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</o:shapelayout></xml><![endif]--></head><body lang=EN-AU link=blue vlink=purple><div class=WordSection1><p class=MsoPlainText><o:p> </o:p></p><p class=MsoNormal><i><span style='font-size:12.0pt;color:black'>REMINDER</span></i><span style='color:black'>— abstract proposals due 31 July 2014<o:p></o:p></span></p><p class=MsoNormal><i><span style='font-size:12.0pt;color:black'><o:p> </o:p></span></i></p><p class=MsoNormal><span style='color:black'>Call for papers </span><i><span style='font-size:12.0pt;color:black'>The Craft Economy</span></i><span style='font-size:12.0pt;color:black'> edited volume<i><o:p></o:p></i></span></p><p class=MsoPlainText><b><i><span style='color:black'> </span></i></b><b><span style='background:yellow;mso-highlight:yellow'><o:p></o:p></span></b></p><p class=MsoNormal><b><i><span style='font-size:14.0pt;color:black'>The Craft Economy: Making, Materiality and Meaning <o:p></o:p></span></i></b></p><p class=MsoNormal><span style='font-size:14.0pt;color:black'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='color:black'>edited by Susan Luckman (University of South Australia) & Nicola Thomas (University of Exeter)<o:p></o:p></span></b></p><p class=MsoNormal><span style='color:black'><o:p> </o:p></span></p><p class=MsoPlainText style='margin-bottom:10.0pt'>A making renaissance is underway with handmade practice and goods in global demand. <span style='color:black'>Thus the central aim of</span><span style='color:black'> </span><i><span style='color:black'>The Craft Economy</span></i><i><span style='color:black'> </span></i><span style='color:black'>collection is to bring together a comprehensive account of the current moment of growth in the contemporary handmade marketplace. We wish to examine the reasons why </span>we are now seeing such significant growth, and identify the key drivers - both in terms of production and consumption. Importantly, we seek to locate this discussion within the larger picture of its implications for our understandings of the contemporary cultural economy. For example, what it may reveal about perceptions of authenticity and practices of ethical consumption, as well as shifting labour and production models (creative micro-enterprise; the home-based digital cultural economy; the attraction of entrepreneurial self-employment; and the gendering of craft work). <o:p></o:p></p><p class=MsoNormal>In the digital age, almost seventy years since the Frankfurt School first railed against the culture industry’s commodification and standardisation of all art, the bespoke ‘analogue’ physical item becomes Othered, different, desirable. Handmade objects are imbrued with touch, and therefore offer a sense of the ‘authentic’ in an ‘inauthentic’ world: they offer connection to the maker through the skill and learning apparent in their construction, and they demonstrate the time spent on their making in a way in most other objects cannot. Handmade cultural goods thus need to be located within wider debates regarding ethical consumption, makings, and ‘retro’ interest in unique physical artefacts. <o:p></o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal>In dialogue with this, the integration of digitally enabling technology with more traditional practices of making is a key trend transforming social and material relations between makers and consumers. Alongside more traditional retail options such as direct and commission sales, online distribution is changing the environment for operating a creative micro-enterprise, offering both creative graduates and more established designer-makers micro-entrepreneurial pathways not previously open to them. Alternative making spaces (for example Makerspaces and FabLabs) are transforming access to making, and the integration of digital technologies into the making process. <o:p></o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoPlainText style='margin-bottom:10.0pt'>Therefore w<span style='color:black'>e welcome proposals for papers that address any aspect of the contemporary craft economy, especially (but certainly not limited to) the following:</span><o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft as a 21<sup>st</sup> century creative industry; <o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft work as a model for wider cultural work practice;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Spatialities of craft: relations of making, places of making;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>The politics of home-based production and studio/workshop production models;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>New places of making: practices within Fablabs and Makerspaces;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft apprenticeships, bench training, learning and skills development;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft education and the contemporary curriculum;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Social inclusion/exclusion, micro-entrepreneurialism and the contemporary craft economy;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Vibrant materiality and craft objects and practice;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Materiality, authenticity and the handmade;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft making, flow and ‘being in the zone’;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>The ongoing resonance of binaries such as: professional/amateur; art/craft; producer/consumer; technology/hand;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Making and intersections with policy: regeneration through return to making;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Collectivisation, support organisations, guilds and cooperative practices;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Online identity work, self-marketing and art/craft production;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>‘Technology’ versus ‘ handmade’ – scale, growth and the place of tools in the making process;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Digital making and new models of making;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Lab cultures, community / social enterprise models; <o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft, tourism and place-making;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft co-creation and lessons for contemporary making from the history of patronage and commissioned work; <o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft and ethical production/consumption;<o:p></o:p></p><p class=MsoPlainText style='margin-left:36.0pt;text-indent:-18.0pt;mso-list:l0 level1 lfo1'><![if !supportLists]><span style='font-family:Symbol'><span style='mso-list:Ignore'>·<span style='font:7.0pt "Times New Roman"'> </span></span></span><![endif]>Craft as means of economising.<o:p></o:p></p><p class=MsoNormal><span style='color:black;background:yellow;mso-highlight:yellow'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='color:black'>Proposals:</span></b><span style='color:black'> Please send proposals to both editors by 31 July 2014. Proposal should include: title, abstract of up to 500 words, institutional affiliation, and short biographical details for author.<o:p></o:p></span></p><p class=MsoNormal><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:black'>Provisional acceptance will be advised by 30 September 2014.<o:p></o:p></span></p><p class=MsoNormal><span style='color:black'><o:p> </o:p></span></p><p class=MsoNormal><b><span style='color:black'>About the editors:<o:p></o:p></span></b></p><p class=MsoNormal><span style='color:black;background:yellow;mso-highlight:yellow'><o:p> </o:p></span></p><p class=MsoNormal><span style='color:black'>Susan Luckman (</span><a href="mailto:Susan.Luckman@unisa.edu.au">Susan.Luckman@unisa.edu.au</a><span style='color:black'>) </span>is Associate Professor in Cultural Studies at the University of South Australia. Her books include the forthcoming title <i>Craft and the Creative Economy</i> (Palgrave Macmillan 2015), <i>Locating Cultural Work: The Politics and Poetics of Rural, Regional and Remote Creativity</i> (Palgrave Macmillan 2012), and <i><span style='color:black'>Sonic Synergies: Music, Identity, Technology and Community</span></i><span style='color:black'> (Ashgate 2008, co-edited with Gerry </span><span style='color:black'>Bloustien and Margaret Peters).<o:p></o:p></span></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><span style='color:black'>Nicola Thomas (</span><a href="mailto:Nicola.J.Thomas@exeter.ac.uk">Nicola.J.Thomas@exeter.ac.uk</a><span style='color:black'>)</span> is Senior Lecturer in Cultural Geography at the University of Exeter. She works on the cultures of the creative economy, specifically addressing the geographies of the craft sector. Her recent AHRC funded research includes an analysis of the enduring place of regional craft guilds, communities of making, and relations between craft policy and practice. Her research has been undertaken in partnership with Devon Guild of Craftsmen, Gloucestershire Guild of Craftsmen, Crafts Council, Craftspace, Heritage Crafts Association and Leach Pottery. Published work includes ‘<span lang=EN-US>Crafting the Region: Creative Industries and Practices of Regional Space’ (<i>Regional Studies</i>, 2012, with Harriet Hawkins and David C. Harvey).</span><o:p></o:p></p><p class=MsoNormal><span style='color:black'><o:p> </o:p></span></p><p class=MsoPlainText><o:p> </o:p></p><p class=MsoPlainText><o:p> </o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal><o:p> </o:p></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:10.0pt;color:#404040;mso-fareast-language:EN-AU'>:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::</span><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><b><span style='color:#404040;mso-fareast-language:EN-AU'>associate professor susan luckman</span></b><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'>associate professor in cultural studies</span><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'>school of communication, international studies and languages</span><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='color:#404040;mso-fareast-language:EN-AU'> <o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='color:#404040;mso-fareast-language:EN-AU'>university of south australia<o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='color:#404040;mso-fareast-language:EN-AU'> <o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'>Room C2-33A, Magill Campus</span><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'>Tel: +618 8302 4152</span><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'>Fax: +618 8302 4745</span><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'><a href="http://people.unisa.edu.au/Susan.Luckman"><span style='color:blue'>http://people.unisa.edu.au/Susan.Luckman</span></a><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'><o:p> </o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'>http://www.palgrave.com/page/detail/?sf1=id_product&st1=539301<o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'><img border=0 width=116 height=179 id="Picture_x0020_1" src="cid:image001.jpg@01CF9F34.F9D89430" alt="smaller ShowJacket"></span><span style='color:#404040;mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='color:#404040;mso-fareast-language:EN-AU'> <o:p></o:p></span></p><p class=MsoNormal align=right style='text-align:right'><span style='font-size:9.0pt;color:#404040;mso-fareast-language:EN-AU'>CRICOS provider # 00121B</span><span style='mso-fareast-language:EN-AU'><o:p></o:p></span></p><p class=MsoNormal><o:p> </o:p></p></div></body></html>