The 2017 Annual Soyuz Symposium
Embracing Confusion and Questioning Clarity: on Matters of Method in Postsocialist Studies
Russian and East European Institute
Indiana University Bloomington
March 3-4, 2017
Soyuz Research Network for Postsocialist Cultural Studies invites presentation proposals for the 2017 symposium hosted by the Russian and East European Institute at Indiana University Bloomington. We are seeking research papers and visual presentations (including, but not limited to documentary and ethnographic films) that engage with the issues of methodology in the postsocialist world broadly defined, encompassing East-Central Europe and the Former Soviet Union, as well as Asia, Africa, Latin America, and the Caribbean. Our goal is to foster conversations about knowledge production in the field of postsocialist studies that spans generations of researchers: from graduate students and junior scholars to senior professionals. The 2017 Soyuz Symposium theme Embracing Confusion and Questioning Clarity is inspired by the immense and somewhat untapped potential that postsocialist studies have to offer to methodological conversations in social sciences. In our view, a more vibrant scholarly exchange will aid current compartmentalization of much scholarship into global North and South and produce new analytical categories. Recent resurgence of Cold War ideologies in Europe has ushered a renewed interest in this region on the part of policy makers, funding organizations, and academic programs, and we want to invite scholars of postsocialism to provide their critical commentary on the issues that have accompanied these geopolitical shifts.
Embracing Confusion and Questioning Clarity theme encourages presenters to consider questions they have faced and discoveries they have made on a journey from conceiving a research idea to their interpretation of findings. In what ways have postsocialist transformations and the scholarly analyses that followed posed a challenge to long-standing social scientific categories, methods and theories? What portable analytical categories and methodological insights have postsocialist studies yielded? How have our methodological frameworks and research questions changed in the last decades? Which conversations, interpretive frames, and collaborative processes were beneficial and which were not? What sorts of creative responses have scholars of postsocialism generated to navigate confusing times? And how do insights gleaned by earlier generations of researchers translate, travel and land in the world nearly thirty years removed from the iconic fall of the Berlin Wall?
Invited themes include, but are not limited to the following: creating knowledge about a space; methodologies of data collection and analysis; fieldwork events; analysis of state narratives and discourses; interpretation of contested histories; conducting policy-relevant research; writing in social sciences, and others. As always, at Soyuz, other topics of research on postsocialism that are not directly related to this theme are also welcome. We will invite selected papers for publication as a special issue in one of the relevant journals. Partial funding might be available for graduate students, please indicate if you’d like to be considered in your materials.
Abstracts of up to 250 words should be sent to the Soyuz board by October 15, 2016.
Please include your full name, affiliation, and paper title. Write “Soyuz 2017” in the subject line of your email. Papers will be selected and notifications made by December 1, 2016.
The Soyuz Research Network for Postsocialist Cultural Studies is an interdisciplinary forum for exchanging work based on field research in postsocialist countries, ranging from Eastern Europe and the former Soviet Union to Africa, Southeast Asia, and Latin America. Soyuz is an interest group in the American Anthropological Association (AAA) and an official unit of the Association for Slavic, East European, and Eurasian Studies (ASEEES). The Soyuz symposium has met annually since 1991 and offers an opportunity for scholars to interact in a more personal setting. More information on the Soyuz Research Network can be found at the website.
CFP: EAHN Fifth International Meeting (Tallinn, 13-16 Jun 18)
Tallinn, Estonia, June 13 - 16, 2018
Deadline: Dec 12, 2016
EAHN Fifth International Meeting
Call for Sessions and Round-Tables
Deadline: December 12, 2016
European Architectural History Network (EAHN) is organising its fifth pan-European meeting in Tallinn, Estonia, from June 13-16, 2018. In accordance with its mission statement, the meeting aims to increase the visibility of the discipline; to foster transcultural, transnational and interdisciplinary approaches to the study of the built environment; and to facilitate the exchange of research results in the field. Although the scope of the meeting is European, members of the larger scholarly community are invited to submit proposals related not only to European architecture but also to that of the rest of the world. The main purpose of the meeting is to map the general state of research in disciplines related to the built environment, to promote discussion of current themes and concerns, and to foster new directions for research in the field. Session proposals are intended to cover different periods in the history of architecture and different approaches to the built environment, including landscape and urban history. Parallel sessions will consist of either five papers or four papers and a respondent, with time for dialogue and questions at the end. In addition, there will be a number of round-table debates addressing burning issues in the field. Proposals are sought for round-table debates that re-map, re-define or outline the current state of the discipline. They will consist of a discussion between panel members, but will also encourage debate with the audience. The goal is to create a forum for scholars to present and discuss their ideas, research materials and methodologies.
Scholars wishing to chair a scholarly session or round-table debate at Tallinn 2018 are invited to submit proposals by December 12, 2016 to Dr. Andres Kurg, General Chair of the EAHN Fifth International Meeting, Institute of Art History and Visual Culture, Estonian Academy of Arts, Suur-Kloostri 11, Tallinn 10133, Estonia.
Duties of the chairs of session and of round-tables include: selecting from the proposals submitted for presentation by the agreed deadline; communicating the list of speakers and titles to the conference organisers by the agreed deadline; and submitting material for the proceedings to the conference organisers by the agreed deadline. Chairs will not be eligible for selection as speakers in their own or any other session or round table at the conference.
All chairs and selected presenters and speakers are required to obtain membership of EAHN (available for an annual membership fee at http://www.eahn.org/members-2/) prior to registration at the conference. Chairs are expected to pursue their own institutional or other support for membership, registration, travel and accommodation.
Proposals in English, of no more than 400 words, including a session or round-table title, should summarise the subject and the premise. Please include name, professional affiliation (if applicable), address, telephone, e-mail address and a current CV. Proposals and short CVs should be submitted by e-mail, including the texts in both the body of the mail and as attachments.
Session and round-table proposals will be selected on the basis of merit and the need to organize a well-balanced programme. Please note: preference will be given to proposals from chairs who have not hosted a session in the previous biennial conference (Dublin 2016). The International Scientific Committee may organise additional open sessions, depending on the response to this call.
The complete Call for Sessions and Round-Tables can be downloaded from the Conference website.
CFP: Art as Cultural Diplomacy (Bologna, 14 - 15 Oct 16)
October 14 - 15, 2016
Deadline: Sep 9, 2016
Art as Cultural Diplomacy: (Re)Constructing Notions of Eastern and Western Europe
Part of the Fifth Euroacademia International Conference ‘The European Union and the Politicization of Europe’
Panel Proposed by Cassandra Sciortino, University of California, Santa Barbara
The panel “Art as cultural diplomacy” seeks papers that explore the function of art (in its broadest definition) as an instrument of cultural diplomacy by the state and, especially, by nongovernmental actors. The main theme of the session is the question of art and diplomacy in Europe before and after the fall of the Berlin Wall. Papers are welcome which explore issues related to the role of art, diplomacy and the politicization of the European Union and its candidate countries, as are those which consider how the arts have pursued or resisted East-West dichotomies and other narratives of alterity in Europe and worldwide. The panel seeks to combine a wide range of interdisciplinary perspectives to explore how art—its various practices, history, and theory—are an important area of inquiry in the expanding field of cultural diplomacy.
Some examples of topics include:
~ How can art serve as a neutral platform for exchange to promote dialogue and understanding between foreign states?
~ How can art, including organized festivals (i.e. film, art, music.)
cultivate transnational identities that undermine dichotomies of East and West, and other narratives of alterity in Europe and beyond it?
~ The implications for art as an instrument of diplomacy in a postmodern age where geopolitics and power are increasingly mobilized by image based structures of persuasion
~ How has/can art facilitate cohesion between European Union member states and candidate states that effectively responds to the EU’s efforts to create “unity in diversity.”
~ The politics of mapping Europe: mental and cartographic
~ Community based art as a social practice to engage issues of European identity
~ The difference between art as cultural diplomacy and propaganda
~ The digital revolution and the emergence of social media as platforms
for art to communicate across social, cultural, and national boundaries?
~ Diplomacy in the history of art in Europe and Eastern Europe
~ Artists as diplomats
~ Art history as diplomacy—exhibitions, post-colonial criticism, global art history, and other revisions to the conventional boundaries of Europe and its history of art
~ The international activity of cultural institutes
For full details of the conference and on-line application please see:
CFP: The Royal Palace in the Europe of Revolutions (Paris, January 2017)
Deadline: Aug 31, 2016
The Royal Palace in the Europe of Revolutions
International symposium organized by Basile Baudez and Adrián Almoguera
Centre André Chastel, Paris
Conference languages: English, French, Italian
Since the publication of Nikolaus Pevsner’s History of Building Types in 1976, architectural historians have been alert to the importance of typologies for rethinking their discipline. As analyzed by Werner Szambien or Jacques Lucan, thinking through types allowed for the articulation of concepts of convenance, character and composition in both public and private commissions. Along with metropolitan churches and royal basilicas, in ancien régime Europe princely palaces represented the most prestigious program an architect could expect. For a period in which the divine right of kings was being called into question, however, what happened to the physical structures of royal or princely power, symbol of political authority and dynastic seats? Did the national models of the Escorial, Versailles, Het Loo or Saint James palaces still hold, even in light of new models made available through the publication of archeological discoveries in Rome or Split? The second half of the eighteenth and first half of the nineteenth century represent a moment of intense construction or reconstruction of the principal European palaces, from Caserta to Buckingham Palace, Saint-Petersburg to Lisbon, Versailles to Coblenz. This trend, addressed by Percier and Fontaine in their Résidences des souverains de France, d’Allemagne, de Russie, etc. (1833), took place in a Europe that was undergoing political developments that altogether changed the nature and symbolic structure of princely power.
This symposium, focused on Europe from roughly 1750 to 1850, aims to interrogate the manner in which architects and their patrons integrated the changing concepts of character in architecture and symbolic place of dynastic palaces, reconciling them with theory and/or practice through rethinking issues of distribution, construction, environmental situation, décor, function, reuse of interpretations of printed or drawn sources.
CFP: Society of Architectural Historians 2017 Annual International Conference
SAH 2017 Annual International Conference
Glasgow, Scotland, June 7-11
The Society of Architectural Historians is now accepting abstracts for its 70th Annual International Conference in Glasgow, Scotland, June 7–11. Please submit an abstract no later than June 6, 2016, to one of the 33 thematic sessions, the Graduate Student Lightning Talks or the open sessions. The thematic sessions have been selected to cover topics across all time periods and architectural styles. SAH encourages submissions from architectural, landscape, and urban historians; museum curators; preservationists; independent scholars; architects; and members of SAH chapters and partner organizations.
Thematic sessions and Graduate Student Lightning Talks are listed below. Please note that those submitting papers for the Graduate Student Lightning Talks must be graduate students at the time the talk is being delivered (June 7–11, 2017). Open sessions are available for those whose research does not match any of the themed sessions. Instructions and deadlines for submitting to themed sessions and open sessions are the same.
Abstracts must be under 300 words.
The title cannot exceed 65 characters, including spaces and punctuation.
Abstracts and titles must follow the Chicago Manual of Style.
Only one abstract per conference by author or co-author may be submitted.
A maximum of two (2) authors per abstract will be accepted.
LIST OF PAPER SESSIONS
‘A Narrow Place’: Architecture and the Scottish Diaspora
Architecture and Carbon
Architecture and Immigration in the Twentieth Century
Chinese Architecture and Gardens in a Global Context
City Models: Making and Remaking Urban Space
Colour and Light in Venetian Architecture
Culture, Leisure and the Post-War City: Renewal and Identity
Evidence and Narrative in Architectural History
Graduate Student Lightning Talks
Heritage and History in Sub-Saharan Africa
Landscape and Garden Exchanges between Scotland and America
Mass Housing ‘Elsewhere’
Medieval Vernacular Architecture
Mediterranean Cities in Transition
National, International: Counterculture as a Global Enterprise
Natural Disasters and the Rebuilding of Cities
Penetrable Walls: Architecture at the Edges of the Roman Empire
Piranesi at 300
Preserving and Repurposing Social Housing: Pitfalls and Promises
Publicly Postmo / dern: Government Agency and 1980s Architecture
Questions of Scale: Micro-architecture in the Global Middle Ages
Reading the Walls: From Tombstones to Public Screens
Reinserting Latin America in the History of Modernism: 1965–1990
Reopening the Open Plan
Rethinking Medieval Rome: Architecture and Urbanism
Spaces of Displacement
The Architecture of Ancient Spectacle
The Architecture of Coal and Other Energies
The Global and the Local in Vernacular Architecture Studies
The Poetics of Roman Architecture
The Politics of Memory, Territory, and Heritage in Iraq and Syria
The Tenement: Collective City Dwelling Before Modernism
CFP: Art and Social Practice in Eastern Europe after Socialism
We are pleased to announce call for paper proposals for the panel “Art and Social Practice in Eastern Europe after Socialism”, which will be a part of the 2016 Conference of the Universities Art Association of Canada (UAAC). The conference will take place on 27–30 OCT. 2016 UQÀM, Montréal http://www.uaac-aauc.org/montreal-2016
The deadline for paper proposals is June 24, 2016
After the collapse of Communism in 1989, former Soviet-bloc countries faced the urge to reintegrate art practice into the international art scene in order to revive national traditions as well as to reassess the Communist past. Nowadays, artists explore art as social practice, commenting on political and post-colonial activism, gender, and environmental issues, and addressing their concerns to a global audience. Eastern European artists deliberately or implicitly reframe the historical experience of former Socialist societies that had been developed under the Marxist ideas of a non-hierarchical society, social order in culture, and politically engaged art. How is the concept of socially significant, class-specific art now implemented and/or contested by artists and audience? We encourage scholars and art practitioners to reflect on how Socialist cultures influenced the contemporary cultural exchange. We invite prospective panelists to link the contemporary social agenda in art to the Socialist ideological background and intellectual legacy of post- Socialist countries. The organizers expect to bring together diverse approaches to the Socialist/social agenda of the past and its influence on visual culture of post-Socialist societies in a global perspective.
Please, submit your paper proposals (150 words) and short one-page bios/CV to the session chairs:
Hanna Chuchvaha, Sessional Instructor/Independent scholar, University of Alberta
Maria Silina, Banting Postdoctoral Fellow, Université du Québec à Montréal
CFP: REPRESENTING ART HISTORY IN THE BALTIC COUNTRIES: EXPERIENCES AND PROSPECTS
3rd Conference of Baltic Art Historians
Art History Department of the Art Academy of Latvia
and the Latvian National Museum of Art
Riga, 6–8 October 2016
The Art History Department of the Art Academy of Latvia in collaboration with the Institute of Art History of the same institution and the Latvian National Museum of Art restarts the series of conferences of Baltic art historians, initiated by two meetings of the previous years – The Geographies of Art History in the Baltic Region in 2009, hosted by the Estonian Academy of Art together with the Estonian Association of Art Historians in Tallinn, and (Un)blocked Memory: Writing Art History in Baltic Countries in 2011, co-organized by the Vytautas Magnus University and the Vilnius Academy of Arts in Kaunas.
The agenda of art historians in the three countries during the five years since the last of these events has seen certain changes. New volumes of national art histories are published and being prepared, new opportunities of the digital era are tested to learn the benefits and shortcomings of virtual reconstructions and internet-based resources. New museum spaces for art are being created in theory and practice. Already these and many other steps made give ground for critical self-reflection and discussion, going back from the present developments and future prospects to the lessons of the past and vice versa. Much more important transformations, however, have taken place during twenty-five years since the re-establishment of Baltic independence. In 2001, after the first decade of this span of time, Latvian art historian Eduards Kļaviņš wrote that our art history “is still climbing out of the ruins of the previous methodological barracks, trying both to preserve something of the old and at the same time to find better materials and technologies for more solid buildings”. What and how has been built ever since on this post-socialist construction site? Or perhaps the site with its ruins has been also used as a shipyard for building vessels able to navigate in unexplored waters? If so where have these journeys lead and how have they changed the pre-existing maps of art history? How do the active fleets function and how and the ‘maritime museums’ or ‘cemeteries of ships’ look like?
Swedish art historian Dan Karlholm, in his book Art of Illusion: The Representation of Art History in Nineteenth-Century Germany and Beyond (Bern etc.: Peter Lang, 2004; 2nd ed. 2006), extended “the concept of historiography to include not just textual or institutional endeavours, but a host of different images as well”, dealing with “practices of representing art history in various media”. The organizers hope that the perspective of this extended critical historiography can provide a broader look at art history as a practice and product, a process and its result at the same time.
Suggested topics and their combinations include (but are not limited to):
• Construction site on the ruins or a shipyard?: Art history as a discipline during twenty-five years of Baltic independence
• The changing discourse and idiomatic varieties: Baltic art history(-ies) since the inception of the discipline
• Mapping space and time: Areas and segments of the regional art histories, their state of research and representation
• Parallel efforts towards an integrated art history: Established elements, ‘new’ components and remaining boundaries
• Written, published, illustrated, collected, exhibited, musealised, digitalised: The media-based aspect of art history throughout times
• Identity, visibility and interaction: Baltic art history(-ies) in the interdisciplinary and international cultural context
Both general surveys and case studies focused on contemporary or historical issues are welcome. Contributions are expected from Baltic and foreign scholars including graduate / PhD students researching the visual arts, architecture, design and related areas.
Working language of the conference is English. Presentations should be 20 minutes long. Abstracts (max. 2500 characters incl. spaces / 400 words) with a short CV should be sent to Kristiāna Ābele by 15 May 2016. Accepted papers will be notified by 1 June 2016.
Participation in the conference is free of charge. Organizers will provide participants with accommodation in Riga. Selected papers will be published in a peer-reviewed journal.
All recipients and readers of this CFP are invited to share it to all possibly interested colleagues both in the Baltic States and abroad.
Kristiāna Ābele (Art Academy of Latvia – Institute of Art History)
Ginta Gerharde-Upeniece (Latvian National Museum of Art)
Silvija Grosa (Art Academy of Latvia – Art History Department)
Giedrė Jankevičiūtė (Lithuanian Culture Research Institute)
Dalia Klajumienė (Vilnius Academy of Arts – Institute of Art Research)
Krista Kodres (Estonian Academy of Arts – Institute of Art History)
Tiina-Mall Kreem (Art Museum of Estonia)
Silvija Grosa (project director), Kristiāna Ābele and Ginta Gerharde-Upeniece
The conference is supported by the State Culture Capital Foundation (Latvia), the State Research Programme Letonika (Latvia), the Art Academy of Latvia and the Latvian National Museum of Art.
CFP: 10th Anniversary of Studies in Russian and Soviet Cinema: Call for Papers for a Themed Issue on “Women in Cinema”
Deadline 1 April 2016
Whilst we welcome regular submissions of individual papers for publication in volume 10 (2016), we wish to mark our birthday with a themed issue on “Women in Cinema”. The theme appears topical with the rise of the number of high-profile filmmakers and producers in recent years, but also numerous historical perspectives that offer themselves for investigation under this angle. Papers on actresses, female costume designers, women filmmakers and producers – past or present, are welcome. Submissions for the cluster should reach us by 1 April 2016.
A style sheet and instructions for submission can be found at http://www.tandfonline.com/action/authorSubmission?journalCode=rrsc20&page=instructions#.Vcd2irVKawM
Please send submissions to Birgit Beumers
SRSC operates a rigid, anonymous double peer review system, and is indexed by Scopus, MLA International Bibliography, International Index to Film Periodicals, British Humanities Index and Film & Television Literature Index. The number of electronic library subscriptions is on the rise. All this is thanks to a wonderful team of co-editors, the fabulous support of the editorial and advisory boards, and an amazing production team at Taylor&Francis.
ASEEES (formerly AAASS) members can claim a 30% discount on personal subscriptions to the journal. For further details follow this link and scroll to the bottom of the page: http://www.tandfonline.com/pricing/journal/rrsc20#.Vcd20LVKawM
Birgit Beumers, editor SRSC
Birkbeck College, University of London
Deadline: Apr 20, 2016
The Dandelion editors seek submissions on the theme of NOSTALGIA for their forthcoming issue.
Nostalgia is a ubiquitous presence in contemporary culture. Images and fantasies of the past permeate cultural and political discourses: from the mediated recycling of retro culture and popular history, to nostalgia as a method of political renewal (for example, Donald Trump’s campaign slogan ‘Make America Great Again!’ and Ken Loach’s The Spirit of ‘45).
Nostalgia is readily apparent in the current popularity of culture that celebrates our national past, while self-styled ‘progressive’ cultural institutions are increasingly turning to the past in order to better understand the contemporary: for instance, the reproduction of Richard Hamilton’s installations ‘Man, Machine and Motion’ (1955) and ‘an Exhibit’ (1957) at the ICA, London, in 2014. As the RetroDada manifesto declares ‘why shouldn’t a .gif run backwards as well as forwards?’
To this end we ask: why the resurgence of nostalgia? Is it merely a displacement strategy for a world convulsed by social, political, economic, and environmental crisis, or is there something salvageable in its longing for a prior wholeness, in its desire to seek out a moment when the new was still possible? Should nostalgia be condemned as an ethical and aesthetic failure? Is nostalgia a hindrance to making it new; a symptom of lateness, of a loss of the future? Or can nostalgia be a productive force that provides, both for the self and society, insights into our present?
This journal invites submissions that address the theme of nostalgia across the spectrum of Arts and Humanities research.
Topics may include, but are not limited to:
• Genealogies of nostalgia: from its earliest expositions in medical science through its Romantic and now latest twenty-first century phase • Homesickness, exile and diaspora • Nostalgia, nationalism and the nation • Postcolonial nostalgia
• Institutionalised nostalgia: heritage, memorials and/or museums • Life writing and memoirs • The restaging of exhibitions and past live art events • Nostalgia and film: remakes, mediating history through dramatic reconstruction, retro-soundtracks • Nostalgia and digital technologies • Genres of nostalgia: ranging from the Romantics to the return of the long novel and to science-fiction, steampunk, and retro-futurism • Nostalgia for the avant-garde and avant-garde nostalgia • Communist and fascist nostalgia: utopia • Temporalities of nostalgia: late time and belatedness • Scenes of nostalgia: the ruin, the country house, reconciliation with nature
We welcome short articles of 3000-5000 words, long articles of 5000-8000 words and critical reviews of books, film, and exhibitions. We also strongly encourage submissions of artwork including visual art; creative writing; podcasts and video footage (up to 10 minutes). We would be happy to discuss ideas for submissions with interested authors prior to the submissions deadline.
Please send all submissions to email@example.com by 20th April
Please also include a 50-word author biography and a 200-300-word abstract alongside your submission. All referencing and style is required in full MHRA format as a condition of publication and submitted articles should be academically rigorous and ready for immediate publication. Complete instructions for submissions can be found at www.dandelionjournal.org under ‘About’.
CFP: Interdisciplinary conference: Hungary 1956 – 2016 – Reverberations of a Revolution
60 years ago a student demonstration in pursuit of liberty and democratic reforms in Hungary started a chain of events that turned into a nationwide revolt against the Soviet policies and control embodied in the government of the Hungarian People’s Republic. The uprising that caught the attention and imagination of the world has been widely considered as the first major threat to Soviet control in Central Europe. Although the revolution failed at the time, its reverberations have been felt ever since, particularly in what is now considered the democratic transition in Central Europe, and the lives of diaspora communities around the world.
This interdisciplinary conference seeks to bring together scholars from any discipline in the social sciences, humanities and fine arts, who are interested in exploring the general theme of Hungary 60 years after the revolution. The organizers welcome academic papers that address social, political, cultural, historical and economic issues in contemporary Hungary, in particular those that investigate how such issues have been shaped or affected by the realities and/or the collective memory of the 1956 revolution.
Questions to consider are many; some of the suggested topics of inquiry include:
- education and educational reform(s)
- women and politics, the role of women in Hungarian society
- gender and cultural politics
- NGOs, civil society and democratization
- minority issues, policies and politics of diversity - national identity, identity and culture, religious identity
- national identity and the politics of memory and commemoration
- refugee and diaspora memories
- citizenship and identity - architecture, space and memory, remembering through space
- street names and their meaning in national collective memory
- Art and remembering
- Hungarian media today, media and society, social media and civic engagement
- political engagement of youth
- crime and the criminal justice system
- international relations and Hungary’s place in the world (perceived and actual)
We encourage presentations from all disciplines and fields of scholarship, including History, Political Science, Literature, Economics, Pedagogy, Art History, Religious Studies, Gender Studies, etc. We are inviting submissions for both individual papers and pre-constituted panels for presentations. Abstracts should be a maximum of 250 words in length. In addition, please include a short biographical note (approximately 100 words). Presentations should be no more than 20 min in length. Selected papers will have the opportunity to be published. We welcome submissions from graduate students and early career scholars.
Please note that travel and accommodation subsidies are available to participants of this conference. Please notify us of your intention to request a travel subsidy in your submission.
Deadline for abstracts: May 1st, 2016
Notification of acceptance: on or around June 1st, 2016
Send in your submissions to: firstname.lastname@example.org
The conference will take place at the University of Alberta in Edmonton, Canada on October 27-28, 2016. Please note the language of the conference is English and we ask that you submit your abstract and bio in English.