CFP: Game of Thrones – An International Conference

CFP: Game of Thrones – An International Conference

6-8 September 2017

University of Hertfordshire, School of Creative Arts, College Lane, Hatfield, Hertfordshire,
AL10 9AB

Deadline for proposals: 30 March 2017

Email: GOTconf2017@herts.ac.uk

Widely rumoured to be moving into its final season, HBO’s
Game of Thrones (2011- ) has enjoyed 6 years of global popularity, attracting international scholarly and critical attention and reaching record-breaking audiences.  Famously adapted from George R.R. Martin’s book series, ‘A Song of Ice and Fire’, HBO’s
medieval fantasy world spans two continents, Westeros and Essos, and focuses on the power struggles between competing dynasties for possession of the Iron Throne and ultimate power over the Seven Kingdoms.  It is not only political intrigue that threatens
the inhabitants of this world, however, as dragons, witches, giants and whitewalkers also stalk its shores.

Not just a simple fantasy series, Game of Thrones has been likened to ‘The Sopranos in Middle-Earth’ by showrunner David Benioff and is notorious for its controversial storylines, particularly those centred on its women.  Rape, incest and power brokering through marriage reveal a patriarchal society in which political intrigue is not always gendered but inevitably leads to uneasy alliances between families – both friend and foe – and violent ends for many. Game of Thrones continues to enrage and enthral a global audience unsure if the series is misogynist, feminist or anti-feminist; or an uncomfortable blend of all three.

Populated by a large ensemble cast (reputedly the largest on television today), Game of Thrones is filmed in many global locations: Belfast to Morrocco and Dubrovnik to Iceland, the series has impacted upon the tourist economies as well as providing employment for a vast array of ‘behind-the scenes’ personnel from post production and special effects designers through to technicians, production designers, directors and producers to camera
operators, editors and carpenters (to name but a few).  The series has also spawned a vast merchandising enterprise from models to games and comics to spin-off books.  In short, the production of Game of Thrones has played a large part in the creative industries since 2010 through the many employment opportunities it has offered transnationally.

This international conference invites proposals on a wide range of subjects.  While there have been several significant studies on the seriesits adaptation from literature to television as well as its multimedia engagements, Lozano Delmar, Javier; Raya Bravo, Irene; López Rodríguez, Francisco Javier (Eds.), Reyes, Espadas, Cuervos Y Dragones. Estudio Del Fenómeno Televisivo Juego De Tronos. Madrid, Fragua. Colección Fragua Comunicación, 2013 (to name but three). This conference aims to widen the scope to include contributions from all aspects of the creative industries.  We hope this conference will offer an opportunity to open up the discussion, make links between practitioners and theorists, industry personnel and critics as well as key creative personnel who have worked on the series.

Short abstracts (250 words + bio) are invited on any Game of Thrones related subject by 30 March 2017.  Varied presentation styles are encouraged, including formal papers (20 mins), fully formed panels, poster and digital presentations as well as roundtable discussions, short/lightning presentations (5 mins) and PechaKucha (20X20).  Proposals for fully formed sessions will also be considered.  All abstracts and proposals will be peer-reviewed and a response will be sent by
31 May 2017.

Please email all proposals to Kim Akass at
GOTconf2017@herts.ac.uk

Keynotes will be announced in the near future and publishing opportunities are currently being sought.

CfP Performance and the Body

Call for Papers: The Velvet Light Trap #77 – Performance and the Body

Deadline: January 15, 2015

Historically, studies of performance have often been tied to star images, focusing on issues of celebrity in professional, public, and private spaces. As a result, a large body of research has explored how the star is constructed through extratextual discourses and how this off-screen persona may shape perceptions of on-screen performance. However, scholarly attention to performers has been shifting from star image and celebrity to acting and performance. Several collections on film acting and performance – most recently Cynthia Baron and Sharon Marie Carnicke’s Reframing Screen Performance (2008) and Aaron Taylor’s Theorizing Film Acting (2012) – have extended our knowledge of the historical evolution of acting practices. The editors of The Velvet Light Trap would like to further the ongoing conversation surrounding performance studies by focusing attention on the relationship between performance and the body and the ways in which the body is being performed across the mediums of film, television, and new media.

Such unavoidably embodied performances as Buster Keaton’s physical comedy and Misty Copeland’s athletic Under Armour ad serve to foreground a fundamental, yet often taken for granted, premise: the body is the central locus of performance. Through movement, gesture, facial expressions, and vocalizations, the body provides the basic physical language of performance. Yet this language is neither fixed nor ideologically neutral but is instead continuously shaped and reshaped by historical and cultural pressures brought to bear on the body as contested site of identity. Much scholarly work has been attentive to identity construction and the body: Judith Butler’s Gender Trouble (1990), Kathleen Rowe’s The Unruly Woman (1995), and Deborah Harris Moore’s Media and the Rhetoric of Body Perfection (2014), for example, have explored identity issues pertaining to body shaming, body disorders, bodily violence, expressions of sexuality, and gender and sexuality performativity. Moreover, as Baron, Diane Carson, and Frank Tomasulo argue in More than a Method (2004), performative mediations of the body “lie[] at the intersection of art, technology, and culture” (p. 1). Thus, the representational practices through which bodies are enacted offer particularly fertile ground for interrogating the production and reception of performance from both interpretive and historical perspectives. Recent developments in new media (such as video games, social media, YouTube) and digital technologies (such as motion capture, 3D, and Photoshop) may have shifted how the body is viewed, visualized, and altered. The body can now appear in otherwise impossible situations or be changed into otherwise impossible shapes.

Issue #77 of TVLT, “Performance and the Body,” seeks both to advance discussions of the centrality of the body to performance studies and to encourage greater scholarly attention to performative bodies across mediums. The editors are particularly interested in work focusing on the performance of the body through movement and voice; the aesthetic and ideological construction of performative bodies through fashion, makeup, body modification, and digital manipulations; and digital performance of virtual bodies. For this issue, the editors seek to bring together original scholarship that engages new theoretical frameworks, archival sources, and historical perspectives that encourage re-evaluations of this crucial aspect of media studies.

Suggested topics include, but are by no means limited to:

  • Performative bodies and the construction of identity (gender; sexuality; queerness; transgenderism; race; ethnicity; nationality; age; ability; political beliefs; nationalism)
  • Body modification as a performative practice (body augmentation and plastic surgery; extreme weight changes; the use of makeup and prosthetics)
  • Training the performing body (athletic training; military training; dance training; musical training; vocal training)
  • Performing bodily excess (representations of the drugged or drunken body; the grotesque body; death; illness; bodily violence; sex acts)
  • Performing the Other (blackface performance; racial masquerade; performing queerness; cross-gender performance; stereotyping bodies; voices; and accents)
  • The performance of the body through costume and dress
  • Laboring bodies (body doubles; stunt doubles; stand-ins; Steadicam operators)
  • Digital technologies and performance (performance in video and role-playing games; virtual reality user performance; digital resurrection; Photoshopping or airbrushing the body; robotic and non-human performers)
  • Performing animated bodies (vocal performance; motion-capture; rotoscoping; anatomical studies in producing animated bodies)
  • Supporting bodies (background performers; stand-ins; stunt performers)
  • Social media and YouTube (selfies; Instagram; YouTube makeup/fashion tutorials)
  • Non-traditional body performance studies (animal performance)
  • Genre and performance (action film performance and “hard bodies”; performing bodily humor; “body genres”)
  • The body and performance style (early cinema; silent/transitional; classical; Method acting; pastiching performance styles; performance styles in an actor’s “body of work”)
  • Performing “real” bodies (biopics; performers playing themselves; cameo performances)
  • Multiple bodies performing a single character and single performers representing multiple bodies (double casting; body/voice doubles; replacing performers in long-running texts)
  • Fans as performers/producers (reenacting and reproducing performances through cosplay; adjusting celebrity bodies in photo manipulations; fan art; and fan vids)

Submission Guidelines

Submissions should be between 8,000 and 10,000 words, formatted in Chicago style. Please submit an electronic copy of the paper, along with a separate one-page abstract, both saved as a Microsoft Word file. Remove any identifying information so that the submission is suitable for anonymous review. The entire essay, including block quotations and notes, should be double spaced. Photocopies of illustrations are sufficient for initial review, but authors should be prepared to supply camera-ready photographs on request. Illustrations will be sized by the publisher. Permissions are the responsibility of the author. Send electronic manuscripts and/or any questions to velvetlighttrap.austin@gmail.com.

About the Journal

TVLT is a scholarly, peer-reviewed journal of film, television, and new media. It publishes articles and interviews written with the highest scholarly standards yet accessible to a broad range of readers. The journal draws on a variety of theoretical and historiographic approaches from the humanities and social sciences and welcomes any effort that will help foster the ongoing processes of evaluation and negotiation in media history and criticism.

Graduate students at the University of Wisconsin at Madison and the University of Texas at Austin coordinate issues in alternation.TVLT’s Editorial Advisory Board includes such notable scholars as Charles Acland, Richard Allen, Mark Betz, Michael Curtin, Kay Dickinson, Scott Higgins, Jon Kraszewski, Nicholas Sammond, Jacob Smith, Jonathan Sterne, and Cristina Venegas. TVLT’s local advisors include: Mary Beltrán, Ben Brewster, Jonathan Gray, Michele Hilmes, Lea Jacobs, Derek Johnson, Vance Kepley, Shanti Kumar, Charles Ramírez Berg, Thomas Schatz, and Janet Staiger.

Chamada sobre Materialidades da Música na Era Digital. CFP Musical Materialities in the Digital Age

Até sexta-feira, 14 de março ainda é possível enviar abstracts (ver as normas abaixo) para o evento Musical Materialities in the Digital Age que acontecerá dias 27 e 28 de junho na University of Sussex, Inglaterra. Corre lá!

Call for Papers
Musical Materialities in the Digital Age
27-28 June 2014, University of Sussex

Keynote Speakers
Will Straw (Professor, Department of Art History and Communications Studies, McGill University; Director, McGill Institute for the Study of Canada)
Noel Lobley (Ethnomusicologist and Research Associate, Pitt Rivers Museum, University of Oxford)

Conference outline
Music, while summoning notions of intangibility, transience and loss, is also associated with material objects that serve to ground the musical, make the transient permanent and defer loss. Unearthing music’s association with materiality reveals a fascinating array of artefacts, including instruments, scores, transcribing devices, sound recordings and much more. Such artefacts provide vital reference points for historical research as well as inviting new creative uses, rediscoveries and (re)mediations. They also add to the ever-growing archives of past objects, whether stored in ‘physical’ or digital forms. Music’s material traces serve as vital ways of mediating memory, whether in private collections or public exhibitions. Furthermore, the use of musical ‘ephemera’ such as record sleeves, programmes, flyers and posters as a primary means for putting the popular musical past on display in museums and galleries has highlighted the ways in which such objects are not so ephemeral after all.

The persistence of musical artefacts and musical materialities following the period of their initial use value poses interesting questions. What is the fate of musical artefacts once they become obsolescent? What becomes of music and its objects once relegated to archives? What is the role of musical artefacts in helping us to understand the past? What is the relationship between the physical and the digital in terms of music’s objects? To what extent does a focus on music’s objects challenge the idea of music as a social process? Conversely, what role does musical materiality play in the maintenance and development of rituals long associated with music? What rituals reformulate musical materiality? What does the remediation of the musical past via ‘media archaeology’ have to tell us about present desires, anxieties and needs? What is the role of museums, galleries, sound archives and libraries in these processes?

Working from the premise that musical materiality matters, the aim of this two-day interdisciplinary conference (welcoming papers from media studies, music studies, cultural studies, museum studies, memory studies and other cognate disciplines) will be to reflect upon the materialities of music objects/technologies in the digital age, with an emphasis on:

– Processes of remediation
– Residual media of ‘dead media’
– Cultural waste
– Media archaeology (and particular manifestations relating to sound and music, e.g. ‘vinyl archaeology’)
– The recycling of memory and material culture
– The digital archive
– The future of music creation and consumption
– Nostalgia and ‘retromania’
– Music as ‘thing’ and/or ‘process’
– Commodification

The contexts of reception, production and circulation of digital objects as well as existence of residual media and formats (playback devices, vinyl records, etc.) could be examined. We would welcome papers focusing on theoretical approaches (considering for instance the meanings and implications of digitisation), but also papers on particular case-studies (for instance on specific formats and devices i.e. MP3s, iPods, etc. or specific creative and consumptive practices). A broader contextualisation of the historical and technological scapes within which the issues of materiality and remediation emerge would also be very useful.

The conference organisers welcome individual papers, proposals for panels and round table discussions, and proposals for practical demonstrations/performances related to the themes of the conference. For individual papers, demonstrations and performances, abstracts of no more than 300 words should be submitted. Panels and round table proposals should include a session overview, participant biographies and description of individual contributions. Abstracts and proposals (as well as event queries) should be sent to Dr Richard Elliott  (R.Elliott@sussex.ac.uk) by 14 March 2014.

Conference organisers
Richard Elliott, University of Sussex
Elodie Roy, Newcastle University

Dr Richard Elliott
Lecturer in Popular Music
School of Media, Film and Music
University of Sussex
Falmer
BN1 9RG

T: 01273 877271
E: R.Elliott@sussex.ac.uk

http://www.sussex.ac.uk/music/people/list/person/307949
http://sussex.academia.edu/RichardElliott

Chamada para o dossiê da Revista Infinite Earths sobre Noir Nórdico e a Invasão Escandinava

A revista Infinite Earths – infiniteearths.co.uk –  está fazendo um dossiê sobre Noir Nórdico e a Invasão Escandinava. Abaixo as informações.

Call For Contributors: Special Issue Of Infinite Earths – “Nordic Noir & The Scandinavian Invasion”

Since the publication and inordinate success of Stieg Larsson’s The Girl with the Dragon Tattoo series of novels globally, the genre of so-called ‘Nordic Noir’ has fast become a cultural phenomenon both in the United Kingdom and on the international stage. BBC Four’s recent broadcast of The Killing, The Bridge, Borgen and Wallander have been met with critical acclaim and influenced a surge in the popularity of Scandinavian Crime Fiction in film, perhaps more pointedly, literature. Lars Kepler, Jusse Adler-Olsen, Hakan Nesser, Jo Nesbo, and many more besides.

This special issue of Infinite Earths seeks contributions that analyse, dissect or review these texts from inter-disciplinary perspectives. The pieces should range from 1000 words onwards and may include reviews of TV series, books or films that fit within this purview.

The Bridge
The Killing (series and novels)
Borgen
Literature
Sjowall and Wahloo
Henning Mankell
Stieg Larsson
Hakan Nessen
Jo Nesbo (films and books)
Jan Costin Wagner

CfP 35th International Conference on the Fantastic in the Arts Empire

CALL FOR PAPER AND PANEL PROPOSALS
35th International Conference on the Fantastic in the Arts Empire
March 19-23, 2014
Marriott Orlando Airport Hotel

The ICFA welcomes papers on any aspect of the fantastic – broadly defined as including fantasy, science fiction, weird fiction, horror, gothic, and fairy tales – in Literature, Drama, Film, Music, Video Games and Comics. The Visual & Performing Arts and Audiences (VPAA) Division accepts papers on

  • visual arts such as comic books, paintings, architecture, sculpture, photographs and illustrations;
  • the performing arts, including (film, TV, game, pop/rock) music, dance and theater;
  • games, including fanfic, fan artwork and cosplay;
  • transformative texts, both fan and professional, including mashups and viral marketing;
  • and audience/reception studies concerning audiences for any medium or genre of the fantastic.
This year, we are particularly interested in topics related to our theme, Fantastic Empires. From space operas to horror film to pop/rock music, the fantastic abounds in fabulous empires. ICFA 35 will investigate the widest range of topics relating to empire, including discussions of particular texts/sounds/performances, analyses of the hegemonic and counterhegemonic forces of empire, evaluations of individual resistances to imperialism (and of empires striking back), and various other aspects of the theme. We welcome proposals for scholarly papers and discussion panels that seek to examine, interrogate, and expand any research related to empire and the fantastic.

For more information on the IAFA and its conference, the ICFA, see  http://iafa.highpoint.edu. Deadline for paper and panel proposals on the fantastic and/or empires is 31 October through the IAFA website, http://iafa.highpoint.edu/icfa-submissions/. The VPAA Division Head is Isabella van Elferen. Queries can be sent to her email address,  I.vanElferen@Kingston.ac.uk . Further contact information can be found below.

Please join us in Orlando in 2014.  We will add your intellectual and creative distinctiveness to our own.  Resistance is futile.

———————————————
Isabella van Elferen
Professor of Music
Kingston University London
Coombehurst House
Kingston Hill
KT2 7LB
United Kingdom
I.vanElferen@Kingston.ac.uk

Call for Papers: Neo-Victorian Cultures: The Victorians Today

Neo-Victorian Cultures: The Victorians Today
24-26 July 2013

Liverpool John Moores University

Keynote Speakers:

Dr. Helen Davies (Teesside University)

Prof. Margaret Stetz (University of Delaware)

A. N. Wilson (Author of The Victorians and The Potter’s Hand)

While aesthetic, political and artistic returns to the Victorians have been prevalent throughout the twentieth century, the last decade has seen a particular surge in scholarly work addressing the seemingly ever continuing desire to reassess and adapt Victorian texts, theories, ideas and customs. This work has focused in particular on manifestations of the neo-Victorian on page and on screen, and this conference seeks to build on but also expand these debates by bringing together writers, practitioners and researchers working on the lasting presence of the Victorians since 1901 in a wide variety of realms, ranging from art and architecture to science, politics, economics, fiction and film. In doing so, the event aims to further expand the vibrant field neo-Victorian studies both within and beyond the arts and humanities through an examination of the Victorians’ continuing influence on twentieth and twenty-first century culture. We therefore welcome and encourage abstracts from postgraduate students, academics and independent researchers from all academic realms in the hope of capturing the diverse work being done on Victorian afterlives across a wide spectrum of disciplines and across traditional disciplinary boundaries.

Topics may include, but are by no means limited to, the following:

* the ethics, politics and aesthetics of adaptation

* neo-Victorian politics, economies and economics

* neo-Victorianism on page, screen and canvas

* neo-Victorian subcultures

* the Victorians in contemporary architecture, art and design

* neo-Victorian journalism/ the Victorian press and contemporary journalism

* the Victorians in contemporary science and medicine

* the neo-Victorian canon

* teaching neo-Victorianism

* the neo-Victorian marketplace; marketing the (neo-)Victorians

* Steampunk

Presentations should take the form of 20-minute papers. We also welcome proposals for fully-formed panels or roundtables. For individual papers, please submit a 300-word abstract as well as a short biographical note. For panel and roundtable proposals, please provide a brief outline of the session’s aims together with abstracts and biographical notes for each speaker and for the proposed panel chair or discussant. All proposals should be emailed to the organizers at organisers@neovictoriancultures.org.uk<mailto:organisers@neovictoriancultures.org.uk> no later than 1 March 2013. Please do not hesitate to email us if you have any questions about the event. You can follow us on Twitter (@Neo_Vic_Cult), find more info at http://www.neovictoriancultures.org.uk/, and join us on Facebook (http://www.facebook.com/NeoVictorianCultures).

We look forward to receiving your proposals and hope to welcome you to LJMU in July!

The Organisers

Nadine Muller, Lucinda Matthews-Jones, Jonathan Cranfield

SIMSOCIAL – Simpósio de Pesquisa em Tecnologias Digitais e Sociabilidade

Em outubro estarei em Salvador participando da 2a edição de um evento que foi comentadíssimo no ano passado, o SIMSOCIAL – Simpósio de Pesquisa em Tecnologias Digitais e Sociabilidade, organizado pelo GITS – Grupo de Pesquisa em Interações, Tecnologias Digitais e Sociedade da UFBA. Abaixo, o release de divulgação do evento:

Ocorre nos dias 10 e 11 de outubro, na Universidade Federal da Bahia, o SIMSOCIAL – Simpósio de Pesquisa em Tecnologias Digitais e Sociabilidade. O evento, idealizado pelo GITS – Grupo de Pesquisa em Interações, Tecnologias Digitais e Sociedade, tem caráter acadêmico e se destina a promover debates e circulação de pesquisas sobre tecnologias digitais e sociabilidade.

Na programação, estão previstas atividades como conferências e apresentação de comunicações em núcleos temáticos, baseados em questões como consumo e estratégias de mercado, política e ativismo, dinâmicas interacionais, educação e aspectos cognitivos e práticas colaborativas. Como palestrantes e conferencistas, já estão confirmados importantes nomes como Adriana Amaral, André Lemos, Edvaldo Couto,Marcos Palácios, Raquel Recuero e Tânia Hetkowski.

Em sua segunda edição, o SIMSOCIAL tem como tema Práticas Interacionais em Rede e pretende agregar pesquisadores, professores e estudantes universitários, além de profissionais de instituições relacionadas ao campo da Cibercultura. Chamada de trabalhos e demais informações em http://www.gitsufba.net/simsocial.

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)