CFP: Cities and Change: Three Decades of Post-Socialist Transition (1989-2019)

International Conference

Research group “Urban Morphosis Lab” in cooperation with Technische Universität Darmstadt

Darmstadt, 17-18. May 2019

Organizing committee

Nebojša Čamprag, TU Darmstadt, Faculty of Architecture

Anais De Keijser, TU Darmstadt, Faculty of Architecture

Mirjana Ristić, TU Darmstadt, Faculty of Social Sciences

Anshika Suri, TU Darmstadt, Faculty of Architecture

Lauren Ugur, Heilbronn University of Applied Sciences


Technische Universität Darmstadt, Germany, Germany

NGO Ephemera Collective, Novi Sad, Serbia


Conference theme

After the collapse of state socialism in Central and Eastern Europe (CEE), the former socialist countries’ inclusion into the competitive global economies advanced as both; temporally and spatially uneven processes. These uneven processes presented myriad diversities, thereby implying significant shifts and high levels of creativity in finding ways of adapting to new forms of socio-political realities, which in turn offered a multitude of opportunities for urban research. Subsequently, scholarly attention has been paid particularly on examining interconnections between historical-, sociological-, and market-related aspects of transitioning processes. However, the exact implications of their spatial transformations have been largely absent within systematic research. Contrary to the often more adaptable socio-political structures of cities, built urban environment requires more time to adapt to changes and consequently reflect the new ideological concepts. This thereby warrants thirty years of comprehensive transition (1989-2019) as an optimum point of departure for undertaking a thorough and in-depth reflection. Hence, the international conference “Three Decades of Post-socialist Transition” seeks to bring together leading urban academics to discuss issues of post-socialist transition and a multitude of its effects on built urban environment from diverse perspectives. In addition, we also aim to challenge and advance both our knowledge and practice around the complex links within the neoliberal development agenda, socio-political changes, post-socialist identity formation, representation of cities and the urban space.

The research group Urban Morphosis Lab invites you to submit abstracts that refer to the above-mentioned issues of post-socialist transition affecting urban spaces. Our conference also welcomes inter- and transdisciplinary approaches to this subject. Some of the key themes that will be discussed during the conference are:

  • Urban memory and heritage
  • Contested heritage and heritage of conflict
  • Urban and national identity building
  • Governance, planning, revitalization and regeneration
  • Urban shrinkage and sustainability
  • Urban tourism, branding and marketing
  • Socio-political contestations and negotiations

·                  Gentrification, spatial segregation and polarization

Information for applicants
Please submit your abstracts to by November 10th, 2018. The submission should contain:

·        An abstract of max. 300 words, containing: proposed title, the core theme or hypothesis, the approach and methodology, broad findings to be delivered in your paper;

·        Full contact details of the author(s): Name, affiliation, postal address, phone number and email;

·        Short academic biography of the author(s).

Important Deadlines

·        31 Aug. 2018 – Deadline for session proposals

·        10 Sep. 2018 – Notification of selected sessions

·        11 Sep. 2018 – Call for papers open

·        10 Nov. 2018 – Deadline for abstract submission

·        30 Nov. 2018 – Notification of selected abstracts

·        01 Dec. 2018 – Registration opens

·        31 Jan. 2019 – Deadline for early bid registration

·        28 Feb. 2019 – Deadline for paper submission

·        01 Apr. 2019 – Final Conference programme

Scheduled dates of the conference
17-18 May 2019

Location and venue
Darmstadt is a city in the German state of Hessen, conveniently located in the southern part of the Frankfurt Metropolitan Region. As the former capital of a prosperous sovereign country, the Grand Duchy of Hesse, Darmstadt gained some international prominence. This further grew with rapid industrialisation in the 19th century, as well as at the beginning of the 20th century, when Darmstadt became an important centre for the art movement of Jugendstil, the German variant of Art Nouveau. However, during the Second World War; over three quarters of the inner city was destroyed, leading to a comprehensive reconstruction and renovation period afterwards. Nonetheless, the city played host to numerous technology companies, research institutes, the ESOC (European Space Operations Centre) and GSI (Centre for Heavy Ion Research), leading it to be officially promoted as the "City of Science" since 1997.

The conference will take place in Technische Universität Darmstadt, which is one of the leading universities of technology in Germany. The sessions will be held on its city centre campus, offering plenty of opportunities to explore the city centre. The main conference venue will be the listed heritage building- the Altes Hauptgebäude (the Old Main University Building, S1|03, Hochschulstraße 1).

Lucie K. Morisset
Conference: Planning for the Unthinkable: Protecting the National Heritage Sector

The Victoria and Albert Museum, in partnership with UK Armed Forces and the Department of Digital, Culture, Media and Sport invite you to attend the following free one-day conference:


Lydia and Manfred Gorvy Lecture Theatre, V&A

9:30 – 17:00, Thursday 29th November 2018

Aimed at those working in the museums and heritage sector, as well as related interdisciplinary fields, we invite you to join us for this free one-day conference, opened by Michael Ellis MP (Minister for Arts, Tourism and Heritage), to hear and share ideas on the future of catastrophe planning within our institutions.

UK Cultural institutions have long faced the challenge of how to best prepare for catastrophic events which might affect their collections and buildings. From fire and flood to natural disasters, and even the threat of direct armed conflict; our strategic approach to protecting our organisations needs to be proactive and dynamic.

The UK Government’s recent ratification of the 1954 ‘Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict’ brings with it a requirement to plan for war. We need to bring our strategies up to date and explore new methodologies for collaboration.

This major international conference will trace historic practices of protection during armed conflict; such as the evacuations of collections during the Second World War, as well as looking to contemporary experience of catastrophe; using these experiences to propose future strategies for the protection of heritage in cultural institutions. We will bring together international speakers from renowned institutions from across Europe and the US, to share their perspectives on planning strategy and preparation.

To register your interest in attending the event please email the conference coordinator, Laura Jones ( including the following information:




This event is generously sponsored by Wilson James Ltd.


Lucie K. Morisset
CFP: Participatory Memory Practices

POEM Opening Conference - Participatory Memory Practices: Connectivities, Empowerment, and Recognition of Cultural Heritages in Mediatized Memory Ecologies

Date: 13.-14.12.2018

Place: Museum der Arbeit, Hamburg / Germany

Proposal Deadline: 15.09.2018 


Diverging forces across European societies - most visible in both the contemporary nationalist movements and Islamist radicalization - place particular relevance on social and cultural inclusion. Culture may cultivate both integrative and disruptive forces; in this light heritage experts, policy makers, social entrepreneurs, and other facilitators are seeking to establish inclusive memory politics for envisioning possible futures of how we should remember our past in Europe. The recognition of "difficult" and dissonant traditions and the contestation of public memory in respect to the representation of colonial traditions and immigration, multiculturalism and transnational history, non-Christian religious heritages in European societies, female heritages, or the inclusion of deprived groups are important issues in this debate. Being part of the public memory is crucial for envisioning positive futures, acknowledging people's and groups' history, identity, belonging, and membership. Furthermore, questions of eligibility play an important role in relation to public support or redemption, for partaking in economic outcomes, or in relation to questions on ownership of cultural heritage resources. 

Participatory memory work (PMW) is a framework for examining the strategies and practices of public memory institutions - libraries, archives, and museums - as well as of individuals and groups in their everyday life. PMW means the inclusion of diverse memories across social situations (gender, socio-economic status, education, migration, etc.) into public memory work. It means to acknowledge these diverse memories as a significant part of the history, the heritage, and the contemporary life in Europe. Aiming for a socially inclusive public memory, concepts of European cultural citizenship are increasingly debated and experimented widely with participatory approaches in public memory institutions. At the same time, new memory ecologies have emerged with networked media infrastructures and their extensive uses, in mediatized, globally connected societies. The Internet and social media are "natural" parts of self-representation, marketing, or audience communication of public memory institutions; large scale digital heritage initiatives demarcate the transformation activities towards digital cultural production. 

However, the participatory turn in memory work, essential for a socially inclusive public memory, turns out to be not as easy to implement in practice. Aside from the established memory institutions, people and groups explore Internet platforms for commemoration and sharing personal texts, photos, or videos and collaboratively contribute to an emergence of open access "archives" of everyday life. The diverse platforms, e.g. YouTube, Facebook, Twitter, Instagram, Pinterest, etc., broadly attract people and groups for contributing cultural materials, articulating their views of history/histories and enfolding personal and group-related memory practices. Even though they are public, these Internet "archives" are beyond the scope of public memory politics and institutions; they are run for economic purposes in private ownership. The accessibility of these "archives" is regulated by business models and remains unclear towards the future. Connecting personal and group-related memory work in the public to participatory memory politics is thus confronted with legal and economic obstacles, ethical issues, as well as with discontinuities and gaps of individual and institutional social practices of memory work. This highlights the changed technical, organizational, and legal modalities of doing participatory memory work for social inclusive memory politics. 

The call invites contributions on how the various developments in memory work can be brought together for facilitating participatory memory practices. How do memory practices of stakeholders overlap? Which connectivities can be built across individual and institutional practices of memory work? How do media matter for connecting different memory practices across people and groups as well as institutions? How can empowerment become an integral factor in public memory work? What modes of recognition and inclusion are adequate? How can they be organised to develop their full potential for envisioning European futures? How does this affect the making and unmaking of heritage? What competences do people and groups need for making their particular traditions relevant in the public memory? How can private and shared memories of a group on the Internet be collected and integrated in public memory institutions?  

The conference addresses a multidisciplinary and international group of scholars and experts from memory institutions, civil society, policy makers, social entrepreneurs, the coding community, and creative industries.

Proposals should not exceed a length of 600 words and include bios of max. 200 words. Please send your proposal until September 15th 2018 to

POEM has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No 764859.

Lucie K. Morisset
CFP: Design History / Design Heritage

We invite paper proposals for our panel 'Design History/Design Heritage' confirmed for the College Art Association annual meeting in New York City, February 13-16, 2019 in New York City, USA.

This panel invites papers that examine the relationship between design history and heritage studies. At their intersection are questions of ownership and identity. How are sites and artefacts of cultural heritage claimed, defined, or constructed and to whom do they belong? How do we study intangible heritage, which is not located in objects or places, but rather in a worldview or a way of life? Whether tangible or intangible, heritage denotes something we inherit, a birthright provided to us through our inclusion in a given group, be it familial, national, ethnic, or by another marker of identity, such as the shared "world" heritage designated by UNESCO. Diverse, wide-ranging examples of designed heritage include maps, guidebooks, illustrated encyclopedias; archives, databanks, digital resources; museums and exhibitions; architecture and landscape; furnishings, dress, and other aspects of material culture; performances, pageants, and rituals. Related to these topics are also activities that address heritage, for example, through legislation and international charters; preservation and conservation; cultural appropriation, looting, and repatriation. Definitions of heritage are tied to different, and competing, political agenda and ideologies. While some approaches to heritage are influenced by an academic Marxist-inspired "history from below," of public engagement, public history, and social and cultural history, others derive from the heritage "industry," a sub-branch of the tourist industry. In examining the interfaces of design and heritage therefore, this panel welcomes studies of design heritage from diverse points of view, methodological approaches, time periods, and cultural contexts.

Proposals must be submitted by August 6th 2017, and should include:

1. Completed session participation proposal form, (editable PDF, and available from session chairs on request). Make sure your name appears EXACTLY as you would like it listed in the conference program and conference website.

2. Paper/project abstract: title plus a maximum 250 words, as a single paragraph MS Word Document. Make sure your title and abstract appear EXACTLY as you would like them published in the conference program, Abstracts 2019, and the CAA website.

3. Covering email explaining your interest in the session, expertise in the topic, and availability during the conference.

4. A shortened CV (2 pages).

5. CAA Member Number and Confirmation of Current Individual CAA membership valid until February 16, 2019 is required.

Proposals should be sent directly to both session chairs by August 6th 2018:

Prof Grace Lees-Maffei, University of Hertfordshire, UK –

Prof Rebecca Houze, Northern Illinois University, USA –

Key Dates:

August 6 2018: Deadline for paper proposals

August 31: Organizers of Sessions Soliciting Contributors finalize session information and notify accepted contributors

Mid-September: CAA 2019 Annual Conference schedule finalized

October 8: CAA 2019 Annual Conference schedule posted on CAA website; online conference registration opens

December 16: Early conference registration closes

December 17: Advance conference registration opens

February 8 2019: Advance conference registration closes.


Lucie K. Morisset
CFP: Edited book on Sensorial collections. Research-Museum-Art

The idea of this book is to consider the ways in which sensory experiences can be captured and reproduced by ethnographers, curators, artists and collectors, or, more broadly, all those involved in modes of transcribing the world. It is a matter of illustrating how these diverse practitioners collect senses.

The senses have occupied a growing place within the social sciences and humanities since the 2000s. In France, this trajectory was opened up with the history of smells proposed by Alain Corbin from 1982 onwards. Yet, a consideration of the senses as a means to connect with the material environment has long been limited, relegated to the backstage in works exploring taste, as inspired by the sociology of social distinction of Pierre Bourdieu (1979), or masked by the perceptible which assumes their transformation by different imaginaries (Sansot 1985). Anthropological contributions to the study of the sensory, be it taste, sound, light, shape or touch, took a considerable step forward at around about this time, notably in Anglophone literature, helping to make the sensory a subject of research in its own right (Howes 1987; 1991) and a methodological imperative (Pink 2009).

In this way, a study of the senses enables us not only to have access to contextual atmospheres and human representations but also to the motivations of action. The range of perspectives in this field are multiple, be it phenomenologically-inspired approaches, interrogating perception itself (Ingold 2000); those that take a pragmatic stance, attempting to get a close as possible to the lived experience (Hennion 2004); those that follow a more Spinozian line, with human action is understood as emotional reaction (Laplantine 2005); or more cognitive approaches (Candau 2000).Thus, sensory experiences, and equally, emotions, perceptions and sensitivities - of both the observed and the observer - have secured a firm place within the analyses of social sciences and humanities (Gélard 2016; 2017).

However, in this context of the renewal of research fields, there has been little questioning of the ways in which sensorial experiences and phenomena are collected. Barbara Kirshenblatt- Gimblett has underlined the difficulty of "showing invisible sensorial experiences" (1999) that seem to end up unavoidably with the use of visual forms to translate taste, smell and feeling. But how do we collect the senses? Which forms are used to archive sensory data? What is the impact of the uses and values of the sensorial on the collections? Does the domination of the visual over touch (Krueger 1982) call for the collection of other senses in order to maintain an intangible sensorial experience?

If a society and a culture can be understood through their way of making sense of sensorial experiences and the place that these give to the manifestations of feelings, capturing these is by no means self-evident. Involving the perceptions of the researcher and their emotions, it is an approach that seems to contradict the requirement of objectivity on which the sciences are based. Their eventual analysis is confronted by their intangibility and the passage through the filter of subjectivity. It is an approach which therefore raises major epistemological and methodological questions for the social sciences.

Transcending the social sciences, the collection of the senses also questions the arts. Of course, we are thinking here of olfactory theatre (Jaquet 2015), of eat-art, or indeed of sound art, all of which require an upfront selection of sensorial artefacts.

Yet, more generally, whether they be interactive, immersive and/or scenic, all experiential devises raise questions about the heritagisation of the sensorial to the extent to which they are not aiming the singular confrontation of a spectator with the sensitive material, but rather their coproduction and collaboration (Borillon and Sauvageot 1996). In such a way, these practices interrogate not only how the senses are captured and recorded in order to be exhibited, but also how sensory creations can themselves be inventoried and archived.


Finally, the very places that serve to conserve sensorial artefacts provoke questions about collection practices, be these collections or archives, private or public. In relation to other institutions, museums find themselves particularly sharply challenged when it comes to the sensorial. While the visual and the material have long had their place within the museum sector, other perceptive registers seem less compatible with heritage (Miguet 1998). Objects, handwritten notes and photographs from the field are often accompanied by interviews, music and background sound, yet other sensorial data could be included.


This call is for classic book chapters but, given the subject matter, proposals for sound documents or annotated photographs will also be considered, subject to these documents being free from copyright.

Three main axes structure this book in order to circumscribe the challenges of sensorial collections. The first is concerned with the processes associated with sensorial collections undertaken as part of a critical reading of the world and of the society. The second focuses on the tools and materials of these collections and the way in which these inflect scientific and artistic practices. The third interrogates the conditions and premises of their conservation, or indeed, their heritagisation.

References cited

Borillo Mario et Sauvageot Anne, 1996, Les cinq sens de la création : art, technologie et sensorialité, Seyssel : Champ Vallon.

Candau Joël, 2000, Mémoire et expériences olfactives, Paris : PUF.

Corbin Alain, 1982, Le Miasme et la Jonquille. L'odorat et l'imaginaire social, XVIIIe-XIXe siècles, Paris : Flammarion, coll. « Champs ».

Eidelman Jacqueline (dir.), 2017, Inventer des musées pour demain, Rapport de la mission musées XXIe siècles, Paris : La documentation Française.

Gélard Marie-Luce, 2017, Les sens en mots. Entretiens avec Joël Candau, Alain Corbin, David Howes, François Laplantine, David Le Breton et Georges Vigarello, Paris, Pétra, Collection « Univers sensoriels et sciences sociales », Paris : Pétra.

—, 2016 « Contemporary French Sensory Ethnography », The Senses & Society (11/3) : 247-250.

Hennion Antoine, 2003, « Une pragmatique de la musique : expériences d'écoute. Petit retour en arrière sur le séminaire "Aimer la musique" », MEI, p.31-43.

Howes David, 1987, « Olfaction and transition: An essay on the ritual uses of smell », Canadian Review of Sociology and Anthropology, 24(3), 398-416.

— (ed.) 1991, The Varieties of Sensory Experience : A Sourcebook in the Anthropology of the Senses, Toronto : University of Toronto Press.

Ingold Tim, 2000, The perception of the environment : essays on livelihood, dwelling and skill, London: Routledge.

Jaquet Chantal (dir.), 2015, L'art olfactif contemporain, Paris : Garnier.

Kirshenblatt-Gimblett Barbara, 1999, "Playing to the Senses: Food as a Performance Medium", Performance Research, 4, 1, pp. 1-30.

Krueger Lester, 1982, « Tactual perception in historical perspective: David Katz's world of touch », W. Schiff and E. Foulke (dir.), Tactual Perception, a Sourcebook, Cambridge University Press, New York, pp. 1-54.

Laplantine François, 2005, Le social et le sensible, introduction à une anthropologie modale, Paris, Téraèdre.

Miguet Danièle, 1998, « Autour de la sensorialité dans les musées », Publics et Musées, n°13, « Public, nouvelles technologies, musées », (sous la direction de Roxane Bernier et Bernadette Goldstein), pp. 177-182.

Pink Sarah, 2009, Doing sensory ethnography, Sage Publications, Inc., United States

Sansot Pierre, 1985, La France sensible, Paris : Champ Vallon.


Submission criteria and timeline

Abstracts in French or English of approximately 2,500 characters, accompanied by an indicative bibliography and a brief CV should be sent as a ".doc" file by the 6 November 2018 to the following addresses: and

This should outline the questions raised in the chapter, the materials used and the collection methods for these materials.

Any artistic or museum experience related to the theme of sensorial collection could also be highlighted.

Authors will be informed in December 2018 whether their proposal has been accepted.

Authors whose projects have been chosen should then send the completed article (in French or English), or the work of art or sound or image file before the1 April 2019.

The articles and files will undergo a process of peer review and, following any demands for corrections, final versions of the selected chapters should be submitted by the 1 July 2019.


Editorial committee:

Véronique Dassié (IDEMEC-CNRS-AMU)

Aude Fanlo (Mucem)

Marie-Luce Gélard (Université Paris-Descartes/IUF-Canthel)

Cyril Isnart (IDEMEC-CNRS-AMU)

Florent Molle (Mucem)

Lucie K. Morisset