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Call for proposals

 

CALL FOR PROPOSALS

ISSUE 3 is GHOST INTIMACIES. Guest edited by Sophie Le-Phat Ho & Ronald Rose-Antoinette.

Deadline for all submissions (writing, moving images & more) is May 10 2017.


What are the techniques, ritual practices and hauntologies for unsilencing the ghosts and critiquing the ways racism, ableism, patriarchy, transphobia and homophobia alienate us from their and our stories?


In Apichatpong Weerasethakul’s movie Uncle Boonmee, a ghost comes to life to remind her beloved one that: “Ghosts aren’t attached to places, but to people. To the living.” The quality of her presence, in absence, complicates our typical understanding of the experience of “living.” Her words draw attention to a way of life, a feeling, that she and her partner share. Together, they are connected through this irreducible fact of feeling.


If we listen, if we are willing to remember, right at this moment, there is a ghost that wants to be heard: ‘Do not forget me. I am and I was already with you.’ There is a ghost that persists and refuses to be incorporated in or instrumentalized by the archive (dominant accounts and official history). There are entities that we know exist only because they are attached to us; forces that institutions cannot grasp because they have no affective relationship to them.


Whiteness, by declaring itself the signifier of truth and transparency, obstructs the advent of ways of living and believing in the world that do not experience time in a linear way, as fixed and (re)productive. This obstruction also marks the upholding of the racial, construed as a way to refuse movement and relationality to a phantasmatic other. It is the vibrational materiality of Indigenous, Black, Brown and Queer temporalities that is repressed in the service of producing (hetero-)normative life. That is how our communities (an emphasis on those of us affected by these processes of slow death and arrestment) are made ghostly, other than, or not quite alive.


For this issue on “Ghost Intimacies,” we are calling for propositions (visual art, media art, audio, poetics, etc.) and stories that - out of concern for the spirits - reaffirm the irreducible fact of feeling and living. We want to consider the ways in which the vivacity of the ghost rises to the occasion of, and resists, the definition of the present. How can media be hallucinative of life living otherwise, not in the hereafter, but of a life during life, simultaneous (and not posthumous) to this life? How can the force of haunting be unleashed effectively against the processes of disappearance and extraction enacted by racial capitalism? How do we reckon with what neoliberalism has rendered ghostly? What are the techniques, ritual practices and hauntologies for unsilencing the ghosts and critiquing the ways racism, ableism, patriarchy, transphobia and homophobia alienate us from their and our stories? How do you listen to your ghosts?

 

Keywords: witness, crossings, memory, haunting, feeling, care, attachment, mourning, ancestry, ritual, occult, sociality, diasporic knowledge, mysticism, colonialism, untimeliness, visitation, phantasmagoric, Indigenous and Afro futurisms

To pitch, email editorial@micemagazine.ca with a CV, writing sample and 300-500 word proposal for:

- Features (up to 3,000 words) that lay out your substantive critical, theoretical or historical arguments on the topics proposed

- Essays or interviews (up to 2,000 words) that get into the nitty-gritty with respect to one or more media artists and their work

- Written proposals for artworks and up to 5 minutes of sound/video and up to 5 screen-resolution images and an outline of your proposed work for the issue.

 

MICE CALL FOR GUEST EDITORS
Deadline for expression of interest: January 20, 2017 at 5pm - Extended to Friday, February 3, 2017 [info@micemagazine.ca]


We are currently seeking guest editors to propose ideas for upcoming issues of MICE magazine. MICE is a collectively run online publication for critical thinking and media arts. By maintaining a rotating editorial position MICE aims to develop a diverse representation of national voices in media arts. Considering our mandate and funding sources, each issue contains a mix of media works and critical writing totalling at least 8 contributions. A typical example of content distribution would be: 2 feature video works, 2 written features and 4 short written pieces.


Proposals for upcoming issues should be timely and use existing themes and content as context for thinking through the realities and challenges of contemporary media art culture. Issue 01: Invisible Labour was the collaborative endeavor of guest editors Nasrin Himada (Scapegoat) and Gina Badger (FUSE). Issue 02: Transformative Justice was guest edited by Radiodress in consultation with Syrus Marcus Ware.

 

Guest editors have the possibility to work with artists, writers and designers to develop an issue theme and help shape the vision of a still-nascent publication. We’re open to radical (re)interpretations of how an online publication may look and feel. This is an opportunity to collaborate with a passionate team committed to critical discourses in and through media art/moving image culture. Our interest is your ideas and energy.


We are committed to paying fair wages as per CARFAC, to be discussed prior to appointment, in relation to the specific parameters of the issue. The guest editor contract covers remuneration for the editorial process for a single issue (roughly six months), from solicitation to publication. 


The guest editor will be expected to:
-Solicit all materials: writing and media works
-Act as first contact with commissioned writers and artists
-Review submissions to Call for Proposals
-Liaise with designer and copy editor
-Collect images and hyperlinks
-Edit content and work directly with contributors, providing all necessary feedback
-Meet deadlines to ensure issue timeliness
-Remain in communication with MICE collective throughout production process


**More detailed breakdown of responsibilities as well as a MICE Statement of Procedure will be provided to shortlisted applicants.**


Applicants should e-mail the following to: info@micemagazine.ca by January 20, 2017 - - Extended to Friday, February 3, 2017: 
-CV (maximum 2 pages)
-A Call for Proposal that outlines your specific theme (previous MICE CFPs can be used as examples)
-Letter of interest (maximum 750 words), 

Please outline your vision for the scope of your proposed issue and the audiences it will engage. (You are encouraged to mention specific writers or artists you may wish to include). Be sure to describe your work, why you are interested in MICE, and previous editing experience.


MICE Magazine wishes to make explicit our desire to recruit new guest editors who share our passion for racial justice across a greater spectrum of differences in ability, gender, and sexuality, and concerted effort to shift away from whiteness on every level. The editorial committee is currently: four able-bodied cisgendered straight and queer women, 50% white, and Black and Egyptian. 


Please expect a 2 week delay in responses to submissions.
 

 

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CALL FOR NEW COLLECTIVE MEMBERS

DEADLINE EXTENDED TO FRIDAY, SEPT 16!


MICE Magazine is currently preparing for the fall 2016 launch of Issue 02: Healing Justice. In the meantime, we are seeking a number of dedicated individuals to join the MICE collective. This is an opportunity for editors, arts administrators, writers, curators, and activists to collaborate with a passionate team committed to discourses in and through media art/moving image culture. We are open to applicants at any point in their practice or career; from established voices to those just beginning in the field. Our interest is your work, energy, and engagement.


Collective members will have the opportunity to work with artists, writers, and designers, develop issue themes, and help shape the vision of a still-nascent publication.

Collective members are expected to:
- Attend monthly meetings (Toronto or Toronto-adjacent applicants only, please!)
- Aid in fundraising initiatives, including grant writing
- Help organize and run MICE events
- Commit to a minimum of one year-long term
- Act as general ambassadors of the MICE collective

Please submit a brief letter of interest (250 words maximum) to
info@micemagazine.ca
DUE: Wednesday, September 7th

 

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MICE CALL FOR CONTRIBUTORS
The deadline for pitches is Monday 30 November 2015, at the stroke of midnight.

 

Issue no1: Invisible Labour

Publication date: Spring 2016

Co-edited by Gina Badger and Nasrin Himada

 

How can we account for all of the invisible labour that’s required for us to do our so-called radical work?  For our inaugural issue, MICE seeks media arts projects (sound, video, digital art &c) and critical writing that perform and/or analyze issues of labour within media arts production. Economies of attention drive contemporary art worlds, determining who is paid, who receives credit, who is celebrated, and who remains invisible. This issue is concerned with the before, the after, the behind-the-scenes, and the off-camera. How much not-art is required to make the art? What’s the cost and who puts their life on the line?

 

Informed by intersectional and materialist feminisms, Issue no1 foregrounds forms of labour that go unrecognized, such as emotional, self-care and reproductive labour. Without reducing all forms of life to labour, we seek out the activities that allow us to think value differently, to acknowledge all that we do to keep ourselves and our communities vivacious and resilient. When we work on interracial creative projects that are fuelled by social justice, who takes the time to explain white supremacy and its intersections? Who cleans up the mess when shit blows up? What are the questions, complaints and critiques that we bring to the kitchen table, late at night with friends, lovers and chosen family?

 

In honouring these forms of labour, we also call on expanded practices of citation that can develop above and beyond staid academic models, and that acknowledge and feed our political and intellectual lineages. Such practices may at times appear to be appropriative, as in video and performance artworks that heavily borrow, remix, and recycle material; at other times, the lineage of an artwork is indicated by its title or context. How do these tactics work to honour and expand upon the efforts of our predecessors, mentors, and elders?

 

Some prospective research questions, which should in no way limit your own sense of possibility:

 

  • What is Invisible Labour?
  • How is media art conditioned, shaped or formed by Invisible Labour? How is Invisible Labour formed, shaped or conditioned by media art?
  • How does the Invisible Labour of museums and other art institutions affect how the work is installed, seen, reviewed, taken down? How does it affect the process, i.e. securing artists’ visas, putting them up, feeding them dinner?
  • What is the role of technology in these practices? Or, what goes on behind the scenes of the scene?  i.e. the extractive and labour politics of devices and screens, the social conditions of production, cinematography editing, sound, &c.
  • How do practices in media art push up against the erasure of specific labours?
  • How do these practices re-imagine “work” in contemporary art settings?
  • Is self-care work? Is emotional labour Invisible Labour? How do these trouble the boundaries of media art?

Wanna? We thought so.

To pitch, send a nice email to editorial@micemagazine.ca with up to 250 word proposals for:

  • feature essays (up to 3,000 words) that lay out your substantive critical, theoretical or historical arguments on the topics proposed
  • essays (up to 2,000 words) that get into the nitty-gritty with respect to one or more media artists and their work

And/or media files (up to 5 minutes of sound/video and up to 5 screen-resolution images) for artworks.

 

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MICE CALL FOR CONTRIBUTORS
The deadline for pitches is Monday 30 November 2015, at the stroke of midnight.

 

Issue no2: Healing Justice

Publication date: Summer or fall 2016

Edited by Radiodress in consultation with Syrus Marcus Ware

 

How do media-based artists bring healing modalities and disability politics into their practices?  Social movements such as Black Lives Matter, Idle No More, and Slut Walks are currently articulating new spaces for the consideration of disability, gender, sexuality and decolonization, while media artists, festivals and exhibition spaces are taking up these questions through a wide range of embodied strategies. For its second issue, MICE Magazine will act as a curated space for media projects and writing which explore the impact of systemic violence on human bodies, both individually and collectively.

 

Feminist and decolonizing social movements centre the constantly changing body in their call for systemic change. Emerging from these practices, healing justice positions our bodies as perfectly imperfect, marked by our struggles and our desires, particularly for those of us directly impacted by racism, colonialisms, and marginalization of all stripes.  Projects which engage healing justice invest in strategies such as community agreements, harm-reduction, allyship, intention setting, and active listening in public exhibition spaces. Rather than limiting their focus to questions of access in arts and disability contexts, healing justice projects push the boundaries of what can be done in galleries and museums; how an audience is hailed to participate; what an “expert” is and does; the impossibility of “curing”; and what technologized bodies can teach us about our collective future. Unlike the majority of relational aesthetics and social practice works, which explore various relations as a means towards understanding justice, the inclusion of healing justice modalities in cultural production invites an exploration of the medicinal properties of process, improvisation, and co-creation as they affect and effect the human body and our lived environment.

 

The healing justice issue will address violences such as incarceration and mass-detention, the school-to-prison pipeline, and police brutality; as well as targeted violence against Indigenous communities, trans women of colour, poor and working-class people, consumer/survivors, and migrants. Issue no2 will going deep into questions of how healing justice might form itself within an art system that often rejects community-based proposals for empowered and autonomous change.

 

Some prospective research questions, which should in no way limit your own sense of possibility:

  • Is there a Healing Justice aesthetic? If so – what does it look/sound/feel like?
  • How are social movements which mobilize Healing Justice employing media art practices?
  • What, if anything do feminist art practices have to contribute to this conversation?
  • How do disability arts frameworks expand the edges of media art?
  • What is the role of technology in these experimental practices?
  • How are participatory ritual and ceremonial processes re-shaping relational aesthetics?
  • How do these practices trouble contemporary institutional frameworks for production?
  • How do they re-define authorship and reception?
  • What is the conversation these works generate around spectatorship and affect?  
  • How do questions of cultural appropriation contribute to participation in these artworks?
  • What resources and support do artists need to produce these projects?

 

Wanna? We thought so.

To pitch, send a nice email to editorial@micemagazine.ca with up to 250 word proposals for:

  • feature essays (up to 3,000 words) that lay out your substantive critical, theoretical or historical arguments on the topics proposed
  • essays (up to 2,000 words) that get into the nitty-gritty with respect to one or more media artists and their work

And/or media files (up to 5 minutes of sound/video and up to 5 screen-resolution images) for artworks.

We welcome propositions in two parts, should you wish to engage the themes of both issues.

 

                                         MICE_CFP Issues 1 and 2.pdf