29-30 June 2012 | Izmir, Turkey
http://fadf.ieu.edu.tr/balkanlocusfocus

CALL FOR PARTICIPATION

This call for participation asks for studies of communication design in the broader region of the Balkans/Southeastern Europe.

Consisting of heterogeneous cultural groups and diverse socio-economic structures, the region has had a turbulent history in the last century, marked by violent manifestations of ethnic conflict but also by regimes that fostered political integration. Its multiple design histories sometimes intersected, but often diverged to distinct national trajectories that looked for points of reference beyond the region’s geographical borders.

This two-day symposium held at Izmir University of Economics, Turkey (Faculty of Fine Arts and Design, Visual Communication Design Department) in collaboration with Parsons, USA (School of Art and Design History and Theory), intends to offer first insights on the yet silent and poorly recorded histories of communication design in the Balkan peninsula, focusing on the period from the late 19th century to the present. This is the first attempt to comprehensively map visual communication (in the areas of graphic design, advertising, typography, web design, media, and inclusive of non-commercial examples, private initiatives and state/civil service design) in the socio-political and mental territories of the region. The aim is thus threefold:

First, to present and document existing and/or unpublished research through paper presentations.

Second, to initiate a forum for emerging issues to be investigated and for new projects to be launched (e.g. more comprehensive national and transnational trajectories, oral histories, comparative studies). This aim will be achieved in moderated academic workshops with the intention of generating co-authored papers to be published on the conference website, and if possible, a design journal special edition.

Third, to see design practice presentations by contemporary designers of the region feed and inspire new thinking, and generate oral histories for future research.

The overall goal of this hybrid event is for scholars, researchers and designers from the Balkans to establish links, forge collaborations, and create a strong community of design historians and practitioners.

The symposium committee will seek papers under the following four THEMES (inclusive but not limited to):

• T1: Inter-Nationalism/Regionalism, Identity(ies), Propaganda, Politics.
• T2: Modernization, Professionalization, Institutionalization.
• T3: Inter-Balkan Connections/Networks, International Influence/Impact.
• T4: Contemporary Practice, Multi-disciplinary Design, New Media.

There will be three SESSION types:

• PPS: Paper Presentation Sessions
• AWS: Academic Workshop Sessions
• DPPS: Design Practice Presentation Sessions

There will be four moderated academic workshops during the symposium. Confirmed moderators are

• Fedja Vukić (University of Zagreb, Croatia)
• Bratislav Pantelic (Sabancı University, Turkey)
• Başak Şenova (curator/designer, Istanbul, Turkey)
• Jilly Traganou, co-moderator (Parsons, USA).

More information and updates on workshop themes and means of participation will be available on the website.

You may be part of this symposium as one or more PARTICIPANT types:

Presenter by delivering a paper presentation during PPS.
Discussant by provoking dialogue with the AWS moderator and other discussants.
Designer by presenting your work produced in the period from the 1960s to the present at DPPS.
Attendee.

SUBMISSION DETAILS

PPS: 1 Abstract (350 word max) + 1 visual (low res.) + short bio (75 words) + CV.
AWS: 1 Abstract (500 word max) providing your knowledge and provocations on one of the 4 workshop themes (to be announced in the website) + short bio (75 words) + CV.
DPPS: 1 Abstract (350 word max) supported by visuals of your work (low res.) + short bio (75 words) + CV.

Please use the attached PDF form (BLF_Abstract-Submission-Form.pdf) and rename it to:

SESSIONtype_theme#_SURNAME_Shortened-title-of-your-abstract_01.pdf
e.g. PPS_t2_SMITH_Modernity-and-magazine-design-in-Bulgaria_01.pdf

Use Adobe Reader to open the form and enter your text in the fields and save the document.
(Get free Adobe Reader at: http://get.adobe.com/reader/)

Enter your personal data, contacts, paper title and the abstract text on page 1;
Enter your short bio on page 2 of the form;
Send your visual as separate .jpg image file(s) not larger than 2 MB each;
Your CV can be attached as a separate .pdf or .doc file.

Submit your material to: <balkanlocusfocus@ieu.edu.tr>

DOCUMENTS DOWNLOAD

Call for Participation
http://fadf.ieu.edu.tr/balkanlocusfocus/BLF_CfP_2012.pdf

Abstract Submission Form
http://fadf.ieu.edu.tr/balkanlocusfocus/BLF_ASF_2012.pdf

IMPORTANT DATES

• Deadline for all abstracts: 15 March 2012
• Announcement of accepted participants: 15 April 2012

REGISTRATION

For details on registration fees and payment methods, please consult the symposium website:
http://fadf.ieu.edu.tr/balkanlocusfocus

SYMPOSIUM LANGUAGE

The language of the symposium will be English.

CONFERENCE VENUE

Faculty of Fine Arts and Design, Izmir University of Economics, Izmir – Turkey

ORGANISING COMMITTEE

• Jilly Traganou, Associate Professor, School of Art and Design History and Theory, Parsons The New School for Design
• Marina Emmanouil, Lecturer, VCD (IEU)
• Aren Kurtgözü, Assistant Professor, VCD (IEU)
• Laurie Churchman, Assistant Professor, VCD (IEU)
• Fulya Ertem, Assistant Professor, VCD (IEU)
• Alessandro Segalini, Lecturer, VCD (IEU)
• Artun Özgüner, Research Assistant (IEU)

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CfP: 1st symposium on Balkan communication design histories | 29-30 June 2012 | Izmir Turkey
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Posters decribing research – both in progress and completed – are being solicited for the conference. This is an opportunity to present your work in an alternate mode than through formal research papers. In addition to the poster sessions there will be sessions for the presentation of short verbal descriptions of the poster material. At this stage only abstracts of the poster material need to be submitted.

Proposals are invited for half-day workshops on advanced topics related to design computing or design cognition. The workshops that succeed are those that provide considerable opportunity for discussion and are not run as mini-conferences.

Proposals for workshops should contain the following information in no more than 1000 words:
Workshop Title
Name of Chair(s) plus email contact
Committee of 3 to 5 people (preferably with international representation)
Goals of the workshop
Workshop format
Method of admission (e.g., no requirement, abstract, resume)

Submission and other details can be found at: http://mason.gmu.edu/~jgero/conferences/dcc12/ .

Organizers: Alex Wilkie and Ignacio Farias

Given the importance placed on ‘creativity’, ‘creative economy’ and ‘creative industry’ in both national and international policy contexts, it is surprising that understanding of creativity-in-action remains largely underdeveloped. What is more surprising is that creativity is commonly associated with (unobservable) cognitive activity that can only be stimulated by the environment, which has led many scholars to see social networks and/or urban environments as the main sources for creativity. What gets lost here are the concrete practices through which the ‘new’ comes into being in different disciplines and in different economic sectors. In foregrounding the view of creativity as a local process distributed amongst heterogeneous actors this panel seeks to explore and compare accounts of sites of creative practice. Our insight is that the studio is a defining feature of creative production. Thus, building on workplace and laboratory studies this panel aims to draw together emerging ethnographic work on creative practice and in doing so define and investigate a lacuna in the STS imagination. To address the studio, as a key site of creative production, we welcome presentations based on in-depth case studies that focus on key ‘creative industries’, including the arts, crafts and cultural and creative industries. Accordingly, this panel invites comparison of different creative models and practices, thereby acknowledging the diversity of in-situ creative practice as well as providing a survey of different creative disciplines.

A not exhaustive list of themes:
·       The sociospatial organisation of the studio.
·       Socio-material practices of affect, sense and sensation.
·       Disciplinary & interdisciplinary work.
·       Problematisation and the form of projects.
·       The role of (visual) inscription and conscription devices.
·       Practices and technologies of imagination, conception, and projection.
·       The role and production of creative knowledge.
·       Testing, evaluation and accountability.
·       Newness, uniqueness and originality.
·       User-involvement in creative production.
·       Economic and temporal processes.

Please submit your abstract electronically via the webpage of the conference: http://www.4sonline.org/meeting

The deadline for abstract submissions is March 11.

The theme of the conference is designer’s practice knowledge. How can the specific knowledge of designers be brought forward, articulated, made visible and be understood and used in contexts like innovation, business developmente and social change?

We are coordinating a track within the above mentioned EAD conference and are inviting submissions on the topic:

MAKING TOGETHER – Open, Connected, Collaborative

The track will reflect on changes in creativity and production, traditionally seen as the province of professional design but now driving new ways to work, socialise, be creative and live across society. This is informing the emergence of novel design scenarios to create products and services (e.g. personal manufacturing, peer production, fablabs, crowd sourcing, collaborative business models) on many levels: people, companies, organisations, institutions, communities.

Design is challenged with new business models, long tail markets, new networked organisations, diffused distribution, non-technological innovation, that are underpinned by new ways to manufacture and design products and services. Creative practitioners are increasingly working both through direct creative input and through facilitating new processes. Design and creativity can in fact rethink and give meaning to tools and technologies that help people connect, understand, share and create. Design is also taking the position of facilitator and enabler where in the past it was a technological gatekeeper.

Although pervasive, this topic is still emerging and being explored, both from an academic perspective (underlining the theoretical bodies that can help such approach emerge), and from the perspective of practitioners (detailing the development of systemic and collaborative projects). Examples can be found in Service Design, Transformation Design, Open Design. Moreover these phenomena are underlining a revolution in work and human relationships, mirroring a move to more distributed, collaborative processes.

Can collaborative practices trigger new business models and new innovation in products and services? How can collaborative making enabled by social technologies be explored/practiced/developed from a design perspective? What are the implications/benefits/impact of collaborative making for design? How may the boundaries and role of design be re-defined? Can designers design collaborative networks?

Important dates:
Submission of intention to submit: Until May 15, 2012
Submission of full paper: September 15, 2012
*Notification of acceptance or revision: November 1, 2012
Notification of acceptance: December 15, 2012
Conference date: April 17-19, 2013

For any further information please refer to the official website of the conference.

The Design and Nature conference is to be reconvened in 2012 following the success of previous meetings, the first of which was held in Udine, Italy in 2002; followed by Rhodes, Greece (2004); the New Forest, UK (2006); the Algarve (2008); and the last one in Pisa (2010).

Throughout history, many leading thinkers have been inspired by the parallels between nature and human design, in mathematics, engineering and other areas. Today, the huge increase in biological knowledge, developments in design engineering systems, together with the growth in computer power and developments in simulation modelling, have all made possible more comprehensive studies of nature.

Scientists and engineers now have at their disposal a vast array of relationships for materials, mechanisms and control. The resulting laws have been painstakingly assembled by observation and analysis and span the cosmic scale of space down to the molecular level of genetics. In particular, they have made us aware of the rich diversity of the natural world around us.

It is these developments which have prompted the reconvening of this international conference on Design and Nature. It is intended that the meeting will bring together researchers from around the world working on a variety of studies involving nature and their significance for modern scientific thought and design.

JAR is a free online journal that focuses on artistic practice as research, re-negotiates art’s relationship to academia and couples the multi-media and social capabilities of the web with peer-reviewing and scholarly rigour.

We invite original submissions from artists with or without academic affiliation who wish to contribute to the ongoing debate about research in the arts, and reflect on artistic practice, processes and research in exchange with a group of engaged peers.

Whether you see yourself as an artist, a designer, a musician or a performer, who works outside traditional academic research environments or an academic working on arts related research, we invite you to explore the possibilities of adopting alternative, experimental and more artistic modes of presenting research than a classic journal format may support.

With the aim of displaying and documenting practice in a manner that respects artists’ modes of presentation, JAR provides its contributors with a free to use online writing space, a dynamic online canvas where text can be woven together with image, audio and video material. The result is a journal that promotes experimental approaches to ‘writing’ and provides a unique ‘reading’ experience, while carefully fulfilling the expectations of scholarly dissemination.

We embrace research practices across and between disciplines, and the rich-media writing space actively encourages collaboration, allowing multiple authors to work on the same document simultaneously.

JAR is guided by an editorial board that works with a large panel of international editors and peer reviewers from the field of artistic research. Check out our first peer-reviewed issue JAR 1 at http://www.jar-online.net and join the discussion about the contributions published there.

Deadlines for JAR 2:

If you are interested in publishing a contribution in JAR please get in touch with us. We will give you advice on how to register for an account, get started with the writing space and develop a submission for one of the coming issues. Submissions to JAR can be made anytime. For the next issue, JAR2, we invite submissions between now and mid-March.

The Journal of Artistic Research is published twice a year.

Send your correspondence to:
Michael Schwab
Editor in Chief, Journal for Artistic Research (JAR)
michael.schwab@jar-online.net

JAR is published by the Society for Artistic Research.

Many design educators in different parts of the world today are working in what may be called a transnational context. The boundaries that define the field of higher education have become increasingly fluid, and professors, students, programs, and curricula are moving back and forth between distant regions of the world as never before. The design projects, research, and institutions that result retain a unique cultural complexity because they promote meanings and values that often transcend the cultures and boundaries of the nations within which they originate.

The conference Geographics: Design, Education, and the Transnational Terrain will provide international design educators the opportunity to share examples of design projects and programs that have been implemented within a transnational context, while allowing others to present theoretical or reflective positions about what it means to design within a transnational context today. The conference will also be open to presentations from practitioners who design within transnational contexts and who view design as a strategic framework for intercultural collaboration and intersection. The conference will use the term “transnational” to describe the ways in which designs moves through a wide range of contemporary and historical geographic contexts, including the movement of design between multiple nations and other geopolitical entities; the movement of design between peoples who define themselves as belonging to different geopolitical entities, regardless of their location or national affiliation; and the movement of design against the constraints of any particular national, international, or global geographic construct.

By examining the movement of design projects, ideas, and institutions throughout a wide variety of global contexts, we hope to stimulate discussion about design education and how it engages some of the following questions: How do graphic design practices and products take shape within a given transnational context, and consequently give shape to it? How is this context revealed in the design products we make as well as the ideas and values that fortify such products? How do graphic designers explore, support, and reinforce notions of multi-national cultural identity that move beyond nationality and universality within their contemporary practice? How are design educators working to establish new connections or to facilitate existing connections between different global regions and peoples? How can design educators formulate research objectives that better respond to their own transnational contexts—ones that respond to the specificity of cultures and yet reach beyond the commodification of cultural difference?

Conference Audience
The conference Geographics: Design, Education, and the Transnational Terrain will bring together nationally and internationally renowned design educators and practitioners as a community of individuals with global interests. The conference will offer experienced educators the opportunity to share examples of transnational projects and ideas that have worked well for them, and will allow interested educators to learn about transnational design education from the ground up. While the conference will focus on the ways in which the transnational experience has informed education and practice within the graphic design discipline, we will also welcome compelling proposals that address aspects of transnational design more generally (historically and/or theoretically).

Conference Format and Structure
The conference will take place over three days (Thursday through Saturday) and will consist of three thematic strands. These strands will allow conference participants to address the ways in which design projects, design ideas, and design institutions move within transnational contexts. Two renowned design thinkers will launch each conference strand by presenting their ideas about the ways in which transnational design operates today. These opening sessions will then be followed by consecutive paper sessions, which will continue throughout the second and third days of the conference.

Theme 1: Design Projects
The “Design Projects” conference strand will allow design educators to present examples of transnational project work in its many forms. This strand can include projects that have been created through direct collaboration between people living in different regions; projects that have ended up transcending national boundaries, regardless of their makers’ original intentions; projects created by a designer living in one country or cultural region for people living in another; projects that have facilitated communication between peoples of many different regions; and the discussion of international and transnational projects throughout history.

Potential themes for this strand might include the design of cultural heritage exchanges, diplomatic materials, ethnographic exhibitions, multinational design collaborations, the representation of cultural boundaries or boundary transcendence, travel and tourism materials, student collaborations, transnational activism, transnational branding and identity development, and transnational service projects.

Theme 2: Design Ideas
The “Design Ideas” conference strand will allow design educators to present theoretical or critical positions that discuss the ways in which design ideas move across borders, either historically or within contemporary global contexts.

Potential themes for this strand might include the discussion or critique of center vs. periphery theory, changing geographic constructs, critical gender theory, critical race theory, cultural independence vs. interdependence, design as cultural boundary, design as cultural imperialism, design as development, dislocation/diaspora, globalization theory, indigenous perspectives, international corporations and capitalism, historical geography, hybridity, multilingualism in design, the representation of place as a product of the transnational experience, resistance to transnational enterprises, transculturation, and transnational identity construction.

Theme 3: Design Institutions
The “Design Institutions” conference strand will allow design educators and administrators to exemplify or criticize the ways in which a wide variety of design institutions have served or are serving as transnational educational enterprises. Presentations within this strand can include the representation of specific programs, schools, and organizations as well as the discussion of the ways in which such institutions operate.

Potential themes for this strand might include the representation or critique of “franchise” universities, Fulbright and other teaching exchange programs, international colleges and universities, international design organizations, the global institutionalization of the design profession, NGOs, study abroad programs, transnational curricula, transnational design publishing, and transnational education advocacy.

Submitting A Conference Proposal
All proposals will be evaluated via a peer-review process. Proposals must be written in English and must clearly describe the transnational context of your design project work, research, and/or institutional experience. Each proposal must include the following:

• Your name, your institutional affiliation, and your contact information, including your telephone number, your mailing address, and your e-mail address.
• The title of your paper or presentation, and the conference theme that it pertains to.
• A concise abstract of 250 words or less. Please do not include images at this stage of the proposal process.
• A concise, single-page CV.
• The above information must appear on two letter-size pages. Proposals that are longer than two pages will not be accepted.
• Each proposal should be submitted to Stuart McKee at the following e-mail address:sdmckee@usfca.edu. Each proposal should be submitted as a PDF file, using last name, first initial, middle initial, and conference title as the document titling format, as follows: “SmithAB.Geographics.pdf”.

Deadlines
Proposals must be received by end of day February 15, 2012. Notice of acceptance will be provided to all proposal authors on or before March 15, 2012. Accepted authors will be required to submit full papers with complete images by September 1, 2012.

If you have any questions about submitting your proposal, please contact Stuart McKee atsdmckee@usfca.edu.

Further information and conference updates
http://aigageogfx.com/

This fourth International Conference on Harmonisation between Architecture and Nature (Eco-Architecture 2012) follows the three successful previous meetings which were held in the New Forest, UK (2006); in the Algarve, Portugal (2008) and in A Coruña, Spain (2010).

The development of Eco-Architecture is driven by the depletion of natural resources and the need to preserve the balance of nature.

Eco-Architecture provides imaginative and expressive solutions and is characterized by the generation of highly creative designs. It has important cultural as well as architectural impacts.

Eco-Architecture is in harmony with nature, including its immediate environs. Decisions are taken on ecological grounds concerning locations, siting and orientation, as well as the well-informed choice of materials.

Eco-Architecture makes every effort to minimise the use of energy at each stage of the building’s life cycle, including that embodied in the extraction and transportation of materials, their fabrication, their assembly into the building and ultimately the ease and value of their recycling when the building’s life is over. The design takes into consideration the use of energy in building maintenance and changes in its use, as well as its lighting, heating and cooling, particularly where the energy consumed involves the emission of greenhouse gases. Substantial savings can be achieved by the choice of materials appropriate for passive energy systems, especially natural ventilation, summer shading and winter solar heat gain. Renewable energy resources can provide heating and electric power.

Eco-Architecture is by definition interdisciplinary; it requires the collaboration of engineers, planners, physicists, psychologists, sociologists, economists, and other specialists, in addition to architects.

The aim of the conference is to provide a forum for discussing the many relevant aspects of Eco-Architecture including, but by no means restricted to, those in the list of topics shown at the website.

The conference is organized in cooperation with the Design Society and complies to the Design Society quality standards with respect to review process, publication etc. The conference venue will be the newly renovated powerplant “Nordkraft”.  Nordkraft is an exceptional initiative combining various cultural offerings. Keynotes will be given by LEGO, Bang & Olufsen, and Siemens Wind Power.

The conference topic is design in a wide context:

• Integrated Product Development,
• Engineering Design,
• Industrial Design and Conceptualisation.

Suggested topics for paper submission are:

Product Development

• Integrated, Multidisciplinary, Product life oriented and Distributed.
• Multi-product Development.
• Innovation and Business Models.
• Engineering Design and Industrial Design.
• Conceptualisation and Innovative thinking.

Research approaches and topics

• Human Behaviour and Cognition.
• Cooperation and Multidisciplinary Design.
• Staging and Management of Design. Communication in Design.

Design education and teaching

• Programmes and Syllabuses.
• New Courses.
• Integrated and Multi-disciplinary.

Researchers, practitioners and students are invited to submit papers to the conference within the above-mentioned topics, in a broad and general perspective. Especially, we encourage Ph.D-students to submit papers to the conference.

Important Dates:

This workshop is being run in Cooperation with ACM, IEEE, and IFIP, as part of The 2012 International Conference on Collaboration Technologies and Systems (CTS 2012).

This workshop on Visualization and Collaboration – to be held as part of the 2012 International Conference on Collaboration Technologies and Systems (CTS 2012) – will focus on visualization and its role in collaboration. The objective is to highlight key issues and solutions for interactive visualization in a collaborative environment. We invite original contributions from researchers and practitioners in academia, government, and industry in this emerging visualization specialty.

In many collaborative situations, multiple distributed users simultaneously interact with and analyze complex information while sharing their results with others. It is through such collaboration that multiple users bring their expertise to bear on a particular problem to analyze incomplete information and reach collaborative decisions. Such collaboration is far more effective when users collaborate by interacting with meaningful visualizations that accurately depict shared information. Visualizations must present information in a manner that is easily understood by individuals with different expertise and perspectives on the problem at hand. Users must be able to interact with the visualization to highlight or manipulate information in a natural way that is readily observed by other participants.

Topics of Interest include (but are not limited to):

• Collaborative visualization architectures, technologies, or algorithms
• Visualization for managing collaborative environments
• Unique challenges in collaborative visualization
• Collaborative visualization solutions and applications
• Web-based collaborative visualization
• Visualization in collaborative decision making and support
• Collaborative data analysis and visualization
• Visualization in Social Networks and Media

Important Dates:
Paper Submission Deadline: February 05, 2012
Notification of Acceptance: February 19, 2012
Registration & Camera-Ready Paper Due: March 01, 2012
Conference Dates: May 21 – 25, 2012

GLIDE’12 will promote research and critical thinking on international issues surrounding food, nutrition, and health. Potential topics include but are not limited to:

• Challenges or rewards of food production and consumption
• Hunger and the human ability to survive in diverse agricultural environments
• The culture of food systems globally
• The role of culture, technology, sustainability infrastructures, and eco-systems in addressing the issue of hunger and nutrition and the pursuit of good health.
• Best practices for the development of food systems through the use of language and data collection
• Agribusiness as a resource for information that best serves local farmers and community based greenhouse projects
• Collaborative teams and methods for the creation of more effective food systems
• The role of social media to manage food systems, good nutrition, and health
• The role of public policy makers to increase better systems with food displacement
• The role of art and design in effecting good health or engendering healthy habits

Today, food is no longer viewed simply for nourishment, pleasure or an overly mass-produced product. Now, due to global industrialization, the way humans interact with food systems and production has reached a critical mass, requiring citizens of the world to consider the introduction of new methods, technological systems and research that will enable cultures to remain healthy and viable in the unforeseeable future.

GLIDE’12 aims to address a range of critically important ideas relating to the globalization of food production and consumption as well as focusing on specific themes such as sustainability and systems design addressed by curated presentations from leading researchers, design practitioners, scientists, public policy makers, educators and doctoral students. GLIDE’12 presenters will deliver groundbreaking topics that will inspire, motivate and expand your knowledge of global food consumption and production for nutrition and good health.

You may submit full paper proposals for synchronous presentation or poster paper proposals for asynchronous presentation on topics related to the conference theme.

Submissions Guidelines:
Submit a 500-word abstract in pdf or word format by February 15, 2012. Send your proposal to submissions@glideconference.org with the subject line: [Insert your last name], Abstract for GLIDE’12. Proposals will undergo a review process according to the following schedule:

• Deadline for all abstract submissions: February 15
• Notification of acceptance with comments: March 15
• First draft full and poster papers: July 15
• Notification of acceptance with comments: August 15
• Final draft full and poster papers due: September 15

All accepted full and poster papers will be published online via the conference website and be accessible free of charge to conference attendees.

GLIDE is an interdisciplinary conference. We welcome submissions from faculty, critics, practitioners, and doctoral students from all disciplines that study design or social issues or integrate a design perspective in their collaborative research or projects on social issues including but not limited to art, architecture, human-computer interaction, communication, information technology, media studies, computer science, public policy, law, business, health, history, education, anthropology, impairment, among other disciplines.

For more information, please visit the conference website: glideconference.org or contact info@glideconference.org. If you’re interested in sponsoring GLIDE’12, contact sponsorship@glideconference.org.

GLIDE’12 Conference Committee:
Michele Washington, F.I.T. and Cultural Boundaries, USA
(mich@officeofmichelewashington.com)

Adream Blair, University of Wisconsin-Milwaukee, USA
(blaira@uwm.edu)

Gloria Gomez, Oceanbrowser Ltd., New Zealand
(gloria@oceanbrowser.com)

Muthoni Kimani, Cape Peninsula University of Technology, South Africa
(muthoni53@gmail.com)

Audrey Bennett, Rensselaer Polytechnic Institute, USA
(bennett@rpi.edu)

This conference is a forum held every other year where practitioners, academics and industry leaders meet and exchange knowledge and insights concerning the cross-disciplinary field of design and emotion.

We are looking for researchers, academics and practitioners to submit proposals for the following:

1) Paper Submissions

Full Papers are expected to contribute widely applicable long-lasting knowledge to the discipline. Accepted papers will be presented in the conference programme and published in the proceedings. The paper length is a maximum of 12 pages (approximately 4,000-5,000 words plus figures and tables) in the specified format, which will be detailed on the website (including a template).

Short Papers (Posters) are expected to describe research that is more appropriate for the interactive poster session. The paper length should be a maximum of 5 pages (approximately 2,000 words plus figures and tables) and an additional page containing a full-page image of the poster in the specified format for the publication in the conference proceedings. The first submission requires a short paper manuscript without the poster page.

2) Case Studies

Case studies are invited for submission to present design projects that address issues and insights in design and emotion, or to communicate and discuss your approach to enhance emotional effects. These must include a summary description in a maximum of 5 pages (approximately 2,000 words) in the specified format and a maximum of 30 slides illustrating the design, design process and use.

3) Workshops & Masterclasses

Workshops & Masterclasses of either a full or half-day will be held on 11th September 2012 prior to the main programme of the conference. The purpose is to provide a platform for presenting and discussing novel ideas and emerging issues in a less formal way than the conference itself. The format of each workshop/masterclass is to be determined by its organiser, but each one is expected to include ample time for general discussion.

THEMES AND TOPICS

While Design & Emotion is the overarching focus of the conference—allowing us to consider all aspects of the relationship between human experience and design understood in its widest senses—the theme this year is “Out of Control”.

For a number of years, uncertainty, crisis and chaos have been keywords describing the experience of many of us. A world driven by uncertainty, crisis and chaos demands different responses from design (as a community, a practice and a process). On one hand we can mitigate against these—designing systems which can withstand, or manage, the challenges they produce. Here there is a focus upon design as a “problem-solving” activity. On the other, we can use them as springboards to a creative future. In this way, design as “opportunity mapping” becomes important.

We would like to encompass both of these approaches to design and to examine how they impact upon, or are generated by, the whole spectrum of human emotion experienced at the macro (socio-cultural), micro (personal), meta (philosophical), processural (methodological) and strategic levels.
This conference is open to any theoretical, empirical or methodological work on Design & Emotion and we are particularly interested in receiving papers from researchers, academics and practitioners in the following topic areas (though they are by no means exhaustive and other work relevant to the theme will be considered):

Society/Culture:
Socially Responsive/Responsible Design
Design for Behavioural Change
Design & Space/Environment
Design for Digital Media
Corporate Social Responsibility

The Self/The Object:
Design & Identity
Design & Well-Being (inc. food, healthcare & love)
Design & Illusion, Fake & Fraud
User Experience (inc. Human Factors & HCI)
Experience Design

The Philosophical:
Design without Emotion
Design, Affect & the Materiality of Experience
Design, Magic & Enchantment

Processes, Methodologies, Tools & Methods:
Research Methodologies
Theoretical Foundations
Empirical Approaches

Design, Strategy & Innovation:
Design & the Future (foresight/trends)
Designing Services
Business Experience
Branding

SUBMISSION AND REVIEW PROCESS

Submission and review processes will be handled by our conference system. All submissions will go through a blind-review process with at least two reviewers considering each proposal. All submissions accepted in the second review will be asked to submit the final manuscripts in the camera-ready format. The detailed authoring guideline will be available on the conference website.

IMPORTANT DATES

1st February 2012:  Papers & Case Study submissions
15th April 2012:   Notification of Acceptance Papers & Case Studies
1st May 2012:  Workshops/Masterclasses submissions
15th May 2012:  Notification of Acceptance Workshops/Masterclasses
1st June 2012:  Final Paper submissions
15th June 2012:  Final Acceptance
15th July 2012:  Early Registration
11th September 2012:  Workshops/Masterclasses
12th-14th September 2012:  Conference

Contact Details Please direct all enquiries to the following: de2012@csm.arts.ac.uk

The aim of this conference is twofold: on the one hand, to analyse the role of the aesthetic in the writings of Marx and, on the other, to examine works of art and literature which are based on, or have been directly inspired by, Marx’s writings. At the core of this conference, then, is an attempt to think the immanent relation between the aesthetic and emancipatory conceptions of politics.

Previous attempts to make sense of Marx and Engels in terms of aesthetics have either been Marxist in a very broad sense – writing as productive force, aesthetic autonomy as critique of the commodity form, the critique of aesthetic ideologies etc. – or Marxological in a naïve sense i.e., merely assembling in one volume the stray comments on art and literature that pepper Marx’s and Engels’ writings. The problem with the first attempt is that it simply assumes that there is a prominent lacuna with respect to the aesthetic in Marx himself and that, therefore, Marxian grammar and vocabulary were in need of radical transformation. The failure of the second approach (although these attempts call for reconsideration in their own right, since they are now all about 40 years old) was that it restricted the understanding of ”aesthetics” to statements dealing explicitly with art and literature.

Recent debates concerning the aesthetic (to be distinguished from aesthetics as a discipline), however, have allowed for a different understanding of the field. The aesthetic crosses disciplinary boundaries and cannot be restricted to specific subjects. The aesthetic is a form of thought in which a whole host of complex and interrelated issues are at stake: the orders of mind and matter, the disruptive dynamics of sense perception, expression and of metaphor, the logics of innovation and of “the event,” the indeterminate character of semiotic systems and so on. Aesthetics cannot, therefore, be restricted to art alone and does not even necessarily coincide with it. In other words, the aesthetic is in a constant state of “migration.” Authors like Nancy, Lacoue-Labarthe and Rancière, among others, have pointed out the way in which all radical attempts to theorize the political are profoundly dependent on figures of the aesthetic. The ”aesthetico-political” has become a name for all aesthetic dynamics that cross (and confound) the hegemonic orders of reason and the established channels of perception.

Against this backdrop, the entire history of radical political thought must be reconsidered. Socio-philosophical and strategically political claims, which were never originally considered as aesthetic, e.g. Sohn-Rethel’s notion that “Communism is the overcoming of the separation between intellectual and manual labor,” now appear in a new light. ?The texts of Marx himself have not yet been sufficiently interpreted and reconstructed in these terms. And yet in these writings innumerable figures of the aesthetic are, so to speak, at work. From notions of an “aesthetics of production” to the “poetry of the future”, from the radical modernism of bourgeois development to the very idea of “free association,” from references to Shakespeare and Dante in the original texts as well as in important translations, to the idea that bourgeois politics is nothing but a theatrical stage, the aesthetic has an undeniably prominent place in Marx’s thought.

Conversely, Marx’s work has also become extremely rich “raw material” for artistic production. From theatre works on Capital to the Chinese attempt to stage this text as an opera, from Sergej Eisenstein’s and Alexander Kluge’s attempts to make a film of Capital to Rainer Ganahl’s reading seminars, from the work of Zachary Formwalt, Pedro Reyes, and Milena Bonilla to that of Phil Collins: these artists are producing Marx as an “aesthetic event.”

In short, in Marx the aesthetic and the political are immanently related: this conference aims to explore how.

Possible topics include, but are by no means limited to the following:

• Aesthetic Production in the Early Writings
• Marx and Engels as Historians of Literature
• Modernism in the Manifesto
• Aesthetico-Political Associationism
• Aesthetic Form and Commodity Form?
• Marx’s Method and the “Aesthetic Regime of Art”
• Revolutionary Shakespeare
• Monsters and Ghosts
• Eisenstein, Kluge and the Cinematography of Capital
• Staging Capital (Opera, Theatre)
• Brecht’s Communist Manifesto
• Images of Marx in Painting and Sculpture
• The Beauty of Communism

Confirmed Speakers:

Keynote: Boris Groys (NYU)
Keynote: Terrell Carver (University of Bristol)
Keynote: Jochen Hörisch (Universität Mannheim)
Keynote: Kristin Ross (NYU)
Ruth Sonderegger (Akademe der Bildenden Künste, Wien)
Sven Lütticken (Vrije Universiteit, Amsterdam)
Kati Röttger (Universiteit van Amsterdam)
Josef Früchtl (Universiteit van Amsterdam)
Helmar Schramm (Freie Universität, Berlin)
Clint Burnham (Simon Fraser University, Vancouver)
Gary Teeple (Simon Fraser University, Vancouver)

Confirmed Artists:

Rainer Ganahl
Phil Collins
Zachary Formwalt
Milena Bonilla
Pedro Reyes

Organising Committee:

Nathaniel Boyd (Jan Van Eyck Academie)
Samir Gandesha (Simon Fraser University)
Johan Hartle (Universiteit van Amsterdam)
Daniel Hartley (Justus-Liebig Universität, Giessen)

Partners:

Universiteit van Amsterdam, Afdeling Wijsbegeerte
Simon Fraser University, Vancouver, Institute of the Humanities
Jan van Eyck Academie, Maastricht
Stedelijk Museum, Amsterdam
Goethe Institut/Amsterdam
Amsterdam School for Cultural Analysis
Duitsland Instituut, Amsterdam

The conference fees will be 25 Euros for students/unwaged participants and 55 Euros for waged participants.

Please send your abstract (max. 500 words) including information about institutional affiliation and field of scholarship) before January 31st to mail@marxandtheaesthetic.org.

The Design Education Committee of the Design Engineering Division of the American Society of Mechanical Engineers is pleased to announce the 9th International Conference on Design Education.

With the success of the 2011 International Conference on Design Education (DEC), the theme for 2012 continues the emphasis on scholarship in design education and the creation of archival literature in this area.  Three strands of paper topics that fall under the scholarship of design education umbrella include: 1) Scholarly Research in Design Education, 2) Student Engagement in Design Education, and 3) Best Practices in Design and Design Education. Eleven sessions for the conference that highlight these areas are described in the detailed topic announcements below.  These have been selected to emphasize fundamentals and quantification in the design education field.  Authors are encouraged to submit their best work to the most appropriate topic area ­ topics and sessions will later be adjusted to create the most effective conference program.  Key papers will be advanced to the Journal of Mechanical Design. The organizers look forward to your taking part in the scholarly exchange, and to seeing you in Chicago!

Paper topics include, but are not limited to the following:

DEC-1: Innovation and Entrepreneurship in Design
DEC-2: Best Practices and Lessons Learned in Design Education
DEC-3: Experiential Learning and New Pedagogy for Engineering Design Education
DEC-4: Distributed and Cyber Learning in Engineering Design
DEC-5: Design Across the Curriculum
DEC-6: Opportunities and Barriers to Bringing Change in Engineering Education
DEC-7: Engineering Design Assessment
DEC-8: Industry Experiences in Engineering Design Education
DEC-9: Cross-Disciplinary Design Experiences
DEC-10: Capstone and Cornerstone Experiences
DEC-11: Service Learning in Engineering Design

We look forward to receiving your submission. In addition, we would much appreciate your forwarding this information to the appropriate contacts in your organization and your colleagues at other institutions and companies that you feel are likely to be interested.

Submission Procedure
Go to http://www.asmeconferences.org/IDETC2012/; “submit paper”; “log in” or “create account”; “submit paper” or “submit abstract”; “select conference” (9th International Conference on Design Education); “select topic” (as appropriate); add abstract/paper information.

Abstracts for initial review must be submitted by 5 pm EST on Monday, February 6, 2012 using the online submission system. This is a mandatory step prior to the submission of the full paper; to avoid disappointment, please do not forget to submit an abstract. In addition, and only if you have submitted the abstract by the due date, you MUST also submit a full-length draft paper for peer review by 5 pm EST on Monday, February 20, 2012.

Digital Creativity is a major peer-reviewed journal at the intersection of the creative arts and digital technologies. It publishes articles of interest to those involved in the practical task and theoretical aspects of making or using digital media in creative contexts. By the term ‘creative arts’ we include such disciplines as fine art, graphic design, illustration, photography, printmaking, sculpture, 3D design, interaction design, product design, textile and fashiondesign, film making, animation, games design, music, dance, drama, creative writing, poetry, interior design, architecture, and urban design.

This special issue of the journal invites papers, projects and reviews exploring and developing the notion of Design Fictions. One of the early proponents ofDesign Fictions, the author Bruce Sterling, said that design: “seeks out ways to jump over its own conceptual walls – scenarios, user observation, brainstorming, rapid prototyping, critical design, speculative design” (Sterling, 2009). Despite the current burgeoning of this field and its various histories and antecedents, the coming together of design and fiction, as ‘design fictions’, remains relatively underexplored.

Design Fictions might also be sensed as a ‘speculative turn’ in design practice, founding a new engagement in ‘prototyping’ conjectural projections of designed futures. In the context of ever-present near futures, projected as scenarios that threaten radical ruptures of the real, digital creativity expands into a post-digital cybernetics. Design Fictions speculative design methodologies take their cue from science fiction, Sterling however would also have it the other way around, saying that: “design and literature don’t talk together much, but design has more to offer literature at the moment than literature can offer design” (Sterling, 2009).

This issue seeks to put design and literature into conversation. The journal wishes to ask how Design Fictions and related methodological work have mutated or glitched across art, design and architecture, for example in response to ‘design fictions’ (Nokia/Bleecker); in ‘critical design’ (Dunne & Raby); in speculative and visionary architecture (Spiller); in science fiction as prototyping (Intel/Johnson); and in ethnographic work on design and prototyping (Kelty). Papers are invited from three broad areas:

• Papers offering critical reflections on post-digital futures rendered as Design Fictions.
• Papers that illustrate what contemporary design provides as an alternative to the structural orthodoxies of mappings of the ‘hard’ science fictional to the ‘engineering of creativity’ (Altshuller).
• Papers that reflect on Design Fictions as a methodology and on the ways in which fictional constructs and diegetic prototypes might open designdiscourse on cybernetic futures.

Initial proposals should be extended abstracts in English, between 800-1200 words. The categories for final submission are Short Papers between 2500-3500 words, and Long Papers, between 5000-7000 words. The papers will be selected through a blind peer review process. Upon acceptance of the abstract, you will be sent further authors’ guidelines based on the Digital Creativity guidelines (Instructions for Authors) at http://www.tandf.co.uk/journals/NDCR.

The extended abstract should include the following information: 1) Name of author(s) with email addresses and affiliation, if applicable 2) Title of the paper 3) Body of the abstract 4) Preliminary bibliography 5) Author(s)’s short bio(s) 6) Indication of whether the submission will be a short or a long paper.

Important dates:

Initial proposals (extended abstracts) deadline: March 5, 2012
Notification of extended abstract acceptance (by editors’ review): March 26, 2012
Final papers are due on: June 04, 2012
Blind peer-reviews due on: July 30, 2012
Revised final papers are due on: September 3, 2012
Special issue published: Winter 2012

Recipients: Please forward your abstract as a PDF attachment in an e-mail addressed to the special issue and Digital Creativity editors below:

Derek Hales, special issue guest editor <hales.derek@gmail.com>

Digital Creativity editors <dcsubmit@gmail.com>

Our community, consisting of academics, industrialists, managers, entrepreneurs and politicians, offers a big platform for knowledge transfer, scientific and applied discussions and active networking. Scientific results and practical contributions will be discussed in paper or workshop sessions. Key note speeches offer insights to relevant topics from science to policy to industry. Networking events provide the possibility of launching new projects and ensure a proactive knowledge transfer.

For the first time, the ICE Conference cooperates with associations or notable institutions like:

• IEEE Technology Management Council (www.ieeetmc.org)
• EuroMOT (www.iamot.org)
• PDMA e.V. (www.pdma.info)
• IMS (www.ims.org)

The ICE Editorial Committee consists of editors and executives of high standard academic journals like:

• R&D Management (Jeff Butler)
• Technovation (Dominique Jolly)
• IEEE Transaction on Engineering Management (Rajiv Sabherwal)
• Journal of Manufacturing Technology Management (David Bennet)

Traditionally, the conference has two main slots. On the first day, scientific papers will be presented in different sessions, the second and the third day focuses on interactive workshops for prototype presentation, concept testing and open discussions. For the paper sessions, an abstract can be submitted until 15 January 2012 (optional) which offers a first orientation if the topic is suitable for the ICE Conference. The full paper submission must be done until 15 February 2012, at the latest. The workshop proposals should focus on the conference topics, but as they are individually organized sessions it is also possible to suggest further suitable topics.

According to IEEE standards, a double blind reviewing process ensures the academic quality of submissions which can be considered for a special issue with one of the associated journals (more information: www.ice-conference.org or call for papers). All accepted papers will be published in theIEEExplore database and in the ICE Conference Proceedings with an ISBN number.

Register and submit your paper/workshop proposal here: https://www.conftool.pro/ice-conference/ or www.ice-conference.org (submissions)

***Register now for the 18^th International ICE Conference 2012***

Conference Topics:

Paper or Workshop Submissions from academia, industry, policy or intermediary organizations should focus on the following areas.

Management of Innovation

• Co-creation, Co-Innovation and Open Innovation
• Collaborative Innovation Systems and Clusters
• Innovation and Regional Innovation Systems
• Living Labs

Entrepreneurship

• Entrepreneurial Partnerships and Networked Businesses
• Innovative Business Models
• Legal Issues (IPR)
• Knowledge Workers Productivity and Creativity

Concurrent Engineering and Product Development

• Education in Engineering, Technology, and Innovation
• Collaborative Engineering
• Integrated Engineering of Products, Services & Organisations
• Product Data and Product Life-cycle Management

Virtual Enterprises, Organisations and Communities

• Factory of the Future
• Collaborative Mobile Devices and Mobile Engineering
• Knowledge Management, Representation, and Visualisation
• Simulations and Serious Games for Collaboration & Learning
• Virtual Collaborative Environments

Important Submission Deadlines:

• 15 January 2012: Abstract submission (optional)
• 15 February 2012: Full paper submission (new IEEE standard)
• 15 March 2012: Notification of acceptance
• 15 April 2012: Deadline for print-ready final papers
• 15 February 2012: Workshop proposal submission
• 15 March 2012: Workshop notification of acceptance

Conference Administration and Registration

The administrative, accommodation and travel matters are handled by the Conference Secretariat. Please direct all requests to:

ICE-Conference Secretariat, Eva Morgenroth

email: registration@ice-conference.org
Website: www.ice-conference.org

Artistic research is a newly emergent and rapidly evolving field, whose status is still hotly debated. The Journal for Artistic Research (JAR) has been launched to provide an influential voice in this debate, conceived as a platform for the re-negotiation of the relationship between art and academia, and the role and function of research in artistic practice.

Supporting JAR’s publishing activities is the innovative repository for the documentation of artistic research, the Research Catalogue (RC). An upgraded version of this free-to-use software and database will be online on the occasion of JAR 1. Through RC, we welcome submissions to the second issue of JAR by 15th February 2012. Please visit our website for further information.

JAR 1 is online NOW with contributions by Sarah Alford (Canada), Sarah Breen Lovett (Australia), Nell Breyer (USA), Laura F. Gibellini (USA), Laura Maes (Belgium), Vincent Meelberg (The Netherlands), David Overend (UK), Martin Tröndle et al. (Germany).

Editor in chief: Michael Schwab

Editorial board: Annette Arlander, Henk Borgdorff, Barnaby Drabble, Mika Elo, Nicola Foster and Julian Klein.

Associate editors: Adam Broinowski, Michel van Dartel, Ana Garcia-Lopez, Raimi Gbadamosi, Rachel Mader, Siobhan Murphy, Joey Orr, Peter Peters, Sofie van Loo and Johan Verbeke.

Contact: jar@jar-online.net<mailto:jar@jar-online.net>

JAR is published by the Society for Artistic Research (SAR), an independent, non-profit association. You can support JAR by becoming an individual or institutional member of SAR. More information can be found on our website. The next General Assembly will take place on 3rd March 2012 in The Hague following the ARC conference.

The forthcoming issue of the IDEA JOURNAL calls for contributions in the form scholarly essays, visual essays and theorized creative practice on the topic of Writing /Drawing: negotiating the perils and pleasures of interiority.

Provocation
Interiority is subject to specific sorts of disciplinary representation and the premise for this provocation is that images of interiority are frequently at odds with, or resistant to conventional representational systems. Interiority is attached to socially and culturally selected manifestations of power, gender, labour and materiality and these everyday conditions emerge in images of interiority, drawn or written, amplifying and disquieting usual disciplinary concerns.

Three sketched examples:
One
In an architectural journal is a description of a house in Bordeaux by Rem Koolhaas, as recounted by Susana Ventura on a visit to the house where she follows Guadalupe who is the housekeeper:

• I follow Guadalupe back and forth. She zigzags up the ramp of the patio. She says this is the best way not to be tired at the end.
• Off goes Guadalupe with the vacuum cleaner in hand, vacuuming everything she encounters. First, the kitchen. She displaces the movable furniture below the kitchen bench, vacuums the drawers, the countless bottles, the ceiling, the door.
• She shakes the carpet on the patio, puts it back in place.  Then on to the top floor, where she vacuums Marie’s bathroom and bedroom, the elevator platform, every single corner she can find.
• (Susana Ventura, Being Stuck: Between reality and Fiction, Log 16, Spring/Summer 2009, 145)

The architectural interior is revealed through a reporting of movement and a slow material engagement with surface, writing into the interior an everyday attentiveness and neglect, constructing interiority as both abject, with the stuffy persistence of unwanted patina (shedding skin and the adherence of soot), and as a form of worship, gilded with polish. The interior is constructed through writing in terms of its occupation and maintenance with language that is both personal and detached.

Two
A black and white line drawing of an interior set up by a vertical section perspective of House and Atelier Bow-Wow by Atelier Bow-Wow, described by Irene Cheng as a parody of a technical drawing incorporating

• many elements normally excluded from construction documents, such as perspectival depth; silhouettes of human figures engaged in prosaic activities like eating, brushing teeth, gardening, and sleeping; props like slippers, stuffed animals; house plants, and shag rugs; outlines of the views seen through windows; and the obsessive rendering of textures like those of wood surfaces.
• (Irene Cheng House of Mirth: Atelier Bow-Wow’s Ironies in Harvard Design Magazine 29 Fall/Winter 2008-9, 62.)

A drawing that shifts the nature of the technical interior, the dimensioned, constructed and abstract set of building information, into an inhabited, furnished narrative of daily life. The daily life is however artificial; the people are ghosts and the stories told by the furnishings are improbably clean; there is no colour.

Three
A black and white photograph taken in the early years of the twentieth century by Alfred James Tattersall shows the interior of a Samoan fale with two women lying supposedly asleep on mats in the middle of the empty space. Titled, Interior of Native House, the image might be seen as the ubiquitous collector’s assemblage with wooden headrests in view and the women contained by the borders of their mats. The photographic focus, however, is sharpest as it traces the framing and woven materiality of the fale, recording the precision of the bindings that connect structure, while the gentle breath of the women, in the long exposure, very slightly blurs the image and resists their capture. (Tattersall, Alfred James (1866-1951), House interior with women on sleeping mats, Date unknown [c 1925] Samoa b&w original negative, ID: 1/2-094329-F Alexander Turnbull Library, Wellington.)

This provocation seeks papers that address the complications and felicities of representing all forms of interiority (domestic, work spaces, institutional or public spaces) from technical, theoretical, programmatic or cultural perspectives. It seeks to attract discussions on representations of the interior constructed with writing, drawing (analogue or digital), installation, performance, photography, film or building.

THE IDEA JOURNAL ACCEPTS:

DESIGN RESEARCH PAPERS
that demonstrate development and engagement with interior design/interior architecture history, theory, education and practice through critique and synthesis. The focus is on the documentation and critical review of both speculative research and practice-based research

REFEREED STUDIOS
that represent the nature and outcomes of refereed design studios which have either been previously peer reviewed in situ and/or critically discussed through text and imagery for the IDEA JOURNAL.

PROJECT REVIEWS
that critically evaluate design-based works which seek to expand the nature of spatial and theoretical practice in interior design/interior architecture and associated disciplines.

VISUAL ESSAYS
that demonstrate critical, pictorial responses to design conditions.

FOR BOOK REVIEWS
to encourage debate into the emerging literature dedicated to the expression and expansion of the theory and practice of interior design/interior architecture.

REGISTRATION OF INTEREST:
Authors are invited to register their interest in submitting a paper on the form attached and forward by email to the Executive Editor, Rachel Carley by 10 February 2012. (If there is no attachment then visit http://www.idea-edu.com/Journal/2012/2012-IDEA-Journal where a call for papers/registration form can be downloaded). Registration of interest is not refereed. The acknowledgement of registration facilitates development of proposal to full research paper, refereed studio or project review by providing formatting guidelines and publication standards to registrants.

Email: rcarley@unitec.ac.nz

IMPORTANT DEADLINES/DATES:
Call for contributions: 1 December 2011
Registration of interest including 50 word abstract and image if appropriate due by 10 February 2012
Acknowledgement by 19 February 2012
Submit full draft for review by 16 July 2012
Peer-review – August-September 2012
Notification by 5 November 2012
Revisions returned by 30 November 2012
Journal published early 2013 with 2012 date

GUEST EDITOR: The guest editor for the 2012 IDEA Journal is Dr Sarah Treadwell. Sarah is an Associate Professor at the School of Architecture and Planning at the University of Auckland. Her research investigates the representation of architecture in colonial and contemporary images. Motels, gender and volcanic conditions of ground are also subjects of interest. Sarah has published in various books and journals including Architectural Design, Space and Culture and Architectural Theory Review.

The IDEA JOURNAL is published by IDEA (Interior Design / Interior Architecture Educators Association)
ACN 135 337 236
www.idea-edu.com

In this special issue, we build on such works to broaden the scope of investigation for sustainable HCI from individual behaviors to everyday social and cultural practices. Consideration of the complex interweaving of social, cultural, material and mental components of everyday consumption activities has much to offer sustainable HCI and interrelated work addressing pressing social and environmental issues. In studying people’s everyday practices and how they relate to sustainability, it becomes clear that everyday life is not only a locus of intervention for sustainable HCI; it equally raises issues about and provides opportunities for how HCI can and should approach sustainability. Further details in the website.

Special issue editors: James Pierce (Carnegie Mellon University), Phoebe
Sengers (Cornell University),Yolande Strengers (Centre for Design, RMIT
University), Susanne Bødker (University of Aarhus)

Important Dates

Deadline for Abstract Submissions: February 1, 2012
Deadline for Full Submissions: April 15, 2012
Reviews Due: May 30, 2012
Author Notification: June 15, 2012
Revised Papers Due: August 15, 2012
Special Issue Published: First or Second Quarter 2013

New Zealand’s international reputation as a ‘social laboratory’ emerged at the end of the 19th century as a result of innovative labour relations, universal suffrage for women and social welfare legislation. This reputation for social innovation inflects the powerful cultural myth of #8 wire-technological innovation based on rapid adoption and adaptation of industrial production to the diverse environmental conditions of southern islands remote from the major industrial centres.

However, as with all industrialising nations, New Zealand made considerable efforts to develop a sustaining design culture, from the first industrial exhibition in 1865 and the implementation of formal design education in 1870, to the New Zealand Industrial Design Council (1967-88), Designers Institute of New Zealand (1991-) and BetterByDesign (2004-).

Design laboratories

This issue of anti-po-des seeks submissions on either the foundations or futures of design. The central question to be addressed is: In what ways has design contributed to, or undermined innovative social change in the past, what is design’s present role in terms of social innovation, and how might design work constructively with other disciplines in enhancing human development and advancing social and environmental wellbeing?

We welcome contributions addressing any aspect of design and its relationship to regional, national or trans-national social experiments in the past or present.

The Guest Editors for anti-po-des 2 are Noel Waite, Lynne Ciochetto and Amanda Bill.

The deadline for abstracts is currently December 30, 2011 for a 2012 publication date. We would appreciate abstracts that, once accepted, will be followed up with a paper submission. Abstracts are reviewed by the journal article peer review process.

anti-po-des is an online journal. Please view the current research papers, vision statements, etc on the journal website www.anti-po-des-designjournal.org.nz