European Communication Research and Education Association
Koç University
Koç University, Department of Media and Visual Arts has two open rank, tenure-track positions: 1) Computational Social Sciences, 2) Interaction Design
1. Computational Social Sciences/Data Science
We are looking for scholars specializing in computational social sciences or data science. Areas of expertise include critical data studies, social media research, natural language processing. The ideal candidate should have applied experience in programming languages such as Laravel, Python, R. Prior experience of participation in interdisciplinary projects focusing on communication processes, critical algorithm studies, culture industries, and emerging media/ Related areas are also desirable. Awareness of and scholarly investment in how identity and social inequalities intersect with algorithms and big data is necessary.
Successful candidates will be expected to teach undergraduate and/or graduate courses and is expected to have an active research agenda. At the time of employment, candidates should have a PhD. We especially encourage applications from candidates whose research agenda is interdisciplinary. Salary is commensurate with qualifications and experience.
Koç University is a foundation-funded, non-profit institution located in Istanbul, Turkey. The university is committed to the pursuit of excellence in both research and teaching. The medium of instruction is English. MAVA at Koç University offers an interdisciplinary curriculum that emphasizes media studies, communications theory, media/arts management, film, production, visual and interaction design.
Applicants can submit applications electronically via https://academicjobsonline.org/ajo/jobs/15515
Deadline for submission of applications is 23 December 2019
2. Interaction Design:
Applicants should have a PhD in interaction design or a related field (product design, communication design, user experience design, and HCI) and have teaching and research track record in any one of the following areas:
We are looking for an innovative and dedicated applicant who will strengthen the research and teaching profiles of the department nationally and internationally as well as contributing to Koç University’s core activities in the areas of research, teaching and supervision, talent development and knowledge exchange.
The successful candidate will be expected to teach two undergraduate and/or graduate courses, have an active research agenda, as well as to contribute and collaborate effectively in our research and teaching community. Applicants with interdisciplinary research agenda and the ones who combine knowledge of design theory, methods and research techniques are highly encouraged. Salary is commensurate with qualifications and experience. Koç University is a foundation-funded, non-profit institution located in Istanbul, Turkey. The university is committed to the pursuit of excellence in both research and teaching. The medium of instruction is English. MAVA at Koç University offers an interdisciplinary curriculum that emphasizes media studies, communications theory, media/arts management, film,production, visual communication and interaction design.
Applicants can submit applications electronically via https://academicjobsonline.org/ajo/jobs/15514
Special issue of Science Fiction Studies
Deadline: December 31, 2019
We invite papers on the role of nostalgia as a structure of feeling that animates speculative, utopian, and (post)apocalyptic texts across media. Although there has been increasing critical attention to the role of memory in these genres, nostalgia is a neglected topic. We seek papers that explore nostalgia as affect and motif in the genre, following Jameson's description of sf as a mode of "apprehending the future as history" (1982), while discussing seemingly future-oriented texts such William Gibson's Neuromancer (1984) and Ridley Scott's Blade Runner (1982). Nostalgia had already been consolidated within mainstream popular culture via George Lucas's Star Wars (1977) which self-consciously harkened back to earlier eras, texts and subgenres, from the space operas of E.E. Doc Smith to the film serials of the 1930s, from Fred Wilcox's Forbidden Planet (1956) to Frank Herbert's Dune (1965). In contemporary media, Star Wars itself is now one among many rebooted titles, as mainstream science fiction reanimates its own popular history. As Judith Berman argues in "Science Fiction without the Future" (2001), even the stories of Golden Age pulp sf were less about the future than "full of nostalgia, regret, fear of aging and death."
The genre has frequently been preoccupied with the past as it imagines the future even in cinema, evident in films such as Code 46 (Winterbottom 2003) and Eternal Sunshine of the Spotless Mind (Gondry 2004) which are driven by almost futile search for the lost object.
Further connections may be detected between nostalgia and gernes such as utopia and dystopia. If utopianism produces future-orientated discourses that seek to transform the present into an idealised future, nostalgia might be described as inverted utopianism that generates an ameliorated, utopianized recollection of the past, as is evident in
nineteenth-century utopias, such William Morris's News from Nowhere (1890) whose post-apocalyptic future betrays a yearning for a pre-industrial, pastoral era. In The Future of Nostalgia (2001) Svetlana Boym contends that nostalgia can function as as a critical form of remembering that is not bound to a single version of the past, enabling texts to revisit the past to animate different realities and futures, a technique central to works such as Joanna Russ's The Female Man (1974) and Marge Piercy's Woman on the Edge of Time (1974). Classical dystopias, on the other hand, such as Eugene Zamyatin's We (1920-21) and George Orwell's Nineteen Eighty-Four (1948) often look to the past as a time of more authentic existence, a motif that continues in recent television series such as The Walking Dead (2010-) and The Handmaid's Tale (2017-), especially in their use of flashback sequences.
Most recently, we have seen widescale interest in sf that nostalgically engages with the 1980s, often through allusions to sf of that era. Netflix has been a major agent in this trend, exemplified by the phenomenal success of Stranger Things (2016-), whose 1980s setting is also contemporary with Jameson's theorization of sf and history.
Other Netflix projects indicate an ongoing interest in nostalgia and this particular decade, such as the German series Dark (2017-), which uses time travel and alternative histories to evoke the 1980s as a consequential turning point in history, or the "San Junipero" episode of Black Mirror (2011-), whose recreation of the 1980s in an online virtual afterlife is often described as the only optimistic episode of the series. This recent cycle of sf might be thought of as second-order nostalgia, that is, texts that encourage young audiences to feel nostalgia about a period they did not live through, one they experienced only via media made at this time. Drawing on Marianne Hirsch's theorization of "post-memory," we suggest the term "post-nostalgia" as a way to conceptualize the affective and thematic preoccupations of such work.
We invite submissions that explore these complex intersections of nostalgia and sf. We are interested in papers that revisit the dominant perception of nostalgia as a conservative affective response to a contemporary sense of crisis, and we especially welcome those that explore reflective, critical, or transformative examples of nostalgia that enables a dialectic relationship to the past. We encourage papers that explore how and why nostalgia has resurfaced in genres of the speculative at this particular historical moment. We welcome submissions that explore science fiction in any medium. Indicative yet not exhaustive possible topics include:
This special issue will be guest edited by Aris Mousoutzanis (A.Mousoutzanis@brighton.ac.uk) and Yugin Teo (yteo@bournemouth.ac.uk).
Please send abstracts of 300-400 words by December 31, 2019 to both editors. After an initial review of proposals, selected essays will be invited to submit full drafts (6,000-7,000 words) due in May 2020. The issue will be published March 2021
Oral History Society Annual Conference 2020
July 3-4, 2020
Bournemouth University, USA
Deadline: December 20, 2019
Oral history and the media have an important but complex relationship. The media has long been a significant producer of, and outlet for, oral history. Classic radio and television productions like The Radio Ballads (1958-1964), Yesterday’s Witness (1969-1981), and The World at War (1973-4) pioneered the use of oral history in the media, giving voice to those who would otherwise have been excluded from both the media and the historical record. Since the 1980s, there has been growing use of oral history in TV and radio documentaries and storytelling, with oral histories now forming an important and popular dimension of history and factual programming and broadcasting. However, the methodological, aesthetic, narrative, and ethical decisions behind these productions – such as who to interview, what questions to ask, and what parts of the interviews end up on the “cutting room floor” - often remain hidden.
The relationship between oral history and the media can also be seen in how oral history has been used to explore the histories and experiences of the media itself, with oral history projects charting the development of media companies and organisation. This has coincided with an upsurge of interest in memory and nostalgia related to the experiences of media, such as memories of cinema, books and music.
Elsewhere, the advent of new media and social media has fuelled the growth of digital storytelling, interactive documentaries, as well as serialised audio podcasts which draw heavily on oral history testimony. Whilst these new technologies, formats and channels offer new ways of creating, disseminating and consuming oral history, they also raise vital questions about ethics, participation, expertise, audiences, and formats in oral history practice.
This conference aims to consider the relationship between oral history and the media, both historically and today, by exploring similarities, differences, opportunities and challenges between media practices and oral history practices, from interviewing to editing, audiences to ethics, covering topics such as:
PROPOSALS
The deadline for submission of proposals is 20th December 2019. Each proposal should include: a title, an abstract of between 250-300 words, your name (and the names of any co-presenters, panellists, etc), your institution or organisation, your email address, and a note of any particular requirements. Most importantly your abstract should demonstrate the use of oral history or personal testimony and be directly related to the conference theme. Proposals that include audio playback are strongly encouraged. Proposals should be emailed to the ORAL HISTORY AND THE MEDIA Conference Manager, Polly Owen, at polly.owen@ohs.org.uk . They will be assessed anonymously by the conference organisers, and presenters will be contacted in January/February 2020
http://www.ohs.org.uk/conferences/conference-2020/
May 7-8, 2020
McMaster University, Hamilton, ON, Canada
Deadline: December 15, 2019
Organized by the Communications Governance Observatory and the Centre for Networked Media and Performance (CNMAP) at McMaster University
Algorithms and digital platforms play increasingly important roles in governing how we communicate and how we discover and engage with media and culture. The ‘platform turn’ in dominant media systems has significant implications for life opportunities, employment, participation in the digital economy (whose content is distributed and prioritized?), the star system (who is promoted and how? what counts as success?), politics (which and whose perspective is dominant? how has political deliberation and debate been re-mediatized?), international relations (whose view of the world is dominant?) and social relations (how are inequities in representation reproduced and transformed?).
This conference will draw together researchers in Canada and beyond to explore the intersections between media/communications/cultural policy and platforms. All submissions related to this theme are welcome, including research in the areas of arts policy, broadcasting policy, communication rights, Indigenous communication and cultural policy, competition policy, cultural industries policy, heritage policy, internet policy, media policy, speech regulation, privacy, smart city regulation, and platform regulation. We welcome analysis and case studies at all levels of policy-making, including municipal, provincial and federal, and Indigenous and international research.
Confirmed keynote speakers and presenters include Edward Greenspon (Public Policy Forum), Jesse Wente (Indigenous Screen Office), Sharon McGowan (Women in Film and Television-Vancouver, UBC), Laura Tribe (Open Media), Philippe Tousignant (CRTC), David Ogborn (McMaster), Jonathan Paquette (University of Ottawa), Philip Savage (McMaster), Leslie Regan Shade (University of Toronto), Tamara Shepherd (University of Calgary), Ira Wagman (Carleton), and Dwayne Winseck (Carleton).
The conference will consider the following key questions:
This conference welcomes submissions from all researchers, including doctoral and master’s students.
Prospective participants should submit a 300-word abstract, along with a 150-word bio, including title and institutional affiliation, for a 15-20 minute presentation to https://easychair.org/my/conference?conf=comcultpolicy2020%23 by December 15th 2019 for peer review. Invitations will be announced by January 15th 2020. Contributions may be invited for a publication project after the conference. Questions may be addressed to Sara Bannerman at banners@mcmaster.ca. Visit the conference web site at http://comcultpolicy2020.ca
The conference will be preserved in an online video archive. Conference participants will have the opportunity to contribute to a white paper outlining policy recommendations arising from the conference discussions.
ICA 2020 Pre-conference
May 20, 2020, 9:00am-5:00pm
Sydney Policy Lab, University of Sydney
Deadline: January 20, 2020
Sponsoring ICA Divisions: Activism, Communication and Social Justice Interest Group; Political Communication Division; Public Relations Division.
Organizers: Filippo Trevisan (American University), Ariadne Vromen (University of Sydney), Michael Vaughan (University of Sydney)
Storytelling is central to the persuasion and mobilization strategies of advocacy organizations, activist groups, NGOs, political parties, and campaigns. However, technological, communicative, and political changes have challenged traditional storytelling practices and incentivized significant innovation in this area in recent years. Changes in technology have transformed the scale and pace at which individual stories can be collected, digitally archived, curated, and then distributed through online platforms. Changes in communication and politics have increased the emphasis on personalized advocacy strategies targeted at affective publics (Papacharissi, 2015), as campaigners seek to navigate an increasingly fragmented and polarised information environment. Researchers today face a challenge in representing both the continuity in the narrative dimension of politics while also interrogating emerging and impactful innovations. This raises important questions about power dynamics and representations associated with changing storytelling practices, roles, and relationships between individual storytellers, organizations, and social groups in a constantly evolving media landscape. These questions are relevant to multiple related fields including, among others, the sociology of political communications (Polletta 2006), policy studies (Jones, Shanahan and McBeth 2014) journalism studies (Polletta and Callahan 2017), and public interest communication.
This one-day preconference pays attention to these questions and brings together researchers from multiple disciplinary perspectives to discuss the impact of changing storytelling practices on individuals, groups, organizations, target publics, and public discourse more broadly. We welcome submissions from theoretical and empirical inquiries that examine the following areas:
A PDF copy of this call for papers is available here: https://tinyurl.com/ica2020-storytelling-preconf
Submitting your abstract: Please submit abstracts for 15 minutes paper presentations through this Google Form (https://forms.gle/f5PBbd3KGd4NhdzR7) no later than January 20, 2020. Abstracts are limited to a maximum of 4,000 characters including spaces (approximately 500 words).
Contributors will be selected by peer-review and will be notified of decisions on or before February 1, 2020. Authors are expected to attend the preconference and present in person.
All participants must register. Registration costs will be 50 USD and include coffee breaks and buffet lunch. To register, participants should follow the instructions on: http://www.icahdq.org
Key dates:
Location: Please note that this event will take place off-site at the Sydney Policy Lab, University of Sydney. The pre-conference will conclude at 5:00pm on May 20, leaving participants ample time to travel to Gold Coast for the opening of the main ICA conference in the evening of the following day (21 May).
5th Helsinki Photomedia Conference in 2020
April 16-18, 2020
Aalto University, Finland
Deadline: November 30, 2019
Submit here
The conference brings together international photography researchers, artists and practitioners. It offers various platforms where artistic, philosophical, social and technological approaches to photography can meet.
“Those who write and make images will have to become envisioners” (Vilém Flusser)
The theme “Images Among Us” refers to the roles of photographic images in a world that is vibrant, transitory and overcharged by affects. The contours and borders of media rearrange themselves in virtual and material environments in various platforms and social spaces. The flicker of their dividing lines becomes intermittently vague and distinct. In this dense historical assemblage, the photographic image itself has become disintegrated and embedded in different media.
Evidently, the present condition is difficult to access through our customary photographic categories and thinking. Photographic images are much more than familiar mediators between the world and ourselves. They have become simultaneously comforting and threatening. Photographic operations have become more and more elusive, with photography becoming less and less reducible to its myriad uses and capacities. However, enduring ontological questions on the essence, materiality and origins of photography have become more significant than ever. For example, photographs still possess traces of the evidential currency that has defined much of photography’s history.
Helsinki Photomedia 2020 invites alternative formulations, critical observations, artistic reflections and presentations of photography projects that react to the present photographic condition in various ways, seeking to instigate productive dialogues.
We invite you to address and challenge these concerns from the perspective of your practice, guided by the following intertwined subthemes:
Theme 1. Artistic Practices
What is the role of photographic art in the present media environment? How is the intimacy of singular imaging practices possible within contemporary visual abundance? How can artistic research contribute? Is the task of the artist to describe and understand or to critically engage? What documentary strategies and imaginary fictions have become most pressing?
Theme 2. Technologies & Cultures
The track technologies and cultures is particularly interested in the intertwinements between visual and material photographic practices. Exemplary questions include, but are not limited to: How are our understandings of photographic images altered by technologies, both “old” and “new”? What kinds of cultural effects do specific technologies have, and how in turn do particular cultures form what photographic technologies are understood to be? What is the relation of photographic technologies to various ecological concerns, to issues of privacy, or understandings of ethical use?
Theme 3. Critical Approaches
What does the concept of “critical” mean (or potentially mean) in the context of contemporary photography? What kinds of current critical photographic practices do we find in the realms of gender, migration, climate change, politics and media? How has the problem of critical practices been articulated in social and political theories of photography? How do the production of visual knowledge and critical practices relate to each other in the “post-truth” era?
Important dates
After Post-Photography 6 (APP6)
May 28-30, 2020 (to be confirmed)
European University St Petersburg, Russia
Deadline: December 22, 2019
From the beginnings, photography changed the relation of humans to time. In its pictures, the present was translated into a future past. On closer looks however, and with some attention to the practices photography is part of, it turns out that the connections between photography and time are more complex than the common understanding of photographs being an image from the past: When granny for instance shows her album to her grand-children they have a hard time understanding that the old lady besides them should be identical to that young girl on the pictures. And it doesn’t stop there: Product photography for instance often shows us our happy future if only we buy this car, this trip or that outfit. Re-viewing old photographs uncovers details that during the time they were taken the contemporaries were oblivious to. If a photograph of a far away galaxy gets taken today, it shows us what has happened there ages ago. Using the appropriate filters, digital photographs appear as if they were albumen prints or Polaroids.
At the same time, photography itself was never a stable medium. Instead it has constantly been changing and becoming. In particular in the past 30 years, that is, since the introduction of electronic media and digital cameras to the consumer market, photography has been part of ever new practices and processes. Reading QR codes with the camera of a smartphone is a photographic process. Imaging techniques such as computer tomography translate measurements into images with x-ray aesthetics. It is possible to translate ordinary photographs into 3D-prints. Certain genres of video games become increasingly photo-realistic. With deep-fakes, politicians are convincingly made into dictators and actors into pornstars. And with the downturn of previously dominating analog photography, not only certain processes, but photographic papers, emulsions and other materials vanish - sometimes to the dismay of specialized photographers depending on them.
If, on the one hand, the processes, practices and pictures of photography do not fit easily into the plain concept of past, present and future; and if, on the other hand, photography in itself is constantly in motion, it seems that there are no easy or general concepts that explain the relations of photography and time once and for all. Instead, these relations are volatile, convoluted and contradictory, often depending on the applications the uses of the multitude of photographic processes and influencing them in the process. Hence, questions of time and photography do not only concern theorists of photography. Instead they are also at the core of each and any discipline using photography, including, but not limited to, cultural history, history of art, medicine, law, linguistics, astronomy, environmental studies etc.
As with previous conferences, After Post-Photography conferences were and are interested in all kinds of new approaches, discoveries and hypothesis concerning the history and theory of photography. For the 6th issue we also specifically ask for papers that one way or the other deal with issues of time, temporality, timelessness and timeliness in photography in ways similar to those described above. We welcome in particular key studies on specific and concrete subjects, and we explicitly invite not only researchers and practitioners with a background in history and theory of photography, but also cultural historians, art historians, chemists, historians, architects, criminologists or any other discipline that one way or the other is involved in thinking about photography.
Please submit your application, including a short summary of your paper (250- 400 words) in English using the following link: https://easychair.org/conferences/?conf=app6 no later than 22 December 2019. Note that you should register at the Easychair website in order to submit your application. Should you like to consult with us prior to your submission please get in touch via app@mur.at. We also will be available on Skype for both Russian and English speakers; for the schedule, please see /www.after-post.photography and write an eMail in advance for co-ordination. You can also find the programs and speakers of the previous conferences on that page.
There is no participation fee, neither for speakers nor for guests. Should your paper be accepted we regret that we can’t sponsor travelling or accommodation; but if need be we’re happy to help you finding a place to stay. We will also provide you with an invitation in case you need a visa.
The working languages of the conference are Russian and English; translations from the one to the other are provided. For programs of After Post-Photography conferences since 2015, please see /www.after-post.photography
We would appreciate it if you would circulate the call to your own networks and other mailing lists.
Organising committee After Post Photography 6 Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen, Jennifer Tucker
Dept of Journalism Studies, University of Sheffield
Deadline: December 1, 2019
We are looking to recruit a further French-speaking Research Associate (12 months at 0.8fte) to join our growing team on the FemmePowermentAfrique project, which is assessing the impact of radio on women’s rights and empowerment in Mali, Niger and Burkina Faso. You will be working on a new part of the project, recently funded by a large GCRF grant, and will be examining radio output using natural language processing, but also gathering listener feedback through social media platforms.
Radio is an essential form of independent information in many regions in Global South. It is extensively used for many purposes including providing news, information, and awareness campaigns, particularly regarding youth and female empowerment. Given its potential influence and its capacity to change behaviour and influence attitudes (for good or bad), it is important to determine whether the information that radio broadcasts is accurate, independent, targeted, or even aligns with listeners’ needs or wishes.
Working in collaboration with Fondation Hirondelle, a Swiss-based media development organisation based in Lausanne, and its radio studios in Mali, Niger and Burkina Faso, you will be involved in the quantitative and qualitative analysis of data, radio programmes and radio generally. You will be fluent in French. Key areas of investigation will be radio, women, youth, politics, and Mali/Niger/Burkina Faso. Experience in these areas will be beneficial. You will have a good honours degree and will be undertaking or have recently completed a PhD in a relevant area. Familiarity with data management and natural language processing will also be advantageous. Some overseas travel may be required.
To apply, please click here. Closing date - 1 December 2019
For informal enquiries about this job, contact: Dr Emma Heywood - e.heywood@sheffield.ac.uk.
Darden School of Business, University of Virginia, Charlottesville, VA
Apply here
The Darden School of Business at the University of Virginia invites applications for a teaching-track faculty position in Communication to begin in August 2020. Open rank. Ph.D. preferred. This full-time, nine-month appointment requires teaching five courses per year. Writing cases and curriculum materials for internal and external use, and actively serving the Communication area and the Darden School are also expected. Initial appointments are normally for a three-year term, but may be renewed, pending review.
To keep pace with a rapidly changing global world, we seek an engaged colleague interested in transforming the way Communication is learned in business education. All faculty in the Communication (COM) area teach up to two sections of Leadership Communication, a required course in all Darden degree programs – Residential MBA, Executive MBA, and MS in Business Analytics. In particular then, we seek candidates who are able to work collaboratively with a faculty team to design and deliver a common syllabus, lead discussion-based and experiential courses, and model leadership communication in the classroom and the school.
COM area faculty also teach electives, which will depend on both the candidate’s expertise and students’ interests. Current elective courses include: advanced leadership communication; interpersonal communication; strategic communication; and corporate communication. Topics for new business-relevant electives may be proposed and developed. New courses may include, but are not limited to, requested topics such as: communicating to promote diversity, inclusion and belonging, especially in global contexts; mastering current and emerging communication platforms and technologies; visualizing and communicating data; communicating in impromptu and improvisational situations; or negotiating and transforming conflict. Opportunities to teach abroad in one-week Global Immersion Courses are also possible.
In addition to teaching courses in Darden degree programs, Darden faculty are expected and encouraged to engage actively with business practitioners. For example, engagement may take the form of participating in the Communication area’s Darden Leadership Communication Council, teaching in Darden’s Executive Education programs, or independent consulting. COM area faculty are also encouraged to maintain active professional ties through academic conferences and networks, and to generate and share new knowledge, especially related to teaching and learning. Opportunities for summer research and course development funding are available.
Attractive candidates will hold a Ph.D. in Communication or a related discipline. Non-tenure track faculty with a doctoral-level degree are appointed with a professorial rank – assistant, associate, and full professor. Applicants with a master’s degree, strong practitioner experience, and evidence of teaching excellence will be considered, and if hired, appointed as a lecturer. The appointment will follow the University of Virginia guidelines for peer review, renewal, and promotion opportunities, detailed in the policy for “Academic General Faculty – Teaching Track.”
Regularly ranked in the US and internationally among top schools in MBA and Executive Education, the Darden School’s culture values exceptional teachers with an on-going passion for the craft of teaching. Traditionally a case-method school with a general management approach, Darden’s pedagogical style promotes lively student discussion and experiential learning. Most teaching will take place on the historic Grounds at the University of Virginia in Charlottesville. Some teaching may occur at Darden’s new building in Rosslyn, VA, just across the Potomac from Washington, DC. Currently, instruction may occur in face-to-face courses, or in blended learning formats (face-to-face, synchronous and asynchronous online). The ability to produce video or Coursera-style courses is desirable. For more information about UVA and the surrounding area, please visit UVA Prospective Employees. See also 21 Reasons to Choose Darden.
To Apply:
Please apply through Workday, and search for ‘'Open Rank, Communication Faculty – Darden School of Business". Complete an application online and see below for documents to attach. Please note that multiple documents can be uploaded in the CV/Resume box. Internal applicants must apply through their UVA Workday profile.
Required Application Materials:
Please note multiple documents can be submitted in the CV/Resume Box. Applications that do not contain all of the required documents will not receive full consideration.
The position will remain open until filled. For questions about the application process, please contact Bethany Case, Academic Recruiter, at bcase@virginia.edu. For questions about the position, please contact Lili Powell, Associate Professor and Area Head for Communication, Darden School, at lili.powell@virginia.edu.
The University of Virginia offers benefits for legally-recognized spouses in the Commonwealth of Virginia. The University assists UVA faculty spouses and partners seeking employment in the Charlottesville area. To learn more about those services, please see Dual Career Program at UVA.
The selected candidate will be required to complete a background check at time of offer per University Policy.
The Darden School of Business is committed to fostering a diverse educational environment and encourages applications from members of groups under-represented in academia. The Darden School especially encourages applications from minorities, women, and those with significant international experience.
The University of Virginia, including the UVA Health System and the University Physician’s Group are fundamentally committed to the diversity of our faculty and staff. We believe diversity is excellence expressing itself through every person's perspectives and lived experiences. We are equal opportunity and affirmative action employers. All qualified applicants will receive consideration for employment without regard to age, color, disability, gender identity or expression, marital status, national or ethnic origin, political affiliation, race, religion, sex (including pregnancy), sexual orientation, veteran status, and family medical or genetic information.
Digital Culture and Education (Special Issue)
Submission deadline (extended): December 31, 2019, 12.00 (GMT)
Notifications: Feb 1 2020 (at the latest)
Aiming for publication mid 2020
5000 – 7000 word articles
This special issue of the Digital Cutlture and Education open access, online journal explores contemporary issues in digital ecopedagogy, particularly in relation to the education of children.
The worldwide youth climate strike on March 15 reflects young people’s growing frustrations with the lack of political response to the escalating ecological crisis. It also reflects the impact of efforts already underway to highlight environmental concerns. The
ecological turn has been gaining ground in social and theoretical discourse since at least the 1970s. During that time environmental education has been a concept in progress. Early debates concerning the notion of eco-citizenship and even the definition of nature itself express the growing realisation that environmental stewardship in the age of the Anthropocene (when humans dominate the earth) is a multi-dimensional cultural project incorporating everything from emotional re-learning of nature connectivity, through to eco-media literacy training, scientific witnessing, philosophical/economic reassessment and citizen action.
Alongside this, the growing ubiquity of digital culture has fuelled concern. In Last Child in the Woods (2008) Richard Louv blames the rise of digital screen culture for what he calls children’s ‘nature-deficit disorder’. Indeed, a 2013 study revealed that only 1 in 5 UK children felt sufficiently connected with nature (rspb.org.uk/connectionmeasure), raising the question of potential consequences for those 40% of the world's species already at risk of extinction and reliant upon human passion and dedication to save them.
Nevertheless, the role that digital culture plays in this crisis is still unclear and also in flux. Büscher’s (2016) concept of Nature 2.0 to describe the emerging digital representations of nature and networked engagements with the natural world points to the growing research interest in eco-digital cultures. Indeed, as Dobrin (2014: 205) observes, digital environments are “themselves natures … environments in and with which humans and non-humans forge relationships”. The ways that digital culture and nature are becoming increasingly enmeshed invites more discussion, particularly in relation to the role that eco-pedagogies play within thesesocial and material assemblages. Recent provocations include Fletcher’s (2017) discussion of the “environmental values behaviour” gap between the mediated appreciation for nature, versus the lack of societal commitment to conservation action.
Whilst nature-relatedness research (Richardson 2015, 2018) indicates that in order to build a joyous connection with nature, children in particular will often need to do so by focusing on the positives, free from the impending fear of environmental collapse. More evidence is required to help better understand the role that digital eco-pedagogy plays regarding these sorts of tensions.
This special issue invites researchers to explore these contemporary issues in digital eco-pedagogy.
Empirical studies are particularly welcome. Topics might include, but are not limited to:
5000 – 7000 word paper submission is due Nov 30, 2019. For author guidelines please see: http://www.digitalcultureandeducation.com/submissions/style-guide/
Please direct your questions to Bronwin Patrickson at floatingblueseen@gmail.com in the first instance, or alternately Alexander Schmoelz at alexander.schmoeltz@univie.ac.at
SUBSCRIBE!
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