>>>Deadline extended until April 19, 2014<<<

"[sic!] Summer Institute Cologne"

Cologne University’s international interdisciplinary summer institute
[sic!] 2014 will take place from 15th to 23rd of July 2014. After last
year’s founding event on "Techniques of Imagination", participants and
faculty of [sic!] 2014 will focus on historiographical perspectives on
“The Invisible”. We invite graduate and postgraduate students from Art
History, Media, Film, Theatre, Performance and Cultural Studies to
apply for our international program. Each participant may choose from
three seminars led by a pair of scholars from Northwestern University
(Evanston, USA) and the University of Cologne. 2014’s program includes
seminars on Art History, Theatre and Performance Studies and Film and
Media Studies. In addition to our seminars we offer interdisciplinary
academic workshops that allow for a dialogue across the seminars. Each
participant can choose one seminar and a workshop, thus composing
his/her individual study program. Seminars and workshops are framed by
study trips, evening lectures by faculty, and poster presentations by
students.

[sic!] will be hosted by the Theaterwissenschaftliche Sammlung (TWS)
of Cologne University, one of the largest archives of theatre history
in Europe. Situated in the picturesque manor house Schloss Wahn,
located in the outskirts of Cologne, [sic!] provides a unique setting
for learning and discussion, combining gracious surroundings with
facilities for daily meetings, and offering access to exceptional
archival materials in proximity to one of Germany's most vibrant
metropolises.

All sessions will be conducted in English.

A provisional timetable and more information can be found on our
website http://sic.uni-koeln.de

The Invisible. While [sic!] 2013 looked into questions and theories
about “Techniques of Imagination”, this year’s program investigates
“The Invisible”. The ambiguity of this topic – seemingly an anathema
for Media and Cultural Studies – turns our attention to important
questions of methodological approaches to what cannot be seen
(anymore) but was/is there nevertheless. “The Invisible” also turns
our attention to phenomena that transcend our perceptual order. How
are these phenomena always connected to medial and artistic
strategies? What methodological approaches are used to work with them?
The framing questions – how can “The Invisible” be shown, performed,
depicted, enacted, researched? – guarantee stimulating dialogue
between all disciplines at [sic!] 2014. The perspectives on “The
Invisible” can be rooted in theatre, media and art history, film
studies, archaeology, digital media, video games, cultural history,
performance practice, and many more traditions.

[sic!] 2014 invites scholars and students alike to look for old
manifestations, new traces, and novel approaches (in)to cultural
history and historiography.