Contemporary societies are undergoing a profound transformation of the political order\, with digital technologies serving as a key driving force. The algorithmization of decision-making processes\, the platformization of public communication\, and the growing role of data in social governance are generating fundamental changes in the exercise of power\, the functioning of democracy\, and the understanding of political subjectivity. These developments exceed the explanatory scope of classical political theories and call for new analytical categories as well as critical normative reflection. This transformation unfolds amid intensifying geopolitical competition over digital infrastructure\, artificial intelligence\, and control over data flows\, leading to the emergence of new forms of digital sovereignty and a redefinition of the relationship between the state\, the market\, and global technology corporations. The development of artificial intelligence systems\, including generative models\, not only automates administrative and communicative processes but also reshapes the epistemic foundations of public life\, influencing the production of knowledge\, the status of truth\, and the mechanisms through which political opinion is formed. The aim of the conference &ldquo\;The New Political Order and the Digital Era&rdquo\; is to create an interdisciplinary forum for debate on the philosophical\, political\, and institutional consequences of digital transformation. The conference seeks to examine the relationship between technology\, power\, and democracy\, with particular emphasis on algorithmic forms of governance\, transformations of the public sphere\, and emerging configurations of political responsibility. \; \; \; \; \; Registration: Deadline for submission of abstracts: 30 April 2026 Notification of acceptance: 15 May 2026 Conference fee payment deadline: 30 May 2026 Deadline for submission of accepted full papers for publication: 30 September 2026 Conference fee: 600 PLN (The fee covers conference materials\, accommodation\, catering\, and publication costs for papers accepted for print.) Participants are kindly requested to submit an abstract of 300&ndash\;500 words\, along with a short academic biography\, in Microsoft Word or PDF format to the conference organizer. The final deadline for submissions is 30 April 2026. For further information\, please contact Dr. Lidia Godek-Ostrouch at: godly@amu.edu.pl
ORGANIZER;CN=Krzysztof Przybyszewski: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20260427T123102Z DTSTART;TZID=Europe/Warsaw:20260625T090000 DTEND;TZID=Europe/Warsaw:20260626T170000 SUMMARY:QUEER: PRESENT! VISIBILITY THROUGH THE BODY UID:20260501T044319Z-iCalPlugin-Grails@philevents-web-6b96c54f56-bljdq TZID:Europe/Warsaw LOCATION:Wieniawskiego 1\, Poznań\, Poland\, 61-712 DESCRIPTION:QUEER: PRESENT! VISIBILITY THROUGH THE BODY
\nInternational Conference
\n25-26 June 2026
\nAdam Mickiewicz University in Poznań\, Poland
\nFaculty of Philosophy
\nThe international conference Queer: Present! Visibility Through the Body aims to examine queer visibility in contemporary culture\, exploring it across a range of contexts. The title of the conference alone may serve as a catalyst for reflection on various aspects of queer visibility\, demonstrating that queer culture is present today in many forms. However\, queer people are constantly fighting to remain visible and gain access to more divergent visibility. This visibility often encounters strong resistance\; opponents view the queer body as imposing its presence\, disrupting social order and manifesting as unnecessary excess or exaggeration.
\nDuring the conference\, we will highlight the physical presence of queer genders\, sexualities and romantic relations and intimacies. This is why the title of our conference is provocative: queer is present and embodied\; it is expressed in the body.
\nDo queer bodies experience encounters with others and strangers differently when moving within cultural boundaries?
\nWhen writing about corporeality\, we draw inspiration from Sara Ahmed&rsquo\;s queer phenomenology. Ahmed reminds us that\, culturally\, the divergence of sexual orientation is equated with being outside the boundaries of heteronormativity\, as if initiating a discussion about it implied queerness. From a phenomenological stance\, sexual desire and gender identity shape not only the boundaries of our world and our experience of the body: our physicality is a lens through which the outside world could perceive our intimate visibility.
\nSilence\, secrecy\, hypocrisy and concealing one's sexuality\, desire and gender identity due to shame or fear or a culturally rooted habit are pertinent characteristics associated with the lack of queer visibility. A wider and more satisfactory presence can be achieved by creating one's own culture and by establishing better social attitudes and legal frameworks\, more accurate terms and rooting novel expectations or &lsquo\;novel tradition&rsquo\;\, although this could outrage apologists for the politics of silence. It is not easy to achieve visibility in the present moment! However\, new traditions are created and emerge before our very eyes: films\, literary works\, memorials to victims of persecution\, queer rituals and\, finally\, the concept and presence of Pride &mdash\; a joyful rejection of the humiliating concept of shame. The present allows us to document all cases of queer resistance against the politics of hatred. The goal of the narrative of hatred is to hide queer people once again and deprive them of visibility. It is an attitude that is contrary to science and is fed by invented harmful myths\, prejudices and superstitions.
\nQueer visibility is not only an emancipatory strategy based on the idea of equality. It is also the daily struggle of every queer person for dignity and visibility. Any attempt to hide queerness is deceptive\, as it creates the false impression that it does not exist or is not needed by anyone.
\nWe invite submissions from scholars\, PhD candidates\, and independent researchers.
\nTopics for suggested panels and papers may include (but are not limited to):
\n1. Cultural transformations that have shaped the contemporary narrative of queer visibility.
\n2. Changes in rooted attitudes\, social\, legislative and political moods often result in significant progress and emancipation\, but can also lead to regression and increased aggression towards queer individuals.
\n3. Tactics\, risks\, politics\, dramatics\, performance\, experimentations\, exploration of visibility in different areas of art and cultural products.
\n4. Queer visibility in performance\; Queer in Cinema\, Dance and Theatre.
\n5. The contribution of queer people to art\, from poetry to mass media.
\n6. Prospects for future visibility based on the present.
\nThe organisers are open to proposals for both individual presentations and panels. Keynote speeches are planned. Detailed information will be updated on the conference website https://queer.web.amu.edu.pl
\nConference language: English.
\nPresentation length: 15-25 minutes\, depending on the final number of accepted contributions. Format: on-site.
\nVenue: Collegium Minus\, ul. Wieniawskiego 1\, Poznań.
\nRegistration
\nDeadline for submission of abstracts is: for panels 20 February 2026 and for individuals presentations 28 February 2026. They should be sent by email to queer@amu.edu.pl (or marjed7@amu.edu.pl)
\nSubmissions should include a max. 200-word abstract with a 100 word author bio and the contact information gathered in a single PDF-FILE.
\nNotification of Acceptance: 10 March 2026.
\nRegistration fee: 150 EUR or 150 USD.
\nThe fee included a coffee breaks\, a two-course lunch to all participants (25 and 26 June) and a banquet (25 June).
\nImportant additional information:
\n- we plan to publish articles in 2027 (an edited collection).
\n- during the conference\, we will be hosting the management team from the Queer Museum in Warsaw\, the first queer museum in Poland and the third in Europe.
\nKeynote Speakers:
\nProf. Dan Healey\, University of Oxford
\nProf. Joanna Mizielińska\, University of Warsaw
\nDr. Kush Patel\, Manipal Academy of Higher Education
\nConference Organizers:
\nProf. Marek Jedliński (Adam Mickiewicz University in Poznań)
\nDocent Antu Sorainen (University of Helsinki)
\nDr. Krzysztof Witczak (Adam Mickiewicz University in Poznań)
\nScientific Committee:
\nProf. Dan Healey\, University of Oxford
\nDr. Kush Patel\, Manipal Academy of Higher Education
\nDr. Efstratia Oktapoda\, Sorbonne University
\nDr. Tamas Nagypal\, Mount Royal University
\nDr. Jana Kantorikova\, Sorbonne University
\nDr. Iga Mergler\, Wilfrid Laurier University
\nDr. Agata Mergler\, York University
\n ORGANIZER;CN=Krzysztof Witczak;CN="Marek Jedliński";CN=Antu Sorainen: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20260427T123102Z DTSTART;TZID=Europe/Warsaw:20260827T090000 DTEND;TZID=Europe/Warsaw:20260830T170000 SUMMARY:EAJS2026\, the 18th International Conference of the European Association for Japanese Studies ヨーロッパ日本研究協会 (EAJS) UID:20260501T044320Z-iCalPlugin-Grails@philevents-web-6b96c54f56-bljdq TZID:Europe/Warsaw LOCATION:Poznań\, Poland DESCRIPTION:https://nomadit.co.uk/conference/eajs2026/paper/101689
\nhttps://research.berkeley.edu/surf-fellows/jiaqian-zhu/
\n ORGANIZER: METHOD:PUBLISH END:VEVENT BEGIN:VEVENT DTSTAMP:20260427T123102Z DTSTART;TZID=Europe/Warsaw:20260828T090000 DTEND;TZID=Europe/Warsaw:20260828T103000 SUMMARY:'Here and There:' Food\, Safety and Community in Contemporary Performance Art UID:20260501T044321Z-iCalPlugin-Grails@philevents-web-6b96c54f56-bljdq TZID:Europe/Warsaw LOCATION:Poznań\, Poland DESCRIPTION:https://nomadit.co.uk/conference/eajs2026/paper/101689
\nhttps://research.berkeley.edu/surf-fellows/jiaqian-zhu/
\nhttps://nomadit.co.uk/conference/eajs2026/pp/101689
\nPaper short abstract In the wake of the 2011 Tōhoku earthquake and tsunami\, artists attempt to explore ways to present the motif of &ldquo\;3/11&rdquo\; beyond geographic confinement&mdash\;beyond Japan. Given restricted access to the nuclear zone\, how do artists respond to &ldquo\;3/11&rdquo\; without direct physical proximity to Fukushima? Paper long abstract
\nIn the wake of the 2011 Tōhoku earthquake and tsunami\, artists attempt to explore ways to present the motif of &ldquo\;3/11&rdquo\; beyond geographic confinement&mdash\;beyond Japan. Given restricted access to the nuclear zone\, how do artists respond to &ldquo\;3/11&rdquo\; without direct physical proximity to Fukushima? How do overseas Japanese artists represent what took place back in their homeland? How do people outside Japan gain the access to experience and respond to &ldquo\;3/11&rdquo\;? To grapple with this representational dilemma of &ldquo\;here and there\,&rdquo\; this paper looks at the performance art of the contemporary Japanese artist Ei Arakawa&mdash\;Does This Soup Taste Ambivalent? (2014). In this conceptual project\, he attempted to mediate a geographic gap between New York (where he works) and Fukushima (where he comes from). He also intended to reach a geographical balance between Fukushima and the international audience by bringing his family to Frieze London. In dialogue with Does This Soup Taste Ambivalent?\, this paper brings comparative examples of Rirkrit Tiravanija&rsquo\;s installation Untitled (Free/Still) (2007) and the socially engaged art piece Conflict Kitchen (2010). This paper attempts to extend the metaphor of a geographic boundary to invisible yet crucial boundaries among people\, and to further spatialize what Nicolas Bourriaud regards as relational aesthetics. Visual representations of &ldquo\;here and there&rdquo\; can thus be thematically translated into a rendering of boundaries between artists and spectators/participants\, between social environment and human beings and between different ethnic groups. Moreover\, this paper examines the instrumental role of food in performance art. With the same incorporation of food\, these works take advantage of the taste to unite people from different backgrounds\, and to provide a corporeal medium to raise concerns for nuclear radiation and safety. The remediation of food\, in art practice and social media\, further produces a micro-social and micro-political narrative to think of food safety\, human safety\, and community conflicts.
\nAbstract in Japanese (if needed): 「あちらとこちら」：現代パフォーマンス・アートにおける食、安全、そしてコミュニティ 要旨では、2011年の東日本大震災と津波のあと、アーティストたちが 「3/11」を日本の外でどう表現するか を考える研究だと説明されています。特に、福島に直接近づけない状況で、アーティストはどう反応するのか、海外にいる日本人アーティストは故郷で起きたことをどう表すのか、日本の外にいる人はどうやってその出来事に触れ、応答するのか、という問いが立てられています。中心事例として扱われるのは、Ei Arakawa の Does This Soup Taste Ambivalent? (2014) です。要旨によれば、この作品は ニューヨークと福島の地理的な隔たりを媒介しようとした企画として読まれています。比較される例として、Rirkrit Tiravanija の Untitled (Free/Still) (2007) と、社会参加型アートの Conflict Kitchen (2010) も挙げられています。福島の出来事を、食べ物を使ったアートで世界の人にどう伝えるかを考える発表です。 そして、食べ物は人をつなぐだけでなく、安全や不安、社会の対立について考えさせる力を持つ、というのがポイントです。
ORGANIZER: METHOD:PUBLISH END:VEVENT END:VCALENDAR