Posts Tagged ‘CFPs’
* Mark your calendars, East Coasters: Jaimee Hills reads from her award-winning book How to Avoid Speaking at the Folger Shakespeare Library in DC on October 26. I’m sure I don’t need to tell you that preorders are available now at Amazon and Waywiser Press.
* The world’s most popular academic article: “Fuck Nuance.”
That is the kudzu of nuance. It makes us shy away from the riskier aspects of abstraction and theory-building generally, especially if it is the rst and most frequent response we hear. Instead of pushing some abstraction or argument along for a while to see where it goes, there is a tendency to start hedging theory with particulars. People complain that you’re leaving some level or dimension out, and tell you to bring it back in. Crucially, “accounting for”, “addressing”, or “dealing” with the missing item is an unconstrained process. at is, the question is not how a theory can handle this or that issue internally, but rather the suggestion to expand it with this new term or terms. Class, Institutions, Emotions, Structure, Culture, Interaction—all of them are taken generically to “matter”, and you must acknowledge that they matter by incorporating them. Incorporation is the reintroduction of particularizing elements, even though those particulars were what you had to throw away in order to make your concept a theoretically useful abstraction in the first place.
See also: nuance trolling as academic filibuster.
* But Thrun and other MOOC founders seem less than concerned about living up to their earlier, lofty rhetoric or continuing that tradition of bringing education to an underserved population. True, they haven’t entirely abandoned their rhetoric about equal access to educational opportunities. But they’ve shifted to what’s becoming a more familiar Silicon Valley narrative about the future of employability: a cheap and precarious labor force. That’s the unfortunate reality of “Uber for Education.”
* Artisanal college. Cruelty free, cage free, farm-fresh.
* Meanwhile, in today’s exciting new anti-academic moral panic: UNC’s The Literature of 9/11.
* As Murray Pomerance points out, plagiarism is a form of theft, and we don’t steal our own work. On the contrary, we expand its reach, and build on it, thereby making it more relevant as the contexts that produce it change.
* And no one talks about it: Barack Obama will leave his party in its worst shape since the Great Depression—even if Hillary wins. More here. I’m an outlier on the progressive side of the fence insofar as I think Clinton might really have to pull out of the race over the emails — so it’s even worse than it seems.
* The aftermath of Hurricane Katrina serves as a reminder that resilience is a function of the strength of a community. Gentrification’s Ground Zero: In the ten years since Katrina, New Orleans has been remade into a neoliberal playground for young entrepreneurs. The Myth of the New Orleans School Makeover.
* I love dumb stuff like this, when the corrupt screw up and lose: Business owners try to remove all voters from business district, but they forgot one college student.
* Firstborn Girls Are the Best at Life. Any Zoey could have told you that!
* Future Jails May Look and Function More Like Colleges. And, you know, vice versa…
* Never say “unfilmable”: The BBC is going to try to make a show out of The City and the City.
* Declare victory and go home to your panic room: America Has Lost The War Against Guns.
* And some things mankind was just never meant to know: See how easily a rat can wriggle up your toilet.
CALL FOR PAPERS: Stephen King’s Science Fiction
A Special Issue of the journal Science Fiction Film and Television, edited by Simon Brown and Regina Hansen.
From the publication of his first novel, Carrie (1974), Stephen King has been inextricably linked to the horror genre. The same is true for the film and television projects that have been adapted from his work, beginning with Carrie (1976), and the mini-series of Salem’s Lot (1979). Yet King is not, and never has been, purely a horror writer. One genre to which he has returned throughout his career is that of science fiction (SF). Alien invasion narratives such as The Tommyknockers (1987), Dreamcatcher (2001) and Under the Dome (2009) stand alongside time-bending stories like 11.22.63 (2011) and The Langoliers (1990), the dystopian future of Richard Bachman’s The Running Man (1981), and tales of science and technology run amok, for example Trucks (1977), The Mangler (1977), Firestarter (1980) and the horror/SF hybrid novel Cell (2006).
Each of these has been adapted for the big or small screen, meaning despite his reputation for being solely a ‘master of the macabre’, King’s work has, over the past twenty years, made an undeniable contribution to the SF genre on film and television. With the success of the SF television series Haven (2010-) and Under the Dome (2013-) prompting a revival of interest in adapting King’s work for the screen, the time is right to explore the relationship between adaptations of Stephen King and the SF genre. To this end the journal Science Fiction Film and Television will be publishing a special issue devoted to the SF adaptations of King’s work, guest edited by Simon Brown and Regina Hansen. The aim of this issue is to examine King’s relation to SF, to consider the adaptations within the context of the film and/or TV SF genres, and to examine the relationship between the two. What kind of SF does King write, how is it adapted, and how do those adaptations relate to, draw on, or differ from, ongoing themes and representations in SF on Film and TV?
The guest editors are seeking proposals for articles of up to 6000 words. The deadline for submission of articles is 31 May 2016. The issue will be published mid-2017. We welcome proposals on any area to do with Stephen King and the film and TV adaptations of his SF work (or indeed non-SF works that have been adapted into SF, such as The Lawnmower Man and Haven), but particularly around the following:
• individual adaptations or series, or groups of adaptations, or original series. These include but are not limited to The Tommyknockers, Dreamcatcher, The Langoliers, Stephen King’s Golden Years, Firestarter, The Running Man, The Mist, Hearts in Atlantis, Maximum Overdrive/Trucks, Haven, Under the Dome, The Dead Zone (Film or series), The Lawnmower Man, 11.22.63
• The way in which King adopts or adapts the tropes of the SF genre
• King, SF and genre hybridity
• The relationship between King’s stories as literary SF and the adaptations as cinematic or television SF
• Adapting King as SF for the big and small screens
• The format of King adaptations (film, TV movie, mini-series, series)
• The impact of these adaptations on the SF genre in film and/or TV
• The significance (or otherwise) of the King “brand’ to film and/or TV SF
• King as source for/contributor to other SF shows such as The X-Files, The Outer Limits and The Twilight Zone.
Proposals of 300-500 words, and a short biography of 50-100 words should be submitted via email no later than 30 September 2015 to the guest editors Simon Brown (firstname.lastname@example.org) and Regina Hansen (email@example.com).
Simon Brown is Associate Professor of Film and TV at Kingston University. He has published numerous pieces on early British cinema, colour cinematography and contemporary American television. He was co-editor with Stacey Abbott of the special issue of the Journal of Science Fiction Film and TV on The X-Files (6:1, 2013), for which he also contributed the article Memento Mori: The Slow Death of The X-Files. He is currently working on a book on adaptations of Stephen King’s work on Film and TV.
Regina Hansen is Master Lecturer of Rhetoric at Boston University’s College of General Studies. She is the co-editor with Susan George of Supernatural, Humanity and the Soul: The Highway to Hell and Back (Palgrave-MacMillan 2014) and editor of Roman Catholicism in Fantastic Film (McFarland 2011). She has written and presented on science fiction and horror film and television, religion and the fantastic, and Neo Victorianism in TV and film.
* What that means is that in South Carolina, the Confederate flag abides by its own rules. While governors—as well as the president—can usually order that all state and national flags within their jurisdiction be flown at half-staff, this one is exempt. Instead, the Confederate flag’s location can be changed only by a two-thirds vote by both branches of the General Assembly. “In South Carolina, the governor does not have legal authority to alter the flag,” said a press secretary for Haley. “Only the General Assembly can do that.” Take down the flag.
* Tech isn’t really making a “sharing” economy. So what is it making? The Servitude Bubble.
* Performance-Based Funding Can Be Fickle, One University’s Close Call Shows. Florida State would have lost $16.7 million if its median graduate had earned just $400 less.
* The sheep look up: don’t drink the water edition.
* Did abortion cause the drought? I say teach the controversy.
* It’s a weird, weird world: Obama is going to be on WTF. I’ll never accept this is real.
11. Enthusiasts have hitherto only loved the world in various ways; the point is to hate it (too).
* Another pedagogy gimmick, but at least it’s cheap: roleplaying games.
* SethBling wrote a program made of neural networks and genetic algorithms called MarI/O that taught itself how to play Super Mario World. This six-minute video is a pretty easy-to-understand explanation of the concepts involved.
* Everything you want, in the worst possible way: please god don’t ever let Captain Worf happen.
* No pricey pension plans, some argued. No promotions based solely on seniority. No set hours for a given workweek. No prohibitions against layoffs. Unions! Catch the fever!
* The arc of history is long, but Mitch Horwitz is doing a Netflix comedy series with Maria Bamford.
* Didn’t we do this one already? All six Star Wars films at once.
* And if you want to know why there’s no future for our civilization, just read this.