ECREA WEEKLY digest ARTICLES

Convergence Special Issue

Deadline for Abstract Submissions: December 31, 2019

Guest editors: Germaine Halegoua (University of Kansas, USA) and Erika Polson (University of Denver, USA)

Deadline for Full Papers: May 1, 2020

Expected date of publication: April 2021

We invite submissions for a special issue of "Convergence: The International Journal of Research into New Media Technologies" on the topic of Digital Placemaking. As digital and physical environments converge, each increasingly producing the norms and parameters of the other, it is important to consider how the drive to create and control a sense of place remains primary to how social actors identify with each other and express their identities, and how communities organize to build more meaningful, connected spaces. Instead of depleting a sense of place, the ability to forge attachments to digital media environments and through digital practices enables people to emplace themselves and others. The increasing mobility of people, goods and services, information, and capital contribute to the impression of a world in flux where the “space of flows” dominates the “space of places,” while at the more personal scale, multiplying public and private uses of digital media have produced varied discourses on the potential for these practices to dissociate or liberate users from co-present environments. The implication of these perspectives is that our collective sense of place has been disrupted, leaving people unsure of their belonging within conditions and boundaries that seem increasingly fluid. While it is imperative to attend to the shifting social, economic, and political conditions that give rise to such concerns, it is also necessary to recognize the many ways people actually use digital media to negotiate differential mobilities and become placemakers.

This special issue introduces and critically examines the concept of “digital placemaking” as practices that create emotional attachments to place through digital media use. As populations and the texts they produce become increasingly mobile, such practices are proliferating, and a striking array of applications and uses have emerged which exploit the affordances of mobile and digital media to foster an ability to navigate, understand, connect to, and gain a sense of belonging and familiarity in place. Papers are invited to investigate the concept of “digital placemaking” as both a theoretical and applied response to the spatial fragmentation, emerging virtual and physical environments, and community reorganizations thought to have accompanied the speed and scale of globalization.

The editors welcome contributions that explore questions such as:

• How do people employ digital media to create and negotiate a new sense of place within rapidly changing media landscapes and socio-spatial exchanges?
• How does digital placemaking as a research approach or theoretical framework uncover novel socio-cultural-technical practices and understandings of sense of place?
• How are boundary crossing and place transgressions implicated in tensions related to tourism, gentrification, migration, and emerging media?
• How can scholars investigate digital placemaking to reflect nuances of interrelated online and offline practices?
• What are key characteristics and configurations of digital placemaking within particular communities or institutions?
• How can digital placemaking be employed as an innovative approach to studying digital media technologies and practices?
• What does a focus on digital placemaking help us understand about issues including: mobile rights and risks associated with migration and diaspora; creative tactics within social and mobile media regarding tourism and travel; the design of physical places and experiences; and contested mobilities based on social power and access to digital infrastructures?
• How does the concept or framework of digital placemaking uncover tactics and forces that coordinate, govern, and express mobilities within digital infrastructures and imaginaries?

We are open to a range of approaches in exploring this concept, and particularly welcome submissions that address locations and digital placemaking practices in the global south.

TO SUBMIT: Please send a 500-word abstract and a 100-word bio to the guest editors at grhalegoua@ku.edu and epolson@du.edu by December 31, 2019

Authors of accepted abstracts will be contacted in early January and invited to submit full contributions by May 1, 2020.

June 12-14, 2020

Cape Breton University: Sydney, Nova Scotia

Submission Deadline: December 15, 2019

IASPM Canada Annual Conference

As we enter into a new decade it’s apt to question our place in the world. Almost sixty years ago, Marshall McLuhan notably coined the term Global Village to refer to the global spread of media content and consumption, and yet Canada still struggles with its position in the world as an imposing landmass with a relatively small population, and how that influences where and how its cultural texts are encountered. This conference seeks to address the concept of voice and sound as tied to space and place, in the broadest sense. In regards to popular music in Canada, we have established a strong identity, but one that is often defined in opposition to our more vocal neighbours to the South. As we continuously define and redefine Canadian cultural identity, and cultural outputs, this conference questions how our musical landscape has historically adapted, and will continue to adapt, to an increasingly globalized environment.

This is the first time that the IASPM Conference has been held in Cape Breton. And, as such, it opens up a great opportunity to not only address the “big sounds” that emerge out of “small places” like Cape Breton, but also wider themes of space and place in popular music, and the relationship between communities and music.

While we welcome papers on any aspects of popular music, we encourage papers that align with the conference subthemes: audiences; space & place; and populations & peripheries.

Audiences:

The digital landscape has dramatically extended the reach of niche music, local musicians, and subcultures/scenes. Potential areas of focus in this theme include, but are not limited to:

• Scenes: from “small town” roots to urban niches. The history, present, and future of local scenes.
• Digital communities/fans: the spread of Canadian pop through digitality.
• Subcultures: issues of subcultural identity in popular music
• Everyday uses of music
• Listening practices: environmental impacts; listening to music in transit
• Dance and embodied consumption

Space & Place:

Canada, as a Nation and a concept, continues to exist as both “village/settlement” and a major player on the global stage. The ways in which popular music also navigates these complicated relationships is often intimately tied how space and place is expressed in music. This can be seen not only in Canadian music, but also throughout a myriad of cultural and national identities. Potential areas of focus in this theme include, but are not limited to:

• Issues of space and place in popular music
• Land-based epistemologies and musical embodiment; the natural environment and music spaces
• “Small” nations/artists/communities on the global stage
• Live music and venues: small/hidden/underground venues; “noise” and leaking sounds; busking; rehearsal spaces
• Music-making practices in domestic spaces

Populations & Peripheries:

How does/can music become the sound of a community? This theme explores the connection between cultural identity, community, and music. In addition, it takes up the notion of peripheries to focus on the marginalized, subaltern, and/or tokenized sounds/identities, and to disrupt hegemonic paradigms. Potential areas of focus in this theme include, but are not limited to:

• Music and cultural, community, and/or national identity
• “Small” economies in smaller populations
• Issues of music policy and practice
• Making music in jail
• The sounds of Indigenous, Immigrant, Disabled, LGBTQ, and/or Ally communities

Submission Guidelines:

Abstracts of individual papers, workshops, performances and other presentations should be no longer than 300 words. The program committee is especially interested in proposals in diverse formats. Panel submissions should include a title and abstract for the panel (300 words max.) as well as titles and abstracts for the individual papers on the panel. All abstracts for a panel should be submitted together. Abstracts will be adjudicated individually, so it is possible for a panel to be accepted but not an individual paper and vice versa. Each abstract should also include a short biography of the author (100 words max.) including the institutional affiliation, if any, and email address of each author. Each abstract should also include five keywords. Submissions in French and English are acceptable. All submissions must be submitted as a single Word document with the author's last name as the document file name. Please do not submit your proposal as a PDF. Proposals will be blind reviewed.

Email Submissions To: iaspmcanada2020@gmail.com

Presentation Logistics:

Papers will be limited to 20 minutes followed by 10 minutes of questions. Panels will be limited to a maximum of 4 papers. Other presentations (workshops, film screenings, roundtables, etc.) will generally be limited to 60 minutes, but alternatives can be discussed/proposed. All participants must be members of IASPM-Canada at the time of the conference. Membership information is available on the following website: http://iaspm.ca/membership.

For questions about the conference, please contact the Program Committee Chair, Melissa Avdeeff (melissa.avdeeff@gmail.com), or Local Organizing Chair, Chris McDonald (chris_mcdonald@cbu.ca).

Program Committee Members:

• Melissa Avdeeff (Chair), Coventry University
• Vanessa Blais-Tremblay, Université du Québec à Montréal
• Sandria P. Bouliane, Université Laval
• Matt Brennan, University of Glasgow
• Mark Campbell, University of Toronto
• Marcia Ostashewski, Cape Breton University
• Maya Stitski, Queen’s University

July 12-16, 2020

Tsinghua University in Beijing, China

Deadline: February 10, 2020

At the critical juncture of the second decade of the 21st century, the world is facing tremendous challenges. The past three decades of cultural, economic and communication globalisation have created sharp income and wealth inequities, a divisive international community, dysfunctional media, an increasingly fragmented digital culture and an accelerating environmental crisis. We witness growing populism and protectionism and a dissolving consensus on global engagement and international collaboration. We see deepening technological contestation in digital media and artificial intelligence between the world’s two economic powerhouses. We also witness a sharp decline of the quality of national and international information flows as a result of widespread misinformation facilitated by social media.

These developments pose urgent questions and challenges for media and communications scholars. What are the reasons for the division, gaps and fragmentation we now see? What roles have digital media communication played in these developments at both the local and global levels? What values should inform our proposals for addressing them?

This year’s conference aims to respond to those challenges by re-examining the roles and patterns of global communication while including local voices, seeking critical reflections on the relationship between them, and exploring feasible agendas for a shared digital future based on inclusiveness, respect and reciprocity.

In the context of growing divisions between elites and citizens, the economically secure and the marginalised, mainstream and minority cultures, and intensified political polarization, calls for greater inclusiveness of different voices in the media and equality of access and opportunities, become even more pressing. As researchers we need a more comprehensive understanding of the factors promoting and impeding inclusiveness in the ‘legacy’ print and audio-visual media media domestically and globally and the roles played by existing and emerging digital media.

Having a public voice and opportunities for expression, however, does not in itself guarantee that diverse contributions to a common culture will be listened to attentively or treated with respect. IAMCR 2020 addresses respect for both diversities and shared values. Respect embodies respect for local cultural experiences and developmental models as well as respect for human dignity and international law and institutions. It embodies respect for role of ethics in developing the digital technology and for the safety and security of personal data and privacy. Exploring these issues requires us to reconsider to what extent the current global communication and technological landscapes have facilitated these dimensions of respect for diverse voices, experiences and models; and to ask what communicative values and goals would guaranteed the in the future.

Promoting inclusiveness and respect are essential preconditions for (re)imagining and developing a shared digital future that challenges and transcends political, religious, and cultural boundaries. But pursuing this goal also requires a commitment to reciprocity based on relations between public, governments and business communities rooted in a shared a commitment to inclusiveness, respect and avoiding exploitation or exacerbating divides and conflicts.

Organised by two leading Chinese universities in Beijing and Suzhou, two ancient capitals mixed with the chic of postmodern metropolis, IAMCR 2020 is set to bring together different perspectives on how multi-stakeholders of the global and local communication and media spaces negotiates among heterogeneous communities and institutions in the hope for building an inclusive, harmonious and respectful digital future. Bringing IAMCR to China offers members a unique opportunity to access analysis and commentary on the China’s experience of employing media and digital communication technology.

Languages

Different sections and working groups have different policies regarding languages. Some accept abstract and programme sessions in English, French and Spanish while others conduct their programmes in only one or two languages. Consult the individual CfPs for details on the language policy of each section.

Guidelines for abstracts

Abstracts should be between 300 and 500 words. All abstracts must be submitted at https://beijing2020.iamcr.org/submit. Abstracts sent by email will not be accepted.

It is expected that authors will submit only one (1) abstract. However, under no circumstances should there be more than two (2) abstracts bearing the name of the same author, either individually or as part of any group of authors. No more than one (1) abstract can be submitted to any section or working group. Please note also that the same abstract or another version with minor variations in title or content must not be submitted to more than one section or working group. Any such submissions will be deemed to be in breach of the conference guidelines and will be rejected. Authors submitting them risk being removed entirely from the conference programme.

The deadline to submit abstracts is 23:59 GMT on 10 February 2020.

For other important dates and deadlines, please see IAMCR 2020 key dates on the conference website.

Technical guidelines, if any, are defined by the individual Sections and Working Groups. If you have questions, consult the Section or Working Group's specific CfP or contact the head of the Section and Working Group that interests you.

For further information about the conference, consult the IAMCR Beijing 2020 webpage.

The Data Justice Lab

Deadline: November 30, 2019

The Data Justice Lab is now accepting applications for two Data Justice Fellows.

We are looking for two fellows to collaborate with us on exploring current issues in data justice for a one-month research stay at Cardiff University, UK. We welcome proposals from both academics and practitioners who wish to investigate different dimensions of social justice in a datafied world.

Applicants should submit a proposal that addresses the ongoing work of the Lab and/or the research agenda of data justice.

Each fellow will spend one month full time at the Lab in Spring 2020. You will receive a £2000 stipend to cover your living expenses.

To find the full details and apply, click here: https://datajusticelab.org/data-justice-fellowship/

Utrecht University's Faculty of Humanities

Deadline: December 1, 2019

Apply here

Utrecht University's Faculty of Humanities is looking for a Full Professor Media, Culture and Society. Are you interested? Then please read the full profile and apply.

JOB DESCRIPTION

The Department of Media and Culture Studies is looking for a media scholar with a strong international reputation and excellent skills in research, teaching and management. S/he can articulate an engaged, interdisciplinary vision on the academic field in line with the strategic plans of the department, the Faculty of Humanities, and the university. The ideal candidate substantially contributes to developing the department's research themes in media, culture and society and helps distribute this knowledge in and beyond academia. S/he is able to motivate and inspire cooperative research projects across disciplines and to acquire external funding, initiate collaborative teaching, and stimulate innovation that directly connects to recent developments in media studies, both nationally and internationally. The successful candidate focuses on the cultural and societal dimensions of media in today's digitised society in both teaching and research. Moreover, s/he is expected to contribute to Utrecht University's strategic themes and is encouraged to initiate and build on the university's research strengths in these areas.

The candidate we are looking for has a strong publication and teaching record, an extensive international network, and the experience and willingness to take on managerial responsibilities. S/he has profound knowledge of the theoretical foundations of media studies as an academic field and is familiar with current developments in the field of media such as mediatisation, datafication, and screen cultures; we welcome theoretical, historical as well as contextual orientations towards these developments.

The new chair 'Media, Culture and Society' (pdf) will be positioned in the Department of Media and Culture Studies (MCW), which is part of the Humanities Faculty of Utrecht University. MCW provides education and research in the fields of film, television, games, new media and digital culture, theatre, dance and performance, musicology, gender and post-colonial studies, communication and information studies, and participation in arts and culture. In the department a wide range of media as well as cultural and artistic expressions are studied in conjunction with one another. Culture is interpreted as a dynamic combination of artistic, creative and everyday activities that people use to shape their identities, and within which social processes, structures and institutions are shaped.

REQUIREMENTS

We are looking for candidates:

who are experienced, internationally respected senior researchers in the field of the chair, as shown by a completed PhD and an extensive list of peer-reviewed scholarly output in leading academic journals and reputable book publications;

• with substantial experience in teaching media subjects at BA and MA level and who have acquired Senior Teaching Qualification (SKO) according to Dutch university standards or who have extensive experience in developing curricula;
• with experience in supervising PhD candidates in an inspiring and effective way as well as in leading an international team of researchers;
• with an extensive international and national network in academia and beyond, especially in the media sector, and who are able to engage this network in order to develop original research projects;

• who have successfully acquired internal and external research grants;
• with excellent communication skills and capable of inspiring positive team spirit;
• who have the experience and willingness to take on managerial responsibilities at departmental level;
• who are fluent in English at near-native or native speaker standard in oral and written communication;
• whose fluency in Dutch is at least at NT2 level (or able to attain this level within two years after the appointment).

CONDITIONS OF EMPLOYMENT

We offer a temporary position (1.0 FTE) for the duration of five years. In case of a good performance, an indefinite employment is one of the possibilities. The gross salary - depending on previous qualifications and experience - ranges between €5,582 and €8,127 (scale HL2 according to the Collective Labour Agreement Dutch Universities) per month for a full-time employment.

Salaries are supplemented with a holiday bonus of 8% and a year-end bonus of 8.3% per year. In addition, Utrecht University offers excellent secondary conditions, including an attractive retirement scheme, (partly paid) parental leave and flexible employment conditions (multiple choice model). More information about working at Utrecht University can be found here.

EMPLOYER

A better future for everyone. This ambition motivates our scientists in executing their leading research and inspiring teaching. At Utrecht University, the various disciplines collaborate intensively towards major societal themes. Our focus is on Dynamics of Youth, Institutions for Open Societies, Life Sciences and Sustainability.

The Faculty of Humanities has around 6,000 students and 900 staff members. It comprises four knowledge domains: Philosophy and Religious Studies, History and Art History, Media and Culture Studies, and Languages, Literature and Communication. With its research and education in these fields, the Faculty aims to contribute to a better understanding of the Netherlands and Europe in a rapidly changing social and cultural context. The enthusiastic and committed colleagues and the excellent amenities in the historical city center of Utrecht, where the Faculty is housed, contribute to an inspiring working environment.

The Department of Media and Culture Studies at Utrecht University is an internationally renowned teaching and research consortium composed of scholars in Film, Television, Arts Policy and Participatory Arts, Communication, New Media, Game and Gender Studies, Music, Theatre and Dance. It is dedicated to an interdisciplinary approach to media, performance, music, and culture in general.

ADDITIONAL INFORMATION

For more information about this position, please contact Eugene van Erven (Head of the Department of Media and Culture Studies), via E.A.P.B.Erven@uu.nl.

Please note that an assessment can be part of the selection procedure.

A special issue of Feminist Media Studies

Deadline: November 30, 2019

Co-edited by Jilly Boyce Kay (School of Media, Communication and Sociology, University of Leicester, UK) & Justine Lloyd (Department of Sociology, Macquarie University, Australia)

Forthcoming June 2021 (see full info on all dates below)

As Michele Hilmes has recently argued, broadcasting, while being heavily controlled by nation-states from its inception in the early twentieth century, had an unprecedented cultural capacity to transgress and defy national borders. In this aspect, the legacy of broadcasting is a transnational cultural economy that continues into the present (Hilmes 2012: 2). As Hilmes goes onto describe, the role of gender in these transnational media circuits is potentially politically disruptive. Contestations over gender have not only added to growing pressures on elite cultures and established power dynamics, but have intersected with other important struggles, to the extent that popular media have become “a means of acknowledging and addressing [inequalities] while uniting the citizenry not only within national boundaries but across them” (Hilmes 2012: 84).

This special issue therefore extends from Hilmes’ historical focus on transnationalism’s role within the broadcasting cultures of the UK and USA. It builds on recent scholarship on transnational gendered media cultures (Sreberny 2001; Kim 2010, Mankekar 2015, Hegde 2014) and visibilities (Hegde 2011), including within Feminist Media Studies (for example, Imre et al. 2009), to bring together recent scholarship that works against the grain of national histories.

This special issue of Feminist Media Studies will profile work on media from scholars inside and outside the academy. We are particularly interested in papers which consider how mediated practices intersect with political contexts and afford diverse kinds of interventions in issues of social justice. We welcome abstracts engaging with transnational media and gender including in the following contexts:

• Social media and transnational feminism
• Gendered cultural forms within transnational activist networks
• Transnational film cultures and feminist praxis
• Decolonisation and gender as explored in media
• Circulation of gendered images and affects within and outside national polities
• Translations of gender and genre across regional media markets
• Indigenous and first nations media and questions of gender
• Critiques of contemporary forms of orientalism within global media cultures from a gendered perspective

As well as engaging with the special issue’s theme all articles must (a) comply with the general submission requirements, (b) address the central concerns of the journal, which is to bring together scholars, professionals and activists from around the world to engage with feminist issues and debates in media and communication, and (c) be of relevance to a wide international and multidisciplinary readership (see below for the Journal’s aims and scope).

Key dates:

• 30 November 2019: deadline for abstracts (350 words) and biographical note (200 words)
• mid-December 2019: authors notified of outcome of abstracts and some invited to submit full articles. NB: All full articles will go through peer review, so acceptance of an abstract is not a guarantee of publication
• 15 March 2020: deadline for full articles of 7000 words (including references)
• End of March 2020: all full articles sent for peer review
• mid-June 2020: deadline for return of peer reviews to editors
• end of July 2020: articles returned to authors for revision; authors of rejected articles notified
• end of September 2020: articles returned to editors for final acceptance
• end of November 2020: accepted articles forwarded for copyediting
• end of April 2021: accepted articles begin appearing as 'articles in press', if authors respond in a timely manner to copyediting queries
• June 2021, special issue published as Feminist Media Studies, Vol 21, Issue 4.

Submission instructions:

Please submit 350-word abstracts here by the closing date of 30 November: https://www.dropbox.com/request/2AbJqu19QTGexAKJLPII

Please save your 350-word abstract and 200-word biographical note both within one word document named in the following format:

Authorlastname_Papertitle_FMSSI.doc

For example, if the author was Justine Lloyd and the paper was titled ‘International Public Broadcasting and Women’, the word document would be named thus:

Lloyd_Internationalpublicbroadcastingandwomen_FMSSI.doc

Queries about the special issue can be directed to Justine Lloyd Justine.Lloyd@mq.edu.au.

Journal Aims and Scope

Feminist Media Studies provides a transdisciplinary, transnational forum for researchers pursuing feminist approaches to the field of media and communication studies, with attention to the historical, philosophical, cultural, social, political, and economic dimensions and analysis of sites including print and electronic media, film and the arts, and new media technologies. The journal invites contributions from feminist researchers working across a range of disciplines and conceptual perspectives. The journal offers a unique intellectual space bringing together scholars, professionals and activists from around the world to engage with feminist issues and debates in media and communication. Its editorial board and contributors reflect a commitment to the facilitation of international dialogue among researchers, through attention to local, national and global contexts for critical and empirical feminist media inquiry. When preparing your paper, please click on the link ‘Instructions for Authors’ on the Feminist Media Studies website (www.tandf.co.uk/journals/rfms) which provides guidance on paper length, referencing style, etc. When submitting your paper, please do not follow the link ‘Submit Online’ as special issue papers are handled directly via email with the special issue Editors.

Peer Review Policy

All research articles in this journal undergo rigorous peer review, based on initial editor screening and anonymous refereeing by at least two scholars.

Academic Quarter #22, 2020

Deadline: January 15, 2020

Since the fall of the Berlin Wall in 1989, the European crime narrative genre has represented the consequences of globalization in ways that have often involved the treatment of space and place. The new transnational configuration of the world’s geography—imposed by such powerful systemic factors as global trade, connective technologies, and the movement of large masses of people across different boundaries—has fueled a variegated debate over the notion of transculturalism. What has been called “the cosmopolitan turn” in the social and political sciences (Beck 2006) resonates in the research agendas of many contemporary approaches to European literature (Domínguez & d'Haen 2015), film (Eleftheriotis 2012; Mulvey, Rascaroli, Saldanha 2017) and television (Chalaby 2009; Bondebjerg 2016). This happens at a time of increased cooperation and integration among a variety of traditional and digital media, all allied to obtain, through seriality and transmediality, an augmented illusion of complex fictional worlds.

This issue of Academic Quarter aims at interrogating the ways in which current cultural experiences of glocalisation (Roudometof 2016), translocality (Greiner and Sakdapolrak 2013), transnational mobility and cosmopolitan networking have affected both place-specific production cultures and genre-specific representations of space and place in contemporary European crime novels, films and television series. We welcome proposals from different methodological perspectives that interrogate the intersection of local, national, regional and supranational agencies, cultures and identities in the creation of popular crime stories. Contributors should be aware of the post-Kantian, post-national/postcolonial frame (Mellino 2005) that forms the context for contemporary definitions of “critical cosmopolitanism” (Delanty 2006; Rumford 2008) and “critical transculturalism” (Kraidy 2005). At the same time, we welcome proposals focusing on the representation of Europe, European geography, European landscapes and European architecture.

A few general questions may be asked. Are we to conceive of cosmopolitanism and the process of European transculturation exclusively as unifying factors, fostering the generation of a shared and uniform transnational identity? Or should we better acknowledge the existence of a whole variety of European transcultural identities, expressed in different writing and audio-visual styles, characteristic narrative models, and place-specific production cultures? Should hybridization and transculturation be assumed as markers and powerful drivers of cultural homologation? Or rather, is the opposite true, namely that cultural hybridization entails a growing differentiation of narrative forms and styles, content and formats, thus contributing to the emergence of a post-national assemblage of multiple cosmopolitan identities?

Contributors must propose articles focusing on the post-1989 period in relation to topics involving a consideration of the treatment of space and place.

Possible topics include, but are not limited to, the following:

• Local thrillers in a glocal perspective
• Borders, borderlands, border-crossing and the migrant experience of space
• Crime narratives, tourism and location branding
• The consumption of foreign crime narratives as virtual journey
• Transcultural identities of European Noir: the Nordic and Mediterranean variants, and beyond
• Language, dialect, idiom and the sense of place
• Hybridity and cosmopolitan audio-visual styles
• Cosmopolitan authors and producers
• Production strategies and cosmopolitan networking
• The theme of locality in the promotion and packaging of crime novels, films, and TV dramas
• The hybridity dilemma: toward homogeneity or increased differentiation? The case of Netflix Europe.
• Situated characters: cosmopolitan habitus, traveling detectives and transcultural encounters
• Transnational crime networks and geospatial mapping
• Eco-thrillers and the destruction of the European environment
• Common-places of European geography: port cities, islands, mountains, inland areas
• Place and glocal minorities
• Gendering and/or queering space between the public and the private spheres
• Crime and architecture
• Space and time in the chronotopes of European Noir

Submission guidelines

• Submission of abstract January 15, 2020
• Submission of full article May 1, 2020
• Submission of final/revised article October 1, 2020
• Publication December 2020

Academic Quarter accepts two kinds of contributions: text articles or video essays. The submitted contribution will be sent to double blind peer-review.

A text article must be between 3,000-3,500 words (not including references), and must use Chicago Author-Date Style (https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html) and the Chicago System Style Sheet (http://www.akademiskkvarter.hum.aau.dk/pdf/AK_word_template.docx).

Abstracts in app. 150 words in English must be submitted by January 15 2020 to Liza Pank (pank@cgs.aau.dk). The contributors will receive answer as soon as possible. Accepted articles must be sent to the guest editor no later than May 1, 2020. The final and revised article must be returned by October 1 2020, and the issue will be published December 2020.

Video essays

Video essays should be 7-12 minutes long and accompanied by an academic guiding text between 1,000-1,500 words. The video essay should be of scholarly quality and may be argumentative (documentary) or symbolic (metaphorical) or a combination. The guiding text should clearly explain the argument in the video-essay as well as the insight that the viewer may gain from watching it. Video essays should be final and handed in as a separate mp4-video-file. Academic Quarter supports only publication and not the technical development of video essays. Video essays and the guiding text will be reviewed together. Criteria for reviewing video-essays are a) the lucidity of the argument, b) the technical and stylistic execution of the video material and c) the clarity of the guiding text.

The University of Applied Sciences and Arts of Southern Switzerland (SUPSI)

Deadline: December 15, 2019

The University of Applied Sciences and Arts of Southern Switzerland (SUPSI), in collaboration with the Department of Media and Communication Research (IKMZ) at the University Zurich (UZH), opens a doctoral position in Communication/Media within the project Late-teenagers Online Information Search (LOIS) funded by the Swiss National Science Foundation (FNS/SNF). The doctoral student will work at the Department of education and learning (DFA) in Locarno and at the Department of Media and Communication Research (IKMZ) at the University Zurich (UZH). This is a full-time position (100 %) for a limited 3-year contract.

Interviews will take place on January 7th, 2020 in Locarno.

More information can be found on: http://www.supsi.ch/home_en/supsi/lavora-con-noi/2019-12-15-bando686

Edited volume (Routledge)

Deadline: January 15, 2020

Temporal scales and perceptions of past, present and future diverge, clash and merge in complex ways when discussing and visualizing climate change. The “slow violence” (Nixon) of climate change, linked to a complicated and multi-sited history of extraction, has caused immediate and imminent devastation—or, what is now increasingly referred to as the “climate emergency” and “climate crisis”.

This intersection of quick ruptures with gradual, extended experiences of change are difficult to reconcile, especially by journalists and media-makers. Following on from that, this collection aims to reflect on the complex negotiations of temporal scales related to climate change and its mediations. Such negotiations emerge, for instance, in the temporalities related to the mediation of Greta Thunberg, which relate to geological time, its acceleration, tipping points, institutional temporalities of politics and journalism (and its possible acceleration), lifespans and generations as well as living memories of weather and related events. Such scales and perceptions are, furthermore, inscribed within more specific temporalities of media ideologies, ideologies and cultures in very different locales, which — at some level — all are written into the temporalities of global communication.

The broad aim of this volume is consequently to analyse the meetings of and schisms between various temporalities as they emerge within specific mediations of climate change in a diverse range of locations around the world. The collection thus seeks to understand how climate change as a temporal process gets inscribed within the temporalities of journalism, which inflect various local, regional, national and global times as well as various perceptions of change related to generations, (living) memory and (national) politics and how such perceptions are linked to the temporalities of globalisation, colonialism, race, gender and class. The aim of this collection is to free the thinking about climate change communication from science communication and/or social science approaches focusing on how climate communication can be improved (Chadwick) and, linked to that, how effects can be measured. Rather than being immediately focused on more efficient communication as determined and measured by an empiricist tradition, such critical cultural studies may help tease out important nuances of discourse and power that eventually can point towards different communicative practices.

Schedule:

• Date for submitting abstracts (max 300 words): January 15, 2020
• Answers with regard to acceptance: February 1.
• Deadline for first draft of chapters: May 1
• Deadline for editors’ comments to authors: June 15
• Deadline for final edited versions of chapters (7000-8000 words): August 1
• Publication: Autumn 2020.

Send abstracts to editors Henrik Bødker, Dept. of Media and Journalism Studies, Aarhus University, Denmark, hb@cc.au.dk; and to Hanna E. Morris, Annenberg School for Communication, University of Pennsylvania, USA, hanna.morris@asc.upenn.edu

May 15-16, 2020

University of Innsbruck, Innsbruck, Austria

Deadline: January 15, 2020

The fourth International and Interdisciplinary Conference on the Quantitative and Computational Analysis of Textual Data will be held in Innsbruck, Austria, on 15-16 May 2020.

COMPTEXT is an international community of quantitative text analysis scholars in political science, international relations and beyond. COMPTEXT is a legacy project of the 2018 POLTEXT Conference in Budapest (organized by Miklós Sebők) and the 2019 POLTEXT Conference in Tokyo (organized by Kohei Watanabe, Lisa Lechner and Miklós Sebők – for more information, see our official website at: http://www.comptextconference.org/). From 2020 the project continues on a new name, one that better reflects our approach.

We are seeking submissions that

• Address the complexity of research problems at the intersection of social sciences (particularly political science and international relations) and information technology
• Use computational methods in analyzing textual sources
• Adhere to a comparative approach to solving these problems, such as multi-lingual comparative analysis

We strongly encourage all scholars who employ quantitative text analysis methods to submit abstracts for presentation at the conference, but priority will be given to proposals which are relevant to one or more of the abovementioned focus points. We accept both substantive and methodological papers for presentation: substantive papers may be on any studies in social sciences or humanities that utilize quantitative text analysis; methodological papers may cover, but are not restricted to, word embeddings, topic models, different machine learning approaches, or sentiment analysis.

COMPTEXT conferences embrace interdisciplinary and diversity of participants, and we encourage PhD students and early career researchers to submit.

In keeping with our tradition, on 14 May, 2020 a tutorial day will be held for registered participants for a registration fee of EUR 30. Courses will be offered for both beginner and advanced level participants.

Submission of Paper Proposals:

Proposals, along with an abstract of 250 words and a few substantive and methods-related keywords, should be submitted via the submission form by 15 January 2020.

Notifications of acceptance are due by 15 February, 2020. The registration deadline is 15 March, 2020. Full-length papers must be uploaded by 7 May, 2020.

The Organizing Committee consists of:

• Lisa Lechner (University of Innsbruck – lead organizer)
• James Cross (University College Dublin)
• Christoph Ivanusch (University of Innsbruck)
• Miklós Sebők (Centre for Social Sciences, Budapest)
• Thomas Walli (University of Innsbruck)
• Kohei Watanabe (University of Innsbruck)

For more information, please visit our website: http://www.comptextconference.org/

Questions related to Innsbruck 2020 should be directed to innsbruck@comptextconference.org

In case you have any questions with regards to the COMPTEXT project please contact us via info@comptextconference.org