Visible Evidence 18

On August 11th to 14th at NYU’s Tisch School of the Arts, the Visible Evidence 18 conference. There is a blog, a program PDF, and a list of presentations.

Description:

Every year since 1993, the Visible Evidence conference has brought together an international range of documentary scholars, practitioners, curators, and enthusiasts to explore the historical significance of documentary film, television, photography, and new media, and to advance contemporary debates about the social, political, and cultural roles of film, video, and other media as witnesses and voices of reality. Highly interdisciplinary in nature, the conference encompasses a wide range of cultural, critical and historical perspectives on the work of documentary. Visible Evidence not only offers a unique forum for emerging research and ongoing debate in the fields of documentary studies and practice, but also fosters an invaluable collegial ambience that facilitates dialogue between students, scholars, and practitioners from around the world.

Sample paper titles:

  • James Leo Cahill, “Profane Realism: of Big Toes and Beasts”
  • Matthew Flintham, “The In/visible Army: Visualizing Military Space, Power and Process in the British Landscape”
  • Henrik Gustafsson, “Covert Conflicts: Territories of Never-Ending-War from Hidden (Paul Seawright, 2002) to Invisible (Trevor Paglen, 2010)”
  • Daniel David Hackbarth, “Documenting the ‘World Emanation’: Raoul Hausmann’s Infra-Red Photography”
  • William Kaizen, “Heretical Histories: Documentary History as Immemory”
  • Louis Kaplan, “William Klein’s New York and the Question of Community”
  • Juan Carlos Kase, “Violence, Excess, and Provocation in the Filmic Collaborations of Kurt Kren and the Viennese Actionists”
  • Vered Maimon, “The People are Still Missing: Abbas Kiarostami’s and Pedro Costa’s Cinema of Becoming”
  • Kris Paulsen, “Steal This Station: Videofreex’s Pirate Television and Guerrilla Video”
  • Allen Weiss, “Equivocal Objects, Impossible Tales: Ontological Ambiguity in Modernist Japanese Aesthetics”