ECREA WEEKLY digest ARTICLES

Call for Chapters

Deadline for Submission of Abstracts: June 30, 2019

Editor: Karen McNally

Donald Trump’s emergence in the field of American politics has had an undeniable and wide-ranging impact on contemporary American television. As a medium television has been quick to respond to the extraordinary climate and fast-paced news environment created by the roller-coaster of events and political strategies that have defined the Trump administration. CBS drama /The Good Fight/, for example, explicitly ties the unfolding events of the Trump presidency to its characters’ professional and personal lives, while the dystopian narrative of /The Handmaid’s Tale/ seems an updated warning of the continuing threats to women’s legal and cultural rights. Each genre from the satirical show to reality television has demonstrated the centrality of contemporary politics to viewers’ everyday experience, assuming an atypical awareness of current events amongst diverse members of the American public. At the same time, television has been forced to confront its role in the construction of a media-driven celebrity presidency, as it provides 24-hour breaking-news coverage and makes celebrities out of the various press secretaries entering and exiting Trump world. Whether it’s the challenge of depicting the fictitious car crash politics of /Veep/ with the backdrop of a White House reportedly in disarray, or news analysis shows wading through the concepts of ‘fake news’ and ‘alternative facts’, the balance between representation, critique, entertainment, fiction and fact has become the site of television’s negotiation with the current era.

This volume seeks a range of essays aiming to address the ways in which the political climate of the Trump era has revealed itself on American television. The political setting might be defined as much by movements such as #MeToo, Time’s Up and Black Lives Matter as by the various branches of federal government, or political moments such as Charlottesville or the release of the Mueller Report. Similarly, authors might choose to examine individual television shows or particular genres, and themes including celebrity politics, backlash culture, journalism as entertainment, genre hybridity, amongst a variety of topics.

Chapter proposals should be submitted as a 300-400 word abstract by 30 June 2019 to the editor, Karen McNally, at TrumpEraTelevisionthebook@gmail.com . Please include a full author biography and contact details. Final chapters will be 5,000 to 6,000 words and due by 15 November 2019. Please feel free to email also with any queries prior to submission of abstracts. A major publisher is being sought for the volume.

Dr Karen McNally is a Senior Lecturer in Film and Television Studies at London Metropolitan University and a specialist in Hollywood cinema and American television and culture. She is the author of /When Frankie Went to Hollywood: Frank Sinatra and American Male Identity /(University of Illinois Press, 2008) and /The Stardom Film: Hollywood and the Star Myth/ (Columbia University Press, forthcoming). She is also the editor of /Billy Wilder, Movie-Maker: Critical Essays on the Films/ (McFarland, 2011) and co-editor of /The Legacy of Mad Men: Cultural History, Intermediality and American Television /(Palgrave Macmillan, forthcoming).

Contact Details: TrumpEraTelevisionthebook@gmail.com

November 20-22, 2019

Valencia, Spain

Deadline: July 15, 2019

The European elections of May 2019 take place in a scenario of  particular uncertainty. The rise of populist movements of different  ideologies, often linked to Eurosceptic positions, is combined with a  crisis situation in the European Union. Institutional crisis, deriving  fundamentally from the consequences of Brexit, the exit from the United  Kingdom, scheduled for October of this year. But there is also an  economic and political crisis, in a world where Europe's influence is  tending to decline. 

This International Conference aims to analyse the European Parliament  Elections from different points of view, which could be summarised in  the following topics: 

• New populisms and traditional parties in the elections to the European 
• Parliament. - Neoliberalism and the crisis of representative democracy 
• The role of social networks in elections. Fragmentation of the  electorate and polarization 
• The theme of the election campaign. What do the candidates talk about  and what do the media focus on? Is there a European campaign or many  national campaigns? 
• The impact of Brexit on the European election campaign. European  perspectives from the United Kingdom and image and references about the  United Kingdom in the European Union 
• Comparative electoral studies between different countries 
• Europeans vs. European Union. European Elections and Euroscepticism 
• Diachronic studies. Evolution of the European Parliament Elections 
• The European Union from outside. Follow-up of the campaign from non-EU  countries 
• “New” and “old” media in the election campaign 
• Fake news and disinformation 
• Citizen Mobilisation and Political Activism in the European Parliament Elections 
• Stateless Nations and European Elections: Nationalist Movements to the EU 

Regarding the abstract submission, All proposals will be sent in  English, in .doc, .docx., .odt or .pdf format, through the form of the http://congreso2019.mediaflows.es website.

Proposals should include title, keywords and abstract (250-300 words). 

The abstract should present the aim/objectives of the work, the  methodological approach, the results, and the conclusion. Proposals  should focus on the topics indicated above. 

The Scientific Committee of the Congress will announce in advance which  proposals have been accepted for presentation at the Congress. The five  best evaluated proposals -not belonging to researchers from Spanish  universities- will receive a 400€ grant to cover travel, accommodation  and registration of the communicator(s). 

Deadline & Dates: 

• 15 July 2019 – Deadline to submit abstracts 

• 31 July 2019 – Notification of accepted proposals and award of grants  to the five best-rated proposals 

• 31 October 2019 – Deadline for full paper submission 

• 20-22 November 2019 – Conference 

Fees: 

The registration fee is €80, covering access to all sessions, coffee  break, and conference material. 

For further information, please consult the Mediaflows web page. 

November 22-23, 2019

Ghent, Belgium 

Deadline: June 30, 2019

Keynote speakers: 

• Prof. Judith Thissen (Utrecht University) 
• Prof. Allyson Nadia Field (University of Chicago) 

In 2002, Annette Kuhn reflected, in /Dreaming of Fred and Ginger: Cinema  and Cultural Memory/, that in regards to 1930s British cinemagoers, “we  hardly know these people at all” (2002, 3); Jackie Stacey (1994, 49)  focusing on British female movie fans of the 1940s and 1950s, made a  similar observation in 1994, when she noted that “there is a history of  female cinematic spectatorship which has yet to be written.” In their  respective works, both scholars used sources such as magazines,  questionnaires and interviews to begin to write exactly that history. 

This conference wishes to build upon this observation that “we hardly  know these people at all” by expanding its meaning in terms of the  people involved, both in terms of time and in terms of demographics. We  therefore invite papers focusing on marginalised female audiences in the  broadest sense, and interpret this in two distinct ways. Firstly, we  seek to hear from scholars focusing on rediscovering or uncovering  particular audiences, marginalised vis-à-vis the texts they consumed  through racial, ethnic or religious identity, through geographic or  linguistic distance, through sexual orientation or gender identity,  through disability status, through social class, etc. This includes a  demographic analysis of such audiences, an examination of their specific  and varied fan practices and attitudes, the intersectional identities of  certain audience members, etc. 

It also includes, however, broader contemplations on the very notion of  the “marginalised” audience. 

Firstly: if we are indeed all, as Henry Forman wrote in 1933,  “movie-made”, what, then, does it mean to be “made” by movies or media  texts specifically aimed at demographic groups with a privilege  inaccessible to many other audience members? Secondly, we are keen to  acknowledge and discuss the methodological challenges involved in  studying such audiences, and the ways in which difficulties in terms of  scholarly research may essentially serve to marginalise the group in  question further. Thirdly, we wish to invite auto-ethnographic  reflections from scholars working on such research topics, while also  members of one or more marginalised groups themselves. 

While the organisers’ own research is rooted within a film-historical  context, and indeed we are very interested in hearing from those engaged  in rediscovering lost historical audiences, we also invite submissions  from those working on contemporary LGBTQ+, disabled, or  racial/ethnic/religious minority women spectators. We particularly hope  to reach out to scholars working within the multidisciplinary field of  fan studies, where much fascinating work has been done, in recent years,  on examining the practices of such audiences, as well as their  relationship to traditional conceptions of fandom (such scholars include  Kristen J. Warner, Rukmini Pande, Julie Levin Russo, Eve Ng, and  others). While film and television history and fan studies have largely  operated in distinct and separate spheres from one another, we believe  the disciplines can come together in fruitful and methodologically  interesting ways in order to allow us a more complete picture of these  often invisible fans. 

Potential topics can include, but are not limited to: 

•       Historical perspectives on cinemagoing in ethnic communities 

•       Immigrant spectatorship 

•       The consumption of Hollywood movies by minority women 

•       LGBTQ+ fandoms 

•       Methodologies to access historically lost audiences 

•       Film archives and the marginalised audience 

•       Black women as movie fans 

•       Disability and spectatorship 

•       Studies of film reception amongst specific religious groups 

•       Women-only film screenings and film clubs 

•       Characteristics of marginalised spectatorship 

•       The methodological challenges in examining female audiences 

•       Theorising lesbian spectatorship 

•       Working class women and the movies 

•       Women and film criticism 

•       Gender and race-specific viewing pleasures 

•       National minorities and cinema culture 

•       Girlhood and fandom 

•       Geographically specific viewing practices 

We invite abstracts of no more than 300 words for 20-minute papers, as  well as panel proposals for pre-constituted panels (consisting of three  papers). Conference attendance will be free of charge.  Send your proposal and a short bio to Lies Lanckman and Agata Frymus at  womenspectatorship.conf@gmail by 30 June 2019. The conference website can be found at https://audiencelost.wordpress.com/

YECREA seminar

October 21-22, 2019

University of Helsinki, Helsinki, Finland

Deadline: June 15, 2019

The Young Scholars Network of ECREA (YECREA) is happy to invite all young scholars – doctoral students, post-docs, junior scholars, and other early-career scholars – to participate in two seminar sessions, organised as part of the joint conference on ‘Infrastructures and Inequalities: Media industries, digital cultures and politics’ in Helsinki.

This is a joint initiative of three YECREA Sections: Communication and Democracy; Digital Culture and Communication; and Media Industries and Cultural Production.

Details:

• Date: 21-22 October 2019
• Location: Metsätalo, University of Helsinki
• Two parallel sessions (1.5 hours each)
• The deadline for applications is 15 June 2019

Topics this workshop will cover:

• Strategies for building researchers networks – exploring research communities, the potential of digital platforms
• Broadening scholarly communication – engaging with social media

Seminar description:

Scholarly communication is undergoing significant changes and evolutions, particularly in today’s shifting media landscape. For young scholars and early career researchers in particular, issues of disseminating our research on social media platforms, creating alternative communication forms, and establishing sustainable researcher communities are particularly relevant.

The shift towards a more diverse array of scholarly communication has already begun. Scholars now share their research and connect with each other on platforms such as Academia.edu, ResearchGate and LinkedIn. As well as these outlets, the traditional article format is being altered by including blog posts, interactive graphics and video. And perhaps most significantly, scholarly conversations are now taking place on social media platforms such as Twitter and Instagram.

These seminars aim to help young scholars navigate the process of sharing their research within this digital media environment.

21 October 2019

The first seminar, facilitated by Professor Kirsi Pyhältö, explores the issue of “How to build and sustain researcher networks”.

This workshop, intended for PhD students and young career scholars, aims to facilitate use of researcher communities as a resource for doctoral research and career development, by analyzing the potential of these communities, exploring one’s own communities, and discussing them with peers. The workshop addresses the function of researcher communities in early career researchers’ daily lives, and their role as a central resource for their careers after a doctoral degree.

22 October 2019

The second seminar, facilitated by Dr. Salla-Maaria Laaksonen, explores the topic “Why bother? Expert communication on social media”.

This seminar addresses the issue of the growing diversity of digital platforms for research dissemination, scholarly conversation, and alternative academic networking. It explores how early career researchers can engage with social media, the opportunities and also the pressures that these digital platforms afford, inquiring how young scholars and researchers can benefit from them.

Please submit a brief expression of interest (max. 200 words) providing a short description of your research interests and why you are interested in attending the seminars.

Additionally, please provide a short bionote stating your name, email, affiliation and position, and country.

Please be aware that participants commit to attending both seminars.

Please send in your expressions of interests and personal information, no later than 15 June 2019, to:

• Ally.Mccrowyoung@hum.ku.dk
• AnaSofia.PereiraCaldeira@ugent.be
• Giulia.Manica@nottingham.ac.uk

Selected participants will be notified by the 15th of July 2019

Participation in these seminar sessions is free of charge.

THE ORGANISING TEAM:

• ALLY MCCROW-YOUNG (YECREA REPRESENTATIVE OF COMMUNICATION AND DEMOCRACY SECTION)
• GIULIA MANICA (YECREA REPRESENTATIVE OF MEDIA INDUSTRIES AND CULTURAL PRODUCTION SECTION)
• SOFIA CALDEIRA (YECREA REPRESENTATIVE OF DIGITAL CULTURE AND COMMUNICATION SECTION)

We encourage workshop participants to also submit a proposal for the main

conference. Please submit your abstract also by 1 June 2019 (300-word abstract for individual proposals; or 300-word panel rationale plus individual 200-word abstracts from a minimum of four speakers for panel proposals). All abstracts for individual as well as panel proposals should be submitted through EasyChair: https://easychair.org/conferences/?conf=infrastructuresandin

For more information, please consult the conference website: https://www.helsinki.fi/en/conferences/infrastructures-and-inequalities

Biannual Conference of the Television Studies Section of ECREA (European Communication Research and Education Association)

October 24-25, 2019

University of Groningen

Deadline (EXTENDED): May 31, 2019

Confirmed keynote speakers:

• Prof. Jeanette Steemers (King's College London)
• Dr. Vilde Schanke Sundet (Inland Norway University, Lillehammer)

Television is constantly testing its definitional boundaries. What was formerly defined by ways of transmission and screen technology, is more and more in dissolution in today's mediated landscape. Young people, especially, are turning away from traditional broadcast television - and turning towards other screens and formats. This development is forcing established structures to react and adapt to this new viewing culture. Novel formats, such as the Norwegian teen drama series 'SKAM' or the Spanish talent show 'Operación Trriunfo/Star Academy', proved to be extremely successful in overcoming the traditional boundaries of the medium, amongst others by including multi-platform technology and storytelling via social networks.

How can we understand television today as a 'young' medium and audiovisual culture? As a connected screen culture, not constrained anymore by a singular screen and fixed location in households, the medium continues to play a key role in people's everyday lived realities. How is television understood by young audiences as part of their wider screen culture? A clear contradiction seems to be a part of this trend, with older viewers leading traditional television audiences, and younger populations increasingly connected through other audiovisual devices and contents.

And how should scholars of audiovisual culture try and make sense of television production and use by/for these younger audiences? The conference 'The Youthification of Television and Screen Culture' therefore also provides a platform to reflect on 'young', contemporary, and intersectional approaches to the study of television and connected audiovisual media on multiple platforms and screens. The conference has as its key goal to overcome 'narrow' definitions of the medium television, inviting reflections from wider and intersectional perspectives studying the medium's production, reception and/or cross-platform programming in different European contexts.

We invite papers addressing comparative studies of television, audiovisual culture and screen culture, international research on new and/or multi-platform modes of production, distribution and consumption; and related to challenges of television (studies) in Europe, including:

• Formats for young audiences
• Specific challenges that come in connection with 'young TV'
• New practices of traditional TV channels in platforms, apps and social networks
• 'Young' approaches to studying television and screen culture as media in transition
• Examples of past collaborations, present and future of European co-productions for younger audiences
• Intersectional approaches to studying youth screen culture, platform culture, gender and ethnicity
• New 'young' methods and recent approaches to the medium, including digital humanities, in order to clarify the medium's relevance among the youngest audiences
• Storytelling across media and mobility of screens for younger viewers
• Media literacy: tech skills of youngsters and adults
• TV and education in the era of streaming and cross-platform culture
• Beyond the thematic specific contributions we invite papers that deal with:
• Theoretical and methodological approaches to the study of European television, especially devoted to the new era of audiovisual consumption
• Production Studies, specifically how television content creators currently do audience studies, and broadcasters and content creators are at present part of academic research
• Reflections on the future of television

Special panel hosted by ECREA Film Studies:

The conference will also host a special panel organized by the ECREA Film Studies section. The section invites paper proposals devoted to explore new film-TV hybrid forms boosted by young people. The section welcomes submissions that explore theoretical explorations, comparisons of case studies and innovative approaches, in order to shed light on the future of film and cinema in its merging with TV platforms and the new cultural practices emerging within the new generations.

Proposals for individual papers or panels can be submitted to the ECREA Television Studies Vice Chair, dr. Berber Hagedoorn at b.hagedoorn@rug.nl until 13 May 2019. Abstracts should be written in English and contain a main question/argument, theoretical framework, methodology, results and reflection on key conference question(s). The length of individual abstracts should be between 300 and 500 words maximum plus key references, institutional affiliation and a short bio (max 150 words). A panel proposal should include a panel presentation (max 300 words) along with four or five individual abstracts and a short biographical note of each author.

Key dates

• Deadline for submissions: 31 May 2019
• Notification of acceptance: 2 July 2019
• Registration: until 15 September 2019
• ECREA TV Studies Section Conference: 24-25 October 2019

For more information visit our conference website at https://ecreatelevisionstudies2019.wordpress.com

Conference organizers: Berber Hagedoorn (University of Groningen, the Netherlands), Juan Francisco Gutiérrez Lozano (University of Málaga, Spain), Susanne Eichner (Aarhus University, Denmark).

Nordicom Review Special Issue (open access)

Deadline: October 1, 2019

Special issue editors:

Stine Liv Johansen (Aarhus University), Maja Sonne Damkjær (Aarhus University), Martina Skrubbeltrang Mahnke (University of Copenhagen), Ane Kathrine Lolholm Gammelby (Aarhus University).

Motivation and Aim

This special issue of Nordicom Review explores and discusses the concept ‘struggling’ in relation to media and technology use. ‘Struggling with technology’ is a dual concept. It refers not only tosituations where media technology is adopted to deal with different struggles, but also to situations where media technology itself becomes the subject of struggle.

Media technology permeates our social, leisure and work life. Although media technology is often implemented to support everyday activities and communication, it sometimes ‘gets in the way’, is experienced as difficult to handle or becomes the subject of heated debate. In other cases, people challenged by specific life situations or issues such as physical or mental health problems adopt particular technologies in order to overcome these struggles in – for them – meaningful ways.

Appropriation of new technologies thus often fosters – or is fostered by – different kinds of struggle. Technologies may contribute to amplify and extend or modify and constrain specific capabilities for communicationas well as change or reconfigure practices, meanings, social relations and relations of power. Given the similarities of the Nordic media and welfare systems and the Nordic countries’ rapid adoption of media technologies, this special issue will explore the concept of struggling specifically within a Nordic context (cross-national comparative studies are welcome).

This special issue aims to contribute to current debate about societal implications of media and technology use through different theoretical, analytical, empirical and conceptual discussions of how individuals and groups experience ‘struggling’ with technology. A further goal is to examine how discourses and metaphors concerning our engagement with technology affect understandings of media and technology. When these critical discussions become nuanced and sharpened, which we hope to achieve with this special issue, we as a research community contribute to improve insight into the roles that different media and technologies play in our lives.

Under the theme ‘struggling with technology’ we invite researchers to focus on aspects of our lives with media and technology that become pertinent because they are troublesome, imbued with conflict, discomfort or uncertainty, or lead individuals and groups to struggle. We wish to scrutinise features of media and technology use associated with ‘struggle’ at different phases of life and between and across generations and social groups, as well as how media and technology users demonstrate agency and creativity in how they respond to these circumstances.

We welcome contributions that examine and discuss the phenomenon of ‘struggling with technology’ in depth, especially in relation to cultural, social, historical and temporal perspectives on the multiple and complex ways in which people engage with and make use of different media types and technologies. We especially encourage contributors to discuss theoretical aspects of the concept ‘struggling,’ for instance how the given framework of ‘struggling’ can be operationalised for empirical media and technology studies, and how different perspectives can be integrated both analytically and conceptually.

Procedure and Important Dates

The special issue is expected to be published online and in print in the winter 2020/2021. The selection of papers to be included in this special issue will follow this two-step procedure:

Authors submit title and abstract (no more than 600 words incl. references) of their papers along with five-six keywords and short author bios (no more than 150 words per author) to the special issue editors (please send this to stineliv@cc.au.dk). The deadline for submission of abstracts is 1 October 2019 at 23:59 CET. The authors will be notified of acceptance or non-acceptance by early December 2019.

If an abstract is accepted, the authors will be requested to submit a full paper (no more than 7000 words including all references and appendices) anonymised for double-blind peer review and formatted according to the Nordicom Review guidelines. The deadline for submission of invited, anonymised full papers is 1 April 2020. The subsequent double-blindpeer review process and other administrative matters will take place according to a timeline to be further arranged by the special issue editors and the main editorial board.

Please note that if the invited, anonymised full papers are deemed incompatible with the preceding accepted abstracts or do not demonstrate sufficient academic quality, the special issue editors will reserve the right to reject such papers in line with Nordicom Review’s editorial policy.

Please address all questions as well as abstracts and full paper submissions to:

Stine Liv Johansen, Aarhus University, Aarhus, Denmark (stineliv@cc.au.dk).

We look forward to receiving your submissions!

About Nordicom Review

Nordicom Review is an international peer-reviewed open access journal published by Nordicom (Nordic Information Centre for Media and Communication Research) at the University of Gothenburg. The publication of Nordicom Review is supported by the Nordic Council of Ministers. Nordicom Review is indexed by SCOPUS.

View this CFP on Nordicom's website: https://www.nordicom.gu.se/en/latest/news/call-papers-struggling-technology

Tallinn University

Deadline: July 1, 2019

Tallinn University announces 5 free study places in its PhD programme titled “Audiovisual Arts and Media Studies”. The places will come with attached scholarships and salaries - in the amount of 1400 euros per month.

The programme facilitates two study tracks: creative practice based audiovisual arts studies and empirical media studies. The curriculum focuses on contemporary forms and phenomena of media and audiovisual arts, first and foremost media production and content research. Special focus is given to the processes of change in media and arts.

In 2019, there will be two PhD students admitted to conduct research as part of the EU Commission funded Cultural Data Analytics (CUDAN) ERA Chair project and two PhD students admitted to conduct research as a part of the EU Mobilitas Pluss Top Researcher project of Prof. Pia Tikka. One study place will not be attached to a project and is thematically free.

The two doctoral places that relate to CUDAN projects need to relate to the following themes:

• Data based studies of audiovisual heritage (film and television, projects could focus on their histories, their databases and corpora, their metadata, the ways databases and corpora represent or mediate history)
• Data usage in contemporary media organisations (media organisations in smaller countries preferred, projects could focus on their data collection and analytic practices and opportunities, analysis of related value propositions)

The two doctoral places that relate to prof. Pia Tikka research projects need to relate to the following themes:

• Virtual reality/Augmented reality storytelling in immersive narrative environments, practice-based work requiring skills in working with game engines, 3D character animation, and/or 360 cinematic production. Programming skills are considered a plus.
• - Biosensor-driven interaction between the participant and immersive narrative and/or virtual characters, requiring relatively advanced skills in programming, experience in conducting psychophysiological experiments is emphasised.

Deadline for applications is July 1st. Admissions to the programme take place in July.

Learn more about the programme here: https://www.tlu.ee/en/bfm/audiovisual-arts-and-media-studies#projects

November 25, 2019 (tentative)

Berlin, Germany.

Deadline: June 15, 2019

Submissions: https://easychair.org/conferences/?conf=giganet19

Information: http://www.giga-net.org

GigaNet – the Global Internet Governance Academic Network – is now accepting extended abstracts for papers to be presented at its annual symposium. GigaNet 2019 will be held alongside the United Nations Internet Governance Forum (IGF) in Berlin. We expect our symposium to be held on “Day 0” of the IGF, which is Monday, November 25.

GigaNet is an international association of academic researchers founded in 2006 to support multidisciplinary research on Internet governance. Its membership includes researchers from all over the world who are contributing to local, national, regional, and international debates on Internet governance. More information on GigaNet’s organizational structures and activities can be found on its website at http://www.giga-net.org.

Papers on any Internet governance-related topic are solicited. Welcome topics include, but are not limited to:

• Norm development by states and/or non-state actors
• Cross-regional dynamics (East-West, South-South, East-South, South-West, etc.)
• Governance of/by content, e.g. narratives, disclosures, censorship
• Sovereignty (internal, external) and commons-based governance
• Cybersecurity and cyber conflict among states
• Governance within new top-level domains
• Technical standards as norms
• Theories of and methods applicable to Internet governance research
• Multi-disciplinary and inter-disciplinary approaches

GigaNet is oriented around the presentation of research papers. Extended abstract should consist of 800-1500 words and must describe:

1) The research question(s),

2) The data used,

3) The methodology and

4) The main findings of the paper.

Theoretical papers need not specify the data used but must have a clear research question and statement of the specific theories used and literature in which the analysis is situated.

Reviews of individual papers will be double blind. Therefore, do not include names or any other personally identifiable information on the uploaded file. (Be aware, however, that applicants will submit through the Easychair platform, which will record their names and contact data, and the program committee chair will be able to see that information.)

GigaNet encourages emerging scholars to submit their work to the symposium. Proposals should be submitted in English.

For submission, the extended abstract must be uploaded to the Easychair website (URL above) by 15 June 2019.

We expect to complete reviews and to notify authors of acceptances within 5 weeks after submission, i.e. by 15 July 2019. Accepted authors must confirm their attendance within two weeks of notification and must submit their final paper within 6 weeks of notification, i.e. by 1 October 2019.

Important dates:

• June 15: extended abstracts submission date. (This is the initial deadline to observe.)
• July 15: notification to authors of acceptances/rejections
• July 29: accepted authors confirm attendance
• October 1: full papers due
• November 25: symposium in Berlin. (This date may shift slightly when the UN allocates facilities at IGF.)

Participation in the GigaNet symposium is free of charge.

December 3-5, 2019

Perth/Fremantle, Australia

Deadline: May 24, 2019

Contact:

http://www.ozchi.org

https://www.facebook.com/ozchi2019/

https://twitter.com/OzchiWA

E. ozchi2019@gmail.com

IMPORTANT DATES

• 24 May 2019 Long Papers
• 24 May 2019 Workshop Proposals
• 24 June 2019 Doctoral Consortium
• 10 August 2019 Short Papers
• 24 August 2019 Student Design Challenge Team Applications
• 6 September 2019 Demos, Posters, Industry Papers, and Work-in-Progress

We listen to YOUR voice and want to make OzCHI’19 even better – submit your conference ideas!

The best ideas are awarded during the conference closing session. ozCHI ‘Idea Box’: https://goo.gl/forms/0XceZlmoP0XSV5RO2

OzCHI is the annual non-profit conference for the Computer-Human Interaction Special Interest Group (CHISIG) of the Human Factors and Ergonomic Society of Australia and Australia's leading forum for the latest in HCI research and practice. OzCHI attracts a broad international community of researchers, industry practitioners, academics and students. Participants come from a range of backgrounds, including interface designers, user experience (UX) practitioners, information architects, software engineers, human factors experts, information systems analysts and social scientists.

After 18 years, OzCHI finally come back to Western Australia. Time has passed and things have changed a lot since OzCHI 2001.

More HCI and UX works have been done in Western Australia as well as its neighbouring countries. Having the privilege to convene the 2nd OzCHI conference in Western Australia, one of our objectives is to be inclusive towards attendees across overall Asia-Pacific.

The conference theme is Experience Design in Asia Pacific, which highlights the challenges we all face in the endeavour to tame the environment without destroying it to ensure our continuing existence. Our vision is to make OzCHI 2019 as an inclusive event for academic, industry, research, start-ups, maker communities to learn and exchange knowledge in the recent and emerging HCI and UX areas - practical, technical, empirical and theoretical aspects regardless their level of maturity in the fields.

We invite contributions on all topics related to Human-Computer Interaction, Interaction Design, Architecture, Engineering, Planning, Social Science, Creative Industries, and other related disciplines. Creating * Designing * Experiencing * Innovating * Intelligence * Community * Reaching out to Asia-Pacific

Join us in Perth/Fremantle, Western Australia in December 2019 to explore and understand the design and role of contemporary interactive technologies.

SUBMISSIONS

Submissions will be accepted in various categories as described below. All submissions must be written in English and follow formatting guidelines in the paper template. Both long and short papers will undergo a double-blind review by an international panel and evaluated on the basis of their significance, originality, and clarity of writing. This review will be based on the full text of the submitted paper. Accepted papers will be published in the ACM International Conference Proceedings Series available from the ACM Digital Library. Award will be given to the highest quality

We are looking for submissions under the theme of Experience Design across Asia Pacific in the following areas but not limited to:

TOPICS

HCI: Methods, Tools and Techniques

• Usability Methods and Practices
• Human-centered Design
• Participatory Design
• User Studies and Ethnographic Approaches
• Design Methods
• Tools for Design, Modelling and Evaluation
• HCI and Software Engineering
• Usability Metrics and Measurement
• Ethical issues in HCI
• HCI Education and Design Education
• HCI4D

UX Applications and Business Domains

• Digital Transformation
• Mobile User Experience
• Organizational context and technology design
• Games and Entertainment
• Healthcare, E-health and Telemedicine
• Interactive Design for Online Education
• Computer-supported cooperative work and collaboration
• E-commerce Interface Design and Evaluation
• Electronic, Mobile and Ubiquitous Commerce
• Service Design (Micro-finance, Micro-loan, Instant Courier, Agile Transport)
• Social Computing (Social Media, Social Networking)
• Online Gaming, Crowdsourcing, Collective Intelligence, Online Dating
• Cryptocurrency and Financial Technology
• UX and eLearning
• Blockchain
• Crowdsourcing

User Research and Usability

• Lean User Experience
• Agile User Experience
• Usability Testing
• User Research
• Internationalization and Localization
• Accessibility and inclusion
• Design System
• Multimedia and Multimodal Interfaces
• Natural User Interfaces
• Tactile and Haptic Interaction
• Novel Interaction Techniques
• Mobile User Interfaces
• Responsive Design
• Graphic User Interface
• Information Visualisation

Emerging Technologies

• Virtual Reality
• Augmented Reality
• Mobile Computing and User Mobility
• Affective Computing
• Context-Aware and Ubiquitous Computing
• Internet of Things
• Big Data
• Human Robot Interaction
• Artificial Intelligence
• Smart Cities
• Autonomous Vehicles
• Wearable Technology
• Brain Computer Interface
• Novel Interface

Graphics, Art and Media Technology

• Engaging users with multimedia
• Methods and techniques of creative practices
• Visualizing and interacting with data
• Quality of Experience (QoE)
• Digital storytelling
• Interactive art
• Media technology and interactivity
• Designing for multi-user interaction
• Tangible, mixed reality interfaces and multi-modal interfaces

SUBMISSION TYPES

1. Long papers report on innovative, original, and completed research, which is relevant, significant, and interesting to the HCI community.

2. Short papers present ideas that are emerging and would benefit from discussion with members of the HCI community. This type of submission may include work-in-progress, experiences of reflective practitioners, and first drafts of novel concepts and approaches.

3. Workshops are half-day and full-day sessions on topics that contribute to community building around a specific HCI topic. Topics may include methods, practices, and other areas of interest and that support active participation beyond presentation.

4. Doctoral consortium is a full-day intensive session for research students. A panel of experienced HCI researchers provides advice and guidance.

5. Student Design Challenge is an annual international competition in which students work rapidly researching, brainstorming and sketching a solution for a real HCI problem. This year the competition took place the 7th of April and now the submissions are under review, finalists will present their work at the OzCHI 2019 conference.

6. Industry papers provide the opportunity for practitioners and industries for their initiatives or new developments that could benefit from discussion with members of the HCI community.

7. Work-in-Progress papers are a subset of the long papers track (subject to the same format and deadlines). Rather than reporting on mature research, they describe work-in-progress, late-breaking and new ideas, questions, or challenges, and are intended to provoke discussion in the OzCHI community. The accepted submission will be required to present a poster

8. Demo/Posters is a venue for industry, research, startups, maker communities, the arts, and design to present their hands-on demonstration, share novel interactive technologies, and stage interactive experiences. This venue promotes and provokes discussion on novel technologies.

OzCHI 2019 GENERAL CHAIRS

General Chairs

• Artur Lugmayr, Curtin Univ., AUSTRALIA
• Eunice Sari, UXINDO & Charles Darwin Univ., AUSTRALIA/INDONESIA

Long Paper Chairs

• Ryan, Kelly, Univ. Melbourne, AUSTRALIA
• Mark Reynolds, Univ. of Western Australia, AUSTRALIA
• Virpi Roto, Aalto Univ. FINLAND
• Ingrid Richardson, Murdoch University, AUSTRALIA

Short Paper Chairs

• Haifeng Shen, Australian Catholic Univ. AUSTRALIA
• Callum Parker, Univ. of Sydney, AUSTRALIA
• Naseem Ahmadpour, Univ. of Sydney, AUSTRALIA
• Jo Li Tay, Curtin Univ., AUSTRALIA

Publication Chairs

• Hollie White, Curtin Univ., AUSTRALIA
• Jared Donovan, QUT, AUSTRALIA
• Simon Perrault, Singapore Univ. of Technology & Design, SINGAPORE

Workshop Chairs

• Greg Wadley, Univ. of Melbourne, AUSTRALIA
• Sarah Webber, Univ. of Melbourne, AUSTRALIA
• Jo Jung, Edith Cowan Univ., AUSTRALIA
• Demos, Work in Progress, Posters
• Mark Billinghurst, Univ. of Auckland, NEW ZEALAND
• Soojeong Yoo, Univ. of Sydney, AUSTRALIA
• Martin Masek, Edith Cowan Univ., AUSTRALIA

Doctoral Consortium Chairs

• Dana McKay, Univ. Melbourne, AUSTRALIA
• Margot Brereton, QUT, AUSTRALIA
• Wally Smith, Univ. Melbourne, AUSTRALIA

Panel Chairs

• Marcus Foth, QUT, AUSTRALIA
• Jaz Hee-jeong Choi, RMIT, AUSTRALIA

Student Design Challenge

• David Cook, Edith Cowan Univ., AUSTRALIA
• Trevor Hunter, Univ. of Queensland, AUSTRALIA
• Peter Worthy, Univ. of Queensland, AUSTRALIA
• Industry Engagement and Sponsorship Chairs
• Jess Tsimeris, Google, USA
• Jonathan Steingeisser, Isobar, Perth, AUSTRALIA
• Greg Stewart, SMS Management and Technology, Perth, AUSTRALIA
• Christopher Kueh, ECU, Perth, AUSTRALIA
• Ulrich Engelke, Data61, CSIRO, AUSTRALIA
• Sean Gardiner, BHP, AUSTRALIA
• Adi Tedjasaputra, UX Indonesia, AUSTRALIA/INDONESIA

Local Liaisons & Publicity Chairs

• Susannah Soon, Curtin Univ., AUSTRALIA

Website

• Yanginbo Zhang, Curtin Univ., AUSTRALIA

Student Volunteers Chairs

• Casey Xin Wei Lim, Curtin Univ., AUSTRALIA
• Jamie Dougall, Curtin Univ., AUSTRALIA

Asian Liaisons and Publicity

• Ethel Ong, De La Salle University, PHILIPINES
• Masitah Ghazali, University of Teknologi, MALAYSIA
• Thippaya Chintakovid, Chulangkorn University, THAILAND
• Nova Ahmed, North South University, Dhaka, BANGLADESH
• Adi Tedjasasaputra, UX Indonesia, INDONESIA/AUSTRIA

CHISIG Liasons

• Duncan Stevenson, Australian National University, AUSTRALIA
• George Buchanan, University of Melbourne, AUSTRALIA
• Local Conference Steering Board
• Artur Lugmayr, Curtin University, AUSTRALIA
• Andrew Woods, HIVE, Curtin University, AUSTRALIA
• Andrew Rohl, Curtin University, AUSTRALIA
• Christopher Kueh, Edith Cowan University, AUSTRALIA
• Clive Barstow, Edith Cowan University, AUSTRALIA
• David Cook, Edith Cowan University, AUSTRALIA
• Eunice Sari, Charles Darwin University and UX Indonesia, AUSTRALIA
• Jo Jung, Edith Cowan University, AUSTRALIA
• Michelle Ellis, Edith Cowan University, AUSTRALIA
• Philip Ely, Curtin University, AUSTRALIA
• Martin Masek, Edith Cowan University, AUSTRALIA
• Mark McMahon, Edith Cowan University, AUSTRALIA
• Mark Reynolds, University of Western Australia, AUSTRALIA
• Tele Tan, Curtin University, AUSTRALIA
• Honorary Local Conference Steering Board Members
• Vasillis Kostakos, Univ. Melbourne, AUSTRALIA

UNDER FIRE (short articles)

The post-millennium world has seen a rapid escalation of violent conflicts in the Middle East, West, Central and some areas of Southern Africa, and ongoing civil wars, refugee migrations on unprecedented scales and human rights abuses in a variety of other regions across the world. As a means to engage these developments, Critical Arts instituted a new Section, “Under Fire” in 2002. This is in keeping with its interpretation of cultural studies as a form of praxis, of experience, and of strategic intervention, in which individuals find themselves caught up in broader process over which they may have little or no control. The aim of this section is to invite short (anything up to 2000 words) theorised autobiographies, authoethnographies, and dramatic narratives of what it is like living under fire, of the relevance of cultural studies in such circumstances, and how it could be deployed to challenge such conditions. The original Call emanated from a number of unsolicited submissions we had been receiving from colleagues in Palestine and Zimbabwe, letters from friends in Israel, and marginalised groups in South Africa, and from academics whose research and work is pilloried by hostile authorities. The exigencies of being under fire make it hard to find the discursive space in which participants can catch enough breath to speak the truths of their own participation:

• When does a culture of resistance lose focus, becoming a culture of violence as an end in itself?
• At what point can one recognize when legitimate defence against violence has suddenly become indistinguishable from the Warsaw Ghetto?
• How can we turn war-talk into justice-talk, without provoking war-mongers to renewed efforts?
• In a world with a global view of even the most local eruption of violence, how can those under fire on opposite sides of the street, the valley, the river, the sand dune find enough space to escape the solidarities of occupation, of resistance, and develop a language of restitution, restoration, Reformation, in the face of corporate and state reaction?
• Closer to our own sites of research, when does academic managerialism and bureaucratisation of research become offensive, anti-humanist and self-destructive? The academic enterprise is under fire itself, as are many employed within it.

“Under Fire” offers such a space, and we do not expect to define what will make submissions acceptable or not. The object is for those who have had enough, to speak in the ways they believe those across the camp or the corridor might attend to them. The “Under Fire” submissions should reflect not just the pressures of a personal involvement within a context of oppression, occupation, or resistance; it should carry a clear indication of just how this involvement tests the cultural studies tradition. In this “test” the writers’ experience can draw not only on the cultural studies method of examining texts in relation to contexts, but should also use the writer’s own context as the critical touchstone for pushing the cultural studies envelope.

For more see:

https://www.tandfonline.com/doi/abs/10.1080/02560240285310041

Some Recent Under Fire Postings:

Njabulo Ndebele, They are Burning Memory https://www.tandfonline.com/doi/abs/10.1080/02560046.2017.1318158

Chris Merrett, Marx, Labour and the Academy https://www.tandfonline.com/doi/abs/10.1080/02560046.2013.784389

Brenden Gray, Neoliberalising Higher Education https://www.tandfonline.com/doi/abs/10.1080/02560046.2016.1269237

And the essay that started the section in 2002:

Lena Jayyusi, Letters from the Palestinian Ghetto, 8-13 March 2002 https://www.tandfonline.com/doi/abs/10.1080/02560240285310051

Submission Guidelines:

Submissions should be made online via ScholarOne Manuscripts at http://mc.manuscriptcentral.com/rcrc (in cases where internet connectivity is not conducive to a ScholarOne submission, we will still accept manuscripts submitted via email to the Critical Arts office. Send to David Nothling at criticalarts@ukzn.ac.za and/or editor-in-chief, Keyan Tomaselli, at tomasell@ukzn.ac.za). Submissions should be original works not simultaneously submitted elsewhere, if up to 2000 words in length including any references. Referencing should be done according to the Chicago manual of style (see attachment).

Critical Arts URLs:

Author Services: http://journalauthors.tandf.co.uk/

Critical Arts Home Page: https://www.tandfonline.com/loi/rcrc20

eJournals Archive (1980-1992) Open Access: http://digital.lib.msu.edu/projects/africanjournals/html/browse.cfm?colid=263