CFP Thursday is back! Check out this week’s top New Media-related CFPs:
- The IAFOR International Conference on the City: “Fearful Futures: Cities in the Twenty-First Century”
- The Platformization of Cultural Production – Special Issue
- CFP and Artwork: Taboo – Transgression – Transcendence in Art and Science 2018
- DataSociety – Future Perfect 2018
- Workshop – Digital Humanities Writing for Latin America
- Call for Chapters: Access, Control, and Dissemination in Digital Humanities
The IAFOR International Conference on the City: “Fearful Futures: Cities in the Twenty-First Century”
Deadline: Sunday, April 29, 2018 – 11:00am
July 13–15, 2018 | University of Barcelona & NH Collection Barcelona Constanza, Barcelona, Spain
We have reached a moment in international history that is one of potential paradigm shift. It is a moment when a problematic, but at least blandly progressivist, pro-multiculturalist movement toward “cosmopolitanism” (as Kwame Anthony Appiah might use the term) is being threatened by a far more destructive and potentially genocidal ethno-nationalism, the ferocity of which is fuelled by economic disparity, religious intolerance and retrograde ideologies regarding gender, race and sexuality.
In June 2017 an “International Municipalist Summit” was held in Barcelona under the banner “Fearless Cities”. The summit brought together mayors and municipal representatives from across the world over three days. “Fearful Futures: Cities in the Twenty-First Century” must obviously deal with parallel paradigms of concern as the Barcelona summit. However, the very title of that summit has an undertow of optimism. “Fearful futures” signals a concern that the future/s awaiting inhabitants of cities, towns and villages across the world during the remainder of the twenty-first century may be plagued by problems that have remained unresolved in the first eighteen years of this century. What kind of future awaits young people and the children being born today? Can we turn our societies around to re/create urban areas that are not only sustainable but safe for all inhabitants regardless of race, religion, gender, sexuality and class? The challenge is enormous, perhaps impossible, and thus the future indeed fearful.
This international and interdisciplinary conference will bring together a range of academics, independent researchers, artists and activists to explore the challenges that we face in our twenty-first-century cities.
This conference will be held in parallel to The IAFOR International Conference on Global Studies 2018 (Global2018), and will provide a counter to the localised perspectives that can easily obscure the simple fact that many of the world’s major cities have now become, more than ever, global portals and places of international exchange. Registration for either of these conferences will allow participants to attend sessions in the other.
We invite academics from around the world to join us in the fascinating historical, cultural and artistic centre of Barcelona, to exchange ideas and participate in the continuing story of this city.
In conjunction with our Global Partners, including the University of Barcelona, we look forward to extending you a warm welcome in 2018.
– The CITY2018 Organising Committee
Professor Emerita Sue Ballyn, University of Barcelona, Spain
Dr Montserrat Camps Gasset, University of Barcelona, Spain
Dr Joseph Haldane, The International Academic Forum (IAFOR), Japan
Professor Donald E. Hall, Lehigh University, USA
Professor Baden Offord, Centre for Human Rights Education, Curtin University, Australia & Cultural Studies Association of Australasia
Dr Cornelis Martin Renes, University of Barcelona, Spain
“Fearful Futures: Cities in the Twenty-First Century”
The Platformization of Cultural Production – Special Issue
Special collection of Social Media + Society (Open Access Journal)
Abstract submission deadline: May 15, 2018
Full paper submission deadline: September 15, 2018
Editors: Brooke Erin Duffy (Cornell University), David Nieborg (University of Toronto), Thomas Poell (University of Amsterdam)
This thematic issue explores the platformization of cultural production against the backdrop of wider transformations in the technologies, cultures, and political economies of digital media. Platformization describes the process by which major tech companies—GAFAM (Google, Apple, Facebook, Amazon, and Microsoft) in the West, and the so-called “three kingdoms” of the Chinese internet (Baidu, Alibaba, and Tencent) in Asia—are reconfiguring the production, distribution, and monetization of cultural products and services. The logic of platformization is impacting traditional cultural industries (e.g., music, news, museums, games, and fashion), as well as emergent digital sectors and communities of practice, such as livestreaming, podcasting, and “Instagramming.” Accordingly, new industrial formations and partnerships are constantly being wrought; for example, newspapers increasingly host their content on Facebook, and game developers offer their products in app stores operated by Apple and Google.
Given the acceleration and intensification of digital platforms in the cultural circuit, there is a pressing need to interrogate the stakes of platformization for content producers and for the cultural commodities they circulate among digitally networked audiences. We invite theoretical and/or empirical contributions addressing platform power and political economies vis-à-vis cultural production. Owing to the relative recency of research on platformization, this topic warrants an interdisciplinary focus including scholarship from such fields as media and communication studies, platform studies, software studies, political economy of communication, (media) production studies, and business studies. Platformization exacts widely variable costs across different spheres of life, and regional and sectoral boundaries. We therefore invite scholars to contribute papers which advance our understanding of how the platformization of particular sectors and practices takes shape within specific geo-national contexts, as well as how this involves new modes of content moderation and algorithmic curation, evolving forms of labour exploitation, and app-based systems of distribution and monetization.
We are especially interested in articles that shed new light across these themes:
*Theoretical approaches to platformization and the social, cultural and technological contexts of platform-dependent modes of cultural production.
*Intersectional approaches that are sensitive to the gendered, classed, and racial specificity of platform-dependent modes of cultural production.
*Political economic approaches to platformization, including the implications for cultural producers and labor relations, as well as relationships among different institutional actors in platform ecosystems.
*Regional approaches to platformization. For example, the impact of the platformization of cultural industries in particular countries, or regions, such as the European Union.
*Sectoral studies of specific industry sectors and modes of cultural production and circulation such as journalism, game and music production, museums, or emerging ‘platform-native’ practices such streaming and vlogging.
*Historical approaches to platformization. Contributions that investigate the transformation of specific production practices as they become integrated with, or dependent on digital platforms.
*The policy implications of platformization on a local, national or regional level, or studies of policy interventions.
*Formal and informal efforts to resist platformization, such as the development of platform independent subscription-based distribution and monetization models.
*Infrastructural approaches that are sensitive to the material dimensions of platform-based modes of cultural production.
*Methodological interventions, which reflect on the methodologies employed when researching cultural production in platform ecosystems.
Timeline
750-word abstracts should be emailed to cfp@platformization.net by May 15, 2018. The abstract should articulate: 1) the issue or research question to be discussed, 2) the methodological or critical framework used, and 3) indicate the expected findings or conclusions. Decisions will be communicated to the authors by June 1, 2017.
Full papers of the selected abstracts should be submitted by September 15, 2018 to be discussed in the Toronto workshop.
On October 8-9, 2018 (right before AoIR 2018-Montreal), the special collection editors will organise a 2-day event hosted by the University of Toronto. Day 1 will feature a workshop hosted by the McLuhan Centre for Culture and Technology. Workshop participation is not a condition for being included in the special collection. The workshop provides all thematic issue contributors an opportunity for debate and an initial round of feedback on the papers. Accommodation and catering during the event will be covered for accepted contributors. There is limited travel support for junior scholars.
The deadline for submitting the revised paper for double blind peer-review is December 1, 2018.
The planned publication date of this special collection of Social Media + Society is in the second half of 2019
CFP and Artwork: Taboo – Transgression – Transcendence in Art and Science 2018
Saturday, November 10, 2018 – 6:00pm to Monday, November 12, 2018 – 6:00pm
Including theoretical and artwork presentations the conference Taboo – Transgression – Transcendence in Art & Science 2018 continues to focus: a) on questions about the nature of the forbidden and about the aesthetics of liminality – as expressed in art that uses or is inspired by technology and science, b) in the opening of spaces for creative transformation in the merging of science and art.
Submissions are welcome from all art and research fields and cutting-edge technology in art research. Suggested, but not exclusive topics, are those associated, with: Biopunk, hybridity and aesthetics of mutation | Cyborg, augmentation and bοdy modification | Post gender, transgressive identities and social models | Psycho-pharmacology, somatechnology and post-humanism | Chemistry of the mind, natural healers and mind enhancement | Biotechnology, DIYbio and biohacking | Ethology, human and nonhuman | Evolution, extinction and randomness.
Deadline for proposals: April 30, 2018.
TTT2018 will take place in 11-13 November 2018 in Mexico City, hosted by the Universidad Nacional Autónoma de México (UNAM) and the Centro de Cultura Digital. The conference is co-organized by the Research and Creation Group Arte+Ciencia, UNAM (Mexico), Arte Institute (USA), Cultivamos Cultura (Portugal) as well as the Department of Audio and Visual Arts, Ionian University (Greece) and is coordinated in partnership with the program of the FACTT 2018– Festival Art & Science Trans-disciplinary and Trans-national 2018.
More: https://avarts.ionio.gr/ttt/
DataSociety – Future Perfect 2018
Deadline for applications: April 30, 2018
Apply on Submittable: https://datasociety.submittable.com/submit/3c4c61d1-b11e-4004-845d-10f2fa602980/future-perfect-2018
For questions, email ingrid@datasociety.net
Future Perfect is an annual workshop and conference dedicated to different approaches to understanding, living in, and challenging dominant narratives of speculative fiction in a time where powerful actors in technology and politics treat the future like a foregone conclusion.
As a verb tense, future perfect speaks to a point in time in which an event will already have happened: the robots will have taken our jobs; America will have already been made great (again); sea level rise will have destroyed major coastal cities; we will already be immortals living on Mars. Whether viewing the future as a subject of trepidation or a site of inevitable triumph, powerful institutions that view the world in this future perfect tension often fail to see alternative futures latent in the present, and rarely have answers for how one lives after these imagined tipping points of devastation, profit–or, in many cases, both.
Speculation is a powerful weapon, deployed as handily in war games and high finance as it is by fiction writers and revolutionaries. Future Perfect invites participants from a range of speculative and concrete disciplines to share their approaches to undermining hegemonic futures and constructing alternatives.
The centerpiece of this year’s Future Perfect conference are three commissioned speculative works by Ruha Benjamin (associate professor, Princeton University), Lou Cornum (editor, The New Inquiry and doctoral student at the CUNY Graduate Center), and Rose Eveleth (journalist and producer of the podcast Flash Forward). Future Perfect was created and is curated by Data & Society INFRA Lead Ingrid Burrington.
Covering a wide range of subject matter from (stem cell research, police brutality, automation in elder care, the poetics and possibilities of indigenous postnuclear solidarity), these works challenge readers to imagine alternatives to established foregone futures and consider their own agency (or, at times, lack thereof) in constructing alternative futures.
Future Perfect Opening Reception (free & open to the public):
- Thursday, June 7, 6-9pm
Future Perfect Workshop (by application):
- Friday, June 8, 12-5pm
- Workshop applications due: Monday, April 30
- Notifications: Friday, May 11
In addition to presentations of these commissioned projects, Future Perfect will have space for and seeks out lightning talks, discussion sessions, games, screenings, and demos. If you are interested, please submit your information here. As an example of what we seek, a writeup of 2017’s conference is available here, and video of the 2017 livestream is available here.
Space for this workshop and conference is extremely limited, but talks and outputs will be recorded and livestreamed, and the commissioned projects will be made available later in a limited-run printed volume.
Workshop – Digital Humanities Writing for Latin America
The Programming Historian invites members of the Spanish-speaking scholarly community to a 3-day writing workshop, Digital Humanities Writing for Latin America at the University de los Andes (Bogotá, Colombia), 1-3 August 2018. This unique writing workshop will bring together researchers from across the humanities to write digital humanities tutorials that address the needs and scholarly agenda of researchers from Latin American and the Hispanic world. These will be the amongst the world’s first Spanish-language digital humanities tutorials to be shared with a global audience.
Participants will work closely with editors at The Programming Historian to learn about technical writing, grant writing, and digital humanities publication venues. Substantial time is also set aside for a writing. By the end of the third day it is expected that participants will have a draft tutorial to be submitted for peer review at The Programming Historian en español.
We are grateful to the British Academy for financial support that allows us to offer up to 15 travel bursaries + hotel to participants from the following regions:
- 2* Central America (£700 each)
- 2* Caribbean (£700)
- 2* Southern South America (£700)
- 2* Northern South America (£500)
- 4* Colombia (£125)
- 3* Elsewhere in the world (£700)
We welcome applications from Spanish-speaking and Latin American humanities scholars of all stages of their career. We especially encourage early career scholars and graduate students to apply. Interested persons should email a 2-page CV and a 250-word description of a digital humanities tutorial that they would like to write at the workshop to the following email: mj.afanador28@uniandes.edu.co. The description should outline the scope of the lesson, why it is important for other scholars to learn the skill, and why you would make a good person to write it.
Topics for the lessons can be but are not limited to the following:
- Digitization, cataloguing and metadata
- OCR, classification and annotation<
- Data management and manipulation
- Mapping methodologies<
- Distant reading and text analysis<
- Digital publishing
Informal questions can be sent to Maria-José Afanador-Llach (Faculty of Arts and the Humanities, Universidad de los Andes) mj.afanador28@uniandes.edu.co or Adam Crymble (Department of History, University of Hertfordshire) a.crymble@herts.ac.uk.
Deadline: May 11, 2018.
About the partners of the event:
British Academy
Masters Degree Programme in Digital Humanities, Universidad de los Andes, Colombia
Departament of History, University of Herfordshire, England
The Programming Historian:
The Programming Historian is the world’s flagship source for learning and teaching digital research methods. The Programming Historian en español publish novice-friendly, peer-reviewed tutorials that help humanists learn a wide range of digital tools, techniques, and workflows to facilitate research and teaching. We are committed to fostering a diverse and inclusive community of editors, writers, and readers. Since launching in 2012, the project has attracted 1,300,000 users around the world. The Programming Historian en espanol was launched in 2017, and has seen a 1,000% increase in visitors from Spanish-speaking countries in its first year. This is our first event in Latin America and we hope you will join us.
Contact Info:
Maria José Afanador-Llach, Assistant Professor, Faculty of Arts and the Humanities, University of los Andes, Bogotá, Colombia
Contact Email:
mj.afanador28@uniandes.edu.co
URL:
https://programminghistorian.org/posts/convocatoria-taller-PH-espanol
Call for Chapters: Access, Control, and Dissemination in Digital Humanities
(Edited book for Routledge)
While DH is seen by some as especially interdisciplinary or more conducive to group work, linked data, and open research, including both access to results and participation in research itself, the very nature of its connectedness creates challenges for researchers who wish to assert control of data, have some role in how data is used or how work is acknowledged, and how it is attributed and recorded. Researchers involved in any substantial DH project must confront similar questions: who should be allowed to make reproductions of artifacts, which ones, how many, how often, of what quality and at what cost, what are the rights of possession and reproduction, including access, copyright, intellectual property rights or digital rights management. Given the potential of open and accessible data, it is sometimes suggested that DH might be a much-needed bridge between ivory tower institutions and the general public. The promise of DH in this regard, however, still remains in many ways unfulfilled, raising the question of who DH is for, if not solely for bodies of like-minded academics.
Contributors to this volume have varied experiences with applications for digital technology in the classroom, in museums and archives, and with the general public and they present answers to these problems from a variety of perspectives. Digital Humanities is not a homogeneous enterprise, and we find that DH functions differently in different fields across the humanities and is put to different ends with varying results. As a result, one may already (fore)see DH moving in distinct directions in individual academic fields, but whether this splintering will have a positive effect or is an indication that disciplines are retreating to their respective silos, remains to be seen. We need to understand better how such differences are communicated among various fields, and how those results are adopted, not to mention evaluated, and by whom. This volume addresses these issues with concrete examples from researchers in the field.
The editors have been working with Routledge to prepare a proposal for publication. Successful submissions will be included in a proposed volume based on a workshop held at Carleton University in May, 2016 (http://dhworkshop.ca/).
Editors:
Dr. Richard Mann, Carleton University, Ottawa, Ontario
Richard.Mann at carleton.ca
Dr. Shane Hawkins, Carleton University, Ottawa, Ontario
shane_hawkins at carleton.ca
Proposals Submission Deadline: 01 May 2018
Notification of Acceptance: 31 May 2018
Submission Date: 30 November 2018
Submission Procedure
You are invited to submit a word document with title of the proposal and abstract (500-800 words) and a CV. All proposals should be submitted to the following address: shane_hawkins at carleton.ca
Deadline is 01 May 2018.
Authors will be notified of a final decision by 31 May 2018 and asked to send a full text by 30 November 2018. The chapter’s length will be 5000-7000 words. Submitted chapters should not have been previously published or sent to another editor.