Experiments in Radical Publishing

Free and open to all.

Wednesday 1 May 2024

5 - 6.30pm

Lecture Theatre B (LTB)

Organised by Sonic Screen Lab

Academic publishing is rapidly changing from traditional print journals and books to multiple forms, sites and places to present research. This event explores these developments with a focus on practice-based screen and sound journals, open access research, and innovative publishing projects.

The event will address how these developments are challenging the way academic research is presented and published. This will include examining developments in practice-based research and journals; the politics of open access research; experimental book publishing; race and postcolonial digital publishing and new possibilities in knowledge exchange and university research.

The event is open to all UAL staff, students and external guests. Please reserve a place by booking via Eventbrite.

Speakers:

Charlotte Crofts is Professor of Cinema Arts, Department of Arts, College of Arts, Technology and Environment, teaching on BA (Hons) Filmmaking (@UWE_Film), MSc Sustainable Development and leading the BAFTA Albert Educational Partnership for Sustainable Filmmaking. A filmmaker and creative producer, Charlotte works across film, locative-media and festival curation. She initiated and am on the steering committee of Bristol City of Film, UNESCO Creative Cities Network, which formed the basis of an Impact Case Study for REF2021. As director of the Cary Comes Home Festival, she explores screen heritage, fan practices and cinematic tourism and she has created various location-based apps including Curzon Memories App, Lost Cinemas of Castle Park App and written about the transition from 35mm film to digital exhibition, which informed an Impact Case Study for REF2014. She co-founded the international Angela Carter Society, designed the Get Angela Carter website, raising awareness about Carter's Bristol connections. She has published on Carter, adaptation, textual translation and Japan and developed a feature-length screenplay adaptation of Angela Carter's 'Flesh and the Mirror' about Carter's experiences in 1960s Japan, with the support of the BFI Development Fund.

She is Editor-in-Chief of Screenworks, the online peer-reviewed journal of screen media practice research (@screenworksorg) and co-editor of Open Screens. She was Vice-chair of the British Association of Film, Television and Screen Studies (BAFTSS), inaugurated the BAFTSS Practice Research Award and founded the BAFTSS Practice Research SIG. She is an active member of Digital Cultures Research Centre, a resident the Pervasive Media Studio and co-convenes the UWE Moving Image Research group (MIRG). She developed the strategy for the submission of UWE's Practice Research Portfolios to REF21 and was a member of REF21 Main Panel D as an Output Assessor for SP33 and an Input Assessor for SP34.

Janneke Adema (she/her) is a cultural and media theorist working in the fields of (book) publishing and digital culture. She is an Associate Professor in Digital Media at The Centre for Postdigital Cultures (Coventry University). In her research she explores the future of scholarly communications and experimental forms of knowledge production, where her work incorporates processual and performative publishing, radical open access, post-publishing, scholarly poethics, media studies, book history, cultural studies, and critical theory. She explores these issues in depth in her various publications, but also by supporting a variety of scholar-led, not-for-profit publishing projects, including the Radical Open Access Collective, Open Humanities Press, ScholarLed, and Post Office Press (POP), and the Research England and Arcadia funded Community-Led Open Publication Infrastructures for Monographs (COPIM) and Open Book Futures projects. Her monograph Living Books. Experiments in the Posthumanities (MIT Press, 2021) is openly available. You can follow her research on openreflections.wordpress.com.

Ashwani Sharma is a Senior Lecturer in Film and Screen Studies at the London College of Communication (LCC), University of the Arts London (UAL). He was previously Course Leader for the BA(Hons) Film and Screen Studies at LCC. He is a co-ordinating member of the Sonic Screen Lab at LCC, and an associate fellow of the Research Centre for Transnational Arts, Identity and Nation (TrIAN) at UAL. His research interests include: race and screen media, cultural and postcolonial studies, aesthetics and black studies, diaspora and contemporary art, transnational South Asian culture, music and urban culture, globalisation and digital communication, open access publishing, experimental pedagogy, global knowledge and the university.

He is the co-founding editor of darkmatter, an online, open access peer-reviewed journal and platform which focused on race and postcolonial culture. He has written on the politics of open access research and journal publishing. See darkmatter: Racial Reconfigurations and Networked Knowledge Production. He is an international advisor to the Inter-Asia Cultural Studies journal. He is the co-editor of Disorienting Rhythms: The Politics of the New Asian Music (Zed), and is completing a book on racial capitalism, globalisation and visual culture (Bloomsbury Academic). He performs poetry with a recent co-written publication Suburban Finesse (Sad Press), and is putting together a collection of experimental writing on black militant poetics. He is a DJ, and has worked in sound for the BBC and independent film. He was an aeronautical engineer.

Mark Peter Wright (Chair) is a Reader in Critical Sound Practice at the London College of Communication (LCC), University of the Arts, London (UAL). He is also the Screen School Research Coordinator and a member of CRiSAP (Creative Research into Sound Arts Practice). Working between the field and lab, site and gallery, his practice amplifies the power and poetics of sounding and listening, generating questions that include: how does environmental sound convey complex geopolitical meaning? How can technology and media be practiced with an eco-critical sensitivity and how might listening operate beyond the human? His monograph, Listening After Nature: Field Recording, Ecology, Critical Practice, was published by Bloomsbury in 2022/23. He has published and peer reviewed work with a variety of experimental platforms including Sensate Journal, Journal of Sonic Studies, MAP Magazine and Seismograf.

Accessibility: London College of Communication strives to provide an inclusive and accessible environment for our students and visitors. If you have any specific access requirements for an event or exhibition, please contact us by email (events@lcc.arts.ac.uk) or phone (020 7514 8498) in advance of your visit so that we can make any necessary preparations or adjustments.

For full access and route guides for our building, please view our AccessAble accessibility guide.

Find us: London College of Communication is located close to central London in Elephant and Castle. The College is based on a single site within easy reach of various parts of the city, and is well-served by Underground, bus and rail networks. Find out more about getting here on Find Us page.

Important filming and photography notice: Please note that filming and photography may be taking place at this event. Both bigger crowds, smaller groups and individuals may be captured on camera. All imagery and footage may at some point be published on the College website, social media channels, and in print.