[Commlist] CFP: #IFM2022 virtual conference

Call For Proposals

*#IFM2022 **VIRTUAL CONFERENCE*

*June 8-10, 2022*


Hosted by Ryerson University (Canada), The University of Texas at Dallas 
(USA), University of Sao Paulo (Brazil), Leeds Trinity University 
(UK), and University of Bayreuth (Germany)


*KEYNOTE SPEAKER*


Judith Aston <https://people.uwe.ac.uk/person/judithaston>, Associate 
Professor and Wallscourt Fellow in Film ＆Digital Arts, the University 
of the West of England, Bristol (United Kingdom)


*INTERACTIVE EPISTEMOLOGY, LISTENING, AND ECOMEDIA*

Interactivity is omnipresent. From cultural production (games, films, 
books), audience perception (streaming, virtual reality, real-time), 
intellectual publications (news, hypertexts, social media), and virtual 
world economy (cryptocurrency), we are witnessing a shift in all levels 
of cultural production. As a result, interactivity gains more space and 
conceptual independence with specific terminology, questions, promises, 
and challenges. Moreover, interactivity is growing as an academic 
discipline, field of study, and area of research in several spheres.

What are the interactive film and media *epistemological 
contributions* to contemporary art and media fields? How do/might 
interactive technologies, practices, experiences invite, or indeed, 
/demand /revised *modes of listening*? How might taking seriously the 
work of listening (as a form of /attending to/) open onto more *generous 
ways of knowing*, practicing, and being in an era of *socio-ecological 
crisis*?

Due to what can be diagnosed as deep mediatization--the ubiquity of 
media in every sphere of life--current modes of thought, behaviour, and 
culture are becoming increasingly interactive. The inclusion of 
interactivity in film and media marks a turning point contributing to 
the development of education and the epistemological repercussions in 
contemporary cultural practices, activism, and social engagement.


Thus, the 4th Interactive Film and Media International Conference 
invites participants to explore the definitions, terms, and practices to 
frame the conditions of interaction and interactivity in three strands:

*EPISTEMOLOGY*: The first strand will focus on the *interactivity’s 
epistemological contributions*. What is this knowledge that brings 
interactivity? How does interactivity expand cinema and media 
perception? How does interactivity enhance the immersion of the audience 
in the realm of storytelling? How does interactivity contribute 
artistically, aesthetically, economically, and politically to new 
practices in communication, entertainment, education, and the arts? How 
does interactivity promote social engagement?

*LISTENING*: The second strand will address the *question of listening*, 
a question that became increasingly prominent across the presentations 
at the 3rd International Film and Media Conference in August 2021. What 
does it mean to listen in the 21st century? This second strand intends 
to provide a lens through which to think about how we know via 
interactive technologies, etc., and how through our engagements with 
such technologies we might be inspired to listen more responsibly. What 
might it mean to listen ecologically? Ultimately, what is to "listen" to 
our surroundings in ways that might invite us to take up pressing 
questions differently--more responsibly, ethically, etc.?

*ECOMEDIA*: The third strand will take up the issue of *interactivity in 
the context of ecomedia*. If ubiquitous mediatization is the one big 
theme of our age, ecology is the other. Believing that the conjunction 
of the two is thus one of the critical issues for our time, facing an 
entanglement of socio-ecological crises, we invite reflections on the 
different forms of interconnection between them. For example, which role 
do agency, engagement, and immersion play in this context? How can 
interactivity increase personal engagement and, what can interactive 
ecomedia add to the striving to create  ‘moving’ experiences and encounters?


*KEY AREAS*

 1. Digital theory: history, storytelling, intermediality, transmedia,
    multimedia
 2. Interactive film: documentary, fiction, animation
 3. Interactive platforms: teleconference, streaming, mobile screens,
    virtual museums, multimedia installations
 4. Interactive media: webseries, digital news, snack media, ecomedia,
    social media
 5. Games: storytelling, education, docugames, serious games, games for
    change
 6. VR (Virtual Reality): immersion, alternative environments and
    realities, interfaces
 7. Database and Big data: archive, politics, ethics


*BIBLIOGRAPHICAL REFERENCES*

Aston, Judith. “Interactive documentary – what does it mean and why does 
it matter?” /iDocs/ online. March 2016. 
http://i-docs.org/interactive-documentary-what-does-it-mean-and-why-does-it-matter/ 
<http://i-docs.org/interactive-documentary-what-does-it-mean-and-why-does-it-matter/>

Attali, Jacques. /Noise. The Political Economy of Music./ Minneapolis: 
University of Minnesota Press, 1985.

Burgess, Jean. “Hearing Ordinary Voices: Cultural Studies, Vernacular 
Creativity and Digital Storytelling.” /Continuum 20/, Issue 2 (2006): 
201–14. doi: 10.1080/10304310600641737.

Chang, Alenda, Ivakhiv, Adrian, and Walker, Janet. “States of 
Media+Environment: Editors’ Introduction.” /Media+Environment 1/, Issue 
1 (2019). doi: 10.1525/001c.10795.

Derrida, Jacques. /The Ear of the Other./ New York: Schocken, 1985.

Hudson, Dale M., and Patricia Rodden Zimmermann. /Thinking Through 
Digital Media: Transnational Environments and Locative Places/. New 
York: Palgrave Macmillan, 2015.

Moura, Hudson et al. (eds.). /Interactive Narratives, New Media and 
Social Engagement Conference Proceedings/, University of Toronto, 
2014. Previous Conference E-Book 
<https://www.academia.edu/9017268/Proceedings_of_Interactive_Narratives_New_Media_and_Social_Engagement_International_Conference>

Munro, Kim. “From Voice to Listening: Becoming Implicated Through 
Multi-Linear Documentary.” In /Critical Distance in Documentary 
Media,/ edited by Gerda Cammaer, Blake Fitzpatrick, and Bruno Lessard, 
279–300. Cham: Springer, 2018.

Nash, Kate, Craig Hight, and Catherine Summerhayes (eds)./ New 
Documentary Ecologies: Emerging Platforms, Practices and Discourses/. 
New York: Palgrave Macmillan, 2014.

Weik von Mossner, Alexa. /Affective Ecologies. Empathy, Emotion, and 
Environmental Narrative/. Columbus: The Ohio State University Press, 2017.


*PRACTICAL INFORMATION *

  * This conference aims to bring together researchers, practitioners,
    and professors for a three-day debate. The conference will be held
    exclusively online.
  * The language of the conference is English; no translation services
    will be provided.
  * The paper presentation proposals (500 words abstract) must be
    written in English, with a clear outline of the arguments,
    theoretical framework, and methodology. Please, note that all the
    proposals will undergo double-blind peer-reviewed by at least three
    anonymous reviewers.
  * For the accepted paper presentation proposals, participants must
    create and send a paper video presentation to be shared publicly on
    the conference's website, which will be posted before the
    conference. And a presentation paper to be shared with moderators.
    See the deadlines below.

  *
      o Paper video presentations should be no longer than 20 minutes.
      o Papers should be no longer than 4,000 words (Chicago Style 17th
        Edition).

  * During the panel sessions, presenters will mostly answer and receive
    feedback from conference moderators, respondents, and participants.
  * Academics and practitioners will have the opportunity to submit
    workshop and exhibition proposals to discuss and work on specific
    topics or present and discuss their research creations.

  *
      o For the accepted workshop or exhibition proposals, facilitators
        may release their call for submissions, select the participants,
        and coordinate their sessions during the conference days.

  * The papers presented at the conference will be published at *#IFM
    Journal* (peer-reviewed open access publication). Authors and
    facilitators should be prepared to submit their papers (revised
    based on their panel session discussions) and workshop reports,
    respectively,  within two months after the conference. The
    presenters can choose to submit in one of these issues:

  *
      o Proceedings (short papers - up to 4,000 words)
      o Thematic issue (full papers - peer-reviewed - up to 9,000 words)


*CONFERENCE FEE*: No registration fee will be charged for 
participation/presentation at this conference.


*SUBMITTING PROPOSALS*

*Paper Presentation*

Submit an abstract (500 words in length, including the research 
objectives, theoretical framework, methodology, and conclusions) and a 
brief Bio-CV (150 words). Please download the paper proposal application 
form here (IFM2022_Paper_Presentation_Proposal.docx 
<https://docs.google.com/document/d/1mZxbgcrmvA2BJDewXzZ28xifeuXM57Pt/edit?usp=sharing&ouid=116983877392213949768&rtpof=true&sd=true>) and 
upload it by the deadline at the /#IFM Journal/’s Submissions 
<https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia/about/submissions> page.


*Workshop and Exhibition*

For Workshop (theory or practice) and Exhibition (film, video, games, 
software, webseries, or online projects) proposals: Submit an abstract 
(500 words in length, including the session objectives, theoretical 
framework, methodology, audience, and intent results) and a brief Bio-CV 
(150 words maximum for each facilitator). Please download the 
workshop/exhibition proposal application form 
(IFM2022_Workshop_Exhibition_Proposal.docx 
<https://docs.google.com/document/d/1ypYj5HSujsWzWsDSrVbJ5tFwlAQL04pl/edit?usp=sharing&ouid=116983877392213949768&rtpof=true&sd=true> ) 
and upload it by the deadline at the /#IFM Journal/’s Submissions 
<https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia/about/submissions> page.


*IMPORTANT DATES*

  * *Paper, Workshop, and Exhibition Proposals Deadline:*
      o *Monday, January 17th, 2022*
  * Scientific Committee’s decision
      o for Workshop/Exhibition proposals: Monday, February 28th, 2022
      o for Paper Proposals: Monday, March 14th, 2022
  * Selected Proposals:
      o Paper and video presentations submission by Monday, May 9th, 2022
  * Conference days:
      o June 8-10, 2022


*ORGANIZING COMMITTEE*: Hudson Moura, Chair (Ryerson University, 
Canada), Heidi Rae Cooley (The University of Texas at Dallas, USA), 
Sonia Regina Soares da Cunha (University of Sao Paulo, Brazil), Stefano 
Odorico (Leeds Trinity University, UK), Anna Wiehl (DiD-Digital 
Documentary Projects, University of Bayreuth, Germany).

*CONFERENCE ASSISTANT*: Irina Lyubchenko (Independent Scholar, Canada)

*CONTACT EMAIL*: (ifmjournal /at/ ryerson.ca) 
<mailto:(ifmjournal /at/ ryerson.ca)?subject=CFP%20IFM2022%20Conference%20inquiry>

*WEBSITE: 
**https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia/IFM2022 
<https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia/IFM2022> 
*

---------------
The COMMLIST
---------------
This mailing list is a free service offered by Nico Carpentier. Please use it responsibly and wisely.
--
To subscribe or unsubscribe, please visit http://commlist.org/
--
Before sending a posting request, please always read the guidelines at http://commlist.org/
--
To contact the mailing list manager:
Email: (nico.carpentier /at/ vub.ac.be)
URL: http://nicocarpentier.net
---------------