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Calls for Papers

Home / FAQ Web interface Associations Calls for Papers Conferences Essays Job Openings Journals People Programs Publishers Syllabi Miscellaneous page updated: 30 Dec 2006

The calls  listed below are taken directly from posts to the CULTSTUD-L list. They are occasionally subject to minor reformatting so as to be more legible in the context of a long series of CFPs, but they have not otherwise been edited. Interested parties should use the contact information contained in the CFPs to gather more information about the events and opportunities listed below, rather than contacting the list manager (who, in most cases, won't know anything more than what's already listed below). CFPs for conferences that have their own websites can be found on the list's Conferences page.

Books

Sporting Community: Media Culture, Sport, and Geography
editors, Victoria E. Johnson and Jon Kraszewski

The editors seek essays on the cultural geography of sport that blend the theoretical and political commitments of cultural studies with the textual and aesthetic attention of radio/film/TV/new media studies. The anthology will focus on U.S. sport and culture, but we encourage scholars who study U.S. sport in transnational contexts to submit their work. The editors define "media" and "sport" broadly and welcome essays on historical and contemporary sporting issues. We are particularly interested in work that theorizes specific modes of aural and visual address/aesthetics in sports media. How do these modes imagine and create "community," and how are they different from other narrative and textual practices as heard or seen on television, radio, film, video games, the Internet, or mobile technologies?

We define cultural geography as an aesthetic and affective field through which community is constituted and contested symbolically, historically, and politically and by which individual and social identity is imagined and struggled over, especially in regard to the imagination of national, regional, and civic life at "home," in migration, and abroad. Sport is, in this sense, a network of intersecting affective attachments—an emotional guide to understanding "place" in the U.S., a field that can be constitutive of social subjectivity, a* *site* *of mobility within the mass consumer market, and a way of marking oneself in the world. Moreover, sport is not just a macro-political field of corporate profit; it is also a micro-political realm of everyday investments that have broader social and political relevance.

The anthology will have three broadly defined sections that offer different yet overlapping lenses to view the relationships between sport, media, geography, and identity. These sections include "Community and Consensus Within U.S. Sport," "Community and Contention Within U.S. Sport," and "Extra-Regional U.S. Sport/U.S. Sport in Other Contexts." We have suggested possible topics for contributors but welcome essays on other issues not listed below.

Interested authors should email a 300-500 word proposal and an abbreviated CV to Victoria E. Johnson (v.e.johnson@uci.edu) and to Jon Kraszewski (kraszejo@shu.edu). Proposals are due by March 15, 2007. We will respond to the proposals by May 1, 2007 and ask for 25-30 page drafts by August 1, 2007. Please contact us if you have questions about potential essays or the anthology project in general.

posted to the list: 12 Dec 2006

Conferences

Everyday Life in World Politics and Economics
London School of Economics
11 May 2007

The Centre for International Studies at LSE is organising a one-day international workshop aiming to bring together researchers and senior academics that study the role and importance of everyday life in social change.

The workshop aims to examine the role, function and significance of everyday life in world politics and economics. Most theoretical and empirical studies in mainstream social science focus on powerful social actors, official institutions and mechanisms, important policy decisions, milestone meetings/conferences/negotiations/treaties, and critical junctures. In this way, they tend to ignore everyday repetitions, patterns, practices, decisions or non-decisions. Yet, while these matters make no headline news, they define and determine these 'big politics' in a most profound way.

We invite theoretical or applied papers that attempt to:

The workshop will take place: at LSE on Friday, May 11

To submit a paper proposal, please send an abstract (including your current position/affiliation and contact details) to Andreas Antoniades at A.Antoniades@lse.ac.uk.

The deadline for paper proposals is on Friday, February 9 (applicants will be notified by February 26). For any questions regarding the workshop please contact CIS at CIS@lse.ac.uk.

posted to the list: 8 Nov 2006

Fashion in Fiction
An International Transdisciplinary Conference
University of Technology, Sydney Australia
26-27 May 2007

It was Roland Barthes who proposed that fashion was not an "industry" but rather a set of fictions. By this Barthes did not wish to ignore the economic function of fashion, but rather underline fashion's mythic dimension, and suggest that fashion is a literature in itself. Fashion and fiction have long existed in close proximity; writers have been driven by their experience of fashion; fashion has been developed through and by literary tropes. What makes dress and fashion such a fascinating subject for writers? And how are fashion's mythologies constructed and disseminated through fictional texts?

This transdisciplinary conference, a creative collaboration between the Faculty of Design, Architecture and Building and the Faculty of Humanities and Social Sciences, seeks to investigate and explore the role that fashion has played in fictional narratives from the 19th century to the present. In particular, it will examine specific fashion discourses or conversations within fiction, assessing the role, function, and purposes of clothes, fashion movements, style and image to create narratives within narratives.

Papers are sought from those engaged in the fields of literature, creative writing, media, cultural studies, fashion and design, philosophy and theory.

Papers, work-in-progress and workshops are invited. Possible topics may include but not limited to: Selected papers will be published in a peer referred publication.

Abstract Deadline: October 15, 2006
Please send abstracts to:
Vicki.karaminas@uts.edu.au
Peter.McNeil@uts.edu.au
Catherine.Cole@uts.edu.au

posted to the list: 6 Juiy 2006

MeCCSA Postgraduate Network Conference
12-13 July 2007
University of the West of England (Bristol)

The MeCCSA Postgraduate Network invites submission of abstracts for its annual postgraduate conference in July 2007, to be held at the University of The West of England (UWE) Bristol. This interdisciplinary conference welcomes papers on topics relevant to any area of media, communication, and cultural studies. The conference is organised by postgraduate students and it is designed for Masters and PhD students, as well as early years postdoctoral researchers.

This is an excellent opportunity for postgraduate students to present their work to likeminded individuals in a supportive and productive environment. The conference will also include keynotes and workshops from expert academics on topics pertinent to postgraduate students, including publishing, teaching practices and transitions between MA / PhD / work.

Please send abstracts (between 150 and 250 words) for proposed 20- minute papers by 1st February 2007 to Einar Thorsen, Einar.Thorsen@uwe.ac.uk and Libia Villazana, Libia2.Villazana@uwe.ac.uk. The abstracts should include:

Joint submissions of up to four speakers forming a panel are welcome. Notification of acceptance will be sent out around the end of April 2007.

More information, including details of keynote speakers, venues and conference fees, will shortly be available on the websites of the University of the West on England and the MeCCSA Postgraduate Network. Please check back over the coming weeks.

Details of previous conference programmes and papers are available on the MeCCSA Postgraduate Network website.

The following PDF file contains no other information than is in this email, but is in handbill / poster form for use on notice boards etc: http://www.meccsa.org.uk/pgn/events/pgnconference2007/UWE_CfP_Poster.pdf

AIMS OF THE NETWORK:
The aim of the Postgraduate Network is to bring together postgraduate students in media, communication and cultural studies from different intellectual traditions and cultural backgrounds in order to form research, and teaching and learning networks and also ensure peer support.

The Postgraduate Network’s goals are to:

The Postgraduate Network also operates a discussion and information list: http://www.jiscmail.ac.uk/lists/MECCSA-PGN.html

posted to the list: 4 Dec 2006

New World Coming
The Sixties and the Shaping of Global Consciousness and Culture
An Interdisciplinary Conference at Queen's University
Kingston Ontario
13-16 June 2007

Scholars in a wide variety of disciplines, from diverse theoretical and geographical backgrounds, have begun a major reassessment of the experience, meaning, and importance of 'The Sixties.' Central to this rethinking has been a recognition of the international nature of Sixties protests, and the global circulation of politics and culture in the post-1945 period. This international and interdisciplinary conference will bring together scholars working on topics as diverse as the New Left, Third World decolonization and liberation movements, the politics of sex and race, and cultural studies, in the hopes of fostering a dialogue on the interconnected nature, and present day legacy, of the various forms of culture and movements which characterized The 'Sixties.'

We encourage papers on the following themes: We welcome individual submissions, panels and round-tables. Please send a 300 word abstract and a short (one page) C.V. by the 31st of August, 2006, to:

Global Sixties
Department of History
Queen's University
Kingston ON, K7L 3N6
global60@post.queensu.ca

posted to the list: 18 June 2006

Optika 2
A Symposium on Visual Narration
University of Puerto Rico, Mayagez Campus
25-26 January 2007

Organizers: Mary Leonard, Laura Bravo

Optika is a two-day symposium which will explore the theory and practice of visual narrative. Academics, independent scholars, students, and artists are invited to participate. Both academic and creative work are welcome and may be submitted in either English or Spanish. The organizers are interested in a variety of critical and theoretical perspectives which contribute to our understanding of the many ways we might conceive of visual narration. We are also interested in formal diversity. Thus papers or creative work may engage with the visual in defined genres, or in less-studied hybrid or emerging forms. Forms and genres include film, television, music videos, theater, opera, performance art, installations, painting, sculpture, photography, commercials, billboards, comics, cartoons, graphic novels, graffiti, digital and internet forms. Selected work will be published in the symposium proceedings.

Academic submissions are by abstract and should be accompanied by a biography of not more than 3 sentences. Abstracts should be no longer than 300 words long. Papers should be no more than twenty minutes long.

Creative work is by proposal (300 word maximum), and should be accompanied by a biography of the artist no longer than 3 sentences and a visual representation of the proposed work. Presentations or projections may last from 1 to 10 minutes. In the case of photographs, paintings, sculpture, and other static forms, the artist should submit a narrative piece composed of up to 10 individual elements (e.g., a narrative composed of 10 photographs). Submissions which include more than ten elements may be accepted if the artist convincingly justifies the need for the inclusion of all the elements proposed.

The organizers seek to include a wide variety of artistic forms and approaches to visual narration and will give preference to submissions which will provoke the spectator to reflect upon, question or rethink the ways in which stories can be visually constructed.

Deadline for submissions: Sunday, September 10, 2006

Send submissions to:
Mary Leonard
English Department
323 Chardon Building
University of Puerto Rico
Mayagez Campus
Mayagez, Puerto Rico 00681

e-mail: mleonard@choicecable.net

posted to the list: 3 July 2006

Que viva la musica popular!
International Association for the Study of Popular Music (IASPM)
14th biennial conference
Universidad Iberoamericana
Mexico City, Mexico
25-29 June 2007

Popular music remains at the heart of everyday life in many different ways. Its ability to organise, reassure, provoke, contain or anaesthetise attests to its influence within social life. The organisers of the 14th biennial IASPM in Mexico City invite papers that provide theoretically grounded accounts of popular musics role as a soundtrack to individual, collective, local, national and international experience. This includes examination of the significant changes in popular music consumption, with, for example, the emergence of the mobile phone and TV talent show franchises as key links between contemporary youth audiences and performers. Equally, in the age of the mash-up, innovation in digital technologies (for example, Pro Tools and Acid Pro software) continues to challenge prior modes of production and viability for producers in an era of industry/company integration. While these are important issues for debate, this conference also emphasises effect and affectivity: the astonishing ways in which popular music moves us to different forms of expression and feeling.

The location of this conference is timely, given the rapid change in cultural trade flows and agreements between nations, where popular music plays a major role in debates about cultural sovereignty, and the feverish rhetoric surrounding the cultural/creative industries. At the same time, popular music continues to be appropriated for specific political ends, representing particular ideologies, and in some cases, whole nations.

As has always been the case, conference organisers welcome papers that shed light on specific, local experiences and debates, along with wider issues of transnational importance. In keeping with the increasingly broad scope of popular music studies, the conference welcomes papers based on any disciplinary approach, including musicology, semiotics, philosophical/cognitive studies, anthropology, gender and cultural studies, sociology, literary criticism, etc.

Abstracts should be no longer than 250 words, and should include the following:

Paper Title
Surname, First Name
Institution
Email Address
Intended Stream

When attaching abstracts, please send as both an .rtf and .doc. Please use your surname as the file name, eg: smith.rtf, jones.doc.

The conference organizers would ask that you provide three to five keywords in order to help facilitate the organization of the schedule.

Abstracts should be sent to the following address: pop2007@iaspm.net, and should be received no later than November 15, 2006. Presenters will be notified by February 1, regarding acceptance.

The streams for this years conference as follows:
  1. Songs of desire
    Convenor: Franco Fabbri <fabbri@dico.unimi.it>

    Feelings, emotions, passion are at the same time the subject of many popular songs (content), the factors that influence how subjects are articulated (expression), the shared competence within a genre or across genres (code). Affect in popular music is coded/decoded by the mind, interpreted by the body, predominantly mediated by the voice. This stream welcomes papers based on any disciplinary approach (musicology, semiotics, philosophical/cognitive studies, anthropology, gender and cultural studies, sociology, literary criticism, etc.) approaching song (individual songs, genres, idiolects) as the meeting point of thought and feelings, the body, the human voice, for any purpose and project.

  2. Performance
    Convenor: Shane Homan <Shane.Homan@newcastle.edu.au>

    Musical performance remains one of the central rituals and pleasures of popular music. This stream invites consideration of understandings of performance within a range of cultures and contexts, including the re-evaluation of classic performances on the stage or screen that continue to inform contemporary practices and histories; debates about repetition and improvisation; or performance within multimedia environments, and the implications for the presentation and reception of the musical text in relation to particular discourses of authenticity. We welcome papers on the cover, tribute, or interpretation that investigates performing the original, or contributions to debates about stage virtuosity, including understandings of musical skills, training and creativity. Discussions can extend to how famous musicians perform their celebrity roles in a variety of industry and media contexts; or how audiences perform subcultures or fandom roles; or take on the role of performer themselves.

  3. Technology & industry
    Convenor: Martha Tupinambá de Ulhôa <mulhoa1@gmail.com>

    The use of the phonogram, the disc, the tape, and now the computer archive has changed enormously the way people produce and listen to music. Music technology has even blurred the distinction between the spheres of music production and consumption, as well as the notions of authorship and performance. Also the music industry has had to adapt to new ways of consumption that bypass its control, as the debate on copyright and the release of "historical" performances transfers is showing. This stream welcomes papers dealing with the technological impact on popular music practices, including studio, live and even private popular music production and consumption questions from cultural, aesthetic, ideological, economic, sociological, historical, legal or musicological perspectives.

  4. Nation, Region, City
    Convenor: Michael Drewett <M.Drewett@ru.ac.za>

    This stream is concerned with popular music meanings which are specifically located within the context of space and place, whether on the local, national, global or glocal level, including the role of music in urban and suburban structures, in the construction of national identities and policies and in place-related practices of domination and resistance, such as post-colonial struggle. Papers that place particular emphasis upon the spatial dynamics of popular music are welcomed.

  5. Popular and Unpopular Musics
    Convenor: Geoff Stahl <geoff.stahl@vuw.ac.nz>

    The notion of the popular can be cast in multiple ways. The meaning and uses to which the popular is put means different things with regard to taste, musicians, the industry, governments, etc. The notion of what constitutes popularity and what that popularity may mean is fraught and contested in a number of fields, whereby the production, distribution and consumption of music can become the locus of many different kinds of struggles. This stream is designed to take up many of these issues, considering the different resonances of the popular (and by inference its so-called opposite, the unpopular).
posted to the list: 29 June 2006

Theorising Affect
Department of Geography
Durham University (UK)
10-11 January 2007

A two day conference organized by the Social/Spatial Theory research cluster on affect within the social sciences, cultural studies and humanities.

Over the past decade affect has emerged as a distinct object of inquiry in the humanities and social sciences. From the micro-political geographies of everyday life, through to the media and military strategies deployed in the 'war on terror', it is increasingly recognized that affect is a constitutive element in almost all social and cultural practices. Emerging from a range of partially connected literatures, and resonating with a parallel attention to emotion and feeling, the emergence of affect and affectivity as objects of inquiry raises a series of questions about what social and cultural theory is, about its general field of inquiry, about the composition of its object(s) and subject(s) and about the nature and status of its accounts and claims.

This two day conference aims to provide a forum to think through the problems, and questions, that animate social and cultural theory's entanglements with affect. Drawing into conversation a range of work and writing on affect and affectivity, a range which could include feminism, queer theory, Deleuze, Tomkins, psychoanalysis, deconstruction, phenomenology, literary and performance studies, and social science engagements with bio and neuro sciences, the conference seeks to develop and establish affect as a major cross-cutting object for social and cultural reflection, investigation and action.

Abstracts are sought on topics such as: The cost of the conference will be approximately 50 (exlcuding accomodation and evening meals). We welcome proposals for 20 minute papers (to be followed by 10 minutes for discussion/questions) that address these and any other relevant questions or problems around affect. Papers can work through these questions/problems in multiple forms, for example through theoretical work, through empirical work, or through performance. 200 word abstracts to be sent to Ben Anderson (ben.anderson@durham.ac.uk) by 1st August 2006.

On behalf of the organising committee:
Dr Ben Anderson
Dr Paul Harrison
Dr Rachel Colls
Dave Bissell
Dan Swanton

posted to the list: 21 June 2006

Journals

Atlantis
Digital Feminisms: Gender and New Technologies
Volume 32.2

The complexity of new technologies has altered the way we think about time, space and ourselves in the digital age. Whether it is business, media, entertainment, advocacy, art, education, social action, politics, paid and unpaid work, or a myriad of other sites of contention, the ability of new technology to converge with and transform past, present and future ways of interacting with the world in which we live has immense and wide-ranging implications.

Given this context, we are seeking contributions to a special issue of Atlantis focused on Gender and New Technologies. We invite submissions that contribute to an inquiry on how new technologies have informed gender's self expression and histories; affected gender, race and culture; influenced the representation of gender; and changed the way in which gender issues are viewed or pursued. In pursuit of a diverse and wide-ranging debate, the issue seeks contributions from a broad range of areas, including Women's Studies, Gender Studies, New Media, Cultural, Film and Communications Studies, History, Visual Arts, Computer Science and any other area relevant to the discussion. Given the complexities of new technologies, we wish to encourage submissions that think across geographical divides, histories and media, including (but not limited to) the Internet, digital arts, locative media, WiFi, aesthetic and narrative analysis, film, video, television, educational software/delivery, medical technologies, and visual and digital art.

Interdisciplinary approaches combining target areas are also welcomed. Possible topics for this issue include, but are not limited to: All contributions should be accessible to an audience from many different backgrounds interested in participating in the creation and sharing of feminist knowledge. Atlantis articles are peer reviewed. They contribute to a publication that strives to meet the most significant academic and feminist expectations of our colleagues. Articles submitted for consideration must be no longer than 6000 words (including notes, references, appendices, etc.) and must be typed double-spaced. Please send submissions, in sextuplicate, addressed to Cecily Barrie at the Atlantis address below.

Information regarding the contributors' guidelines may be found at the web site (www.msvu.ca/atlantis), or by contacting the Atlantis office.

Please note: When an article is accepted for publication in Atlantis, we ask that the contributor subscribe to the journal for one year. Like many other journals, our fiscal base is vulnerable. Subscribers to Atlantis create the possibility for the dissemination of feminist knowledge in the form of peer reviewed articles, community voices, curriculum reflections and book reviews. As contributors of peer reviewed articles, their subscriptions will assist in keeping the journal in print and available to the larger community of feminist thinkers and doers. In exchange, they will receive both the spring and fall editions plus an extra copy of the edition carrying their article.

GUEST EDITORS: Sheila Petty and Barbara Crow
SUBMISSION DEADLINE: February 1, 2007
Institute for the Study of Women / Mount Saint Vincent University Halifax NS Canada B3M 2J6 / tel: 902-457-6319 fax: 902-443-1352

posted to the list: 12 July 2006

Culture Machine
Issue theme:
Recordings

Editors for this issue:
Paul Hegarty and Gary Genosko

What is the current state of aural art media in an era of digital reproduction? Which trails were followed in order to reach the present of online and/or digital (sub)versions? Due consideration needs to be given to the residues of technologies, the anachronisms, the failures, the less-than-excellent, the dated, the outmoded, and even the yet-to-work. Once we take into account the material (or dematerialised) art object, what about collecting cultures, recycling, destroyed and broken media (the TV thrown from the window.), new broadcast media, turntablism, noise, radio and its avatars, podcasting, any casting, the range of material supports (vinyl, the 8 track, betamax, different audio files). Still, has the digital and informational swamped the world in a mass encoded simulation? What and where are the resistances? Are they within or outside of the digital? In the junk heap of analogue machines? In Ebay dreams? What are the material forms/formats that offer critical models, avant-gardism, metacommentary and so on? What is the status of the art commodity, non-commodity or hypercommodity? Contributions on any of the above are welcomed, from any theoretical or historical perspective. Whilst sound is very important, due to its apparent disappearance in ubiquity, submissions are invited to consider other media (notably video art, DVD, streaming), provided it addresses some of the above ideas.

Recommended length: 4000 7000 words

Submission deadline date: 1 Feb 2007.
All contributions to Culture Machine are refereed anonymously. Authors should follow the Culture Machine Style Manual in preparing their articles http://culturemachine.tees.ac.uk/papers.htm#submissions

Contact:
Editors for this issue: Paul Hegarty, University College Cork, Ireland
Email: phegarty@french.ucc
Gary Genosko, Lakehead University, Canada
Email: genosko@tbaytel.net

Contributing to Culture Machine
Culture Machine publishes new work from both established figures and up-and-coming writers. It is interactive, fully refereed, and has an International Advisory Board which includes Robert Bernasconi, Lawrence Grossberg, Peggy Kamuf, Alphonso Lingis, Meaghan Morris, Paul Patton, Avital Ronell and Nicholas Royle. Among the distinguished contributors to the first eight editions of Culture Machine are Mark Amerika, Alain Badiou, Geoffrey Bennington, Bifo, Oran Catts, Simon Critchley, Jacques Derrida, Diane Elam, Johan Forn�, Henry A. Giroux, Lawrence Grossberg, Stevan Harnad, N. Katherine Hayles, Peggy Kamuf, David Kolb, Ernesto Laclau, J. Hillis Miller, Anna Munster, Michael Naas, Mark Poster, Melinda Rackham, Tadeusz Slawek, Bernard Stiegler, Kenneth Surin, Gregory L. Ulmer, Hal Varian, Cathryn Vasseleu and Samuel Weber.

Culture Machine welcomes material from Britain, Australia and the United States, and is particularly interested in acquiring contributions from those working outside the usual Anglo/Australian/American nexus that currently seems to dominate so much of Cultural Studies/Cultural Theory. Appropriate unsolicited articles of any length from academics, post-graduates and non-academics will all be accepted for publication, as will contributions which respond to or seek to engage with work previously published in Culture Machine. So-called inter-active texts are welcomed, as are any forms of contribution that take advantage of and explore the uses and limitations of digital technology.

posted to the list: 26 Sep 2006

Fibreculture
After convergence, what connects

:: fibreculture :: has established itself as Australasia's leading forum for discussion of internet theory, culture, and research. The Fibreculture Journal is a peer-reviewed journal that explores the issues and ideas of concern and interest to both the Fibreculture network and wider social formations.

Papers are invited for the 'After convergence' issue of the Fibreculture Journal, to be published early in 2008. Guest editors are Caroline Bassett (Sussex, UK), Maren Hartmann (Bremen, Germany) and Kate O'Riordan (Lancaster/Sussex, UK).

There are guidelines for the format and submission of contributions at http://journal.fibreculture.org

These guidelines need to be followed in all cases. Contributions should be sent electronically, as word attachments, to:

Guest editors:
Caroline Bassett (c.bassett@sussex.ac.uk)

Maren Hartmann (maren.hartmann@uni-bremen.de)

Kate O'Riordan (k.oriordan@lancaster.ac.uk)

Everything that arises does not converge. A more variegated landscape emerges as processes of digitalization, crystallizations of an intrinsically technological-social, continue re-shaping cultures and re-working societies, not in their image, but into something new. It is increasingly obvious that there is no digital behemoth, no single form, no single function, no New World Order. Rather a series of reconfigurations, reformulations, new functions, new contents, new spaces, new grounds, new uses, have emerged and are emerging within global media networks.

In response to the (not unexpected) non-arrival of the unifying beast, which is to say in response to the perceived exhaustion of convergence (or the re-definition of its limits), new disciplinary islands are being declared with 'keep out' and 'invented here' signs all over their beaches. In other words there has been a balkanization of techno-cultural investigation. Thus gaming scholars define themselves against internet scholars, or film scholars, locatives stand distinct from screeners. Particular groups of sub-specialists claim particular modes of inquiry: ethnographers for everyday life, speculative theory for digital art, for instance. Indeed, entire vocabularies, originally invoked in a spirit of general experimentation, are now corralled, restricted and defended by particular groups. If these vocabularies often seize up in the process, refusing to say more than they were meant to say, and in particular refusing the unorthodox connections between the empirical and the speculative, the possible and the desirable, that gave them their energy in the first place, nobody seems to notice.

So, there is no behemoth. At the same time we insist that connections are produced and so a question we consider worth addressing is not what unites digital forms as one, but what connects them together as many. Further we want to explore how these connections are made. We are less interested in doing that through mainstreaming a particular critical approach (which is to say drawing different areas back under one critical umbrella, making that the connection), than we are in trying to think about exploring/defining/critiquing some of the shared characteristics of different digital media formations. We believe that despite the exhaustion of convergence metaphors, and the rise of disciplinary sub-divisions, these connections remain crucial.

Papers addressing but not limited to the following topics are welcome:

Deadlines:

posted to the list: 22 Nov 2006