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WORK/SPACE: VISUAL RELATIONS INCORPORATE
 
PARALLAX a new journal (University of Leeds) which seeks to initiate
alternative forms of criticism, announces a special issue on gender and
space that takes the "Office" as its focus of investigation.  The office
is daily reconfigured by the rapid electronic exchange of information, by
the movement from downtown skyscrapers to suburban "campuses," by several
genderations of urban renewal projects, and by gender and identity
politics of employemnt.  An office is no longer (necessarily) an urban,
architectural, or corporate site; rather, it is a spatial organization of
labor whose relations of power are often visually encoded.
 
As we presently conceive it, the theoretical stakes of this issue of
PARALLAX are two-fold.  On the one hand, we want to extend a notion of
gendered spectatorship, articulated by feminist film theory, beyond
cinema to architecture, urban space, and work environments.  On the other
hand, we want to mark bodily and cultural differences hidden within
Foucault's critique of vision as an apparatus of power.  Historically,
these two forms of criticism (the psychoanalytic film theory and the
discursive mapping of social geographies) have not met productively in
theory or practice.  By opening a discussion about visual relations in
corporate space, we anticipate an innovative exchange between theories,
disciplines, and styples of inquiry.
 
This is a call for interdisciplinary papers, long and short articles,
interviews, reviews of books, conferences, and related visual,
architectural, and media events.  We envision studies of the office in
the broadest sense: for example, kinship models of company organization,
the ways in which sex and capital flow between neighboring financial and
sexwork districts, the semiotics of corporate waste as cultural or racial
memory, the identity politics of corporate logos and urban skylines, or
the spectacle of office glamour in cinema.  We welcome submissions about
visual practices that address corporate culture as well as innovative
hsitorical projects, such as clerical fashion and surveillance in the
1920s or lunchtime window shopping practices of secretaries and
stenographers in the 1930s.
 
Issues five of  PARALLAX will be produced in conjunction with a
multi-sited art exhibition in San Francisco, Fall 1996 and a session at
CAA (College ARt Association), New York City, February 1997.
 
Send inquiries, papers, works-in-progress, 1-2 page abstracts by May 31,
1996 to
 
Stephanie Ellis
Humanities Institute
University of California, Davis
Davis, Ca  95616-8612
(916) 758-8438
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Catherine Greenblatt
20 Oakwood Street #3
San Francisco, CA  94110
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