[Commlist] Interactive Epistemology, Listening, and Ecomedia #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)

*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

*Keynote*: Judith Aston, Associate Professor and Wallscourt Fellow in 
Film & Digital Arts, the University of the West of England, Bristol 
(United Kingdom)

*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/ 
<https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fi-docs.org%2Finteractive-documentary-what-does-it-mean-and-why-does-it-matter%2F&data=04%7C01%7Ck.maronitis%40leedstrinity.ac.uk%7C78eea72af50e4b44d4ed08d9b32175be%7Cdf4c20ba64a84352b3f947881abbc09a%7C0%7C0%7C637737778547412198%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=iAd%2Fl%2BIzjQWpZVxdFaHISCDWTPvv8x0d4vY3ZVu3G0s%3D&reserved=0>

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 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.

• Selected 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 – 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) and upload it by the deadline 
at the #IFM Journal’s 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 ) and upload it by the 
deadline at the #IFM Journal’s Submissions page.

*IMPORTANT DATES*

• Paper, Workshop, and Exhibition Proposals Deadline: o            
Monday, January 17th, 2022

• Scientific Committee’s decision for Workshop/Exhibition proposals: 
Monday, February 28th, 2022; for Paper Proposals: Monday, March 14th, 2022

• Selected Proposals:

o Paper and video presentations submission by Monday, May 9th, 2022

•            Conference days: 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 Practices, 
University of Bayreuth, Germany).

*CONFERENCE ASSISTANT:*Irina Lyubchenko (Independent Scholar, Canada) 
CONTACT EMAIL:(ifmjournal /at/ ryerson.ca) <mailto:(ifmjournal /at/ ryerson.ca)>

*WEBSITE*:

https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia/IFM2022


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