Deleuze and Guattari in the Anthropocene


Arun Saldanha and Hannah Stark are the editors of an upcoming special edition of Deleuze Studies titled, “Deleuze and Guattari in the Anthropocene.” Here is the CFP.

Originally posted on Society for Radical Geography, Spatial Theory, and Everyday Life:

This CFP from Arun Saldanha and Hannah Stark for a special edition of Deleuze Studies, “Deleuze and Guattari in the Anthropocene,” might be of particular interest to readers:

cfp Deleuze and Guattari in the Anthropocene pic

Twenty years after his death, Deleuze’s thought continues to be mobilised in relation to the most timely and critical problems society faces. As theory is starting to reconcile itself with a grim environmental future and with the emergence of the Anthropocene as a key conceptual framework, we are compelled to consider the philosophical consequences of the irreversible and profound impacts of industrialisation and consumerism on environments at a planetary scale. The Anthropocene disrupts thought itself, requiring that we re-evaluate the human and its place in the cosmos: a third Copernican Revolution. It is widely accepted now that the human species is itself a geological force. Any erstwhile conceptual gap between human and natural history has more or less collapsed. The question…

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#CFP – Film Studies Association of Canada: 17th Annual Graduate Colloquium

Call for Papers – Version Française ci-dessous



FEBRUARY 27-28, 2015
Keynote Lecture by Dr. Will Straw, Director, McGill Institute for the
Study of Canada, McGill University
Submission deadline: Monday, December 15th 2014*

Propaganda is pervasive in contemporary society, and has generated a
considerable body of artefacts and theories which attempt to explain
them. In fact, it is thanks to its role as propaganda during WWI that
cinema became a legitimate art. By the end of the 1930s, its
mobilizational potential was taken seriously by all countries with
established film industries, and continued to be valued during the Cold
War, thus generating speculations that cinema has an inherent structural
and technological predisposition for distortion – both of optics and
of meaning (Paul Virilio). In this digital age, because of ubiquitous
screen media outlets, we have witnessed an unprecedented proliferation
of conspiracy theories as an alternative form of (dis) information or
propaganda. Moreover, since its emergence as a mass media phenomenon,
film propaganda has always already been associated with (self)
censorship and surveillance. Therefore, at the 2015 FSAC Grad
Colloquium, we invite discussion of the complex – even paradoxical –
relationship between film/media arts (and film language), on the one
hand, and propaganda, surveillance, (self) censorship and conspiracy
theories, on the other – from both contemporary and historical points
of view.

Papers and possible topics may include, but are not limited to:
Historical role of film propaganda, surveillance and (self) censorship
Theoretical approaches to film propaganda
Conspiracy cinema
Conspiracy theories on film and in social media
Censorship and self-censorship in cinema and in social media
Censorship, self-censorship and the evolution of film language
Surveillance on film
Surveillance and (self) censorship
Contemporary cinematic forms of propaganda and consensus building
The filmmaker as propagandist
Digital technology and propaganda
Cinematography, film sound and editing in service of propaganda
Propaganda in narrative cinema or avant-garde film or computer games

*Submissions are invited from all English and French speaking graduate
students (MA & PhD), in Film and Media Studies or a related discipline.
PLEASE NOTE THAT PROPOSALS ON TOPICS other than the colloquium’s
official theme ARE ALSO WELCOME. There is a limited POOL OF FUNDING to
assist with travel costs. The fund will be disbursed equitably among
eligible applicants. Please submit an abstract of no more than 250
words. Be sure to include your name, degree, academic affiliation,
e-mail address, as well as the title of your presentation. Abstracts
should be sent to: Please write “Grad
Colloquium 2015” in the subject heading of the e-mail, and upload the
abstract as an attachment (in either Word or PDF format). Notices of
acceptance will be sent in early January 2015.




27-28 FÉVRIER, 2015
Discours d’ouverture prononcé par le Dr. Will Straw, Directeur de
l’Institut d’études canadiennes de McGill, Université McGill
Date limite de soumission: lundi, le 15 décembre 2014*

La propagande est largement répandue dans la société contemporaine,
ayant produit un large corpus d’artefacts et de théories qui tentent de
les comprendre. En fait, c’est grâce à son rôle de propagande pendant la
première guerre mondiale que le cinéma est devenu un art légitime. Dès
la fin des années trente, son pouvoir de mobilisation fut prise au
sérieux par toutes les nations dotées d’une industrie
cinématographique, et continua d’être appréciée pendant la guerre
froide. Certains en conclurent que le cinéma est caractérisé par une
prédisposition structurelle et technologique à la distortion optique
et sémantique (Paul Virilio). En cette ère numérique, à cause de
l’omniprésence des écrans médiatiques, on peut observer une
prolifération sans précédent de théories conspirationnistes qui
servent d'”information” ou de propagande. De plus, depuis son apparition
au sein des mass média, la propagande cinématographique a toujours déjà
été associée avec la censure et la surveillance. Ainsi, au colloque
2015 de l’ACEC pour les étudiants de 2e et de 3e cycles, nous invitons
les participants à débattre d’une question complexe, voire paradoxale,
soient les rapports entre les arts filmiques (leurs langages respectifs)
d’une part, et la propagande, la surveillance, la censure et
l’auto-censure, et les theories du complot d’autre part, de points de
vue contemporains et historiques.

Les présentations et sujets potentiels peuvent inclure, sans s’y
Le rôle historique du film de propagande, de la surveillance et de la
Les approches théoriques du film de propagande
Le cinéma conspirationniste
Les théories du complot concernant le cinéma et les médias sociaux
La censure, l’auto-censure et l’évolution du langage cinématographique
La surveillance au cinéma
La surveillance et l’auto-censure
La propagande cinématographique comme recherche d’un consensus
Le cinéaste comme propagandiste
La technologie numérique et la propagande
La caméra, le son, et le montage au service de la propagande
La propagande dans le cinéma narratif ou d’avant-garde, ou dans les
jeux vidéos

*Tous les étudiants de 2e et 3e cycles en études de cinéma ou toute
discipline connexe, pouvant s’exprimer en anglais ou en français,
peuvent soumettre une présentation. PRIÈRE DE NOTER que les propositions
ne correspondant pas à la thématique du colloque SONT ÉGALEMENT
ACCEPTABLES. Des FONDS sont disponibles pour les frais de déplacement,
et seront distribués équitablement entre les conférenciers éligibles.
Veuillez faire parvenir un résumé de votre présentation (maximum : 250
mots). Assurez-vous d’inclure votre nom, diplôme, affiliation
académique, courriel, ainsi que le titre de votre présentation. Les
résumés doivent être envoyés à : Veuillez
indiquer « Colloque 2015 – 2e et 3e cycles » dans la section « Objet »
du courriel et inclure le résumé de la présentation en pièce jointe
(format Word ou PDF). Un avis d’acceptation sera envoyé en début
janvier 2015.

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Volume 32, Issue 6 now out

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Verso 2014 – Selected highlights, from Arundhati Roy to Slavoj Žižek in a free Ebook


Verso has made a mash-up of what they think are some of the best excerpts from books they published this year. You can download it for free as an e-book.


Originally posted on Progressive Geographies:


Verso 2014: Free Ebook Collection, edited by Verso Books

Selected highlights, from Arundhati Roy to Slavoj Žižek

We bring you a compilation of our most exciting reading from 2014, with contributions from leading radical names – brought together for the first time in this ebook collection, and available for FREE download!

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#CFP: Journal of Peer Production on Alternative Internets

Here is a Call for Papers from the Journal of Peer Production that came to my inbox today.

CFP: Alternative Internets

States are attempting to consolidate their control over the Internet, turning it into an instrument for minute surveillance, whilst a handful of tech-corporations seek to use it as a means to manipulate human behaviour toward their own objectives and siphon off the wealth from local and national markets. In response, alternative technologies have arisen, aiming to restore the Internet’s initial values of net neutrality, distributed control, freedom of speech, and self-organization. Community networks, offline networks, darknets, peer-to-peer systems, encryption, anonymization overlays, digital currencies, and distributed online social networks appear today as examples of alternative technologies aiming at emancipation, redistribution, and maximal autonomy. However, these tools are as ambiguous as the contradictory values and claims that have been invested in them. We can therefore expect alternative infrastructures to be appropriated for ends deemed illegitimate, such as tax evasion or arms trading, thus renewing the calls for restoring “law and order” on the Internet.

Can we learn from the past and avoid the transformation of the utopian promises of these technologies into a dystopian future as, arguably, is happening to the promises of the early Internet?

In order to address such concerns, this special Journal of Peer Production issue seeks to document and critically assess past and ongoing efforts to alter the commercial development process of mainstream Internet technologies in order to build viable alternatives. What are the futures awaiting these alternatives, which contradictions and ambiguities will they undergo, and which steps can be taken today to avoid failures and disappointments?

Topics of interest include, but are not limited to:

•Technical, social, political, economic and legal hurdles faced by alternative projects.
•The evolution of utopian imaginaries when mediated through socio-technical artifacts and the conflicting interests of multiple stakeholders.
•The strategic trade-off between “voice and exit”: going off-grid, developing offline and online alternative networks, or engaging in the public sphere on mainstream platforms.
•The politics of self-organization: actors, local and global institutions, trust, design, regulation, ambiguities. What is an “alternative” imagined to be, how is it concretely realised?
•Lessons learned from the history of the Internet and other communcation networks.
•Utopias, dystopias, and pragmatic imaginaries of the future Internet and its role in society.
•How market or state actors develop their own visions of alternative Internets to foster business interests (e.g. the proposition for a tiered Internet by dominant telecom operators) or facilitate social control (e.g. Iran’s “halalnet”).
•Hijackings and détournements of existing infrastructures to serve purposes other than those first intended.
•The environmental challenges raised by communications technologies and possible responses for ensuring their sustainability and resilience in the face of the mounting ecological crisis.

Submission abstracts of 300-500 words are due by February 8, 2015 and should be sent to All peer reviewed papers will be reviewed according to Journal of Peer Production guidelines. Full papers and materials (peer reviewed​ papers around 8,000 words; testimonies, self-portraits and experimental formats up to 4,000 words) are due by June 31st, 2015 for review.

While the issue will be mainly comprised of academic papers, we also welcome 1-page poster-like “visual”, more or less artistic, submissions, without format restrictions, on stories from the past (alternatives to the current Internet that didn’t survive), today’s alternative technologies, real-life experiences and case studies, as well as future imaginaries. These contributions which could range from diagrams and cognitive maps to paintings, photos, installations, even poems, will be included as an appendix to the main volume. The deadline for submission is June 31st, 2015.



Editors: Félix Tréguer (EHESS), Panayotis Antoniadis (ETH Zurich), Johan Söderberg (Göteborgs Universitet)

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New issue of Wi: Journal of Mobile Media Online

The editorial team at Wi: Journal of Mobile Media is pleased to announce the release of our latest issue “New Media and the Imagination of the Future,” guest-edited by Benjamin Beil and Simone Natale, with an afterword by David Nye.

Predictions and forecasts of the future of digital media are usually presented as ‘innocent’ and unbiased. In contrast, “New Media and the Imagination of the Future” aims to examine predictions on digital media as cultural constructs that are embedded in political, social, cultural, and ideological frames. Through critical analyses of case studies and theoretical viewpoints, contributors to this issue interrogate how predictions about the future of mobile and digital technologies inform their representation and acceptance in the public sphere. The issue therefore proposes to account for more serious considerations of what our claims and visions about the future tend to be.

The issue can be found here:

Table of contents


Simone Natale, “Introduction: New Media and the Imagination of the Future”


Andrea Ballatore, “The Myth of the Digital Earth between Fragmentation and Wholeness”


Grant Wythoff, “Aerophone, Telephot, Hypnobioscope: Hugo Gernsback’s Media Theory”


Benjamin Beil, “Introducing the All New eyePhone! – The Future of Mobile Media”


Jens Schröter: The Future of the Media, General Ecology and its Economic Unconscious


Henry Adam Svec: Review of Utopia: Social Theory and the Future, eds. Jacobsen, M. H., and Tester, K.


Andrea Ballatore: Review of Tantalisingly Close: An Archaeology of Communication Desires in Discourses of Mobile Wireless Media, by Imar De Vries


David E. Nye: Afterword

We hope you will distribute this announcement through your networks.


The Wi: Journal of Mobile Media editorial team.

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#CFP – A Manifesto for Cyborgs thirty-years on: Gender, Technology and Feminist-Technoscience in the twenty-first century

Here is a call for papers that many of you might be interested in.

Platform: Journal of Media and Communication

An interdisciplinary journal for early career researchers and graduate students

Abstracts due: Friday 27th of February, 2015

Volume Editor: Thao Phan

In her iconic essay A Manifesto for Cyborgs: Science, Technology and Socialist-Feminism in the 1980s, Donna Haraway introduced the metaphor of the cyborg as an “ironic political myth” to critique the so far troubling narratives of the West. Published in the Socialist Review in 1985, it brings together a broad spectrum of literacies—from socialist-feminism, to cybernetics and biopolitics—to proffer a cutting criticism of Enlightenment humanism, gender essentialism, and military technoscience. Her provocations created a useful framework to destabilise rigid boundaries and make fluid the borderlines between human and animal, organism and machine, natural and artificial, semiotic and material. Today the Manifesto sits comfortably as part of the canon of feminist-technoscience and postmodern theory. Although as an oppositional figure the cyborg is bounded by a historical specificity, it has certainly found new significance and politics in the contemporary age of ubiquitous media.

To mark the 30th anniversary since its publication, Platform invites authors whose work resonates or responds to themes expounded in this seminal essay. With the benefit of thirty years’ hindsight, what new observations or critical assessments can be made in regards to the cyborg as a feminist, tropic figure? Did the cyborg fulfill its promise of an “historical transformation”? Is the figure of the cyborg still as useful today, given contemporary technological developments? Or, conversely, do we need myths like Haraway’s now more than ever? We encourage the submission of theoretical or empirical work engaging with applications of, or criticisms of, frameworks used by Haraway, and are particularly interested in critical papers that provide novel insights into the relation between gender and technoscience.

Potential topics may include, but are not limited to:

·      Cyborg subjectivities in the 21st century
·      Gendered tropes in technology
·      Novel readings of gender and technoscience
·      Trans/queer studies of technology
·      Feminist science and/or feminist science and technology studies
·      Posthuman subjectivities
·      Postgender politics and subjectivities of “affinity”
·      Multiple or fractured readings of the cyborg
·      Technologies of sex and gender
·      Technologies of race and identity
·      Critical studies of the body/embodiment
·      Feminist histories/historiographies of media, technology or computation
·      The informatics of domination
·      Biotechnologies and Artificial Intelligence
·      Feminism and accelerationist politics
·      Feminism and new materialisms

In addition to this special section, we also welcome submissions that more broadly deal with issues relating to the areas of media, technology, and communication in theoretical or critical terms.

Please send all enquiries and submissions to Abstracts must be accompanied by a brief curriculum vitae and biographical note, and should not exceed 350 words.

We recommend that prospective authors submit abstracts well before the abstract deadline of the 27th of February 2015, in order to allow for feedback and suggestions from the editors. All submissions should be from early career researchers (defined as being within a few years of completing their PhD) or current graduate students undertaking their Masters, PhD, or international equivalent.

All eligible submissions will be sent for double-blind peer-review. Early submission is highly encouraged, as the review process will commence on submission.

Platform: Journal of Media and Communication is a fully refereed, open-access online graduate journal. Founded and published by the School of Culture and Communication at the University of Melbourne (Australia), Platform was launched in November 2008. Platform is refereed by an international board of established and emerging scholars working across diverse fields in media and communication studies, and is edited by graduate students at the University of Melbourne.

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