ECREA WEEKLY digest ARTICLES

December 14-16, 2023

Tallin, Estonia

Deadline: July 24, 2023

We invite submissions for the Cultural Data Analytics Conference 2023 / CUDAN 2023, organized by the ERA Chair project for Cultural Data Analytics at Tallinn University, generously funded by the European Commission. Inspired by initial large gatherings of the cultural analytics community, including UCLA/IPAM 2016, and multidisciplinary conferences such as NetSci, IC2S2, or CSS, we aim to bring together researchers, practitioners, and stakeholders using methods of cultural data analytics to understand cultures and cultural production. This particularly includes multidisciplinary combinations of quantification, qualitative inquiry, computational analysis, and visualization to make sense of large cultural datasets, including visual, audiovisual, linguistic, and other genres of socio-cultural materials.

The conference is scheduled to happen in Tallinn, Estonia from December 13 to 16, 2023, including a number of leading invited practitioners, peer-reviewed talks, and poster contributions from the community.

Key Dates #

Abstracts due: July 24, 2023 (23:59 CET)

Notification of acceptance: September 14, 2023

Conference: December 13-16, 2023

Pre-conference workshops: December 13, 2023

Main conference: December 14-16, 2023

More information here: https://cudan.tlu.ee/conference/ 

November 2-4, 2023, Prague,

Prague, Czech Republic; DOX: Centre For Contemporary Art, Poupětova 1, 170 00 Praha 7-Holešovice

Deadline: July 15, 2023 (presentations)

Topic:

• Dimensions of Empathy. How Empathy and the Concept of Ethics Changed between the Holodeck and the Metaverse?
  
• How our trust and sense of criticism shapes the ways we understand old and novel interactive digital narratives?
  

The concept of the Metaverse embodies a boundless and interconnected sense of compatibility and engagement, which amplifies our expectations for immersive forms of media. In the early days, visionaries already envisioned fully realized immersive environments akin to those depicted in the Star Trek: The Next Generation TV series and described in Janet H. Murray's influential book, Hamlet on the Holodeck. Social VR platforms - by allowing creators to adapt theatrical performances to their platforms - have ventured into exploring shared experiences and collective activities that influence both our physical and virtual realms. Productions designed to be experienced in VR HMD’s  are experimenting with diverse narrative structures, while the announcement of each new AR headset generates additional anticipation. The growing integration between the physical and digital domains holds the potential to create experiences resembling those depicted in the Holodeck, characterized by enhanced visual fidelity, expanded interaction possibilities, and greater individual agency. However, the emergence of new publicly available text, image, and video generators that rely on existing content raises concerns about the originality of artistic expression. Furthermore, it raises crucial questions about data security and the ethical handling of user-provided information. Hence, it becomes imperative to reimagine the concept of empathy—how it is fostered—and establish ethical guidelines for utilizing these technologies in the creation of artworks or practical applications.

There are various interpretations of empathy, such as the target of our empathetic feelings. Madary and Metzinger (2016) introduced the concept of a code of conduct for VR research, suggesting that it could potentially manipulate behavior significantly, particularly when "illusions of embodiment are misused" (ibid.). They raise broader ethical concerns about research, including the limitations of a code of conduct and the boundaries of experimental environments. But should we consider a similar approach for artistic interactive digital narratives or VR productions?

For instance, Fisher (2019) argues that the experiencer empathizes more with the VR production creators rather than with the people affected. However, should we explore and implement new ethical practices when presenting interactive and immersive artworks, especially if they are contrasting old and new creative practices? While Fisher questions the direction of empathy, both e.g. Camilleri et al. (2017) and Owais and Yaacoub (2020) contend that the experiencer can indeed feel a sense of empathy. The key question is how this empathetic experience can be ethically harnessed in VR productions that tackle pressing issues like war or mental health.

Another pressing concern regarding ethical perspectives arises in the context of social VR platforms, where community management and moderation raise further questions about interpersonal empathy.

How can we effectively convey complex subjects such as history using cultural heritage in immersive productions? How can we ensure transparency regarding the “the existence of intersectional regimes of oppression” (see Koenitz et al. 2023)? Moreover, how do we establish a framework for the ethical responsibilities of both the creators and participants of these experiences? While authors may have more stringent guidelines to follow, as suggested by Koenitz et al. (2023), the responsibilities of experiencers can also be a debatable point, as it can either impede or encourage active involvement based on the experience's design or technical limitations. Nonetheless, certain theater performances already address this ethical aspect of audience interactivity, but there may be instances where creators or organizers fail to provide room for civic engagement, as highlighted by Mühlfoff (2018). It is crucial that this issue is promptly addressed.

To better grasp the changing world and the complexity of the changes, it is important to improve emerging artistic and scientific practices to enable critical reflection. Virtual Environments and the Metaverse provide particular opportunities in this regard, provided we embrace the changing relations between creators, audiences and scientists they bring about. Virtual Environments could also be described as interactive design fictions (Sterling, 2012), virtual sandboxes to try out novel ways of communicating, interacting and expressing, in the sense of “Playful Utopias” (Koenitz 2019). This notion connects VEs to the long tradition of literary and cinematic utopias and their effect on reality (cf Shedroff et. al. 2012) and positions VEs as a more democratic, participatory form of speculative narratives, especially in the realm of Metaverse-like environments. In this year’s conference, we aim to have a special emphasis on how IDN’s and related applications can guide us to a more peaceful future and/or also guide us for taking better care of each other.

The Zip-Scene Conference takes XR/extended reality (VR/AR/MR) and Metaverse-related works seriously and treats them on equal footing to film and performing arts, and wishes to expand its scientific treatment and reflection. On this basis, we are inviting papers that address narrative experiences enabled by digital platforms, especially online and XR or related to the Metaverse. We are also looking for IDN practices and prototypes from medical and mental healthcare practices that could offer new approaches on how storytelling can be embedded in scientific practices. Papers should address either one or several of the following topics:

Conference themes:

• Interactive storytelling methods and authoring
  
• Video games
• Virtual reality experiences & movies

• Augmented reality in interactive storytelling
  
• Interactive performing arts practices
  
• Interactive museums and archives
  
• Immersive environments (media archeology and phenomenological approach)
  
• Special track #1: Empathy in VR creations
  
• Special track #2: Ethical measures and their application possibilities
  

Call for presentation

Proposals may be for a paper/panel and should be related to at least one of the conference themes. Deadline for submitting the proposals is July 15, 2023. Please send us your abstract (max. 350 words) and a short bio (max. 300 words) by filling in this form: https://forms.gle/DXVp6zxc2SQU6m9HA. The papers will be reviewed by the conference committee. If you want to submit a panel, please fill in the sheet for each presentation of the panel and mention the title of panel. If your proposal will be accepted you will be given 20 minutes for your presentation.

Call for workshops (for 4th of November)

Workshop proposals are also welcome: on the 4th of November we offer the space for ca 4-5 hours workshops. Please send you workshop proposal (max 350 words including the detailed schedules) and please also mention what is the maximum participation number. We can provide room for the workshop and a basic technical setup. Please submit your proposal here: https://forms.gle/DXVp6zxc2SQU6m9HA

General information

The conference is intended as an in-person event in Prague, barring complications caused by the pandemic. The organizer reserves the right to make changes to the event program.

Registration fee

Both for papers and workshop leaders: 100 EUR (physical attendance)

(Reduced registration fee is available upon request)

More information about visitor tickets in September.

The organizers cannot cover travel and accommodation costs. Upon request we can provide you with an invitation letter.

For Whom

The conference addresses scientific researchers, game professionals, programmers, artists, scholars and professionals from the fields of performing arts and game studies, as well as interactive storytellers, experience designers, narrative designers, VR-professionals and philosophers and others concerned with the conference topics. The conference aims to bring together emerging scholars, professionals and creators in order to create a joint platform which would help individuals to understand and to develop these types of productions.

This year the conference is organized in cooperation with ART*VR festival. This is the first festival in the territory of the Czech Republic to focus conceptually on the format of art projects in virtual reality (VR). The carefully curated programme aims to present the best in the field of artistic VR creation and immerse the audience in unique, immersive virtual worlds. The programme will showcase the latest projects presented at major festivals such as the Venice Film Biennale, Sundance, Tribeca and SXSW in the USA, and IDFA in Amsterdam. The event also aims to present several projects in international or world premieres.

The festival will have a competitive and non-competitive part and will aim to present VR projects set in physical art installations. The event will take place in the exhibition space of Centre of Contemporary Art: DOX. An important part of the programme is an industry programme for film professionals, a series of lectures on VR and an accompanying programme. A special programme for primary and secondary schools will also take place in the morning of the festival.

ORGANIZERS

Ágnes Karolina Bakk, PhD: narrative designer and researcher at the Innovation Center of Moholy-Nagy University of Art and Design. She focuses on immersive storytelling & the science of magic, and currently leads two research projects: 1. on romantic relationships in Metaverse-like environments 2. psychological restoration in a specific VR prototype. She is the founder of the Zip-Scene conference; cofounder of Random Error Studio; co-curator of Vektor VR section. She teaches immersive storytelling, speculative design and offers talks at various conferences from Moscow to Montreal including festivals (Stereopsia, DokLeipzig). She is currently involved in several video games and creates on her own artistic VR production.

Daniela Hanusová has an academic background in film and gender studies (Charles University, Prague) and 7 years of experience working for film festivals as a guest service coordinator (East Doc Platform, Ji.hlava IDFF, One World Human Rights Documentary Film Festival, Mezipatra Queer Film Festival, Marienbad Film Festival, etc.). In 2022/2023, she was a Blue Book Trainee for the European Commission, working on a research of sustainability and gender equality, inclusion and diversity strategies of European film festivals at the Creative Europe MEDIA unit. Her fascination with the artistic and transformative potential of the medium of virtual reality has lead her to become an Executive Director of Art∗VR Festival in 2023.

Ondřej Moravec is an independent director, screenwriter and producer. He closely collaborates with Brainz Studios independent creative group. He worked on his first feature film and VR project Darkening from 2019 to 2022. The world premiere of Darkening was at the Venice Film Festival in 2022 and later it was nominated for the Czech Lion Award in the animated movie category. His new project Fresh Memories: The Look premiered at South by Southwest festival. Since 2014 he has worked as an independent dramaturgist for multiple Czech film festivals. He curates VR movies categories at Anifilm, Letní filmová škola, Febiofest and Zlín film fest festivals.

Organised by:

Zip-Scene

Art*VR Festival

ARDIN – Association for Research in Digital Interactive Narratives

Strategic partner:

Interactive Digital Narratives for Complexity Representations – INDCOR Cost Action

indcor.eu

Code and Soda Company codeandsoda.com

Random Error Studio randomerror.studio

Supported by:

INDCOR COST ACTION/H2020

Consultant on behalf of ARDIN/INDCOR:

Hartmut Koenitz

References:

Camilleri, M. Montebello, A. Dingli, and V. Briffa, “Walking in small shoes: Investigating the power of vr on empathising with children’s difficulties,” in 2017 23rd International Conference on Virtual System & Multimedia (VSMM). IEEE, 2017, pp. 1–6.

J. A. Fisher, “Empathic actualities: Toward a taxonomy of empathy in virtual reality,” in International Conference on Interactive Digital Storytelling. Springer, 2017, pp. 233–244.

Jenkins. H. (2006). Convergence Culture. New York, University Press.

Koenitz, H. (2015). Towards a Specific Theory of Interactive Digital Narrative. In H. Koenitz, G. Ferri, M. Haahr, D. Sezen, & T. I. Sezen (Eds.), Interactive Digital Narrative (pp. 91–105). New York: Routledge.

Koenitz, H. (2019). Playful Utopias. Sandboxes for the Future. In Beil, B. et al. Clash of Realities, transcript Verlag, Bielefeld, https://doi.org/10.1515/9783839450505-009

Murray, J. Research into Interactive Digital Narrative: A Kaleidoscopic View. In: Rouse R., Koenitz H., Haahr M. (eds) Interactive Storytelling. ICIDS 2017. Lecture Notes in Computer Science, vol. 11318. Springer, Cham, 2018.

Mühlhoff, Rainer. "Dark immersion: Some thoughts on SIGNA’s Wir Hunde/Us Dogs." Staging Spectators in Immersive Performances. Routledge, 2019. 198-204.

W. B. Owais and E. Yaacoub, "Quantifying Empathy in Virtual Reality: An Outline," 2020 IEEE International Conference on Informatics, IoT, and Enabling Technologies (ICIoT), Doha, Qatar, 2020, pp. 457-462, doi: 10.1109/ICIoT48696.2020.9089565.

Rouse, R. (2016). Media of attraction: a media archeology approach to panoramas, kinematography, mixed reality and beyond. In: Nack, F., Gordon, A.S. (eds.) ICIDS 2016. LNCS, vol. 10045, Springer, Cham, 97–107.

Shedroff N. & Noessel Ch, (2012). Make It So. Interaction Design Lessons from Science Fiction. Berlin: Rosenfeld Media.

September 6-7, 2023

Dublin City University, Ireland

Extended abstract submission deadline: 12 June 2023 (midnight anywhere in world)

We have two important announcements for the forthcoming conference ‘The Synthetic City: Potential, Politics and Everyday Life’, to be held 6-7 September 2023 at Dublin City University, Ireland, hosted by the ECREA Media, Cities and Space Section.

First, we are extending our submission deadline to 12 June 2023 (by midnight anywhere in world). That’s more time to craft your proposals for individual papers, practice-based interventions, and paper or panel sessions! Read the revised call for more details.

Second, we are very pleased to announce two fantastic keynote speakers for the conference: Aphra Kerr and Alison Powell. Their details are below, andavailable at the conference website.

Conference website: https://syntheticcity2023.wordpress.com/ 

_______________________________

syn·​thet·​ic, adjective

devised, arranged, or fabricated for special situations to imitate or replace usual realities

syn·​the·​sis, noun

the composition or combination of parts or elements so as to form a whole

In less than a year, the release of tools such as the large language model-based chatbot ChatGPT and image generation platforms like DALL-E or Midjourney has given rise to lively discussion and urgent questions around the potential of advanced artificial intelligence (AI) based systems. Debates around AI are a sharp reminder of the deepening interconnections of digital technologies and human life, which are particularly pervasive and tangible – if not always immediately visible – in urban spaces. Already captured through terms such as ‘algorithmic cities’, ‘data-driven urbanism’, ‘code/spaces’ and ‘sentient cities’, urban environments have for some time been understood as emergent venues for various kinds of computational agency, ranging from surveillance systems, delivery apps and neighbourhood social media to automated infrastructures, outdoor advertising and digital art. 

This conference puts forward the notion of ‘the synthetic city’ as a provocation for thinking through the potentials, politics, and everyday implications of these long-term and more recent developments in digitalising urban life. As the above definitions imply, we intend ‘the synthetic city’ to relate to both synthetic and synthesis: the former captures how AI and related digital technologies might imitate or replace human agency (e.g. with ‘synthetic’ data being used to generate various urban simulations, whether for critical infrastructure, leisure or gaming environments); whereas the latter captures how these same technologies always-already involve combinations of computational and human agency (e.g. unfolding alongside the dynamics of everyday routines, political interests, institutions, and so on).

We therefore welcome a range of contributions, exploring both the technologies as such, as well as the broader social, cultural and political contexts of the synthetic city. Topics of interest include, but are not limited to: 

• How AI-based applications potentially reshape or restructure urban material spaces and their inhabitation
  
• Artworks or models (e.g. performances, illustrations, mock-ups, simulations) that speculate or envision the near (and far) future of urban living
  
• Virtual and augmented reality in urban design and art
  
• The impacts of machine learning and predictive modelling on urban planning and design
  
• Smart cities, the Internet of Things and platform urbanism
  
• The changing relationships between automation processes (including robotics) with urban services and labour
  
• The ethics and governance of synthetic urbanism
  
• Counterculture and protest movements questioning and contesting the digitalisation of cities
  
• Algorithmic mediations of public participation and collaboration in urban/neighbourhood life
  
• How automated content production tools reshape how fields such as journalism, graphic design, filmmaking, music (and more) might relate to and tell stories about cities
  
• How digital platforms help to transform how urban environments and daily life is navigated and mapped
  
• The political potential of reappropriating and repurposing digital media and automated systems 
  
• Withdrawal and disconnection from the synthetic city
  

We welcome work-in-progress contributions as well as finished works, encompassing research into both current and future developments, with empirical, theoretical, or methodological focus, and from a broad spectrum of disciplines (e.g. communication and media studies, sociology, human geography, urban studies, or science and technology studies). Participants can submit one of three types of submissions:

• Individual papers: Please submit an abstract (250-300 words), biographical statement (50-75 words) and contact information for all authors. 
  
• Practice-based interventions (e.g. screenings, illustrations, performances, installations) exploring the conference themes more experimentally. Please submit an abstract (250-300 words) and a biographical statement (50-75 words) alongside contact information for all authors. The abstract should describe the scope of the project as well as equipment, space and time needed (as relevant). 
  
• Paper of panel session: Please submit an abstract (250-300 words) describing the overall theme of the session. In the case of a paper session, this will be followed by  an abstract (250-300 words), biographical statement (50-75 words) and contact information for the author(s) of each paper. In the case of a panel discussion, please provide biographical statements (50-75 words) and contact information for all panellists. 
  

Abstracts must be submitted by 12 June 2023 (by midnight anywhere in world) to mediacity.twg@gmail.com. Notification of acceptance will be sent by 23 June 2023.

April 16-19, 2024

King's College London (UK)

Deadline: September 15, 2023

https://ecrea.eu/event-5314368

The ECREA Media Industries and Cultural Production section is delighted to act as partner for the International Conference Media Industries (MI2024), taking place on 16-19 April 2024. The Conference is hosted by the Department of Culture, Media and Creative Industries, King’s College London. Paper, panel, and roundtable proposals are now open.

After the success in 2018 of the inaugural conference ‘Media Industries: Current Debates and Future Directions’, unfortunately the planned 2020 conference had to be cancelled due to Covid lockdowns. We are therefore very pleased to announce the conference will return next year.

A key aim of MI2024 is to maintain an open intellectual agenda and provide a meeting ground for all forms of media industries research. To this end, the conference invites proposals for papers, panels, and roundtables presenting research from across the full breadth of the media industries. 

To energize interdisciplinary discussions, we welcome proposals presenting research from all intellectual and methodological traditions in media industries scholarship. 

Additionally, to recognize the full scope and diversity of media industries, proposals may address industries in contemporary or historical contexts, and at global, transnational, national, or sub-national levels of analysis.

Proposals are welcomed in three categories (see full details below):

• open call papers

• pre-constituted panels

• pre-constituted roundtables

*PLEASE NOTE*: MI2024 will take place in-person only and we are unable to accommodate requests for virtual presentations. 

PARTNERS

A core aim of the ‘Media Industries’ conference is to bring together scholars researching media industries from across multiple professional associations and their relevant sub-groups or sections. We are therefore very pleased to be organizing ‘MI2024’ in partnership with:

• British Association of Film, Television and Screen Studies (BAFTSS) - Screen Industries Special Interest Group

• European Communication Research and Education Association (ECREA) - Media Industries and Cultural Production Section

• European Media Management Association (EMMA)

• European Network for Cinema and Media Studies (NECS) - Screen Industries Work Group

• Gesellschaft für Medienwissenschaft (GFM) - AG Medienindustrien

• Global Media and China journal

• International Association of Mass Communication Research (IAMCR) - Media Production Analysis Working Group

• International Communication Association (ICA) - Media Industry Studies Interest Group

• Media Industries journal

• Society for Cinema and Media Studies (SCMS) - Media Industries Scholarly Interest Group

HOST COMMITTEE

Sarah Atkinson, Orcun Can, Virginia Crisp, Matthew Hilborn, Wing-Fai Leung, Paul McDonald (conference chair), Jeanette Steemers, and Jaap Verheul.

ADVISORY COMMITTEE

Ruby Cheung, Elizabeth Evans, Terry Flew, Kate Fortmueller, Anthony Fung, Melanie Gray, Xiao Han, Catalina Iordache, Anna Jupowicz-Ginalska, Aske Kammer, Michael Keane, Florian Krauß, Skadi Loist, Kate Nash, John Oliver, Jennifer Porst, Alisa Perren, Steve Presence, Lies van Roessel, Willemien Sanders, Kevin Sanson, Andrew Spicer, Vilde Schanke Sundet, Fredrik Stiernstedt, Dinara Tokbaeva, Emily West and Anna Zoellner.

REGISTRATION

All delegates will need to register for the conference.

Registration for the conference will go live in November 2023, and fees will be structured on the basis of full (academics, waged) and reduced (students, unwaged) status, and tiered according to the delegate’s country of residence using the World Bank’s country classifications by Gross National Income per capita.

SUBMISSIONS

The system for submitting proposal is NOW OPEN.

Deadline for submissions is 23.00hrs Pacific Daylight Time (PDT = UTC -7) on Friday 15 September 2023

Proposals are welcomed in three categories and should be submitted through the following links.

1) Open Call Papers

Format: solo or co-presented research paper lasting no more than 20mins.

https://form.jotform.com/231403617601344

2)  Pre-constituted Panels

Format: 90mins panel of 3 x 20mins OR 4 x 15mins thematically linked solo or co-presented research papers followed by questions.

https://form.jotform.com/231404242363344

3)  Pre-constituted Roundtables

Format: 90mins interactive forum led by a chair bringing together 4 to 6 participants (including the chair as a participant if speaking as well as chairing) to offer short (up to 6 minute) position statements or interventions designed to trigger discussions around a central theme, issue, or problem. As such, a roundtable does not involve the presentation of formal research papers but rather is designed to create a forum for the participants and audience to engage in a shared discussion. The format is flexible and can be adapted to allow members of the roundtable to introduce exercises or other activities where appropriate.

https://form.jotform.com/231403562356350

Delegates will be able to make up to TWO contributions to the conference but only ONE in any category, i.e., presenting an open call paper and participating in a roundtable will be permitted but not presenting two open call papers. Chairing a panel or roundtable will NOT count as one of those contributions.

Papers (either open call or as part of a pre-constituted panel) may be presented individually or by a pair of co-presenters.

When submitting a proposal, each presenter/co-presenter/participant is required to provide their:

• name

• institutional affiliation (if any)

• contact e-mail address

• a short professional biography (max. 100 words)

In addition, different proposal categories require the following:

1)         Open Call Papers

• title

• abstract of no more than 400 words

• 3-5 keywords

• 3-5 sources relevant to the paper

2)         Pre-constituted Panels

• nominated chair (either one of the presenters or another delegate)

• panel rationale of no more than 400 words

• 3-5 key words

• individual proposals (presenter/co-presenter details, title, abstract, keywords, sources) for 3 x 20mins OR 4 x 15mins research papers

3)         Pre-constituted Roundtables

• nominated chair (either one of the presenters or another delegate)

• rationale of no more than 400 words

• 3-5 key words

• details for each participant accompanied by a statement of no more than 100 words outlining a participant’s intended contribution

TIMELINE

• Wednesday 1 June 2023 submissions open

• Friday 15 September 2023 at 23.00hrs PDT deadline for submissions

• mid-November 2023 acceptances announced and delegate registration opens

• early-January 2024 first draft of the programme

• Friday 29 March 2024 deadline for delegate registrations

WEBSITE AND CONTACT

The conference website will go live towards the end of this year. In the meantime, if you have any questions, please contact media-industries@kcl.ac.uk

University of Glasgow

College of Arts

School of Culture & Creative Arts

Vacancy Ref: 118668 

Salary, Grade 7, £38,474 - £43,155 per annum

We are seeking to appoint a Lecturer who will join us in building our dynamic new undergraduate programme in Creative Arts and Industries. We encourage applicants dedicated to the study of any practice that fits this classification, but the ideal candidate will bring research and teaching expertise that seeks to traverse typical disciplinary boundaries. In particular, we welcome interest from scholars and practitioners working within Global Majority contexts, popular music, or other areas that extend, rather than replicate, current staff specialisms in film, the visual arts and cultural policy.

The candidate will undertake research of international excellence and contribute to knowledge exchange activities relative to the discipline, contribute to learning and teaching, primarily on the Creative Arts & Industries programme and undertake administration and service activities in line with the School/College’s strategic objectives. 

Creative Arts and Industries at Glasgow 

Launched in 2022, our Creative Arts and Industries undergraduate programme draws strength from its position within the School of Culture & Creative Arts, including through participation from Theatre Studies, Music, History of Art, Film and Television Studies and the Centre for Cultural Policy Research. This robust and vibrant context affords scope for contributing to the School’s various PGT and PGR ventures and research initiatives. We aim for an inclusive, diverse and equitable learning environment for all staff and students. Our teaching is research-led and incorporates a varied range of assignments, collaborative and individual, that imaginatively looks beyond typical essay briefs.

For further information about the programme: https://www.gla.ac.uk/undergraduate/degrees/creativeartsindustries/ 

For further information about the University of Glasgow and the School of Culture & Creative Arts, visit: https://www.gla.ac.uk/schools/cca/ 

This post is full time (35 hrs per week) open ended. 

For informal enquires and to share ideas about your application, please contact Dr Kay Dickinson, kay.dickinson@glasgow.ac.uk 

For more information and to apply online: https://my.corehr.com/pls/uogrecruit/erq_jobspec_version_4.jobspec?p_id=118668            

Closing date: 30 June 2023

The University of Glasgow is committed to equality, diversity, and inclusion and through this appointment it is our aim to develop candidate pools that include applicants from all backgrounds and communities. For this post, we particularly encourage applications from people from global majority ethnicities, LGBTQ+ identities, and disabled people.  Read more on how the University promotes and embeds all aspects of equality and diversity within our Community  www.gla.ac.uk/myglasgow/humanresources/equalitydiversity.

We are investing in our organisation, and we will invest in you too. Please visit our website https://www.gla.ac.uk/explore/jobs/ for more information.

The University of Glasgow, charity number SC004401.

I am pleased to invite you to the next in the series of IPRA Thought Leadership webinars. The webinar Japan digital PR best practices: how to run hybrid media relations will be presented by Kazuko Kotaki on Thursday 8 June 2022 at 12.00 GMT/UCT (unadjusted).

What is the webinar content?

Explore hands-on learnings and insights on how corporate communications have evolved in the hybrid world resulting from a three-year-long virtual media relations. The webinar will share practical knowledge on what works and why, based on Kazuko’s global media and agency client experiences from both Japan and around the world.

How to join

Register here at Airmeet. (The time shown should adjust to your device’s time zone.)

A reminder will be sent 1 hour before the event.

Background to IPRA

IPRA, the International Public Relations Association, was established in 1955, and is the leading global network for PR professionals in their personal capacity. IPRA aims to advance trusted communication and the ethical practice of public relations. We do this through networking, our code of conduct and intellectual leadership of the profession. IPRA is the organiser of public relations' annual global competition, the Golden World Awards for Excellence (GWA). IPRA's services enable PR professionals to collaborate and be recognised. Members create content via our Thought Leadership essays, social media and our consultative status with the United Nations. GWA winners demonstrate PR excellence. IPRA welcomes all those who share our aims and who wish to be part of the IPRA worldwide fellowship. For more see www.ipra.org

Background to Kazuko Kotaki

Kazuko is Associate Director, Corporate at Edelman Japan. She is a passionate public relations veteran with over 20 years of experience in consulting, media relations, and narrative development focusing on communications in the STEM field. She joined Edelman in 2022 to provide business communications counsel to the world’s top brands and most critical communication needs. 

Contact

International Public Relations Association Secretariat

United Kingdom

secgen@ipra.org

Telephone +44 1634 818308

August 28 - September 1, 2023

Bruxelles, Belgium

Apply here: https://pomilioblumm.eu/en/summer-school-maastricht-university

Have you ever tried to communicate your ideas to a large target audience such as European citizens? Did you find the language barrier or cultural diversity challenging? Maastricht University in collaboration with Pomilio Blumm has designed a summer school course for you.

With a multitude of domestic and international issues that Europe is facing today, there is an increased need for imaginative ideas and innovative strategy. Even the most visionary plan is likely to fail if it is not paired with a compelling and effective public communication strategy. How we "sell" our ideas is essential, especially when the stakes are high and the audience is as diverse and demanding as the citizens of Europe.

This summer school is designed to show how to develop a comprehensive public communication strategy at the EU level. During five days of lectures and problem-based learning sessions, the participants will be introduced to the entire process of narrative building, from receiving a brief and designing creative, content-related strategic solutions to their implementation. You will be introduced to different analytical tools and theories coming from human and social sciences (social psychology, semiotics, sociology, history) that can contribute greatly to designing the best strategy to reach your objectives. The peculiarities of the citizens-institutions relationship will be analysed, as well as the importance of building trust.

Dear Colleagues,

We are pleased to inform that CHANSE (Collaboration of Humanities and Social Sciences in Europe) consortium in collaboration with HERA (The Humanities in the European Research Area) and NORFACE (The New Opportunities for Research Funding Agency Cooperation in Europe)  Networks announce calls for international research projects in the following themes: 

• Crisis - Perspectives from the Humanities ­– organised jointly by CHANSE and HERA
  
• Enhancing well-being for the future – organised jointly by CHANSE and NORFCE
  

Information about the calls:

The detailed calls description is available here:

Crisis - Perspectives from the Humanities – announcement

Enhancing well-being for the future –announcement

Project team:

Composed of at least four and maximum six Principal Investigators, i.e. partners, eligible to receive funding from the CHANSE and HERA/NORFACE funding organisations from four or more different countries participating in the call

Project duration: 24-36 months

Cap on funding for one international project: 1 500 000 EUR (across all partners) 

Calls timeline:

• Official calls announcement and launch of the submission system: May 26th, 2023
  
• Deadline for outline proposals: September 21st, 2023, 14.00 CET
  
• Deadline for invited full proposals: March 26th 2024, 14.00 CET
  
• Call results: October/November 2024
  
• Earliest funded project start: December 2024/March 2025

Countries participating in the calls:

Crisis - Perspectives from the Humanities : Austria, Belgium, Bulgaria, Croatia, Czechia, Denmark, Estonia, Finland, France, Ireland, Latvia, Lithuania, Norway, Poland, Portugal, Romania Slovakia, Slovenia, Spain, Sweden, Switzerland, United Kingdom

Enhancing well-being for the future: Austria, Belgium, Bulgaria, Croatia, Czechia, Estonia, France, Germany, Latvia, Lithuania, Luxembourg, Poland, Romania, Slovenia, Spain, Sweden, Switzerland, United Kingdom

PARTNER SEARCH TOOL:

In order to facilitate the process of forming research consortia, we offer applicants a partner search tool available here: https://www2.ncn.gov.pl/partners/chanse/. This tool can be used by projects looking for partners and partners looking for projects.  

Contact:

Call Crisis - Perspectives from the Humanities: crisis@ncn.gov.pl

Call Enhancing well-being for the future: wellbeing@ncn.gov.pl

We would appreciate disseminating the news through your online channels. 

Please find the Calls leaflets prepared for that purpose attached to this email.

Detailed information about the Calls can be also found at:

https://chanse.org/announcement-of-the-new-calls-for-transnational-research-projects-crisis-and-well-being/

https://chanse.org/

Twitter: EUCHANSE

Facebook: Chanse - Collaboration of Humanities and Social Sciences in Europe

Linkedin: CHANSE, Collaboration of Humanities and Social Sciences in Europe

Edited By: Heritiana Ranaivoson, Sally Broughton Micova, Tim Raats

ECREA Members can get a 20% discount using the SMA34 code until the end of June: https://www.routledge.com/European-Audiovisual-Policy-in-Transition/Ranaivoson-Micova-Raats/p/book/9781032184487

This book describes and critically addresses the innovations and shifts made in the revision of the Audiovisual Media Services Directive (AVMSD) adopted by the European Parliament and Council in 2018. Reflecting on European Union regulation and policy practice in all its Member States, the book’s unique approach places in-depth case study topics against the broader theoretical background.

Taking a Europe-wide angle, an international team of authors focuses on key aspects of the AVMSD: the expansion of its scope to include video-sharing-platforms such as YouTube; the update of the rules for commercial communications; the first attempt for harmonized, minimal requirements at EU level regarding transparency of media ownership; new rules to ensure that video-on-demand services offer, invest in, and prioritise European content; the obligation on television distributors and smart TV manufacturers to pass on broadcasters’ signal without any interference, alteration or modification; and, the formalisation and consolidation of new forms of collaboration among national regulatory authorities.

This thorough analysis of the cornerstone of European media policy makes this edited collection a crucial reference for scholars and students of media and cultural industries, media law and policy, European and EU media policy, and technology studies.

Aarhus University, Denmark

Apply here: https://au.career.emply.com/ad/professor-at-the-centre-for-educational-development-aarhus-university-denmark/rpisxi/en

The Centre for Educational Development (CED) at Aarhus University invites applications for a position as professor in university teaching and learning. The professorship is a permanent position beginning 1 March 2024 or as soon as possible. The place of employment is Aarhus University, Aarhus, Denmark.

About the Centre for Educational Development (CED)

The mission of the Centre for Educational Development is to inspire engaging teaching and excellent educations at Aarhus University. We offer teachers, academic staff, coordinators, directors, and executives at Aarhus University practical partnership, collaboration, and help concerning their ongoing teaching tasks and competencies. Furthermore, we ambitiously strive for the highest international level through applied research in university teaching and learning. We contribute to development projects and experiments in the fields of digitalization and learning technologies at universities, university teaching and program development.

CED employs almost 60 colleagues organized into three departments specialized in digital development, teaching development, and program development, respectively, plus a small administration. We have a good collegial atmosphere characterized by a high degree of professionalism, collaboration and the opportunity for continuous professional development. We value inquiry, co-creation, empowerment, and expertise.

The research group at CED works within and across the three departments. The group comprises five associate professors, three to five postdocs, and three PhD-students. The group focus on high quality applied research. The current topics of interest in the group include student learning, transitions and career, teacher development and educational leadership, health sciences education research, digitalization and learning technology in higher education. We come from a wide range of research methods and theoretical frameworks.

The centre management group consist of centre director Anne Mette Morcke, department leads Anders Hyldig (Digital Development), Liza Strandgaard (Teaching Development), and Tina Bering Keiding (Program Development).

For a more detailed description of CED, please, visit our website.

About the positions as professor at CED

As the professor of university teaching and learning at CED, we expect you to take on leadership responsibilities and strategically develop the research field. The successful applicant can develop externally funded research in collaboration with international partners. We expect you to be a dedicated outgoing ambassador for CED, contributing significantly to the centre’s continuous collaboration with educational leaders. We expect you to take on a leading role in the cross-departmental research group and undertake supervision of junior researchers.

The position does not include personnel management, but you are an active member of the centre management group and can also foresee participating in administrative and organisational tasks. Finally, we expect you to participate in CEDs day-to-day-activities (like curriculum development, course leadership, and the practical running of courses, seminars, and workshops for teachers at Aarhus University). 

The responsibilities of the professor at CED

Your primary responsibilities are to

• lead the cross-departmental research group at CED
  
• participate in the centre management group (but no personnel management)
  
• develop the field of applied research in university teaching and learning at international level
  
• attract external funding
  
• supervise younger research colleagues at CED
  
• teach and lead courses in university teaching and learning at Aarhus University and in Denmark
  
• contribute to and lead relevant development and implementation projects from CED
  
• give advice and offer consultations concerning higher education, teaching and learning at Aarhus University and relevant councils and committees nationally and internationally

Qualifications and competences

You have

• a track record of internationally recognised research in higher education
  
• a strong international research network
  
• a portfolio of externally funded research grants
  
• research leadership experience and project management skills
  
• experience with supervision of younger research colleagues
  
• comprehensive experience in teaching and developing courses for faculty
  

You can

• participate in a small, divers, and well-functioning centre management group
  
• collaborate respectfully and professionally with educational leaders at Aarhus University
  
• represent CED in relevant national and international fora
  
• lead development and implementation projects in higher education
  

You are a person who

• thrives on complex processes with multiple agendas and stakeholders
  
• accepts that admin and organizational management is a part of the job
  
• keeps a cool head and high spirits when things are not going as planned
  
• would like to learn Danish (if you are not already speaking a Scandinavian language)
  

Conditions and place of employment

The professorship is a full-time permanent position from 1 March 2024 or as soon as possible.

The successful applicant will refer to centre director Anne Mette Mørcke.

Place of employment is Trøjborgvej 82-84, 8000 Aarhus C, Denmark.

Non-Scandinavian speaking candidates must acquire the necessary basic Danish language skills within a short period of time (2 years).

Further information on the appointment procedure can be found in the Ministerial Order on the Appointment of Academic Staff at Universities.

The appointment is in accordance with the Danish Confederation of Professional Associations (Akademikerne).

Further information on qualification requirements and job description can be found in the Ministerial Order on Job Structure for Academic Staff at Universities.

International applicant?

Denmark is a great place to live. We are world class at work-life balance and attractive working conditions. Equality and trust is high, crime is low. English is our second language. Aarhus is a wonderful, safe, happy, young and vibrant town. Aarhus University ranks in top 100.

Aarhus University offers a broad variety of services for international researchers and accompanying families, including relocation service and career counselling to expat partners. At CED, we truly welcome international candidates for this position.

Please find more information about entering and working in Denmark on Research at AU.

The hiring process

We encourage diverse research and teaching backgrounds and the position is therefore not limited to for example a degree in education or Arts. We acknowledge that other pathways can be relevant.

In connection with your motivated written application, you must attach your

• CV
  
• documentation for the PhD degree
  
• listed publication overview and selected publications for assessment (max 3)
  
• suggested research plan covering the first two years at CED (max 3 pages)
  
• documentation for attracting external funding as primary investigator
  
• experiences with supervising and assessing junior researchers (PhDs and postdocs)
  
• description of experiences in leadership and management
  
• teaching portfolio (max 3 pages)
  
• documentation of participation in teaching courses
  
• a short teaching statement (or your teaching philosophy)
  
• and - if relevant - examples of leading development projects (max 3 pages)
  

We use shortlisting in the hiring process lead by the centre director and head of assessment committee. In this shortlisting process, we exclude applicants that clearly do not match the described position. Applicants that are not shortlisted will not receive a full assessment. After the shortlisting process, an assessment committee with international participation gives their written summary concerning each of the shortlisted applicants. Based on these summaries of qualifications, an employment committee of future colleagues and the centre director invites the most qualified 3-4 applicants for an interview. If necessary, the employment committee can invite 1-2 applicants to a second interview round before making the final decision and offer.

Applications must be made in English.

Interviews are expected to take place in the period 4 – 15 December 2023.

Aarhus University’s ambition is to be an attractive and inspiring workplace for all and to foster a culture in which each individual has opportunities to thrive, achieve and develop. We view equality and diversity as assets, and we welcome all applicants.

The application must be submitted via Aarhus University’s recruitment system, which can be accessed under the job advertisement on Aarhus University's website.

Aarhus University

Aarhus University is an academically diverse and research-intensive university with a strong commitment to high-quality research and education and the development of society nationally and globally. The university offers an inspiring research and teaching environment to its 38,000 students (FTEs) and 8,300 employees, and has an annual revenues of EUR 935 million. Learn more at www.international.au.dk/