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Category Archives: ICFA

Final Call for Submissions: 2020 Jamie Bishop Memorial Award

The International Association for the Fantastic in the Arts announces its 14th annual Jamie Bishop Memorial Award for a critical essay on the fantastic originally written in a language other than English.

The IAFA defines the fantastic to include science fiction, folklore, and related genres in literature, drama, film, art and graphic design, and related disciplines. For more information regarding the Bishop Award and a list of past winners, see https://iaftfita.wildapricot.org/Bishop-award-winners-list.

Submission criteria:

• Essays should be of high scholarly quality, as if for publication in an academic journal.
• We consider essays from 3,000–10,000 words in length (including notes and bibliography).
• Essays may be unpublished scholarship submitted by the author, or already published work nominated either by the author or another scholar (in which case the author’s permission should be obtained before submission).
• Essays must have been written and (when applicable) published in the original language within the last three years prior to submission.
• An abstract in English and an English translation of the essay’s title must accompany all submissions.
• Only one essay per designated author(s) may be submitted each year.
• Submissions must be made electronically in .pdf or Microsoft Word format (.doc, .docx), to the email address noted below.

Deadline for receipt of submissions: October 15, 2019. Essays may be submitted prior to the deadline.

The winner of this year’s Bishop Award will be announced at the 41st International Conference on the Fantastic in the Arts, to be held in Orlando, Florida (USA) March 18–21, 2020.

Prize: $250 US and one year’s free membership in the IAFA. Winning essays may be posted on the IAFA website in the original language and/or considered for publication in the Journal of the Fantastic in the Arts (http://www.fantastic-arts.org/jfa/) should they be translated into English.

Please direct all inquiries and submissions to:

Terry Harpold
iafa.bishopaward@fantastic-arts.org

CFP for ICFA 2020: Trans Futurisms

In the first issue of Transgender Studies Quarterly, Susan Stryker and Paisley Currah write, “Transgender does not simply critique present configurations of power/knowledge; it is engaged with all manner of unexpected becomings, oriented toward a future that, by definition, we can anticipate only imperfectly and never fully grasp” (9). Trans is about the future – about transitions, becomings, evolution, and potentiality. Science fiction offers a privileged site for these trans futures – in fact, there is a long history of trans characters in SF, although that history is not yet centralized in SF studies. From Joanna Russ to Gerald Vizenor to Octavia Butler to N. K. Jemisin, trans people appear in SF as dystopian monsters, exercises in critical estrangement, casually-included minor characters, and very occasionally as the authors and protagonists of our own stories. Trans bodies themselves have historically been understood as science fictions: as artificial men and surgically-constructed women, unreal genders made up on Tumblr, or grotesque monsters who may not be men or women at all. Trans theorist Susan Stryker said it best in her 1994 essay, “My Words to Victor Frankenstein above the Village of Chamounix”: “I am a transsexual, and therefore I am a monster” (240).

This panel explores generative crossings between “trans” and “SF”: trans futures, trans speculative fictions, trans as science fiction, science fiction as trans. Potential areas of inquiry may include, but are not limited to:

• How has SF historically imagined and used trans characters?
• How can SF create more livable futures for trans life?
• What does it mean to write and read SF while trans women of color are being murdered at epidemic rates?
• How have Afrofuturist, latino futurist, indigenous futurist, and other artists of color imagined futures for trans people?
• How have trans writers, artists, and activists envisioned and built their own futures?
• What does it mean for one’s body to be read as science fictional – or to see your own body as speculative fiction?
• How does SF help extend conceptions of “trans” beyond the human?
• How do fan cultures create, rewrite, and extend trans futures?

I welcome creative contributions as well as academic presentations. Please contact Dagmar Van Engen at ddvaneng@asu.edu by October 20 with questions or proposals of <500w.

Call for Nominations: IAFA Second Vice-President and Public Information Officer

Nominations are open from 30 September to 30 October.

The International Association for the Fantastic in the Arts announces a call for nominations for the elected Executive Board positions of Second Vice-President and Public Information Officer. Any IAFA member in good standing may run for these positions.
Those interested in running or in nominating someone for either position should send a nomination to both IAFA Immediate Past-President Sherryl Vint (sherryl.vint [at] gmail.com) and IAFA Registration and Membership Coordinator Karen Hellekson (iafareg [at] gmail.com) by 30 October 2019. The Election Committee will notify each nominee of her or his nomination and will provide each with the names of everyone else who has accepted nomination during that election cycle. Candidates declining nomination must notify the Election Committee immediately upon notification of their nomination.

Candidates eligible for the offices to which they have been nominated and willing to run for those offices will be asked to submit position statements by 20 November 2019. The Election Committee will distribute position statements and ballots to the membership on 10 December 2019, and ballots will be counted by the Election Committee after 10 January 2020. If no candidate receives a majority vote, a runoff election between the two candidates who have received the most votes will be conducted. The Election Committee will announce results of the election at the IAFA business meeting at ICFA 41 in March 2020, with additional announcements in appropriate IAFA venues thereafter.
For those elected, terms will begin immediately following the conclusion of ICFA 41 in March 2019 and will last for three years. Duties of each position are listed below. Please contact Sherryl Vint if you have any questions. We look forward to hearing from you!

Second Vice President
The Second Vice President oversees and develops the programming track of creative guests, maintaining a current email list, contacting writers to solicit proposals, organizing sessions, and consulting the First Vice President to schedule the creative track. The Second Vice President also collects biographies and photos of the invited attending writers for publication in the program book and passes this information on to the Program Book Coordinator. The Second Vice President is elected by majority vote of the IAFA members who participate in the election.

Public Information Officer
The Public Information Officer edits and distributes promotional materials and forms publicity liaisons with other organizations where appropriate. The Public Information Officer maintains and regularly updates the website and blog, creates and distributes information from the Board such as the Call for Papers and election material, and contributes photos and promotional copy to the IAFA website. The Public Information Officer maintains and regularly updates the social media feeds, responds to inquiries via the social media feeds, and monitors the IAFA’s public image on social media. The Public Information Officer takes Executive Board minutes, disseminates them, archives them, and makes them available for archival use. The Public Information Officer is the recorder of motions and amendments at official meetings. The Public Information Officer maintains the IAFA electronic archive. The Public Information Officer is elected by majority vote of the IAFA members who participate in the election.

The IAFA is committed to finding ways to make attendance of the ICFA feasible for as many financially disadvantaged members of our community as possible, and to doing so in a fair and even-handed way.

Toward this end, we are replacing the current subvention system and increasing the amount the organization dedicates to this purpose to $3,000 USD annually. The funds will be distributed in the following way:
o 2 international invited artists: US$500 each
o 2 scholars: one international US$700, one from the US at US$300*
o 2 students: one international US$700, one from the US at US$300*
We also urge members who are able to contribute to this fund to do so at https://iaftfita.wildapricot.org/Donate. These donations will be added to the following year’s assistance fund toward additional awards.

*Some additional consideration, in the form of an additional complimentary room night, will be presented to U.S. recipients whose distance from the continental United States results in significantly higher travel expenses.
Please note: In order to assist IAFA in funding these grants, IAFA requires that recipients stay at the conference hotel. The hotel compensates IAFA based on room usage, and in turn, this compensation helps us fund these grants. We are contractually obligated to meet minimum guest room requirements, and IAFA loses money when attendees stay elsewhere.
Recipients will be decided by blind draw, and will receive a check in the appropriate amount at the end of the conference.

Eligibility: All invited artists and scholars not receiving institutional assistance are eligible to apply. All students are eligible to apply.

How to apply: Attendees requesting assistance should self-identify at this link by Dec. 15, 2019:
https://iaftfita.wildapricot.org/page-1820560.

ICFA 41 “Climate Change and the Anthropocene”

When: March 18–21, 2020

Where: Marriott Orlando Airport Hotel, Orlando, Florida, USA

Guest Scholar: Stacy Alaimo, UT-Arlington

Guest Author: Jeff VanderMeer

Call for papers: https://iaftfita.wildapricot.org/resources/Documents/ICFA%2041%20CFP.pdf

Proposal deadline: October 31, 2019

Membership and registration: https://iaftfita.wildapricot.org/event-3331007

Price summary:

https://www.fantastic-arts.org/wp-content/uploads/2019/06/ICFA-41-price-summary.pdf

Info about IAFA membership in terms of the conference: https://iaftfita.wildapricot.org/Conference

Website update: We’re updating the website and migrating content. Things may look a little different, and your bookmarks might not work anymore.

Interested in governance? Read the Board minutes (must be logged in to view): https://iaftfita.wildapricot.org/MembersOnly

Venue update: Thank you to everyone who responded to our surveys regarding ICFA’s venue. The conference will stay at the Orlando Airport Marriott Lakeside, Orlando, Florida, through 2024. Read IAFA president Dale Knickerbocker’s July 2019 announcement about this (and note down future convention dates): https://www.fantastic-arts.org/2019/future-icfa-venues/

Membership term change: We have edited everyone’s membership to expire at the end of the calendar year rather than date of initial signup. Example: If your term previously ended March 2, 2019, renewal is now due on January 1, 2020. We expect mass confusion to reign during the years of transition, so don’t hesitate to reach out if you are perplexed. Meanwhile, if you prefer to pay your membership at the same time you sign up for the conference, for ease of reimbursement, go ahead and do that; the term will extend a year.

PayPal update: We are no longer using PayPal for financial transactions, in favor of the system provided by our membership management software.

Invited creatives: David Higgins will send around the registration code to “yes” RSVPs on Halloween, October 31, 2019.

Financial support: Stay tuned for an announcement from IAFA president Dale Knickerbocker regarding an exciting new support lottery.

Problems logging in? What if the system fails to recognize your name/email combination? I beg you! Don’t create a new profile. STOP and email me. I can update your info, including changing your email address.

Do you have a credit? (The system will say “Overpayment” in the bottom right corner.) Sign up as usual, which will generate an invoice. Then STOP. Do not pay. Instead, email me and tell me to apply your credit to the invoice. I will then contact you with your outstanding balance, if any.

Looking forward to seeing you in Orlando!

Karen Hellekson, IAFA Registrar (iafareg AT gmail.com)

Please join us in Orlando, Florida, March 18-22, 2020 for the 41st International Conference for the Fantastic in the Arts (ICFA) when our theme will be “Climate Change and the Anthropocene.”

Since the turn of the millennium, the term Anthropocene has been widely popularized to describe the massive changes humanity has inflicted upon the planet through our technologies and ways of living—influences so substantial that some believe we have entered into a new geological epoch. Climate change, and its related crises of ecological damage, forced migrations as weather and arable land shift, and mass extinctions of nonhuman species, are imaginative and materially entwined. Climate change asks us to think in spatial and temporal scales that exceed human lifetimes and perceptions, while the concept of the Anthropocene encourages us to think in global, perhaps cosmic registers about humanity’s pasts and possible futures.

Amitov Ghosh suggests in The Great Derangement (2017) that among the difficulties of confronting climate change is the fact that it is “unthinkable” via the conventions of realist fiction. Taking our cue from Ursula K. Le Guin’s phrase “realists of a larger reality” in her acceptance speech for the Medal for Distinguished Contributions to American Letters, ICFA 41 will explore the power of fantastic genres to make climate change and other crises of the Anthropocene visible and intelligible. How have fantastic genres helped us represent and respond to this reality? How might these genres offer us new ways for thinking about humanity, our planet, and the complex entanglements between them? How might we reimagine ourselves and the future in the face of climate change? We welcome papers, creative works, and panel discussions addressing these and related questions across any genre, every language, and across all media of the fantastic.

Possible topics might include, but are not limited to:
• Texts engaging questions of eco-horror aesthetics and themes
• Fantastic texts by that explore Indigenous worldviews on ecology
• Analyses of how specific motifs or themes emerge and change with time, such as climate-driven apocalypse or images of urban worlds
• Texts that imagine innovative technologies and/or new lifeways that offer new patterns for human habitation
• Texts or other media that interrogate questions of ontology, especially humanity’s relationship with other life
• Engagements with alternative terms used to frame our present era—Donna Haraway’s Cthulhucene, Jason Moore’s Capitalocene, and the like
• Work emerging from ecocritical frameworks and methodologies
• Work emerging from posthumanist frameworks and methodologies, especially human-animal studies
• Work emerging from environmental humanities and petrocultures frameworks and methodologies
• Dystopian and/or utopian responses to climate change
• YA and children’s literature and its distinct strategies for representing climate change
• Work on significant authors of ecologically themed works, such as Kim Stanley Robinson or N.K. Jemisin or the subgenre solarpunk
• Analyses of texts or other media that question the human/animal boundary
• The role of fantastic texts in offering new theoretical rubrics for thinking about climate change and the Anthropocene

The conference will feature Guest Scholar Stacy Alaimo (University of Texas at Arlington) and Guest of Honor Jeff VanderMeer. We encourage proposals that engage the work of these two distinguished guests.

Please submit proposals via the International Association for the Fantastic in the Arts Portal (https://www.fantastic-arts.org/icfa-submissions/) by October 31, 2019. Further instructions regarding submissions are available at this link, including instructions regarding IAFA’s Division Structure and Division Head contact information where questions may be sent.

Dear IAFA members:

I write with the good news that the Orlando Airport Lakeside Marriott will continue to be our ICFA home through 2024–the contracts have been signed, sealed, and delivered! We have very favorable rates for guest rooms and food and the per-meal cost is frozen for all three years of the contract. The Board thanks our indefatigable Conference Chair Jeri Zulli for doing the negotiating work previously done by two people.

Please note the dates:

2022 16-19 March

2023 15-18 March

2024 13-16 March

The room rates will be:

2022: $149 per night

2023 $151

2024 $153

In other good news, I’ve spoken with a group at the University of Glasgow about a collaborative, co-sponsored conference there, as they are forming a Centre for the Study of the Fantastic, and their response was very enthusiastic (as was their Dean’s, who expressed willingness to support it economically). I also approached the President of our sister organization, Gesellschaft für Fantastikforschung about this possibility, and he will be discussing it with their Board.

My best wishes to all

Dale Knickerbocker
President, International Association for the Fantastic in the Arts

Call for Submissions: 2020 Jamie Bishop Memorial Award

The International Association for the Fantastic in the Arts announces its 14th annual Jamie Bishop Memorial Award for a critical essay on the fantastic originally written in a language other than English.

The IAFA defines the fantastic to include science fiction, folklore, and related genres in literature, drama, film, art and graphic design, and related disciplines. For more information regarding the Bishop Award and a list of past winners, see https://www.fantastic-arts.org/awards/jamie-bishop-memorial-award/ .

Submission criteria:

Essays should be of high scholarly quality, as if for publication in an academic journal.

We consider essays from 3,000–10,000 words in length (including notes and bibliography).

Essays may be unpublished scholarship submitted by the author, or already published work nominated either by the author or another scholar (in which case the author’s permission should be obtained before submission).

Essays must have been written and (when applicable) published in the original language within the last three years prior to submission.

An abstract in English and an English translation of the essay’s title must accompany all submissions.

Only one essay per designated author(s) may be submitted each year.

Submissions must be made electronically in .pdf or Microsoft Word format (.doc, .docx), to the email address noted below.

Deadline for receipt of submissions: October 15, 2019. Essays may be submitted prior to the deadline.

The winner of this year’s Bishop Award will be announced at the 41st International Conference on the Fantastic in the Arts, to be held in Orlando, Florida (USA) March 18–21, 2020.

Prize: $250 US and one year’s free membership in the IAFA. Winning essays may be posted on the IAFA website in the original language and/or considered for publication in the Journal of the Fantastic in the Arts (http://www.fantastic-arts.org/jfa/) should they be translated into English.

Please direct all inquiries and submissions to:

Terry Harpold

iafa.bishopaward@fantastic-arts.org

The International Association for the Fantastic in the Arts is excited to announce the Imagining Indigenous Futurisms Award now has a new home at the International Conference for the Fantastic in the Arts! Starting in 2020, The Imagining Indigenous Futurisms Award will be presented at the ICFA Awards Banquet!

The IAFA Imagining Indigenous Futurisms Award recognizes emerging authors who use science fiction to address issues of Indigenous sovereignty and self-determination. Writers should submit a 200-word statement with background and goals in sf and an unpublished writing sample of up to 4,000 words addressing Indigenous perspectives to Professor Grace L. Dillon (Anishinaabe) at dillong@pdx.edu. In its 10th year, the IIF Award offers a $1,000 award and is judged by a prominent sf author.

Deadline: November 1, 2019

ICFA 40 STATS

ICFA 40 “Politics and Conflict” saw about 480 attendees. About 210 people attended the banquet. About 285 people delivered papers or presented on a panel. A total of 95 attendees were invited creatives (authors, editors, artists). Thanks to all for their contributions!

MARK YOUR CALENDAR

ICFA 41 “Climate Change and the Anthropocene” will be March 18–21, 2020. The guest author is Jeff VanderMeer, and the guest scholar is ecocritic Stacey Alaimo (University of Texas at Arlington). Abstract submission and conference registration will open on September 1, 2019. Abstract close date is, as always, on Halloween—October 31, 2019.

BOARD MEETING MINUTES

Interested in what goes down at the board meetings? The minutes may be viewed here: https://www.fantastic-arts.org/about/governance/minutes/

SCHED

The Sched app was a hit—so much so, in fact, that we have decided in future to stop printing the pocket program. Special thanks to Mike Smith for inputting all the data and keeping it up to date during the convention, and to those who tested the app before wide release.

LET’S TALK ABOUT MOVING

The ICFA 41 meeting regarding site options was well attended. Thanks to all who came, and thanks to those who raised important questions about representation. Your voices are important, and we want to hear them. Previously we sent the IAFA membership a survey to open a discussion about venue. In short, costs are going to go up. We wanted to know how this would affect attendance. The initial survey revealed that cost was the primary concern. With that in mind, we have explored various options, including moving the venue to another city altogether, including consideration of sites outside the United States.

We are contracted to the current Marriott property through 2021. Therefore, discussions about the future are for 2022 forward.

We also remind the membership that we save money by negotiating multiyear contracts; by owning our own AV equipment; and by having the ability to maintain a book room, which would be prohibitively expensive to move to another country. Previous feedback has indicated that ICFA attendees strongly feel that the book room adds great value to the convention experience.

Below please find a note from the president. Please see a copy of this message with link to a brief new survey in the email address associated with your IAFA Registration. The survey asks you to select among various options to help us plan future conventions.

A NOTE FROM IAFA PRESIDENT DALE KNICKERBOCKER

I write to you on behalf of the IAFA board with an update concerning the site of future conferences. Researching venues for our conference is a complicated and time-consuming endeavor, and we have been fortunate to have had Donald Morse take care of this for so many years. In the past, the IAFA has been successful in keeping costs down by negotiating long-term relationships with hotels. Unless there were problems with the venue or management, boards past have simply continued to negotiate the best rate to stay at the property. A deteriorating relationship with the hotel is why we moved from Fort Lauderdale to Orlando; we did not contemplate another move until it became clear we might be facing a similar situation at the new property. When we found out last summer that the hotel’s new owners were considering drastically raising prices, we had a lot of work to do in very little time, and our first move was to consult the membership at a point when we still had very little information to share. Fortunately, by looking elsewhere, we have received an offer from the Marriott that is much more favorable than their initial one. We must accept or refuse by the end of the June board meeting. Nonetheless, we are still considering a variety of options, and we seek further input from you.

We are still researching other North American venues, including the Rosen Plaza in Orlando (https://www.rosenplaza.com/), and we are sending a representative to negotiate with two properties in Toronto later this month. They are the Delta Hotels Toronto Airport and Conference Centre (https://www.marriott.com/hotels/travel/yyzda-delta-hotels-toronto-airport-and-conference-centre/) and the Sheraton Centre Toronto Hotel (https://www.marriott.com/hotels/travel/yyztc-sheraton-centre-toronto-hotel/). Both are Marriott properties. Unfortunately, waiting for a solid offer from them would not give us time to consult the membership before the June 7–9, 2019, board meeting. Below please find a link to the survey asking for your opinion regarding under what situations you would favor a move, and where.

Please keep in mind that the board must consider the effect of a conference move on all our members. Travel costs have a particularly harsh effect on graduate students, authors (who generally do not enjoy institutional support), and adjunct faculty. One of the things that makes the ICFA different is the presence of both creators and scholars. Graduate students are our future, and we’ve always taken great pride in welcoming and mentoring them as many of us were welcomed and mentored. And all too many academics are underemployed and exploited, as you well know. There are many other factors we must consider as well—not only costs to members but also costs to the organization, as well as the effect on the conference culture if it were too expensive to move the books and maintain a bookstore, or if there were no comfortable outdoor space.

The board has also discussed non–North American venues for future conferences. One exciting option we are looking into is authorizing comity conferences, where we could partner with and support a local group or institution, such as our sister organization, Gesellschaft für Fantastikforschung (GFF; http://www.fantastikforschung.de/), in organizing a conference at a time of their choosing. The IAFA could contribute some seed money, advice, internet and database support, and the presence of an official from IAFA’s board. This would be in addition to our usual conference. The local group would do the organizing and would take all legal and financial responsibility.

Of course, all future options are on the table, including moving the conference outside of North America for a year, and even a possible rotation if that is successful, and the board will consider any proposal put forth by any party. However, it is necessary that everyone understand that board members are all volunteers who have full-time jobs or are full-time students. None of us has the time to research and negotiate with an unlimited number of venues. Moreover, negotiating successfully in other cultures is different, even if negotiations are conducted in English. Perhaps most important, we cannot be responsible for signing contracts within a legal system with which we are unacquainted. No one on the board has such experience. For such a venue to be considered, we would need a local group to come forward and do the research necessary so that the board can present the facts to the membership and make an informed decision. I would be happy to provide a list of the information we’d need to any group interested in proposing a site (email me at iafa.president AT fantastic-arts.org).

We would appreciate it if you take the time to answer the survey and make your opinion known. Many thanks for your attention and patience during this process.

SURVEY 

The survey (estimated time to complete: 2 minutes) is in the email account associated with your IAFA Registration. 

The survey closes on May 24, 2019. For context, be sure you read Dale’s remarks before you take the survey!

The survey has places for comments, but if you want to reach out to Dale directly, the email is iafa.president AT fantastic-arts.org. You can also reply to this email (iafareg AT gmail.com), and I will forward remarks to Dale.

THANK YOU for your support of the organization!

Karen Hellekson

IAFA Membership and Registration Coordinator

iafareg AT gmail.com