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Collision 2006: Interarts Research and Practices

University of Victoria, BC, Canada, September 21 - 24, 2006

Call for Papers, Performances, Collaborations and Workshops
Deadline for Submissions: March 1, 2006

The Collision 2006 Symposium is currently seeking musicians, composers and
researchers whose practice and research merge music with other disciplines
and art forms. We are open to presentations that fall outside of the
specific topics listed below.

In September 2005, the Collision Symposium brought together researchers,
performers and artists to present their work on interarts and
interdisciplinary performance and creation. Collision, a term that denotes
forceful impact of masses moving in different directions, was used as a
theme for the kind of interarts processes often used to create and merge
art forms. Often by design, and sometimes by chance, these processes do
not result in seamless integration of the arts, but instead create a
friction of disciplinarity that promotes rupture or erasure and creates
detritus that exists in liminal states. Building on some of the themes and
discussion from the previous symposium, Collision 2006 requests abstracts
and proposals from artists, researchers and performers for the following:

Lecture-presentations - we encourage traditional lecture format
presentations as well as artist talks, dialogues and lecture-
demonstrations. These presentations will be the standard 20 minutes with
15 minutes for discussion.

Performances and Creative works - gallery and performance space is
available for interarts works. Please include the specifications for
presentation (type of venue, dimensions), all the technical requirements,
and an audio-visual sample of the work along with your abstract. If the
work is performance-based, please list its duration.

Performative Lectures - presentations that operate as an amalgamation of
art/performance and research. These presentations will be the standard 20
minutes with 15 minutes for discussion.

Workshops and Roundtable Discussions - hands-on practical topics including
but not limited to "Teaching interdisciplinary collaboration", "Methods to
merge theory and practice" and "Interarts terminologies/histories".
Workshops will be limited to 1 hour.

Collaborations and Activities - we invite you to lead a collaboration or
other activity for a mixed group of artists, researchers and performers on
a topic that relates to interarts practices. Collaborations and Activities
are limited to 1 hour and 30 minutes.

For the 2006 Collision Symposium we will have several thematic areas of
focus. As well as general submissions on any subjects of interarts and
interdisciplinary creation, we also invite submissions that address the
following topics:

1. Practice and Performance as Research, Theory as Performance/Art:
Following the Art and Language group, philosopher-artists have taken an
approach to research and discourse that presents theory as a performance
or creative work. What are the current forms that these practices take?

2. Interdisciplinarity as a Social Force:  How do theories of power,
legitimacy, and inclusion change when applied in an interdisciplinary
context?  How is gender performed interdisciplinarily? How does
intersectional feminist theory inform interarts work? Is activist art
inherently interdisciplinary? How can interarts practice enrich or
transform community-based or site-responsive projects?

3. First Nations Interarts Creation: What is the role of participation,
interaction and community-building in First Nations interarts practices?
How are storytelling practices transformed in interarts creation?

4. Technology:  What are the roles, potential, and dangers of technology
in interdisciplinary artworks?  How do information and communications
theories intersect with artistic practices?

5. Between Architecture and the Arts: Artistic explorations of built
environments or imaginary structures. How do artists and performers
integrate architecture as a part of their practice?

6. Conscious Interdisciplinarity: Current academic and artistic research,
art production, and performance are often interdisciplinary almost as a
matter of course. So what does it mean to refer to one's practice as
'interdisciplinary'? How is this label strategic? Aesthetic? Fetishistic?

7. Non-Western Interdisciplinarity: What might we learn from non-Western
manifestations of interdisciplinarity or interarts practice (or from
cultures where the concept of artistic disciplines may not even exist)?

8. Interdisciplinary Art and Spirituality: Where does ambiguity in art
intersect with spirituality? Are there parallels between interdisciplinary
creation and spiritual pursuits (eg. art as process)?  Can nonverbal
artistic imagery for which no authoritative tradition of interpretation
exists become a catalyst for spirituality?

All accepted presentations from the 2005 and upcoming 2006 Symposia will
be considered for a planned publication on interarts and interdisciplinary
research and practices.

Abstracts should be no more than 250 words in length and must be sent as a
doc. or rtf. file attachment to Please DO NOT
send audio-visual documentation as attachment files. Instead, please send
all materials - slides, CDs, VHS video and DVDs in NTSC format only to:

Collision 2006 Organizing Committee
C/O Visual Arts Department
University of Victoria
PO Box 1700 STN CSC
Victoria BC  V8W 2Y2 Canada

Further inquiries can be addressed to: Dylan Robinson at

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