European Communication Research
and Education Association
Comparative Cinema (issue 18)
Deadline: October 1, 2021
Guest Editor: Lourdes Monterrubio Ibáñez
Born out of modern cinema, the essay film departed from the dominant forms of fiction and documentary cinema in order to explore an unknown territory defined by subjectivity, hybridization and reflection, evolving to become “a form that thinks,” as Jean-Luc Godard defined it. The final decades of the 20th century witnessed the consolidation of the essay film, which was enabled by postmodern thought and culture, as well as by the development of video recording technology. In this mode, works by Chris Marker, Roberto Rossellini, Orson Welles, Pier Paolo Pasolini, Jonas Mekas, Harun Farocki, Agnès Varda, Wim Wenders, Guy Maddin, Peter Watkins, Chantal Akerman, Alexander Kluge or Johan van der Keuken, among many others, developed a practice of audiovisual thinking for which Godard’s Histoire(s) du cinéma (1988-1998) could be considered the epitome, marking a turning point that also took place at the century’s end. Over the last twenty years, this essayistic practice has proliferated due to the digital revolution, facilitating diverse experiences of subjectivity and intimacy, and multiplying the possibilities of audiovisual editing; that is, of the very thinking process that defines this filmic form. Taking this itinerary into account, the 18th issue of Comparative Cinema proposes to address the specificities of the audiovisual thinking process in the contemporary essay film.
The most notable studies devoted to the essay film have established its key traits – the audiovisual expression of the thinking process and the self-reflexiveness of subjectivity – and its specificities – issues related to its genealogy, historical path and bond with the literary essay – allowing for the consolidation of this research area. Several edited volumes have been decisive in this regard, including: L’essai et le cinéma (Liandrat-Guigues and Gagnebin, 2004); La forma que piensa (Weinrichter, 2007); Jeux sérieux. Cinéma et art contemporains transforment l’essai (Bacqué et al., 2015); and Essays on the Essay Film (Alter and Corrigan, 2018). Beyond these collections, numerous authors have studied the growing corpus of essay films from various perspectives, producing key monographs such as: Laura Rascaroli’s The Personal Camera: Subjective Cinema and the Essay Film (2009) and How the Essay Film Thinks (2017); Timothy Corrigan’s The Essay Film: From Montaigne, After Marker (2011); David Montero’s The Essay Film as a Dialogic Form in European Cinema (2012); Josep Maria Català’s Estética del ensayo. La forma ensayo, de Montaigne a Godard (2014); and Nora N. Alter’s The Essay Film After Fact and Fiction (2018), among others. The most recent collections already show the breadth of approaches through which contemporary practices of the essay film can be analyzed: The Essay Film: Dialogue, Politics, Utopia (Papazian and Eades, 2016), World Cinema and the Essay Film (Hollweg and Krstic, 2019), and Beyond the Essay Film: Subjectivity, Textuality and Technology (Vassilieva and Williams, 2020) number among a growing field.
The 18th issue of Comparative Cinema invites contributors to analyze the manifestations of the contemporary essay film in relation to its audiovisual thinking process from a comparative perspective, which addresses the comparative analysis of different essay films, in search of the connotations, tendencies, specificities and evolution of this audiovisual form in the 21st century. Analyses may include, among other aspects:
- Subjectivity: the inscription of subjectivity in the essay film has been an issue of key concern during the 20th century, partly as a discursive need for the consolidation of this audiovisual form. Does the contemporary essay film present new tendencies, needs, or methods in this respect? Are new expressions of subjectivity emerging, such as multiple or collective subjectivities?
- Materials and procedures: the hybridization of materials in the essay film mostly included analogue, digital and photographic supports, as well as the relevant presence of found footage. With regard to audiovisual procedures, the voice-over, for instance, has been a common element of the essay film of the 20th century. Does the contemporary essay film introduce new materials or generate new hybridizations? Are animation or infographics incorporated to a greater extent in the essay film today, and do they serve specific aims? Are new procedures appearing to replace the voice-over and to what purpose?
- Subject matter: the essay film has covered a range of topics during the 20th century, suggesting an evolution from the social and political to the personal and intimate. Are new trends or hybridizations of subject matter emerging in contemporary essay films, as for instance in terms of emotional reflection?
- Artistic practices: by the end of the 20th century, the essay film had been consolidated in the museum space. Which specificities does audiovisual thinking present in these expanded practices? Has there been an evolution in this regard over the last two decades?
- Dialogism and critical thinking: the essay film has been defined by its dialogic characteristics and its capacity for critical thinking both on the part of the author and of his/her spectator. Have contemporary practices seen an evolution or greater depth in these aspects?
Comparative Cinema invites the submission of complete articles addressing the audiovisual thinking process in contemporary essay films from a comparative perspective, which must be between 5500 and 7000 words long, including footnotes. Articles (in MS Word) and any accompanying images must be sent through the RACO platform, available on the journal website.
Deadline for submission of complete articles: 01/10/2021
Peer review: 01/10/2021-15/11/2021
Final copy deadline: 31/01/2022
Publication: Spring 2022
Lourdes Monterrubio Ibáñez currently develops the research project EDEF – Enunciative Devices of the European Francophone Essay Film, at the Institut ACTE, Université Paris 1 Panthéon-Sorbonne. This project has received funding from the European Union’s Horizon 2020 research and Innovation programme under the Marie Skłodowska‐Curie grant agreement No 896941. Author of the monographic book De un cine epistolar. La presencia de la misiva en el cine francés moderno y contemporáneo (Shangrila, 2018) and editor of the monographic issue Epistolary Enunciation in Contemporary Cinema (Área Abierta, 2019), her publications on the essay film include: “Correspondências by Rita Azevedo Gomes. The Complex Hybrid Image of Contemporary Epistolary Cinema and Contemporary Essay Film” (Visual Studies, 2020), “Enunciative Devices of the Contemporary Spanish Essay Film. Evolution of the Essayistic Subjectivity and its Thinking in Act” (Studies in Spanish & Latin American Cinemas, 2019) and “La Morte Rouge (soliloquio) by Víctor Erice. From trauma to fraternity: the interstice between reality and fiction” (book chapter in Itinerarios y formas del ensayo audiovisual, 2019).
Journal of Radio & Audio Media Symposium
Editor: Nelson Ribeiro
The emergence of radio introduced profound changes in public communication, changing patterns of information dissemination at local, national and international levels. In the case of the Imperial nations this role was extended overseas with radio becoming the most important medium for uniting the home countries with the expats living in the far reaches of the empires, though not unproblematically.
A growing body of literature on the history of imperial and colonial broadcasting, as well as of sound, have been contributing to the understanding of the role of radio technologies, broadcasting and music in the 20th century in forging audible and sonorous empires. However, the ways in which different imperial countries used radio to create a sense of nation and colonial identities among those living in different geographies remains an open question. On the other hand, in the last decades works dealing with the media during decolonization have called attention to the significant role played by the audio medium in promoting independence from colonial powers and giving visibility to forms of culture that would become part of national identities of the new-born countries. What research has also revealed is that much is still to be understood about the relation between radio and decolonization practices and processes. Thus, this special issue seeks to publish manuscripts dealing with how broadcasting was incorporated and appropriated within different colonial and decolonial settings.
Hence, papers dealing with the following topics will be highly appreciated (non-exhaustive list):
The topics above are merely suggestions. We welcome submissions that explore other aspects of colonial and imperial broadcasting. Submissions for this symposium are due by October 1, 2021. Submitted manuscripts undergo a blind peer review. Manuscripts should be submitted through Manuscript Central link on https://www.beaweb.org/wp/?page_id=571 or https://mc.manuscriptcentral.com/hjrs
Documents prepared in Microsoft Word are preferred and should APA for style and citation. Manuscripts should not exceed 6500 words and should include an abstract of no more than 100 words. In addition to the manuscript with no reference to the author(s), the author(s) should include a separate attachment with contact information. Please fill in the manuscript information as directed on the site.
For more information on the Journal of Radio & Audio Media, click here.
Please direct any questions in advance of your submission to the symposium editor: Nelson Ribeiro (firstname.lastname@example.org) subject line JRAM Colonial Broadcasting.
We are looking to recruit a Professor in Media and Communication to strengthen and extend the existing research in the department in media, culture and democracy. MKV at Lund is in the top 100 communication and media departments in the world as ranked by the QS World University Subject Rankings 2021.
The professor will contribute to the intellectual life of MKV by taking a leading role in the research subject, conducting and publishing outstanding quality international research, engaging in research led teaching as instructed by the Head of Department, and participating in the wider activities of the Faculty of Social Sciences.
Candidates should have recognition of outstanding research contribution in chosen fields in media and communication, a track record of excellent international publications, and extensive experience of leadership in research and teaching. The candidate should have high level expertise in curriculum design, teaching at undergraduate and postgraduate levels, doctoral and post doctoral supervision in media and communication. In addition, expertise in media, culture and democracy is needed as part of the research strategy.
MKV’s research strategy is connected to four themes: media engagement, democracy and cultural citizenship; media industries and creativity; gender, health and society; audiences, popular culture and everyday life. Researchers working across these themes are committed to theory driven, mixed methods research. Our strategy focuses on quality outputs, in line with the overall international research strategy for Lund University. See website https://www.kom.lu.se/en/research/mkv/
MKV’s teaching portfolio includes undergraduate level courses, primarily taught in Swedish, with some English language courses. The MSc in Media and Communication is taught in English, with courses connected to our research themes, e.g. Media Audiences, Media and Diversity. See https://www.kom.lu.se/en/education/media-and-communication-studies/international-master-programme-in-media-and-communication-studies/
The post comes with a competitive salary, pension scheme, research time (50 per cent), a collegial departmental culture and excellent support, training and development opportunities.
The person specification for this post includes other criteria used when shortlisting candidates, located on the LU online recruitment portal. For further information about the post please see https://lu.varbi.com/en/what:job/jobID:419017/
The International Journal of Film and Media Arts
Deadline: January 9, 2022
Editor: Manuel José Damásio Guest Editors: José Bragança de Miranda, Célia Quico, José Gomes Pinto, Luís Cláudio Ribeiro
The International Journal of Film and Media Arts welcomes a selection of high-quality papers for an edition dedicated to CIIA 2021 - 8th International Congress of Audiovisual Researchers, held at Lusófona University (Lisbon, Portugal), from 23th to 25th June 2021. This special issue is aligned with the CIIA 2021 edition, in which the theme was “Audiovisual and Creative Industries - Present and Future”. Alongside recognizing the importance of thinking and debating the challenges the audiovisual industry is facing today, mainly in the broader context of the creative industries, we also aim to promote the construction and consolidation of links between different sectors in the creative industries.
Thus, the present issue of the International Journal of Film and Media Arts invites full papers that deal in particular with: - Audiovisual ecosystems in local, regional, national and international level - New formats and languages in audiovisual media and on the internet - Transmedia narratives - Second Screen and the impact of the multitasking viewer - Analysis and semiotics of audiovisual and multimedia discourses - New theories, new concepts, new paradigms and new approaches in audiovisual communication - New audiovisual research methods and techniques
All submission will be select by double-blind peer review. The author must provide separate files: a) The title page should include the title, author’s name and affiliations, email address, acknowledgements (optional) and conflict of interest statement (if necessary).
b) The author should ensure the anonymised manuscript is correctly prepared for double-blind peer review, by removing any kind of identification or affiliation. Author’s name, profile, ranking and institutional affiliation should only be mentioned in the appropriate submission fields. Revised articles will also be treated confidentially until the date of their publication.
c) Attachments: Manuscripts may be accompanied by attachment files. In the case of materials produced by others, these are accepted under the condition that all applicable permissions were obtained by the author(s). Attachments should be numbered in order of appearance in the article. Graphics should be in JPEG, GIF, PNG, or TIFF format. Audio excerpts should be in MP3, or WAV format. Video excerpts should be in MPEG, AVI, or WMV format.
Please submit to: email@example.com or https://revistas.ulusofona.pt/index.php/ijfma/about/submissions
Please, check the author guidelines here: https://revistas.ulusofona.pt/index.php/ijfma/about/submissions
Timeline for publication:
Reflections on Fashion Design and Media
Deadline: September 15, 2021
CICANT is a Research Centre where both solid theoretical work and rigorous applied research at the cross-section of media, society, literacies, arts, culture and technologies is developed. Critical to its research mission are knowledge creation activities that are oriented towards expanded research on two main subject areas. In CICANT those areas are organised in Research and Learning Communities (ReLeCo).
The research group on Media Arts, Creative Industries and Technologies (MACIT) is focused on the socio-cultural and artistic uses of media technologies (visual, performative, photographic, cinematographic and sonic) at the intersection with the creative industries, both from a historical and contemporary perspective. The group has a robust research in the field and fosters a media practice-based artistic research in several areas and with a long and solid track on them.
In this sense, we open a call for Chapters for the 1st volume of the series Reflections on Fashion Design and Media with the subtitle “Synergies between Fashion and the Media Arts”.
The fashion industry is increasingly in constant change and evolution, an evolution which requires multiple reflections on the present, past and future. The quest to keep in touch with the consumer has led it to adapt to the new emerging reality translated in the digital format.
If we observe the fashion system, we will become aware that, since its origin, it has had a close relation with the media, among which we can highlight cinema. It was via the great American film stars that fashion gained a prominent position, dressing them or being influenced by what they wore, following the known path as regards the definition of fashion trends.
With the development of the new digital technologies, fashion faces new challenges and new possibilities, in production, in creation, communication, advertising and trade, among other areas where it operates and has a place.
The digital revolution has had a very significant impact on the different areas where fashion plays a role, and the digital technology will keep its fast evolution pace. Increasingly, fashion will resort to digital developments to remain at the forefront.
This series seeks to be accessible to a broad range of readers, publishing several volumes and chapters with interest for the debate on Fashion Design and the Media, looking for results or revolutionary and decisive visions for the success of the field.
All the chapters proposed must reveal high capacity for critical and reflexive analysis on the topic addressed while submitting ideas, solutions or examples of good practices in the field under discussion.
The chapter proposals to be submitted must be original and unpublished. Interested authors must follow the norms for submitting chapter proposals.
The proposals must be submitted in an editable text file (DOC. or DOCX.) with identification and numbers of the images to be inserted.
Photographs, graphs, tables or other figures that complement the text must be submitted in a separate folder with the following features: 16cm width, 300PPI resolution, JPEG format (quality: 12/maximum).
All submissions of chapter proposals will be forwarded to at least two members of the Editorial Review Board of the Book Series for Double Blind Review.
The final decision on acceptance / revision / rejection will be based on the assessments received from the reviewers.
Extended Deadline for submission: 15 september 2021
Submissions & Informations: firstname.lastname@example.org – Ref: Cfc- Design & Media Book Series
Ruhr-University Bochum (Germany)/online
Deadline: August 15, 2021
Dear list members,
we are pleased to announce and invite you to our practical Autumn School titled „Disrupted Ethnography - Building Trust, Telling Stories, Unpacking Concepts and Reporting from Within", taking place on October 21/22, 2021, both at the Ruhr-University Bochum, Germany and online.
Check out our website (https://disrupted-ethnography.org/) to find more information about the four workshops and the application process.
We invite advanced Master students, doctoral and postdoctoral researchers as well as media practitioners, journalists, and activists to apply, deadline is August 15, 2021 (anywhere on earth).
Together, we want to dismantle challenges of ethnographic fieldwork related to disruption such as travel restrictions, gaining and maintaining field access, finding contacts and forging cooperation, as well as ethical questions of representation of social life and scenes of conflict and injustice.
Participation is free of charge.
Review of Communication (SPECIAL ISSUE)
Deadline for Abstracts: August 31, 2021
Invited Manuscripts: October 15, 2021
Special Issue Editors:
This themed issue of the Review of Communication aims to map international perspectives on transnational processes in digital activism and protest. Against wider claims that social movements and citizen activism are shifting from the logic of spatial organization to networked flows (Bennett & Segerberg, 2012; Mercea, 2020), this themed issue seeks to illuminate how the global and local come together in networked public spheres. Recent transnational movements such as #MeToo or Black Lives Matter yield the importance of interweaving digital communication, pre-existing activist collectives, and citizen activation on a seemingly global scale. The policing of physical protests during the ongoing COVID-19 pandemic have intensified reliance on digital technologies among activists and grassroots collectives (Sorce & Dumitrica, 2021), further enhancing the appeal to create transnational ties and globalize movement appeals.
We ask how political causes circulate globally, what role digital technologies play, and ultimately, what “transnational” means for seemingly universal causes, global collective identity, and activist practice. In reflecting how activists across the globe employ digital media to construct a civic imaginary of a transnational polity, attention must be paid to the dialectical nature of transnational processes that simultaneously magnify the importance of locality while normalizing hybridity (Roudometof, 2016; Kraidy, 2005; Pieterse, 2015).
Where previous scholarship has drawn attention to the diffusion of political causes (della Porta & Mattoni, 2014) or cultural references (Dumitrica, in press) across national borders, this themed issue focuses on how digital technologies mediate and shape transnational processes in global organizing. This includes how transnational causes move across cultural contexts and how global appeals or activist vocabularies traverse (local) initiatives, considering the ways transnational organizers create collective identities among dispersed adherents, and what digital tactics of action work for global movements.
Possible contributions might examine, but are not limited to:
• transnational activism as shaped by digital action
• (re) direction of transnational flows in digital contention
• transnational circulation of protest causes, identities, symbols, and vocabularies
• formation of global dissent in networked contexts
• (digital) activism, campaigns, and protest on “global” issues
• global values and transnational appeals in border zone, migration, First Nation, diasporic, environmental, queer, or gender rights protest communication
• roles and affordances of new media technologies in transnational organizing
• digital network(ing) practices in transnational activism
• narrative and rhetorical strategies in forging transnational activist alliances
Authors should submit an extended abstract for Guest Editors’ review (max. 750 words) by August 31, 2021. Invited manuscripts should be submitted by October 15, 2021 for peer review.
Extended abstracts should include the research problematic, theoretical angle, methodology, and key findings. The extended abstracts will be reviewed by the Guest Editors, who will subsequently invite a selection of authors to submit full papers.
Authors should identify which themed call their paper is responding to by selecting the relevant drop-down option in ScholarOne.
The full call can be retrieved at: https://bit.ly/TransnationalDimensions
This special issue features 12 contributions by early career scholars and artists dealing with the role of mediatization in the COVID-19 pandemic conjuncture. Themes such as mediated intimacy and sociality, pandemic ideology, politicians’ curated authenticity and discursive constructions of self, and playbour and resistance in digital games are examined in five original articles, while three autoethnographic contributions explore the concepts of mediated presence, collectivity, contemplative community, loneliness and relationality. The autoethnographies – in the form of short film, collage and poetry vignettes, respectively – add a personal experiential layer to the broader themes. To generate (mediated) interpersonal dialogue, two artists/academics engage deeply with the autoethographies, further reflecting on the themes explored therein. The issue concludes with an interview with Professor Andreas Hepp, of the University of Bremen, who comments on the contributions and reflects on the role of “deep mediatization” in the pandemic world.
"Let the distance be physical", by Cristina Estanislao on Unsplash. Submitted for United Nations Global Call Out To Creatives - help stop the spread of COVID-19.
Translation Studies (Special Issue)
Abstract deadline: October 31, 2021
Manuscript deadline: July 15, 2022
Special Issue Editor(s)
Media Paratexts and Translation
This special issue seeks to open up new interdisciplinary perspectives on the translation, adaptation and localization of media paratexts. The global circulation of digital media products and the increased customization of the user experience have resulted in a proliferation of such paratexts, whether in the form of promotional material (trailers, posters), fan-made material, or curated or data-driven user interfaces. While the disciplines of Media Studies and Digital Studies have embraced – and arguably even been transformed by – the study of such paratextual elements, the fields of audiovisual translation or of translation in the digital age have yet to integrate them into their object of study. Engagement with the notion of the paratext within the field of news translation has been even more muted, being limited to just a handful of studies (Zhang 2013; Hong 2019).
Premised on the idea that the combination of media paratexts and translation represents a rich and unexplored seam of research, this special issue invites interdisciplinary investigations of the ways in which media paratexts are linguistically and culturally mediated across different territories. It invites scholars to explore the impact that those mediations have on how media products are accessed, interpreted and perceived in the target cultures, thus widening the perspective from the media products themselves to the broader constellations of productions within which they circulate.
Mediation is thus taken to include not only the processes and outputs of translating paratexts per se but also the strategic decisions about distribution that are made by media companies and localization teams in general. These include decisions concerning which paratexts will be used in a specific target culture/territory (either “as is” or in their translated versions) and which ones will have to be recreated from scratch in order to better adapt to target-culture sensibilities or conventions. We thus invite contributors to explore the far-reaching consequences of apparently peripheral or ephemeral decisions. For example, contributors might consider the way in which the channel, platform or output through which a particular media text is distributed in a target culture invites particular associations or attracts particular audience segments, thus affecting reception and interpretation of the text before the text itself has been encountered. Through this broad notion of mediation, we hope to draw attention to the way in which reception of media products is affected by the entire constellation of paratextual materials among which and through which the media text itself circulates, rather than limiting reflection to the media text itself. For example, in the case of the TV series Breaking Bad in Italy, as explored by Bucaria (2014), the decision not to distribute the humorous minisodes that formed part of the paratextual constellation in the USA is argued to have resulted in a perception of Breaking Bad in Italy that is less tonally nuanced.
The definition of paratext that will be adopted for this volume will be broad, in line with approaches taken in Media Studies (e.g. Gray 2010). We thus invite consideration of meaning-making elements that have become essential to users’ selection and experience of audiovisual products and to the products’ commercial success; these might encompass interviews, viral marketing campaigns, TV and film trailers and teasers, summaries and descriptions, fan videos, and parodies, amongst others. We also invite explorations of elements intrinsic to the global presence of streaming and news platforms, such as the summaries, highlights, keywords and recommendations that appear in individual user interfaces, all of which need to be made accessible to users across the world through a process of localization. Where contributors are working to functional definitions of paratext (as commonly used in Digital and Media Studies), we invite consideration of material that serves commercial, navigational, community-building or world-building functions, amongst others, or that makes the text present in the world. (For a fuller list of paratextual functions, see Batchelor 2018, 160-161, based on Rockenberger ). We also welcome theoretical discussions of the adequacy of existing definitions of paratext for translation-focused research. In particular, contributors may wish to explore the difficulties around preventing the collapse of ‘paratext’ into the vastness of ‘context’ (Rockenberger 2014) that inevitably arise once Genette’s (1997) emphasis on authorial intention is dismantled.
Abstracts are invited from scholars in Translation Studies, Media Studies and Digital Studies. Proposed contributions should aim to explore the creation and use of linguistically and culturally adapted media paratexts from any of the following angles (with other aspects also welcome):
Articles will be 7,000–8,000 words in length, in English (including notes and references).
Abstracts of 300–400 words should be submitted to the guest editors at email@example.com ; firstname.lastname@example.org by 31 October 2021.
Detailed style guidelines are available below.
May 12-13, 2022
Deadline: September 20, 2021
A Japanese-German conference & Edited volume (2023)
Current debates on artificial intelligence often conflate the realities of AI technologies with the fictional renditions of what they might one day become. They are said to be able to learn, make autonomous decisions or process information much faster than humans, which raises hopes and fears alike. What if these useful technologies will one day develop their own intentions that run contrary to those of humans?
The line between science and fiction is becoming increasingly blurry: what is already a fact, what is still only imagination; and is it even possible to make this clear-cut distinction? Innovation and development goals in the field of AI are inspired by popular culture, such as its portrayal in literature, comics, film or television. At the same time, images of these technologies drive discussions and set particular priorities in politics, business, journalism, religion, civil society, ethics or research. Fictions, potentials and scenarios inform a society about the hopes, risks, solutions and expectations associated with new technologies. But what is more, the discourses on AI, robots and intelligent, even sentient machines are nothing short of a mirror of the human condition: they renew fundamental questions on concepts such as consciousness, free will and autonomy or the ways we humans think, act and feel.
Imaginations about the human and technologies are far from universal, they are culturally specific. This is why a cross-cultural comparison is crucial for better understanding the relationship between AI and the human and how they are mutually constructed by uncovering those aspects that are regarded as natural, normal or given. Focusing on concepts, representations and narratives from different cultures, the conference aims to address two axes of comparison that help us make sense of the diverse realities of artificial intelligence and the ideas of what is human: Science and fiction, East Asia and the West.
Papers are invited on the following topics (among others):
Besides papers on these more general topics, we also invite case studies on innovative technologies and their fictional precursorsas well as on the social, ethical or political contexts in which they are applied. All contributions are expected to address the comparative perspective on East Asian and Euro-American discourses.
Relevant issues and perspectives for these comparisons include but are not limited to cyberpunk and science-fiction in literature and film, public debates and imaginations of AI, the relation between simulation and reality, materiality, historical and legal accounts, sociotechnical imaginaries and politics.
We welcome contributions from scholars of diverse disciplines, such as cognitive science, computer science, cultural studies, literature and film studies, media and communication studies, psychology, political science, science and technology studies or sociology. Interdisciplinary approaches (e.g., those combining social, cultural and technical perspectives) as well as perspectives from practitioners and developers are particularly encouraged.
Extended abstracts of approximately 4,000 to 6,000 characters in length (excl. references) should be submitted no later than 20 September 2021 to email@example.com.
Speakers will be notified by 15 November 2021.
Conference and publication of selected papers in an edited volume
The conference will take place on Thursday12 and Friday 13 May 2022in Berlin.
Invitations for the submission of selected full manuscripts sent out inJune 2022.
Full manuscriptsof between 30.000 to 50.000 characters (excluding references) to be submitted by September 2022.
Comprehensive review returned to authors in December 2022; final papers due in February 2023.
The edited volumewill be published in mid-2023.
If you have any questions, you can contact the conference organisers via firstname.lastname@example.org .
For more information, visit our website at hiig.de/…i21
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