Call for Papers and Creative Works CODE – A Media, Games & Art Conference

Call for Papers and Creative Works
CODE – A Media, Games & Art Conference
21-23 November 2012
Swinburne University of Technology
Melbourne, Australia

KEYNOTE SPEAKERS
Jussi Parikka – Reader, Winchester School of Art
Christian McCrea – Program Director for Games, RMIT University
Anna Munster – Associate Professor at the College of Fine Arts, UNSW

DESCRIPTION
Code is the invisible force at the heart of contemporary media and games, routinely obscured by the gadget fetish of breathless tech marketing and scholarly focus on more visible social and technical interfaces. With the recent material turn in media studies and the refinement of new approaches including software studies and platform politics, which emphasise interrogating the formal characteristics and underlying technical architecture of contemporary media, the time has come to bring code out into the open.

Code can be defined in two distinct but related ways: as an underlying technological process, a set of rules and instructions governing, for instance, the permutations of all those 0s and 1s obscured behind user interfaces, but also as a cultural framework navigated and understood socially and performatively, as is the case with legal, social and behavioural codes. As an operative principle, code’s significance thus extends far deeper than its current digital manifestation. For this conference, we invite submissions of papers and creative works that consider the role of code as a simultaneously material and semiotic force that operates across the wider cultural, social and political field, with particular emphasis on media, games and art.

The conference theme is also an opportunity to reflect on how, as academics and creative practitioners, we often participate in but can also challenge the disciplinary and institutional codes that can arbitrarily separate these domains. CODE will be a transdisciplinary event that brings media studies, media arts and games studies into dialogue through individual papers, combined panels, master classes and an included exhibition.

THEMES
We welcome submissions related to any aspect of code in all its diversity. Possible considerations might include, but are not limited to:

• Code and the in/visible: what are the technical, ideological and academic aspects that work to obscure codes? And what might be the strategies for making codes visible again? Topics: ‘screen essentialism’ (Kirschenbaum 2008); race and/as technology (Chun 2009); glitch and error; programming activism; DIY coding; game exploits.

• Code and/as ideology: as something that both carries and obscures meaning, what is code’s relationship to ideology? Topics: Black-boxing; the fetish of visualisation (Chun 2011); ‘there is no software’ (Kittler 2005); code as social frame; encoding/decoding.

• Coding the disciplines: media and games studies. How do these closely related disciplinary formations account for their existence? What epistemological and methodological insights might they share or contribute to one another, perhaps through emergent fields like software studies and platform politics? Or should they remain distinct?

• The deeper history of code: as a principle of information exchange, code’s centrality in media and communications technologies goes beyond the digital. What is the role of code in the deeper history of media, and what are the media archaeological resonances or links between ‘old’ and ‘new’ forms of code? Can their emergence often be traced back to the military-industrial complex? Topics: Prehistory of code; Morse code and semaphore; encryption and cryptography; cybernetics and early computing; pre- and non-digital games.

• Code and the public/private: What are the historical, legislative, technological and cultural settings for the emergence of ‘public privacy’, in which public signifying systems are vehicles for highly personal messages? Topics: public, private and intimate spheres; epistolary networks; social media; reality programming; celebrity; geolocating identity, meaning and destination.

• ‘Code and other laws of media’: the continuities and discontinuities of different codes. Just as legal codes embedded in technical protocols like digital rights management may disastrously overextend copyright protections (Lessig 1999), how else do different codes meet, overlap, extend and come into conflict with one another? Topics: Copyright and intellectual property; distribution; technical, legal, social and behavioural codes.

• Security codes: Though code often serves to secure and obscure authority, it remains vulnerable to hacking, raising the spectre of a whole new form of risk society operating at the level of code and through its breaches and accidents – how does this play out across networked information, communication and entertainment environments? Topics: phone hacking; Wikileaks; Anonymous and software-based protest; gaming hacks and cracks; data theft.

• Code and agency: Interactive media, games, art and cultural practice can all deal with the relationship between the interacting participant and the coded system. What aesthetics and politics are at work when the participant’s presumed agency and the coded constraints are in tension? Topics: aesthetics of code-based media; interface; participant experience; emergence/counter-play; proceduralism and performativity.

• Bodies in code: how do information and code, not only interfaces and devices, reconfigure the social, political and corporeal body, and vice versa? How might we conceptualise the materiality and ontology of code in relation to phenomenologies of embodiment and new materialism? Topics: post-humanism (Hayles 1999); new and vital materialism (Bennett 2010); genetics and other codes for the body; disembodiment and immateriality.

• Failures of code: Much of code’s power lies in its invisibility, a transparency that allows it to be embedded as the ‘common sense’ of everyday life, but what happens when code fails, socially culturally, politically or technologically, or is exploited? Topics: rules and disobedience; comedy; subversion; disruption; revolution.

CREATIVE WORKS
Code operates, as if by stealth, beneath the materiality of networked media performances, software art, games, mobile apps, locative and social media. But code also presents artists, performers and creative practitioners with opportunities to construct innovative hybrid media forms that can extend our understanding of contemporary art practice. From video installations in the 1960s, through to sophisticated interactive media and augmented reality applications, artists have arguably been at the forefront of innovation, adopting the language of the computer to forge new creative frontiers. We invite contributions that examine the creative potential of code, including but not limited to, the implications of code for contemporary art/ists, code as art and/or performance, code as avant-garde, virus and anti-art.

The CODE conference will include a thematic exhibition. We are seeking submissions of screen-based works, pervasive games, and locative media projects that respond to the conference themes. Projected and performance works will also be considered.

SUBMISSIONS
- Individual 20 minute paper presentations: 300 word abstract.

- Panel submissions: panel submission should include three/four individual abstracts of 300 words, a panel title, and a 200 words rationale for the panel as a whole.

- Artists should submit a 250 word outline of the proposed creative work including links to supporting documentation (10 stills or up to 3 minutes of video).

All submissions are due 31 May 2012 and should be emailed to codeconference@groupwise.swin.edu.au

Please include your name, affiliation, contact details, and a brief bio.

A special journal issue or edited collection on the conference theme is planned.

FURTHER INFORMATION
- Conference website: http://code2012.wikidot.com (includes venue and registration information, venue, thematic discussion, reading list, etc.)

CFP: Melancholia: Imaging the End of the World

A sempre atenta Ana Luiza Araujo me enviou essa chamada para um evento cuja temática eu achei muito boa. Reparem que o evento é em 2013, portanto os organizadores entendem o fim do mundo enquanto um imaginário ou torcem para estar vivos até lá

CFP: Melancholia: Imaging the End of the World (8/1/12; 6/5-7/13)

Call for Papers International Conference at Philipps University, Marburg, Germany June 5-7, 2013

Organized by Central Connecticut State University and Marburg University “Melancholia: Imaging the End of the World”

Deadline for submissions: August 1, 2012

We live in a world at risk. Various prophecies and clandestine calendars point to the end of the world, while serious theorists engage with the idea of “scenario planning” as a scientific tool for the evaluation of the future. Even the fictions of contemporary reality and social life present narratives of decay and the end of a commonly shared social reality. The 21st century has, so far, been overwhelmed by these references to catastrophic future scenarios: nuclear factories will explode, climate change will lead to a devastated planet, anthrax will pollute the drinking water of a megalopolis. As leading futurologists Peter Schwartz and Doug Randall state, “We live in a world of surprises (…) yet even the most devastating surprises are inevitable.” Similarly, sociologist Craig Coulhon, future Director of the London School of Economics and Political Science, has advanced the idea of an “emergency imaginary” in order to underline the discontinous development of the future. Despite their orientation towards the future, these catastrophic scenarios function to organize present social reality, and all are reflected in our audiovisual media.

We seek papers on a broad spectrum of issues and historical moments that engage critically with the topic of Visions of the End of the World, in Film, Television and Digital Media. In the aftermath of 9/11, directors have dealt with the trauma of terrorism, and the outbreak of war, and the loss of control of our technology in many different ways. One result is the emergence of the American disaster film. Another is the translation of our anxiety about a changing global climate and geo-political relations into visions of the apocalypse. Still others articulate fears for the future of the planet by depicting chemical warfare, environmental disasters, or a human-made Armageddon. Other visions, including those formidably produced for television, translate those fears into a bleak picture of contemporary society. Our media has a long history of these portrayals. One of the earliest is certainly Orson Welles’ “War of the Worlds,” the infamous 1938 radio program about alien spaceships landing in a rural field in New Jersey (adapted into a movie in 2005). Another classic example is Chris Marker’s science fiction apocalyptic fairytale La Jetée (1962) that was adapated in Terry Gilliam’s film Twelve Monkies (1995). Stanley Kubrick’s grotesque tale Dr. Strangelove: Or How I Learned To stop Worrying and Love the Bomb (1964) about the nuclear holocaust may also belong in this series of early treatments of our topic. More recent depictions of the end of the world are Terry Gilliam’s Brazil (1985), Michael Haneke’s Time of the Wolf (2003), and even Andrew Stanton’s children’s film, Wall-E (2008). Two years ago John Hillcoat’s The Road (2009) made headlines, and 2011 brought numerous Visions of the End of the World to the screen: from Lars von Trier’s Melancholia (our conference namesake), to Jeff Nichols’ Take Shelter (2011), to one of the first 9/11 adptations by Stephen Dauldry, Extremely Loud and Incredibly Close (2011).

Possible topics include, but are not limited to, the following: Climate Change and Other Environmental Disasters Life after Death: the World Underground Responses to 9/11 No food, No Water: Living the Apocalypse on Earth Zombies and the End of Civilized Society The End of Planet Earth Mad Scientists and Nuclear End of the World Surviving the Apocalypse Tsunamis, Tidal Waves and Meteors Alien Invasions and Time Travel Erosions of Society Surveillance Culture Please submit 500 word abstracts to both conference organizers. The completed papers will be due on May 1, 2013. Each presenter will have 15-20 minutes for presentation, in order to allow for 15 minutes of discussion. Panels will consist of three presenters and run 1:15 min. Rooms will be equipped with computers, projectors, access to the internet. You are welcome to bring your own laptops with connectors. Please be aware that Germany’s standard system is Pal not NTSC, if you choose to include film clips. Please indicate if you may be willing to Chair a panel.

Prof. Dr. Angela Krewani Karen A. Ritzenhoff, Ph.D. Philipps University, Marburg, Germany Professor, Dept. of Communication Institut für Medienwissenschaft Women, Gender and Sexuality St. Philipps University Central Connecticut State University Wilhelm Röpke Str.6A 1615 Stanley Street Tel: 011-49-(0)-6421-2824691 Tel.: (860)-832-2692 email: krewani@staff.uni-marburg.de e-mail: Ritzenhoffk@CCSU.edu

CfP CATaC’12: Beyond the digital/cultural divide: in/visibility and new media

Charles Ess informa através da lista da Air-L que o prazo para o envio de trabalhos da CATaC’12: Beyond the digital/cultural divide: in/visibility and new media foi ampliado para o dia 31 de Março com notificação dos aceites para o dia 20 de Abril de 2012. O evento acontecerá de 18 a 20 de Junho em Aarhus, Dinamarca. Abaixo o aviso sobre a expansão do deadline e detalhes sobre a chamada.

CATaC (Cultural Attitudes towards Technology and Communication)

CFP for CATaC’12: Beyond the digital/cultural divide: in/visibility and new media (June 18-20, 2012, Aarhus, Denmark).

Dear Colleagues,
In response to continuing requests, we are extending the submission deadline for CATaC’12 to March 31, 2012, with final notification of acceptance by April 5, 2012.  Deadline for earlybird registration, as noted below, is April 20, 2012.

We continue to solicit either full papers (10-15 formatted pages), short papers (3-5 formatted pages), and/or panel proposals. To submit a paper and/or panel proposal, please find your way to www.catacconference.org, click on the Submissions tab, and then find the red-lettered “Click here to submit your papers and panel proposals” which will take you to the submission site.

Our 2012 conference, as the title suggests, begins with the recognition that the ongoing issues and challenges clustering around digital divides – often involving mutually reinforcing cultural divides – extends beyond classic and stubborn problems of access to new media and communication technologies.

For example, matters of representation come into play, issuing in a cluster of questions:

• Whose images and words are seen/presented/promoted and whose aren’t? And why?
• If activists are using new media to represent realities of, say, oppressed indigenous people in a given country, is this better than no visibility at all, even if the people in question do not have access or skills to present themselves as subjects?

In particular:

• Local and indigenous HCI/ID is about making visible the semiotic scripts and political processes of meaning construction that shape the process of technology design and knowledge representation from a sociotechnical perspective. Making visible these scripts enables the assessment of the value of these tools and frameworks from indigenous and/or local perspectives. Key concerns here are (1) to examine the meaning and validity of democratic values that drive participatory design as a discipline, and (2) to question ‘exported’ representations of what constitutes good usability and user experience.

And:

• How do new practices of cloaking messages in otherwise public or semi-public media; for example, the strategies of online steganography work to create intentional invisibility in otherwise visible spaces? Are there important culturally-variable elements in these practices that, when brought to the foreground, help illuminate and clarify them in new ways?

Finally:

• What are the role(s) of (culturally) diverse understandings and representations of gender in structuring the frameworks and practices of design and implementation. How do these roles foster the visibility of some vis-à-vis the invisibility of “others” (in Levinas’ sense, in particular)?

Additional submissions are encouraged that address further conference points of emphasis:

• Theoretical and practical approaches to analyzing “culture”
• New layers of imaging and texting interactions fostering and/or threatening cultural diversity
• Impact of mobile technologies on privacy and surveillance
• Gender, sexuality and identity issues in social networks
• Cultural diversity in e-learning and/or m-learning
• Culturally-variable approaches to online identity management/creation, privacy, trust Copyright and intellectual property rights – recent developments, culturally-variable future directions?
• Culturally-variable responses to commodification in online environments

Both short (3-5 pages) and long (10-15 pages) original papers are sought for presentation. Panel proposals addressing a specific theme or topic are also encouraged.
On behalf of the organizing committee,
Charles Ess (Media Studies, Aarhus University, Denmark), Chair
Fay Sudweeks (Professor Emerita, Murdoch University, Australia), honorary
chair
Herbert Hrachovec (University of Vienna, Austria)
Leah Macfadyen (University of British Columbia, Canada)
Jose Abdelnour Nocera (University of West London, UK)
Kenneth Reeder (University of British Columbia, Canada)
Ylva Hård af Segerstad (Gothenburg University, Gothenburg, Sweden)
Michele M. Strano (Bridgewater College, Virginia, USA)
Andra Siibak (University of Tartu, Estonia)
Maja van der Velden (University of Oslo)

CfP: Ghost-Movies in Southeast Asia and beyond

Achei bem interessante a chamada de trabalhos abaixo para um evento sobre filmes de horror asiáticos com temáticas relacionadas a fantasmas. Recebi através da lista MediaAnthro. Informações abaixo.

Call for Papers

Ghost-Movies in Southeast Asia and beyond.

Narratives, cultural contexts, audiences

Workshop, Oct 3-6, 2012,

University of Goettingen, Social and Cultural Anthropology

Dynamics of Religion in Southeast Asia network (http://dorisea.de/en
<http://dorisea.de/en> )

Deadline for submission of abstracts: April 30th, 2012

Within the diverse and colorful religious landscape of Southeast Asia ghosts
and spirits play an important role, not only in the pre-modern past but also
in the post-colonial presence. Spirits become visible and audible in shrines
and temples, through trance mediums and by the means of performance, but also
in mass media such as TV-series, blockbuster cinema, cartoons and tabloids.
This holds true for rapidly transforming societies such as Thailand, Taiwan,
Vietnam, Singapore or Indonesia, to mention only few examples.

Whereas a good deal of studies focus on spirit cults and spirit-mediumship,
the realm of consumer culture, of entertainment and the popular is rather
unexplored when it comes to “ghostly matters”. In the late 1990s, right in
the middle of the Asian crisis, ghost-movies became great box-office hits.
J-Horror, a brand name for the most exquisite cinematic thrill by then,
stimulated ghost-movie productions in Korea, Thailand, Taiwan, Hongkong, and
Singapore.

Frenzy, ghastly homicides, terror attacks, communication with unredeemed
(Un)dead, vengeful (female-)ghosts and their terrifying grip on the living -
all this is part of popular TV- and film-entertainment. Such films are
world-view mirrors but also enhancers of morals and convictions. They reflect
traumatic events of the past, but can also be used as instruments of social
criticism, ironic or moral comments, or as validation of magical machinations
behind a mundane surface.

However, the audience of the extremely popular ghost-genre is largely
unknown.

The workshop aims at film-reception research and the comparative analysis of
ghost-discourses in the realm of popular culture of various Southeast Asian
countries and beyond. Methodological problems involved should be taken as
special challenges in this workshop.

What are the sources on which such film narratives are based (myths, urban
legends, stage drama, social drama, literary fiction, crime)? What kind of
people (age, gender, class, education) become horror-movie fans? Why do
people like to be scared (and pay for this experience)? Are ghost-movie
morals perceived as conservative or anarchistic, or do they back middle-class
values? In what ways is scary entertainment related to worldviews, politics,
aspirations and religious convictions of the (middle-class) audience? Do
“tele-visions of the otherworldly” promote forms of imaginations that
undermine (or stabilize) the dominant knowledge formations? How about
violence and terror in such movies? What about irony and overt critique as
stylistic devices of the ghost-film genre? Are the products of the film
industry sources of re-enchantment, or do they simply produce forms of “banal
religion”, or do we need different analytical categories, beyond the
enchantment-disenchantment metaphor?

Deadline for submission of abstracts: April 30th, 2012. Please submit an
abstract of not more than 300 words to pbraeun@uni-goettingen.de.

Peter J. Braeunlein

————————
Goettingen University
DORISEA – Dynamics of Religion in Southeast Asia
Deptm of Social and Cultural Anthropology
Berliner Str. 28
D-37073 Goettingen
Germany
www.dorisea.de/en/node/540

CfP Internet Research 13.0: Technologies

Já saiu a chamada para envio de trabalhos para o congresso anual da Aoir. Esse ano o evento acontecerá na University of Salford, Greater Manchester, no Reino Unido durante os dias 18 a 21 de Outubro de 2012. O deadline esse ano já vem ampliado para o dia 01 de Março de 2012 (normalmente costumava ser em fevereiro). A temática central do congresso nesse ano são as tecnologias em geral.

Informações completas e normas em ir13.aoir.org

The 13th Annual International and Interdisciplinary Conference of the Association of Internet Researchers (AoIR)

Internet Research 13.0 will focus on the theme of technologies, understood in the broadest sense as crafts, techniques, and systems. The conference will examine the place of the Internet in the contemporary world and in relation to a range of existing and emerging technologies, considering its impact in a context where life is entangled with technologies of all kinds as never before. The conference will bring together scholars, researchers, students and practitioners from many disciplines to map and situate the development of the Internet as part of the history of human technology.

To this end, we call for papers, panel and pre-conference workshop proposals from any discipline, methodology, community or a combination of them that address the conference themes, including, but not limited to, papers that intersect and/or interconnect with the following:

• the speed and acceleration of technological change
• 
the past, present and future of technology
• emerging and converging technologies
• educational technology
• cultures of crafting
• connectivity and access
• space, location and mobile technologies
• technology, networks and attachments
• 
technology and the body
• 
technologies of the self
• technology, regulation and ethics
  

  Deadlines

  • 

Submissions Due: 1 March 2012 (Papers, Panels and Pre-Workshops. Details below.)
  NOTE: The submission deadline is a HARD DEADLINE; there will be NO extensions to this date.
  • Notification: 1 May 2012
  • Full Papers Submissions Due for inclusion in Selected Papers of IR: 1 July 2012
  • Ignite-IR Final Proposal Deadline: 1 August 2012
  • Ignite-IR Slides Due: 15 September 2012

CfP 17o. Congreso Bienal de IASPM – International Association for the Study of Popular Music

O colega Felipe Trotta (UFPE)  enviou a chamada do próximo congresso da IASPM – International Association for the Study of Popular Music – que acontecerá na Espanha em junho de 2013. Corrão que o deadline vai até dia 01 de Abril de 2012 (e não é pegadinha). Simon Frith como conferencista é uma baita pedida.

Mais infos em:

http://www.iaspm.net/iaspm-17th-biennial-conference%E2%80%8F/

Call for papers
Bridge Over Troubled Waters – Puente sobre aguas turbulentas: desafiando ortodoxias
17º Congreso Bienal de IASPM

24-28 de junio de 2013
Universidad de Oviedo
Lugar: Gijón, España

Los estudios de música popular urbana en toda su interdisciplinaridad se han caracterizado por el encuentro, el diálogo y el intercambio. Nuestro título “Puente sobre aguas turbulentas” toma la triple metáfora del puente, que sugiere encuentros y comunicación; la turbulencia, que indica tensión y luchas de poder; y el agua, que alude a flujos y viajes, como suelo fértil para el 17º Congreso bienal de IASPM. Proponemos cinco ejes temáticos (TRACKS) que abordan música popular e historia, marginalidad, copyright, colectividades y espacio, estando todos los ejes atravesados por el tópico de la tecnología.

Invitamos a presentar propuestas de participación de no más de 200 PALABRAS, incluyendo CINCO PALABRAS CLAVE. Se ofrece la opción de presentar ponencias individuales, paneles, videos o pósters. Para presentar su propuesta, por favor REGÍSTRESE como autor (“author”) en la página web del congreso y siga las instrucciones:

http://www.iaspm.net/proceedings/index.php/iaspm2013/IASPM17th/user/account

Se aceptarán propuestas en inglés, idioma oficial de IASPM, y en español.

Conferenciantes confirmados:

Prof. Bruce Johnson, Macquarie University/University of Turku
Prof. Francisco Cruces Villalobos, Universidad Nacional de Educación a Distancia (UNED)
Prof. Simon Frith, University of Edinburgh

Comité científico:

Celsa Alonso (Universidad de Oviedo)
Shelley Brunt (RMIT University)
Héctor Fouce (Universidad Complutense de Madrid/Universitat Oberta de Catalunya/IASPM Exec)
Laura Francisca Jordán González (Université Laval/IASPM Exec)
Rubén López Cano (Escola Superior de Música de Catalunya)
Alejandro L. Madrid (University of Illinois at Chicago)
Ed Montano (RMIT University/IASPM Exec)
Carlo Nardi (University of Northampton/IASPM Exec)
Robert Strachan (University of Liverpool)
Martha Tupinambá de Ulhôa (UNIRIO/IASPM Exec, Chair)
Nabeel Zuberi (University of Auckland)

Comité organizador local:

Eduardo Viñuela, Universidad de Oviedo, Coordinador.

Ejes temátios del congreso:

1. “Yesterdays” [Ayeres] – Música popular urbana hasta 1950*
Coordinadora: Martha Ulhôa, Universidade Federal do Estado do Rio de Janeiro – UNIRIO

La investigación histórica de la música popular está siendo ampliada y resulta más factible con el aumento del acceso en línea a antiguas y nuevas tecnologías. Desde los discos de 78 rpm hasta las partituras tempranas de música “de entretenimiento” o “ligera”, pasando por una gran variedad de periódicos y notas de viaje decimonónicas, las fuentes primarias se vuelven cada vez más accesibles. Sin embargo, la investigación de la música “popular” del pasado presenta desafíos tanto metodológicos como terminológicos al investigador, que tiene que hacer frente a diversos niveles de recepción y, en ocasiones, cuestionar y desmontar ciertos tópicos que han sido asentados con el paso de los años en torno a las prácticas musicales. Este eje temático pretende tratar cuestiones como ¿cuáles son los métodos usados en el siglo XXI para abordar la música popular a través del marco de los documentos del pasado y sus ‘antiguas’
tecnologías? Invitamos a presentar comunicaciones desde cualquier perspectiva teórica de las humanidades y las ciencias sociales. Éstas serán agrupadas según tipos de producción o difusión musical (instrumentos mecánicos, chapbooks, material de archivo, fonogramas, compañías discográficas, casetes, filmes, teatro musical, etc.).

* La Junta Directiva de IASPM agradece a Bruce Johnson la idea de este eje temático que, debido al posterior fallecimiento de Charles Hamm, se convirtió en un homenaje al primer presidente de IASPM y a una figura ejemplar para la historia de la música popular.

2. “Under the bridge” [Debajo del puente] – Música popular en los márgenes
Coordinador: Carlo Nardi, University of Northampton

La lucha del recién llegado por conseguir visibilidad, el aura de autenticidad del desamparado, la aparente paradoja de lo que Umberto Fiori llamó la “música popular impopular”… Aunque de diferentes maneras y en diferentes grados, todos son ejemplos que sugieren una tensión presente entre lo “popular” y la música así denominada. De la misma manera que se desarrollan nuevas formas de cultura popular con la industrialización, la migración y la urbanización, la música ha estado presente en las nuevas formas de exclusión.  Este eje temático acepta propuestas que traten la marginalización o estigmatización de formas musicales, músicos y estudios musicales, así como temas que relacionen la música con la anomalía, el crimen, la violencia, las políticas estatales y los programas sociales de las instituciones.

3. “Rivers of Babylon” [Ríos de Babilonia] – Copyright, tecnología y creatividad
Convenor: Héctor Fouce, Universidad Complutense de Madrid/Universitat Oberta de Catalunya

Las fuentes básicas de la creatividad musical han sido tradicionalmente la repetición y la variación, es decir,  la reelaboración de materiales sonoros compartidos por la comunidad en el espacio público para crear nuevas formas sonoras. Posiblemente muchas de las prácticas actuales encajan en esta idea, pero la creciente presión  de la regulación sobre propiedad intelectual crea un marco muy diferente. Las tecnologías digitales han permitido una multitud de fenómenos que se basan en cortar y pegar  (remixing, sampling, mashups), prácticas que sin duda enriquecen nuestro paisaje sonoro, pero también desafían las ortodoxias del copyright, a menudo conscientemente. En la Babilonia global las músicas circulan sin descanso y en consecuencia los autores pierden capacidad de control sobre sus obras. Las ponencias de esta sección podrían tratar cuestiones en torno a ¿cómo los usuarios se han apropiado de técnicas creativas de producción de
música digital?, ¿qué problemáticas tecnológicas, legales y culturales se relacionan con este escenario musical?, ¿cómo está reaccionando la industria ante el copyright?, ¿cómo ganan dinero productores y músicos cuando se descarga y se piratea?, ¿cómo están respondiendo los encargados de generar políticas y normativas a estas transformaciones estructurales y funcionales? ¿Dónde dejan las prácticas desarrolladas fuera de los canales convencionales a los defensores de las compañías discográficas y a los críticos musicales?

4. “Build a Bridge” [Construir un puente] – Músicas populares, colectividades y movimientos sociales
Coordinadora: Laura Jordán, Université Laval

Este eje temático invita a proponer ponencias sobre las variadas dimensiones de la relación entre músicas populares, colectividades y movimientos sociales. Más allá de límites geográficos, pueden incluirse comunidades virtuales, como Facebook, Twitter y Youtube. Aunque las construcciones ciudadanas y nacionales, así como la práctica musical en movimientos políticos son las asociaciones más comunes, los usos y significados de las músicas populares en colectividad podrían tener diferentes implicaciones, basadas en la etnia, la edad o el género, por ejemplo. Por lo demás, los conflictos en torno a prácticas colectivas, tales como la censura y las luchas indentitarias, normalmente integran una dimensión musical. La propuesta de paneles que discutan un tópico particular desde diversas perspectivas son especialmente bienvenidos.

5. “Sail Away” [Navega] – Ciudades, mar, viaje, lugar y espacio
Coordinador: Ed Montano, RMIT University

Este eje temático invita a proponer ponencias que interroguen las articulaciones locales, los flujos transnacionales y las manifestaciones globales de la música popular. Las ponencias que exploren escenas y sonidos desde fuera del eje angloamericano son particularmente bienvenidas. ¿Qué desafíos y críticas podemos proponer acerca de los supuestos y percepciones en torno a los vínculos entre música y lugar?, ¿podemos hablar aún en términos de imperialismo cultural, globalización, escenas y subculturas?, ¿es cierto que la expansión de los medios y redes sociales, así como el choque cultural ultra veloz facilitado por la web, han desprendido a la música de la tiranía de la distancia? ¿Cómo continúan la geografía y el paisaje inspirando e influyendo a autores y compositores de canciones?

Calendario de plazos:

Fin presentación de propuestas: 1º de abril de 2012
Notificaciones de aceptación: 1º de julio 2012 (1 año antes del congreso)
Borrador del programa: 1º de febrero de 2013
Presentación versiones finales de resúmenes: 1º de mayo de 2013
Fechas del congreso: 24-28 de junio de 2013
Envío de textos para publicación en actas: 30 de julio de 2013 (1 mes después del congreso)
Apertura del periodo de inscripción: julio de 2012
Fecha límite para inscripciones tempranas: 20 de febrero de 2013

Instrucciones para la presentación de propuestas:

Los RESÚMENES (“abstracts”) deben tener como máximo 200 PALABRAS y deben incluir las CINCO PALABRAS CLAVE que mejor describan el tema de la propuesta.

Las propuestas deben ser enviadas a través de la página web del congreso:

http://www.iaspm.net/proceedings/index.php/iaspm2013/

1. Para presentar su propuesta, por favor, REGÍSTRESE como “autor” (“author”) en la página web del congreso:

http://www.iaspm.net/proceedings/index.php/iaspm2013/IASPM17th/user/account

Durante el proceso de inscripción se le solicitará su NOMBRE, DIRECCIÓN DE CORREO ELECTRÓNICO, AFILIACIÓN INSTITUCIONAL y PAÍS DE PROCEDENCIA. Por favor incluya una breve sinopsis biográfica o CV en la sección “Bio”. Una confirmación de la inscripción, incluyendo nombre de usuario y contraseña, le será enviada a su dirección de correo electrónico.

Tenga en cuenta que usaremos su correo electrónico de inscripción para cualquier correspondencia posterior. Aunque es posible cambiar su dirección de correo posteriormente, se recomienda mantener una única dirección de correo electrónico.

2. Vaya a “Inicio Usuario” (“User Home”):

http://www.iaspm.net/proceedings/index.php/index/IASPM17th/user

3. Haga click en “nueva presentación de propuesta” (“new submissions”) y siga las instrucciones.

Se le solicitará elegir un EJE TEMÁTICO (“track”) y un TIPO DE SESIÓN (ponencia individual, panel, película/video o póster). Luego introduzca el TÍTULO (“title”) de su presentación. El texto del RESUMEN (“abstract”), incluyendo las cinco palabras clave, podrá ser redactado directamente en el sistema de inscripción.

FECHA LÍMITE para enviar propuestas: 1 de abril de 2012

Para asistencia técnica, no dude en contactar con nosotros

info.iaspm2013@gmail.com

¡Esperamos recibir su propuesta!

Comité Ejecutivo de IASPM

Rubén López Cano
http://www.lopezcano.net

CfP CATaC¹12 – Cultural Attitudes towards Technology and Communication

CATaC¹12 (Cultural Attitudes towards Technology and Communication) ­ Call for Papers, Panel Proposals
Conference theme: Beyond the digital/cultural divide: in/visibility and new media.

The conference will take place June 18-20, 2012, at Aarhus University, Aarhus, Denmark. A pre-conference field trip will help us explore local sites of historical and contemporary significance in the development and deployment of diverse communication technologies. The conference dinner will feature some of the best of new Scandinavian cuisine at Nordens Folkekøkken,
Aarhus http://www.nordensfolkekokken.dk/.

Keynote speakers
* Dr. Rasha Abdullah (Associate Professor and Chair of the Journalism & Mass
Communication Department, The American University in Cairo). Provisional
title: ³Lessons from Egypt: the roles and limits of social media in
political activism and transformation.²

* Dr. Randi Markussen (Associate Professor and Head of Group, ³Technologies
in Practice,² IT University of Copenhagen).  Provisional title: ³E-Voting
and Public Control of Elections.²

The biennial CATaC conference series, begun in 1998, has become a premier international forum for current research on the complex interactions between culturally-variable norms, practices, and communication preferences, and interaction with the design, implementation and use of information and communication technologies (ICTs).   CATaC has been ranked by the Australian Research Council among the top 20% of conferences in terms of international impact and significance.

Our 2012 conference, as the title suggests, begins with the recognition that the ongoing issues and challenges clustering around digital divides – often involving mutually reinforcing cultural divides – extends beyond classic and stubborn problems of access to new media and communication technologies. Additional submissions are encouraged that address further conference
points of emphasis:

- Theoretical and practical approaches to analyzing ‘culture’
- New layers of imaging and texting interactions fostering and/or
threatening cultural diversity
- Impact of mobile technologies on privacy and surveillance
- Gender, sexuality and identity issues in social networks
- Cultural diversity in e-learning and/or m-learning
- Culturally-variable approaches to online identity management/creation,
privacy, trust Copyright and intellectual property rights: recent
developments, culturally-variable future directions
- Culturally-variable responses to commodification in online environments

For further details on conference themes and topics, please see the
conference website, <catacconferences.org>.

Both short (3-5 pages) and long (10-15 pages) original papers are sought for presentation.  Panel proposals addressing a specific theme or topic are also encouraged.

IMPORTANT DATES:
Submission of papers (short or full), panel proposals: 17 February 2012
Notification of acceptance: 16 March 2012
Final formatted papers (for conference proceedings): 19 April 2012
Conference: 18-20 June 2012

Registration fees (including pre-conference field trip and conference
dinner)
Earlybird (until April 20, 2012):
Full: $515.00
Reviewer: $495.00
Author: $495.00
Author & Reviewer: $475.00
Student: $400.00
(After April 20, 2012, add $50.00)

The primary conference hotel is First Hotel Atlantic
(<http://www.firsthotels.com/Our-hotels/Hotels-in-Denmark/Aarhus/First-Hotel
-Atlantic/>)  Conference participants will receive a discounted rate for
accommodations.

Additional accommodations are also available: more details soon on the
conference website, along with further details regarding program, submission
and registration procedures, travel, etc.

We look forward to welcoming you to Aarhus next June!

Charles Ess (IMV, Aarhus University, Denmark), Chair
Fay Sudweeks (Professor Emerita, Murdoch University, Australia), honorary
chair
Herbert Hrachovec (University of Vienna, Austria)
Leah Macfadyen (University of British Columbia, Canada)
Jose Abdelnour Nocera (University of West London, UK)
Kenneth Reeder (University of British Columbia, Canada)
Ylva Hård af Segerstad (Gothenburg University, Gothenburg, Sweden)
Michele M. Strano (Bridgewater College, Virginia, USA)
Andra Siibak (University of Tartu, Estonia)
Maja van der Velden (University of Oslo)

Chamada para a Revista Contracampo. Dossiê Sociabilidades em Redes

Está aberta a chamada para artigos da edição de número 24 da Contracampo – Revista do Programa de Pós-graduação em Comunicação/UFF. A edição reunirá, na seção Ensaios Temáticos, contribuições que reflitam em torno do tema Sociabilidades em redes. A noção de sociabilidade se refere a modos de interação, diálogo e interlocução entre sujeitos e grupos, conduzindo à ideia de que tais interações conformam identidades culturais e subjetividades. O foco da seção será refletir de que modo tais práticas se reconfiguram na contemporaneidade, atravessada pela centralidade da cultura midiatica e, mais especificamente pela era digital. Aceitaremos também submissões de Artigos de Temáticas Diversas ampliando com isso a circulação das investigações pertinentes ao campo da comunicação.

Prazo final de submissão de textos: 15 de março de 2012

 Toda a submissão deve ser feita através do site http://www.uff.br/contracampo/. Qualquer dúvida, entrar em contato através do email contracampo.uff@gmail.com

Marco Roxo e Mariana Baltar – editores, em nome da Equipe Editorial.

http://www.uff.br/contracampo/

CfP You, Me, User – Conference on User-Generated Culture

Mais uma chamada que parece interessante. Recomendado para quem pesquisa sobre Conteúdo Gerado pelos Usuários. A dica veio através da lista da Aoir.

CALL FOR PAPERS

You, Me, User – Conference on User-Generated Culture
Friday 25, May – Saturday 26, May 2012 in Helsinki.

From social media to video games and from online fan production to machinima the phenomenon of user-generated culture has secured its position in the mainstream during the last few years. This shift has resulted from the blurring boundaries between media production and consumption as well as between professional and amateur authorship. The phenomenon is claimed to be characterized by collaboration, accessibility and democratic potential. During the You, Me, User Conference we approach the user-generated culture, or in other words, multiple situations where culture becomes modified, produced and distributed through everyday practices, social and new media.

The Finnish Society for Cinema Studies (SETS) invites presentations which explore the questions surrounding user-generated culture. The conference will bring together Finnish and international scholars of a wide range of relevant fields of studies. The conference will offer a chance to focus on a new and active field of study and is open to presentations from a wide spectrum.

Keynote speeches are delivered by David Buckingham and Frans Mäyrä.

Professor David Buckingham (Loughborough University) is a media education researcher.  He is especially interested in children’s and young people’s interactions with electronic media, consumer culture and civic participation. His most recent book is The Material Child: Growing Up in Consumer Culture (2011).

Professor Frans Mäyrä (University of Tampere) has focused on media culture, digital media and games. He leads an interdisciplinary research group on games study where game culture, players, their activities and gameplay experiences are approached. Mäyrä has published Introduction to Game Studies: Games in Culture (2008), for example.

We seek paper proposals from various fields, such as film, television, games, internet, music, art, literature etc. It is our intention to organize the symposium around questions, such as:
•    What is user-generated culture and how to conceptualize it?
•    Changes in the distribution channels of audiovisual media due to user-generated culture
•    Changes in the consumption of audiovisual media due to user-generated culture
•    Fan as an author?
•    How does user-generated culture blur the boundaries of production and consumption?
•    Politically, socially or culturally significant forms of user-generated culture.
•    Global and local implications of user-generated culture.
•    Does user-generated culture produce new forms of community?
•    Problems of control and copyright in user-generated culture.
•    Does user-generated culture produce new forms of community?

What are the problematic dimensions of user-generated culture (censorship, legal issues etc.)

Proposals including an abstract (max 300 words) and a short CV should be submitted to Conference Secretary Maija Uusitalo by email: amkuus@utu.fi by 19.2.2012 at latest. Notification of acceptance will be sent by 1.3.2012.

Organizers:  Finnish Society of Film Research in concert with National Audivisual Archive, Media Studies (University of Turku), Cinema and Television Studies (University of Helsinki), Aalto University, School of Communication, Media and Theatre (University of Tampere) and Koulukino.

More information:

http://sets.wordpress.com/user-generated-conference/

CFP ISMIR 2012 – International Society for Music Information Retrieval Conference

Iniciando 2012 com uma chamada bem interessante enviada pela Suely Fragoso.

Já ouvi falar muito sobre essa conferência – International Society For Music Information Retrieval Conference – a partir de diversos pesquisadores internacionais, entretanto nunca participei. Nesse ano o evento vai ser na cidade de Porto, em Portugal, de 08 a 12 de Outubro. E ao deadline de envio dos paper é bem razoável: 12 de Abril.

The annual Conference of the International Society for Music Information Retrieval (ISMIR) is the world’s leading research forum on processing, searching, organizing and accessing music-related data. The revolution in music distribution and storage brought about by digital technology has fueled tremendous research activities and interests in academia as well as in industry. The ISMIR Conference reflects this rapid development by providing a meeting place for the discussion of MIR-related research, developments, methods, tools and experimental results. Its main goal is to foster multidisciplinary exchange by bringing together researchers and developers, educators and librarians, as well as students and professional users.

Atenção para as áreas da chamada:

 Call for papers

ISMIR 2012 welcomes paper submissions for oral or poster presentation in the (non-exclusive) areas of:

• content-based querying and retrieval
• database systems, indexing and query
• fingerprinting and digital rights management
• music transcription and annotation
• music signal processing
• sound source separation in music signals
• score following, audio alignment and music synchronization
• optical music recognition
• melody and motives
• rhythm, beat, tempo and form
• harmony, chords and tonality
• timbre, instrumentation and voice
• performance analysis
• modification and transformation of music data
• computational musicology
• music perception and cognition
• emotion and aesthetics
• applications of MIR to the performing arts and multimedia
• automatic classification
• genre, style and mood analysis
• similarity metrics
• music summarization
• user interfaces and user models
• music recommendation and playlist generation
• text and web mining
• knowledge representation, social tags and metadata
• libraries, archives and digital collections
• evaluation and annotation issues
• methodological and philosophical issues
• social, legal, ethical and business issues
• applications to traditional/folk/ethnic music

Atenção aos deadlines das diferentes modalidades de trabalhos:

Tutorials deadline:

12th March 2012

Notification of acceptance for Tutorials:

13th April 2012

Papers/Posters and Music deadline:

13th April 2012

Notification of acceptance for Papers/Posters and Music:

18th June 2012

Early registration starts:

18th June 2012

Informações a respeito das submissões em ismir2012.ismir.net/authors/submission

Twitter: @ismir2012

Facebook: www.facebook.com/pages/Ismir2012/232998570098530