Schedule

All Events are Free and Open to the Public.

Thursday, September 25

8:30-11:00 PM

Happy Hour for Early Arrivals

Republic Bar, 221 Cedar Ave. S

7 Corners, Minneapolis

Friday, September 26

8:00- 10:00 AM

Conference Registration and Breakfast: Nicholson Hall, Room 364

9:00-10:30

New Media and Pedagogy: Nicholson Hall, Room 135
Bret Leraul, Cornell University

“Pedagogy and Mass Intellectuality in post-Crisis Argentina: Colectivo Situaciones, Rancière, Virno”

Thomas Lawson, Hamline University

“Pop Will Erase Itself: Music Criticism & Culture after the Digital Turn”

Jo Ann Oravec – University of Wisconsin

“Intellectual Property Considerations in Online and Blended Education"
Moderator: Brad Bellatti, University of Minnesota

Institutionalizing Memory: Nicholson Hall, Room 201

Megan Martenyi, San Francisco State University

“ ‘Shades of California:’ Assembling Historical Subjects in Public”

Mikkel Vad, University of Minnesota

“The Tribute Concert as a Site of Memory”

Erica Farmer, Smithsonian Institution

Cultural heritage as intellectual property: The tensions and opportunities of the ‘increase and diffusion of knowledge’”

Moderator: Andrea Gyenge, University of Minnesota

10:45-12:15

Genealogies of Intellectual Properties: Nicholson Hall, Room 135

Sean R. Silver, University of Michigan

“Locke's Apple and the Sensation of Property” 

Rachel Gostenhofer, Brown University

“Priority and intellectual property in enlightenment Paris.” 

Amelia Chesley, Purdue University

“On the Ownability and Openness of Creative Work” 

Moderator: Brendan McGillicuddy, University of Minnesota

The Politics of Collective Memory: Nicholson Hall, Room 201

Evyn Le Espiritu, University of California – Berkeley

“South Vietnamese Refugees and the Subaltern Digital Archive”

Chris Chu Cheng Huang, National Tsing Hua University

“Licensing Indigenous Cultural Expressions: Practicing the Indigenous Traditional Cultural Expression Protection Act (ITCEPA) of Taiwan”

Andrew Ventimiglia, University of California - Davis

“Demanding the Angel’s Share: Intellectual Properties and Emerging Spiritual Organizations”

Moderator: Courtney Gildersleeve, University of Minnesota 

12:15-1:45 – LUNCH (On Your Own)

1:45-3:45 

Intellectual Prostheses and The Body: Nicholson Hall, Room 135

Julia K Callander, University of California – Los Angeles

“ ‘Perverted Genius:’ Matthew Lewis’s Body and the Sexuality of Romantic Authorship”

Chase Gregory, Duke University

“Conspiracy Theories (Or, What is Queer Critique?)”

Madoka Nagado, University of Hawaii

“Whose Life is it? Absent Voices and Literary Agency in Disability Narratives“

Moderator: Lyes Benarbane, University of Minnesota

Virtual Archives: Identity and the Internet: Nicholson Hall, Room 325

Amy Carlson, University of Hawaii

“Filling in the Story: A Consideration of Art Objects Hosted on the Web”

Thomas Hackbarth, University of Minnesota

“Slacktivism: Activism Under Communicative Capitalism”

Chelsea Reynolds, University of Minnesota

“Craigslist Casual Encounters as an Archive for Sexual Identity Data”

Moderator: Thorn Chen, University of Minnesota 

4:00 – 5:30 PM

Keynote Address: Peter Goodrich, Cardozo School of Law

Best Buy Theatre, Northrop Auditorium

Reception to follow Keynote

Saturday, September 27

10:15-12:15

Theorizing the Archival Intervention: Nicholson Hall, Room 135

Marla Zubel, University of Minnesota

“The Materiality of History or the Materialist Conception of History? Towards a Negative Archival Methodology”

Patrick Cabell, University of California - Davis

“The Crisis of the Public/Private Divide: New Opportunities at the Twilight of Neoliberalism”

Max Karpinski, University of Toronto

“ ‘Generative Indeterminacy’: the Archival Diddlings of Lisa Robertson’s R’s Boat”

Erin Trapp, University of Minnesota

 “Archiving as Intertext: Dunya Mikhail’s Writing of ‘Disaster’”

Moderator: Emily Fedoruk, University of Minnesota 

Who Owns the Nation? : Nicholson Hall, Room 325

Sarah ColClough, University of Georgia

“Art in the Age of Orientalist Reproduction: Japanese Cultural Studies and Logic of ‘Imitation’”

Maciej Jakubowiak, Jagiellonian University

“Battle for New Culture: Polish Interwar Avant-Garde and Copyright Law”

Allison Welty, University of Denver

“A Beautifully Grotesque New World Order: Heterogeneous Culture, Indigenous Myth, and Hegemonic World Structures in The Obscene Bird of Night. “

Moderator: Mikkel Vad, University of Minnesota 

12:15-1:45 PM LUNCH

1:45-3:45 PM

The (Im)materiality of the Archive: Nicholson Hall, Room 135

Rachel Schaff

“The Photochemical Conditions of the Frame”

Strand Sheldahl-Thomason, Purdue University

“Cinematic Ritual: Film and the Transformation of Aura,”

Katy Gray, Rutgers University

Eui H Kang, University of Illinois – Chicago

“Postmodern Narrative of ‘Remembering’ the Modernism”

Moderator: Sara Saljoughi, University of Minnesota 

Historical Inheritances: Nicholson Hall, Room 325

Katelyn Durkin, University of Virginia

“The Substitutive Lineage of Intellectual Property”

Keziah Poole – University of Southern California

““But I Am Alive” – Sexual Violence and a Politics of Remembering in Three Partition Films”

Mica Hilson, Francis Marion University

“Kinship/Kindship/Kindaship: The Family Tree as (Intellectual) Property”

Moderator: Joseph Sannicandro, University of Minnesota 

4:00 – 5:30 PM

Keynote Address: Jane Gaines, Columbia University

Nicholson Hall, Room 155

CALL FOR PAPERS

Intellectual Properties, or The Materialities of Communicative Production: Archive, Canon, Clone, Copy

EXTENDED DEADLINE: JULY 20, 2014

The 3rd Annual Cultural Studies and Comparative Literature Conference at the University of Minnesota

Dates: September 26-27, 2014

Keynote Speakers: Jane Gaines, Columbia University

                             Peter Goodrich, Cardozo School of Law

Let us suppose that the meaning of “intellectual property” were not limited to its common juridical usage. What if, rather than referring narrowly to the legalized ownership of mental creations it evokes the conditions, both mental and manual, under which knowledge is rendered inseparable from social production (along the lines of what Marx called the “general intellect”)? Our conference takes the notion of “intellectual properties” as a launching pad for diverse inquiries into the production, reproduction and ordering of knowledge, bodies, and affects. We invite papers that critically examine the concepts and histories of intellectual property; we also encourage submissions that deal with related questions concerning authorship, ownership, identity, communicative labor, technological reproducibility, tradition, biopolitics--formations that relate human beings to things both of and not of their own making. More fundamentally, the conference asks how the changing status of “the intellect” under contemporary conditions affects our own work as thinkers, scholars, and teachers in the humanities and social sciences.

Archive, canon, clone and copy are four ways in which the materialities of communicative production may be mapped onto the terrain of contemporary humanities and social sciences research. The terms are sites that determine the consistency of the intellect and its properties; they also provide models by which the intellect can be owned as “property.” To whom do archives, broadly understood to include the spectrum from books to genes, belong? How do contemporary canonical formations (e.g. “world cinema,” “literature in global English,” “world music,” “French theory”) challenge and reinstitute the relations of property and propriety that were once called “tradition”? What is the relationship between media of technical reproducibility and increasingly elaborate regimes of intellectual property rights deployed in the sciences, humanities, and the public sphere? How does technical reproducibility work as a mode of biological and social reproduction in the age of digital convergence, cloning, and the proliferation of prostheses?

We are interested in work that addresses the above concerns and related work, listed below are more possible topics.

•     Theoretical and historical perspectives on property and intellectuality

•     Communicative labor and general intellect

•     Materiality and embodiment of knowledge

•     Film, literature, music, their properties and property relations

•     Intersections between “local” “national” and “global” literatures, cinemas, and music.

•     The relationship between affect and intellect

•     Artificial Intelligence, cybernetics, self-organizing knowledge systems

•     Regimes of documentary evidence and the archive

•     Archive fever/desire for archives/the archival turn in film and literary studies

•     The politics of collective memory, institutional memory, and state memory

•     Subaltern and alternative archives

•     Virtual publics and virtual privacies

•     Cognitive mining and indigenous claims to knowledge

•     Exploitation of knowledge, knowledge as exploitative

•     Digital archivization and technologies of piracy

•     Intellectual prostheses in their technological, mechanical, or pharmacological modes

•     Hacking, culture-jamming, and graffiti

•     Institutional histories of intellectual property

•     Teaching, maieutics, the university under neoliberal restructuring

•     Politics of vernacular languages

•     Rights to digital commodities and virtual territory, concepts of virtual ownership

•     Mash-ups, slashes, re-mixes, parodies and communal repurposing

•     Economies and ecologies of social and biological reproduction

•     Intellectuals as a class and the role of the intellectual

•     Disciplinary history and genealogies of knowledge

Please submit your abstract of no more than 300 words to UMNCSCLconference@gmail.com by July 20. Include your name, e-mail address, brief bio (including school affiliation, position, and research interests), and any audio-visual requirements. Papers should be in English and no more than 20 minutes in length. We are also interested in panel submissions, which should consist of at least three participants and which should include the above information about each participant and a tentative title indicating the theme.