, future events and archival material, though there is potential for so much more.
· The development of an online/digital archive. The purpose of which is to map, document, preserve and connect with established and emerging punk archives across the globe.
· Develop a PSN publishing house to promote punk scholarship within and with out academia.
· Support and amplify the local voices of international punk movements and scenes
To enable the network to develop we are requiring support in a number of areas. At this current stage the PSN are seeking;
· International affiliates and representatives, whose roles could be to promote the ethos of the PSN, coordinate PSN activities through their networks and to contribute to the global discussions on and about punk, in its myriad of manifestations. One of the initial tasks is to develop and enable national punk networks and/or connect with existing punk networks within your nation state. Additionally to map and connect to existing and emerging punk archives/collections within your nation state, to share amongst the emerging global PSN.
· Voluntary financial contributions to the PSN, to enable the steering group to organise, coordinate and implement future network developments highlighted above, on behalf of the PSN network and membership. [DETALS OF HOW MEMBERS CONTRIBUTE FINANCIALLY HERE]
The fourth Punk Scholars Network Conference and Symposium
The University of Bolton School of the Arts and the Punk Scholars Network
12th and 13th of December 2017
Call for Papers
‘Punk’: Impacting Culture? Influencing change?
Papers and presentations are invited for the fourth Punk Scholars Network conference and postgraduate symposium to be held at The University of Bolton School of the Arts.
According to some, Punk crashed into popular culture in the United Kingdom in year zero, 1976 and crashed out at Wonderland in San Francisco in January 1978.
Is the notion of year zero a myth? Were the seeds of revolution planted not in London in 1976, but in the garages of Detroit or the streets of the Sorbonne in 1968? Was post-punk the authentic manifestation of the DIY ethic?
In 2017 the philosophy and ideology of ‘Punk’ identities remain in rude health and its influence extends to politics, the arts, fashion and culture broadly. It has evolved beyond the limits of its initial incarnation. Where, though do punk’s anti-authoritarian tendencies sit within the academy’s critical investigation of the genre?
The Punk Scholars Network aims to bring together established academics, the next generation of punk scholars, students and practitioners in a supportive colloquial environment which we hope will encourage networking opportunities ideas exchange and foster potential future research collaborations. The programme will consist of keynote speakers, ‘in conversation with’ sessions and thematically-grouped presentation and panel sessions.
Alongside the conference there will be a student exhibition exploring the impact of punk across the arts, including fine art, design, animation, photography, audio, graphics, textiles and fashion.
Indicative Topics include:
•The Punk aesthetic
o Fan Practice in contemporary and historic punk
o Digital media production, distribution and consumption
o Literature, philosophy, art, design and punk
o New genres, aesthetics and confrontations
o Fanzines, new media and the DIY ethic
o Punk painting and photography
o Fashion, aesthetics and pattern, print and politics
o Global cross-pollination of punk art and design
o (Dis-)Archiving punk
•Punk and Society
o Punk and politics
o Histories of punk, nostalgia and collective memory
o Sub-cultures, scenes and tribes
o Punk and the city, suburban punk and regional differences
o Transnational punk
o Punk identity, authenticity and the lived experience
o Punk for sale, representation and commercialisation
o Concepts of independence and DIY cultures
o Punk as protest or resistance
o Sex, gender, race and punk
o Proto- and post-punk movements
o Punk and the academy
Post-graduate and graduate researchers are welcome to present work in progress papers on their PhD thesis, Masters or graduate dissertation. We welcome contributions from all disciplines and perspectives and strongly encourage cross-disciplinary collaboration.
Proposals for paper presentations lasting twenty minutes should be submitted in the form of an abstract of no more than 300 words. All submissions should also include:
• Title of paper/presentation
• Full name, contact details, and where relevant, institutional affiliation
• A 150 word biography for each author
• Presentation requirements
We actively welcome proposals of alternative forms of presentation or performance including but not restricted to video, music, art or poetry. Similarly, innovative, experimental and politically-informed forms of data collection, co-production and analysis are encouraged. All forms of presentation will be considered for inclusion in The Fourth Punk Scholars Network Conference and Symposium based upon fit to the conference themes as well as academic and ethical standards of the contribution.
Close to the cities of Manchester and Liverpool, the Conference will be hosted by the School of the Arts at the University of Bolton, arguably the birthplace of Punk in the North and where Buzzcocks played their first gig, 41 years ago, on the 1st of April 1976 at, what was then, Bolton Institute of Technology.
The conference language is English.
31st July 2017: Abstract submission deadline
17th August 2017: Abstract decision sent out
20th September 2017: Draft programme published
9th October 2017: Deadline for full papers/projects for proceedings
6th November 2017: Presenter booking deadline
12-13th December 2017: The fourth Punk Scholars Network conference and symposium
Proposals should be sent as email attachments (in Word or Open office format) to
Pah1@bolton.ac.uk by the 31st July 2017.
The conference programme will be announced in September 2017.
It is our intention that the conference proceedings will be further developed into a book or special edition of a journal.
University of Bolton, School of the Arts | firstname.lastname@example.org
University of Bolton, School of the Arts | L.Lewis@bolton.ac.uk
University of Dundee, School of Dentistry | JRutter@dundee.ac.uk
Manchester Metropolitan University, Department of Contemporary Arts | P.Dale@mmu.ac.uk