NECS Conference 2014
CALL FOR PAPERS
Creative energies | Creative industries:
The NECS 2014 Conference
(European Network of Cinema & Media Studies)
Milan, Italy, Hosted by Università Cattolica del Sacro Cuore
June 19-21 June 2014
Submission Deadline: January 31, 2014
Reflecting on creativity has been central to a great deal of philosophical speculation, production practices and forms of reception of the artistic experience. Notions of creation and creativity concern crucial elements in media industies. Moreover, recent developments in institutional policies refer to the pivotal role of creativity in evaluating and promoting cultural production (see the EC’s most recent cultural program “Creative Europe”).
The 2014 NECS Conference, held in Milan, aims to revise and challenge assumptions on media creation and creativity, by looking at them as discursive formations, sociability instruments, power networks, modes of production and reception undergoing historical, political, theoretical and technological transformations.
The topics include, but are not limited to:
⦁ Creative energy: media environments comprise energy in transformation and information flows, and are subject to entropy. Will we keep dissipating what we accumulate, in the form of wasted creative energy? What resources do the media provide for social, cultural, political and economic development? And what resources do they use? How sustainable are the media?
⦁ Aesthetics: media creativity has gradually transformed our aesthetic experience. How has “creation” been fostered and promoted throughout media history? And how does the aesthetic experience relate to creativity? In what way is creativity deployed and conceived in the media experience?
⦁ Textuality/formats: changes to media scenarios and convergence processes drive the search for new forms of textuality. What are the main directions of change? What are the more promising formats and the discursive structures?
⦁ Technological Innovation: creativity tends to connect social actors and generate new subjectivities. Does technological innovation enhance or constrain these processes? How does media technology redefine traditional notions of creativity? Does media culture enhance post-human, as opposed to individual, creativity? How far do media technologies shape creation?
⦁ Business and production models: the term “creative industries” was the buzz-term of the past decade. The notion aims to “reconcile” bottom-up impulses and top-down procedures and promote personal creativity. What are the features and practices of this new kind of creativity? What kind of distribution models and what kind of sustainability policies does it entail? What kind of divisions do creative industries imply and conceal? How was “creation” included in past production and business media models?
⦁ Actors/agencies: as the audience metamorphoses, its role in the evolution of creative practices becomes a relevant issue. What are creative audiences? How do they vary according to different cultural and local contexts? What are their practices? What kind of creative usage and production do “produsers” (prosumers, Pro-ams,..) enact? How much do recent shifts affect traditional conceptions of creative flows?
⦁ Landscapes of creativity: “Creative environments” examine the resources offered by the location and space where the creative process is taing place. What is the nature of such local networks? What is the relationship between creativity and national, transnational or global cultures?
⦁ Ideology: Creativity is influenced by the technological, cultural, political and economical conditions of production. What kind of discursive formations constitute ideologies of creation and creativity? How do theseformations work on creativity practices and with which results on the media experience (its political, cultural, aesthetical,.. value).
⦁ Gendered creativity: creative practices intersect gender issues. The different access to creative techniques, resources and practices is a crucial point in the debate on new creativity. How do gender politics influence creative industries? How much do gender differences limit or foster access to creative professions within the media industry?
Scholars from all areas of film, media and cultural studies (including radio, television, new media, game studies etc.), whether previously attached to NECS or new to the network, are invited to submit proposals for contributions. The NECS annual conference includes also a NECS Graduate Workshop, usually held before the main conference. A separate CFP will be online soon.
Submission instructions and more information available at the NECS website. Please submit all proposals before January 31, 2014 through the submission forms that will be accessible from January 1st. Notification will follow shortly thereafter (around February 28, 2014). The conference language is English.
Creative energies | Creative industries:
The NECS 2014 Conference
(European Network of Cinema & Media Studies)
Milan, Italy, Hosted by Università Cattolica del Sacro Cuore
June 19-21 June 2014
Submission Deadline: January 31, 2014
Reflecting on creativity has been central to a great deal of philosophical speculation, production practices and forms of reception of the artistic experience. Notions of creation and creativity concern crucial elements in media industies. Moreover, recent developments in institutional policies refer to the pivotal role of creativity in evaluating and promoting cultural production (see the EC’s most recent cultural program “Creative Europe”).
The 2014 NECS Conference, held in Milan, aims to revise and challenge assumptions on media creation and creativity, by looking at them as discursive formations, sociability instruments, power networks, modes of production and reception undergoing historical, political, theoretical and technological transformations.
The topics include, but are not limited to:
⦁ Creative energy: media environments comprise energy in transformation and information flows, and are subject to entropy. Will we keep dissipating what we accumulate, in the form of wasted creative energy? What resources do the media provide for social, cultural, political and economic development? And what resources do they use? How sustainable are the media?
⦁ Aesthetics: media creativity has gradually transformed our aesthetic experience. How has “creation” been fostered and promoted throughout media history? And how does the aesthetic experience relate to creativity? In what way is creativity deployed and conceived in the media experience?
⦁ Textuality/formats: changes to media scenarios and convergence processes drive the search for new forms of textuality. What are the main directions of change? What are the more promising formats and the discursive structures?
⦁ Technological Innovation: creativity tends to connect social actors and generate new subjectivities. Does technological innovation enhance or constrain these processes? How does media technology redefine traditional notions of creativity? Does media culture enhance post-human, as opposed to individual, creativity? How far do media technologies shape creation?
⦁ Business and production models: the term “creative industries” was the buzz-term of the past decade. The notion aims to “reconcile” bottom-up impulses and top-down procedures and promote personal creativity. What are the features and practices of this new kind of creativity? What kind of distribution models and what kind of sustainability policies does it entail? What kind of divisions do creative industries imply and conceal? How was “creation” included in past production and business media models?
⦁ Actors/agencies: as the audience metamorphoses, its role in the evolution of creative practices becomes a relevant issue. What are creative audiences? How do they vary according to different cultural and local contexts? What are their practices? What kind of creative usage and production do “produsers” (prosumers, Pro-ams,..) enact? How much do recent shifts affect traditional conceptions of creative flows?
⦁ Landscapes of creativity: “Creative environments” examine the resources offered by the location and space where the creative process is taing place. What is the nature of such local networks? What is the relationship between creativity and national, transnational or global cultures?
⦁ Ideology: Creativity is influenced by the technological, cultural, political and economical conditions of production. What kind of discursive formations constitute ideologies of creation and creativity? How do theseformations work on creativity practices and with which results on the media experience (its political, cultural, aesthetical,.. value).
⦁ Gendered creativity: creative practices intersect gender issues. The different access to creative techniques, resources and practices is a crucial point in the debate on new creativity. How do gender politics influence creative industries? How much do gender differences limit or foster access to creative professions within the media industry?
Scholars from all areas of film, media and cultural studies (including radio, television, new media, game studies etc.), whether previously attached to NECS or new to the network, are invited to submit proposals for contributions. The NECS annual conference includes also a NECS Graduate Workshop, usually held before the main conference. A separate CFP will be online soon.
Submission instructions and more information available at the NECS website. Please submit all proposals before January 31, 2014 through the submission forms that will be accessible from January 1st. Notification will follow shortly thereafter (around February 28, 2014). The conference language is English.
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