CFP Modular Form: Conference

Modular Form ConferenceResponded to a CFP for the interesting lookin’ Modular Form Conference back in June last year, and discovered today we’ve been accepted. The conference is at Roehampton in March 2014, and the paper is on Eno’s Oblique Strategies that Rupert Loydell and I wrote in 2012 and which is being published by Bloomsbury in the Summer. Here’s our abstract:

Kingsley Marshall and Rupert Loydell, a musician/writer and poet/painter respectively, explore the notion of the remix through the use of Eno’s own words, drawn from interviews and his own writing, together with critiques of his work and those that inspired it. The collaborators exchanged 200-word pieces of writing in order to construct their paper, with each consecutive response directed by the turn of a card selected from the third edition of the Oblique Strategies deck, issued in 1979.

 

Through this writing methodology – of the collision and collusion of collaborative writing practices borne by an exchange of electronic letters – coupled with more traditional modes of research, the pair cast light onto the manner with which notions of appropriation, cybernetics and chance have directed Eno’s creative output. ‘Control & Surrender. Eno Remixed: Collaboration and Oblique Strategies‘ will be published in Oblique Music, eds Sean Albiez & David Pattie (Continuum, 2014)”

And here’s the original CFP

“The focus of this day-long symposium is modular form. By this term we mean writing  which consists of discrete units or fragments of text, each of which orchestrate a theme, a concept, a critical position,  or a related series of textual events. Modular form could be situated in a tradition running through the “poem-lectures” and anecdotal reflections  of John Cage, the reconfigured slogans of Barbara Kruger, the faux-aphorisms of Charles Bernstein, and the fragmentary critical prose of David Shields (among many other examples). Similarly, in the philosophical tradition, modular form can be seen in such examples as the aphoristic musings of Nietzsche and Wittgenstein, the short, found texts and notes collected in Benjamin’s The Arcades Project , and the terse ruminations of Baudrillard’s Cool Memories. We seek papers, performances, or other forms of text-based work which focus on modular form, and we are especially interested in work which is produced in a modular format.”

About Kingsley Marshall

Kingsley Marshall is Head of Film at the CILECT accredited School of Film & Television based within Falmouth University in the UK. The subject area consists of 28 staff working with 300 undergraduates studying the Skillset accredited BA (Hons) Film degree, supplemented by a postgraduate community studying from MA level through to PhD. Kingsley’s research and practice primarily orientates around the use of sound (including music and effects) in cinema and television, and the production of short and micro-budget feature films, executive producing Wilderness (Doherty, 2017) which won 11 awards at 16 international film festivals since making its premiere at Cinequest in 2017, and producing Project 18 (Mackfall, 2018), currently in post-production. For over twenty years he has worked as a journalist, interviewing filmmakers, musicians, and designers for over 30 publications and broadcasters worldwide, written album sleeve notes and biographies for over 100 artists, and contributed to anthologies on hip hop and soul. He can be found on Twitter as @kingsleydc