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CfA: 2nd EAJS Publication Workshop 2018



Tanaka Symposium 2018: Utopia and the Everyday, 14 June 



CfA: EAJS PhD Workshop 2018



EAJS President Prof. Andrej Bekeš received a Japan Foundation Award 2017



News: 16th EAJS Intl Conference will take place in Ghent, Belgium in 2020



CfP: Global Hierarchies of Value? Museums, artifacts, frames, and flows



Job Announcement: Instructor of Japanese Language at the University of Colorado Boulder


Calls for Papers/ Articles/ Applications

Call for papers: Sound Culture Studies and Modernity in Asia Conference

Sound Culture Studies and Modernity in Asia Conference.

Organised by the Asian Sound Cultures and Modernity Project at Tokyo University of Foreign Studies.

Date: 14- 15 September 2018

Tokyo University of Foreign Studies


In Asia, as elsewhere, the political, social, cultural and technological changes wrought by modernity gave rise to an onslaught to the senses that is most often explained through reference to visual, material culture. Emotional, ephemeral and subjective, rather than concrete, empirical and scientific, the role of sound is constantly undermined by the primacy attributed to the visual as objective, rational and, ultimately, modern. The aim of this interdisciplinary conference is to examine sound in the process of modernity in Asia as an essential aspect of global cultural, social, political and technological change.

The recent turn toward the history of the senses has encouraged scholars to examine the historical transformation of sound, and the usefulness of this aural approach to social and cultural history has been forcefully examined from varying perspectives. As archives begin to digitize everything that has ever been published, noted, photographed, carved, stamped or painted, the problem of sound as a historical resource is finally beginning to be addressed. Yet, the study of sound in the process of modernity remains very much restricted to comparisons between Western countries. To the extent that it has assumed a transnational or global perspective it is within the universalism of a western discourse of modernity.

How does attention to modern sound in Asia help us as academics understand the region within a global perspective? What can sound tell us about the ambiguous nature of the experience of modernity in Asia?

The conference also seeks to address the wider interdisciplinary theoretical questions of sources, methodologies and approaches in the study of sound cultures. It will also question the ways in which ‘modern sound’ transformed individual, communal, social and national subjectivities, made clear political and social cleavages and brought new forms of social, cultural and political control. This conference, therefore, is an invitation to rethink and re-examine the ways in which processes of modernity in Asia were experienced through sound.

Some questions that could be addressed, but the conference is not limited to:

- How do we ‘read’ sound as academics?

- What is modern sound?

- How did the process of modernity alter the soundscapes of Asia?

- Along what social or cultural lines do cracks appear in any consensus over the nature of modern sound?

- In what ways did sound structure urban space?

- How is sound recorded in literature and other media?

- How does sound affect relations of class, gender, and ethnicity?


Please send a title and an abstract of ca 300 words to:

asiansoundcultures(at)gmail.com <mailto:asiansoundcultures(at)gmail.com>

By: July 16th 2018.

Conference organizers;

Dr Martyn Smith, SOAS, (visiting researcher at TUFS)

Dr Iris Haukamp, TUFS



SSJ-FORUM website Institute of Social Science, University of Tokyo


SSJ Forum Archive (all past postings are available)


*Please obtain the consent of the author before quoting any message.




Call for Papers for the International Workshop

Labour Market Liberalisation after the Lehman Crisis: France, Germany and Japan in Comparative Perspective

Tokyo, December 14-15, 2018

In the 10 years after the collapse of the investment firm Lehman Brothers, there has been a noticeable shift in discourses on structural labour market reforms. Whereas before the crash international organisations, liberal economists and many policymakers had been arguing that market-oriented reforms were necessary if painful to improve the performance of labour markets, the social costs of liberalisation seem to attract much more attention since 2008. The social and political costs of labour market inequalities are now widely acknowledged especially in countries with dual labour market structures like France, Germany and Japan.
Yet the jury is still out whether this discursive shift has prompted a similar change in policy. While policies emphasising social goals rather than economic efficiency have clearly gained in popularity (e.g. minimum wage reform in Germany and reinforced equal treatment rules for non-standard work in Japan), structural reforms echoing previous attempts at liberalisation are also still on the agenda (e.g. French reforms of labour contract law, Japanese “work-style” reforms or German temporary agency work reform).
The workshop aims to shed light on this mixed picture of continuity and change by bringing together scholarship on France, Germany and Japan from all disciplines of the social sciences. The countries share many structural problems (e.g. dual labour market structure, limited mobility between standard and non-standard jobs) but differ with regard to their regulatory approaches and political and economic institutions. The comparison therefore allows exploring the changing politics of structural reform in economically advanced democracies as well as to readdress key questions in comparative political economy research, e.g. to what extent governments, employers and trade unions are willing and able to influence processes of liberalisation and mitigate resulting labour market dualisation.

We seek in particular papers that engage with one of the following four thematic themes:

- Discourses on labour market inequalities
  E.g., how have political discourses on labour market liberalisation changed since the Lehman shock?

- Contents and direction of structural reform
  E.g., how has the substance of labour policies changed since 2008? What explains the recent popularity of minimum wage reforms and reinforced equal
  pay rules?

- Policymaking processes and power   
  E.g., how has the influence and role of business and organised interests changed since 2008? Which political actors profit/suffer due to controversies on
  non-standard work and labour market inequalities? How has the Lehman shock affected industrial relations?

- Changing employment practices
  E.g., are reforms driven by changing employment practices or do reforms shape practices? How important are demographic change and labour shortages for changing practices?

Single country studies as well as comparative papers from all disciplines of the social sciences are welcome.

We invite interested scholars (junior and senior levels, at least PhD candidate status) to submit their paper proposal (max. 500 words) to
labour-market-workshop(at)dijtokyo.org by July 9, 2018

Accepted paper givers will be eligible for an allowance to help pay for travel and accommodation costs (one speaker per paper; app. 950 EUR for speakers from Europe/North America; 550 EUR for speakers from Japan and Asia). We plan to publish selected papers of the workshop with a leading English-language publisher. For inquiries, please contact the organisers at the email address provided above.
Notifications of acceptance will be send out by July 16.

For the full call please download the PDF file.



Call for Papers for the 21st BATJ Annual Conference

Deadline: 23:59 Friday, 8 June 2018 (GMT)

Submission: Access the Second Call for Papers for the 21st Annual Conference Online Submission Form

- Abstract Template

Eligibility: Presenters must be a member of BATJ at the time of application. In the case of joint presentation, all presenters should be members of BATJ.

Working languages: Japanese or English


Papers in all categories should be relevant to Japanese language education in the UK and Europe and should not have been presented previously.

1. Research Presentation

Length: 20 minutes for presentation and 10 minutes for questions and answers (30 minutes in total)

Content: Original academic research related to Japanese language or Japanese language education. The presentation should contribute to Japanese language education in a wider context.

2. Practical Report Presentation

Length: 20 minutes for presentation and 10 minutes for questions and answers (30 minutes in total)

Content: Practical report related to Japanese language teaching and learning based upon class activities, store teaching materials, assessments, course management, learner’s support, etc. It should include clear descriptions of objectives, processes, learners’ feedback, analysis, reflection, etc, and contribute to Japanese language education in a wider context. Reference to theoretical background and previous research would be encouraged.

3. Practical Report or Exploratory Research Poster Presentation

Length: 60 minutes poster time.

Poster size: 1 page of A1 size paper.

Content: Practical Report on Japanese language teaching and learning based upon classroom activities, teaching materials, course management, learner’s support, etc. It should include clear descriptions of objectives, processes, learners’ feedback, analysis, reflection, etc., and contribute to Japanese language education in a wider context.  Exploratory Research should also include reference to theoretical background and previous research with clear objectives, processes and results, and should contribute to Japanese language education in a wider context. In some cases, it is possible to use other display materials.

Important dates:

- Submission deadline: Friday, 8 June 2018
- Peer review: anonymously peer-reviewed by two reviewers
- Acceptance notifications to presenters: late June 2018
- Early Bird registration: Planned to open late June 2018
- Registration deadline for all presenters: Monday, 16 July 2018

Notes on abstract submission:

Your abstract should cover the three points listed below. You should submit your abstract both in Japanese (max. 1,000 characters, including references) and in English (max. 500 words, including references). To preserve anonymity during the review process, No information from which the author may be identified (e.g. your name, name of university) should be included.

Three points to cover in your abstract:

1. Main proposal and clear conclusion,
2. Outline of evidence (empirical data, analysis, examples, etc.),
3. How the study contributes to Japanese language education

General enquiries:

Ms Yuka Oeda
e-mail: chair(at)batj.org.uk

We look forward to seeing you in Bristol in August 2018!

Yuka Oeda
Chair, British Association for Teaching Japanese as a Foreign Language (BATJ)




Data mining and knowledge discovery from large and complex data sets including visual images have advanced significantly in the past several years. Although Digital Art History emerged already in the late 1990s and the access to large digital image collections is steadily growing, the study of art images in the context of big data and application of predictive analytics has been advancing slowly (Drucker, 2013; Manovich 2015). This is especially the case for non-Western pre-modern art images guided by different formal solutions and epistemologies. Several machine learning techniques have been employed for the problem of style recognition in historical images, including both feature extraction and engineering (histograms of gradients, spatial envelopes, discriminative colour names) and predictive modelling (SVMs, random forests, and neural networks). More importantly existing literature demonstrates and argues that due to the curse of dimensionality and the inherent complexity of the problem, adding more features typically does not improve predictive performance.  Towards this end, variants of convolutional neural networks have been used for automatic style and feature recognition, and have so far been achieving competitive performance against other state-of-the-art machine learning models. On the other hand, the development of digital art history, which reveals a profound change in the character of knowledge, raises questions about the relationship between human activities and metric evaluation (Bishop 2017).

Tackling relevant technological and theoretical problems requires divergent thinking and synergetic approach to science. The goal of this workshop is to build a constructive dialogue between two research areas: data science and art history. The workshop will highlight challenges emerging from this encounter and solicit papers that propose state-of-the-art solutions to practical and theoretical issues that arise from exploratory data analysis of large data sets of two-dimentional art, such as pre-modern East-Asian and Western images (painting, prints, maps).  As it engages with a contested research field that targets new challenging problems the workshop will focus on discussion and exchange of ideas.

  • Knowledge discovery from digital art data sources
  • Temporal data mining for digital art history 
  • Deep learning for image recognition in digital art data
  • Knowledge discovery and data mining methods for generating new epistemologies in digital art history
  • Methods and frameworks for learning from spatio-temporal and formal aspects of art images across different cultural areas, timeframes and media
  • Data visualization and visual analytics methods and tools for studying culture-specific artifacts (e.g. pre-modern East Asian prints)
  • Data management platforms and frameworks for collecting or constructing coherent large data sets of images of different provenance, medium, quality scattered among different collections
  • Data integration of heterogeneous digital art data sources
  • Unification of digitalization practices across diverse public and private stakeholders
  • Advancing the use of computational technologies in the study of cultural artifacts
  • Platforms and prototype solutions for adopting deep learning in the analysis of visual and cultural artifacts
  • Connecting topographical and historic representations in art through overlaying spatial and temporal data
  • Identifying iconographical patterns in artistic imagery through application of computer vision techniques


Keynote Speakers

Along with the contributed presentations, the Workshop schedule will feature one exciting keynote talk by a renowned researcher in the area of data science for digital art history, the details of which will be announced in due course on our website.

Submission instructions

We expect two types of research papers:

Regular papers: 9 pages, 2-column format, including references

Short papers: 4 pages, 2-column format, including references

The formatting requirements are equivalent to those of the main conference.  For LaTeX users: unzip acmart.zip, make, and use sample-sigconf.tex as a template; Additional information about formatting and style files is available online at: https://www.acm.org/publications/proceedings-template.

Your work should be submitted via Easychair by following this link: https://easychair.org/conferences/?conf=dsdah2018.

Important Dates

Paper submission deadline: May 8, 2018

Author notification: June 8, 2018

Camera ready: June 29, 2018

Workshop day: August 20, 2018

For more information please refer to http://dsdah2018.blogs.dsv.su.se or contact Dr. Ewa Machotka (ewa.machotka(at)su.se ).



Call for Applications: Global Japan Studies Summer Program 2018

Global Japan Studies Network, The University of Tokyo, welcomes applications for 'Global Japan Studies Summer Program 2018'.


July. 30- Aug. 10, 2018

About the Program

Japan’s postwar period is most often described as four decades of high growth “economic miracle” followed subsequently by a prolonged recession dubbed “the lost two decades” (1990-present). Japan’s postwar, however, points to a far more complicated and ongoing process of social, cultural, and political changes, which this program is set to explore.

Participants will be immersed in a ten-day intensive program of 1), interdisciplinary academic lectures (in humanities, social sciences, and engineering), 2), carefully planned fieldtrips in Tokyo and surrounding areas, and 3), Japanese language lessons tailored to individual participant’s needs. Through a well-designed combination of on- and off-campus study, the program challenges participants to critically analyze a variety of sociocultural, political, and technological issues, such as sustainable urban planning, poverty, and historical memory. These issues are key for understanding not only Japan’s postwar itself but also the larger world to which Japan is closely connected and of which Japan is intrinsically a part.

By the end of the program, participants will have gained a more nuanced understanding of Japan’s postwar as a complex and changing society; learned analytical skills with which to analyze social phenomena in Japan and other parts of the world; improved their Japanese language as a result of Japanese lessons and intermingling with Japanese students from the University of Tokyo; improved their intercultural communication skills as a result of collaboration in research projects and presentations with fellow students from different countries of the world. Perhaps most important of all, you will have made a lot of friends from all over the world who will share your memory of summer 2018 in Tokyo!

Number of Participants:

About 20 in total (including 3-5 undergraduate students from the University of Tokyo).

Eligibility and Language Requirements:

Undergraduate students in all academic majors and currently enrolled in a university of the world, and whose GPA at the moment of application is 2.3 or above on a 3 point scale, are eligible to apply.

The summer program does NOT require submission of proof of English language proficiency such as TOEFL or TOIEC scores, but participants must have sufficient English proficiency to attend lectures and field trips in English and give presentations in English.

This program has NO Japanese language requirement. Knowledge of Japanese, however, will be helpful for your participation in the program. Japanese lessons are offered in the program.

Tuition and Fees:

JPY 280,000 (inclusive of accommodation, lunches and refreshments, exclusive of participants’ round-trip air fare and fieldtrip transportation expenses (bus and subway fares).

Application Deadline:

April 23, 2018 (Mon.), 23:59 Japan Standard Time

For more information, please visit: http://gjs.ioc.u-tokyo.ac.jp/ja/summer-program/



Global Hierarchies of Value? Museums, artifacts, frames, and flows

Call for papers for the international conference 'Changing Global Hierarchies of Value? Museums, artifacts , frames, and flows' by University of Copenhagen and National Museum of Denmark, 20-22 August, 2018.

Museums are said to classify the world; but the world is changing, and so are the museum worlds and the worlds of arts and artefacts. This conference explores how the world is imagined and classified through the presentation, interpretation and classification of artifacts; and how the global hierarchy of value (cf. Herzfeld 2004) might be changing in through these flows and circulations.

In 2007, the German art historian Hans Belting coined the term “global art” to indicate that contemporary art was no longer the province of artists in the Global North, thus signaling a sea change in the international art world (Belting, in Weibel and Buddensieg 2007). Art historians, prior to Belting had long stipulated that the birth of modern art in 19th and 20th century Europe was partially predicated on inspirations from outside Europe in the guise of Orientalism, Chinoiserie, Japonisme, or “primitivism,” yet these modern artists were almost exclusively from Europe and – later – North America. Non-European artists went largely unnamed and unrecognized, as French surrealist poet André Breton’s famous mur d’atelier revealed. Modern art from the Global South or rapidly modernizing states in Eurasia and East Asia, was often dismissed as derivative of Western art, while contemporary traditional art was considered inauthentic (cf. Kasfir 1992).

Simultaneously, anthropologist Michael Herzfeld (2004) coined the term “global hierarchy of value” to denote the global cultural asymmetry that constituted the cultural successor to the political and military domination of European colonial systems. In the arts, early partial exceptions were Latin America, which – as the historical product of creole nationalisms (cf. Anderson 1982) and hence as a “pseudo-Europe” – saw the emergence of successful artists like Diego Rivera and Frida Kahlo and of movements like Brazilian modernism and neo-concretism; and Japan, which experimented with locally inflected, but modern, architecture. The imbalance in the Euro-centered art world changed when the Magiciens de la Terre exhibition was held in Paris (1989) and featured contemporary art by both Western and non-Western –and named - artists in equal numbers, albeit without implying an equal hierarchy of value.

The Magiciens de la Terre exhibition marked the coming out of contemporary artists from Asia, Africa, Latin America and Oceania on the global arts scene, and brought out in their participation in numerous exhibitions such as the Modernités plurielles at the Centre Pompidou in Paris, but also in biennales, art festivals, art fairs, and auctions around the world. Simultaneously, art institutions and events outside of Europe and North America gained in global prominence, by adopting the cultural forms, classificatory devices and exhibitionary technologies developed in Euro-America and applying those in their own contexts and for their own purposes. One could say that while the modern period witnessed the emergence of a global Europe, the current “post-postcolonial” period is marked by the globalization of the other continents – at least in terms of the arts: in that sense it is increasingly possible to speak of global Asia, global Africa, global Latin America as geographic entities that challenge the global hierarchy of value.  

At the same time, recent decades have seen the unfolding of increasingly interconnected global networks of production, labor, consumption, and capital accumulation, a process broadly known as globalization. But can we also talk of a globalized taste regime or set of preferences à la Bourdieu? Are recently booming or expanding global players in Asia, Africa, and Latin America reconfiguring the relative value of styles, objects, or traditional artifacts, thereby challenging the old Eurocentric order and organization of the good and the beautiful? Even if the West remains the universal unmarked, attention should be given to the ways in which it is now often amplified, mocked, or ironized by non-Western masters of its artistic, architectural, or artisanal forms. How is globalization affecting existing or emerging museums as economic and commercial players in a world of accelerating mass tourism and brand fixation? How is the complex past of European interaction and Eurocentric notions of cosmopolitanism rethought and exhibited today in postcolonial theaters of historical encounter, exchange, or conflict?    

This is the final conference of the project ‘Global Europe: Constituting Europe from the Outside In through Artefacts’ (see http://globaleurope.ku.dk/). The Global Europe project explores how the collection, circulation, classification and museum exhibition of objects define Europe from the outside in during Europe’s present loss of global hegemony – especially in relation to Japan and four non-European BRICS countries (Brazil, China, India, South Africa), in comparison with the early modern period of European ascendancy. This ‘Changing Global Hierarchies of Value?’ conference invites both paper proposals on a range of topics that explore global networks of valuation and validation and their local forms and entanglements in the current period. The papers are expected to be empirically grounded, and may – but do not have to – refer to the five countries targeted by the Global Europe project.

The keynote speech titled Museum Transactions: Negotiating Knowledges, Governing Cultures will be presented by Professor Tony Bennett of the Institute for Culture and Society of the Western Sydney University in Australia. Tony Bennett is the author of – among many other works – The birth of the museum: history, theory, politics (1995), Pasts beyond memories: evolution, museums, colonialism (2004), and Making culture, changing society (2013); and he currently leads the project ‘Museum, Field, Metropolis, Colony: Practices of Social Governance’. For more information, please see https://www.westernsydney.edu.au/ics/people/researchers/tony_bennett.

The conference is convened by Prof Oscar Salemink, Amélia Siegel Corrêa PhD, Jens Sejrup PhD, Caroline Lillelund and Vibe Nielsen, who make up the research team for the Global Europe project.

Please send your abstract (300 words max) and short bio (300 words max)  to Marie Yoshida marie.yoshida(at)nias.ku.dk before April 1st, 2018. For inquiries, please contact Oscar Salemink o.salemink(at)anthro.ku.dk.




 If you would like to post a
call for papers or articles, please contact the EAJS office.