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)
Judith Aston, Associate Professor and Wallscourt Fellow in Film ＆Digital Arts, the University of the West of England, Bristol (United Kingdom). She has been for several years developing pioneering film and creative technology projects in the UK's fledgling interactive and immersive media sectors. Based in Cambridge, she worked on projects with the University, Apple Computing, the BBC, Cambridge Multimedia, Eye Film and Television and Virgin Publishing. At UWE, she continues to work in this sector, working across academia and industry to build interdisciplinary teams for teaching and research.
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 academics (faculty, researchers, and Ph.D. students) and practitioners (filmmakers, artists, VR and game designers, and media producers) 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?
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
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/
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.
● 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.
Paper video presentations should be no longer than 20 minutes.
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.
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:
Proceedings (short papers - up to 4,000 words)
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.
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 (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.
Paper, Workshop, and Exhibition Proposals Deadline:
Monday, January 17th, 2022
Scientific Committee’s decision
For Workshop/Exhibition proposals: Monday, February 28th, 2022
For Paper Proposals: Monday, March 14th, 2022
For Selected Proposals:
Paper and video submissions by Monday, May 9th, 2022
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: email@example.com