[Humanist] 29.572 events: digital libraries; poetics of the algorithm

Humanist Discussion Group willard.mccarty at mccarty.org.uk
Mon Dec 21 10:09:03 CET 2015


                 Humanist Discussion Group, Vol. 29, No. 572.
            Department of Digital Humanities, King's College London
                       www.digitalhumanities.org/humanist
                Submit to: humanist at lists.digitalhumanities.org

  [1]   From:    Aarnoud Rommens <aarnoud.rommens at ulg.ac.be>              (131)
        Subject: Extended Submission Deadline! Poetics of the Algorithm:
                Narrative, the Digital, and Unidentified Media (Liège, 16-
                18 June 2016)

  [2]   From:    "Lauer, Gerhard" <Gerhard.Lauer at phil.uni-goettingen.de>   (40)
        Subject: CfP TPDL2016 "The Digital Libraries as Digital Humanities
                engines"


--[1]------------------------------------------------------------------------
        Date: Sun, 20 Dec 2015 20:59:15 +0100 (CET)
        From: Aarnoud Rommens <aarnoud.rommens at ulg.ac.be>
        Subject: Extended Submission Deadline! Poetics of the Algorithm: Narrative, the Digital, and Unidentified Media (Liège, 16-18 June 2016)
        In-Reply-To: <1405535259.23081274.1450641508010.JavaMail.zimbra at ulg.ac.be>


Extended Submission Deadline! Poetics of the Algorithm: Narrative, the Digital, and Unidentified Media (Liège, 16-18 June 2016)

Due to numerous requests for an extension for submissions to the Poetics of the Algorithm conference, the organizing committee decided to extend the deadline for the submission of abstracts until January 11, 2016. 

Poetics of the Algorithm: Narrative, the Digital, and ‘Unidentified’ Media is an international and bilingual conference organized by the ACME Research Group and hosted by the University of Liège (Belgium), from June 16 to June 18, 2016. It focuses on interactive fiction, apps, digital comics, net/media art, games, e-literature and other emerging, ‘new’ media.

We invite you to send proposals for workshops, roundtables, panels, performances, sessions, and paper presentations touching on aspects of the original Call for Papers (see below). The process of evaluation is ongoing, and you can expect notification of acceptance by the end of February 2016.

We are also happy to announce the following confirmed speakers:

- Richard McGuire. Comic book artist, graphic designer, illustrator, animator, children's book author, musician, and toy designer. http://www.richard-mcguire.com/

- Gregory Ulmer: Professor in the Department of English at the University of Florida and professor of Electronic Languages and Cybermedia at the European Graduate School in Saas-Fee, Switzerland. http://emeragency.electracy.org/   

- Johnny (Sue) Golding. Director, Centre for Fine Art Research (CFAR). Birmingham School of Arts, Design and Media, Birmingham City University.

- Sarah Kember. Professor of New Technologies of Communications, Goldsmiths, University of London, UK.

- Markku Eskelinen. Independent scholar and experimental writer of ergodic prose and critical essays. Founding editor both Game Studies, the international journal of computer game research, and Cybertext Yearbook. Author of "Cybertext Poetics: The Critical Landscape of New Media Literary Theory."

- WREK (Olivier Deprez, Adolpho Avril, Miles O’Shea). Experimental artistic collective merging woodcut, installation art, performance, film, and comics. https://antiste.wordpress.com/  

- Ilan Manouach. Artist, writer, and musician. http://www.ilanmanouach.com/  

- Daniel Merlin Goodbrey. Artist, lecturer at the University of Hertfordshire in narrative and interactive design. http://e-merl.com/

- Yannis La Macchia. Comic book artist and publisher. http://racontars.com/ 

- Gregory Steirer. Assistant Professor of English and Film Studies, Dickinson College, Carlisle, Pennsylvania, USA.  

Very much looking forward to receiving your proposals,

The conference organizing committee, ACME Research Group:

- Aarnoud Rommens. BeIPD-COFUND Post-Doctoral Fellow, University of Liège (ULg), Belgium.
- Benoît Crucifix. F.R.S-FNRS Doctoral Fellow, University of Liège (ULg) and KU Leuven, Belgium.
- Björn-Olav Dozo. Associate Professor, University of Liège (ULg), Belgium.

For regular updates, please visit the conference website at https://poeticsofthealgorithm.wordpress.com

----------------------
Call For Papers:
----------------------
Poetics of the Algorithm: Narrative, the Digital, and ‘Unidentified’ Media
An International Conference organized by the ACME Research Group
University of Liège (ULg), Belgium
June 16-17-18, 2016

French version below

Introduction
---------------
Poetics of the Algorithm: Narrative, Digitality, and Unidentified Media is an international, bilingual conference hosted by the University of Liège (Belgium; 16-17-18 June 2016) with a focus on interactive fiction, apps, web/media art (history), digital comics, games, e-literature and other emerging, ‘new’ media. The conference will host workshops, roundtable discussions, panels, performancs, and presentations of papers. We invite scholars, artists, writers, programmers, (game) developers, practitioners, designers, etc. to participate in what we hope to be an extraordinary event.

Quick Info:
---------------
•	Conference website: https://poeticsofthealgorithm.wordpress.com/  
•	Contact email: acme.bdresearch at gmail.com 
•	Deadline for proposals (500 words): Jan 11, 2016

Description
---------------
It seems that narrative today is undergoing a radical change in its ‘source code.’ New technologies are changing the way texts are produced, distributed, viewed and read. The conference Poetics of the Algorithm intends to chart the implications of this shift. What does it mean that through digital technologies we can now experience on the surface of a single (touch) screen previously distinct media, artefacts and events such as literature in codex form, comic books, exhibitions, films, photographs, visual art and so on? Has medium-specificity become an obsolete notion given that binary code and algorithms seem to bypass material constraints?

The phenomenon of adapting/remediating ‘low tech’ works into digital format is instructive in this regard. Already an unconventional graphic narrative in codex form, Richard McGuire’s Here for example was adapted into a so-called “enhanced edition” for the iPad. Does the notion of ‘enhancement’entail that the hardback version is in some way inferior? Speaking of the app-version of Here, what does it mean that the simulation of travel in ‘deep time’ no longer proceeds from turning the page but from touching the screen, zooming, and pinching? Does the meaning change after a graphic novel in book format has been translated into an application for digital devices? How is the creation of the work impacted, as a work by a single author is transformed into a collaborative project with software designers and a team of coders? Next to mastery of his or her craft, must the artist also be‘code-literate’ today to matter?

Furthermore, this shift also pertains to the ‘system requirements’ of the reader-participant of digital media. Indeed, is touch—with the gestural protocols of swiping, pinching, and zooming—a radically new paradigm revising what is narratable, visible, and performable, making the world an unfamiliar place again after having lived in a world that could be ‘read like a book’? What new habits of thought and bodily engagement are brought into being?
These questions immediately bring us to the politics of post-media poetics, an issue the conference will also raise. How to think constructively about the relation between the backbreaking, (often neo-colonial) exploitative labour that makes western new media possible and our shiny new hardware so hostile to dirt and dust? Can modes of ‘slow,’ ‘grimy,’ ‘artisanal’ cultural production ('old school' book art, lettering, the smears of paint, the woodcut, etc.) be read as critiques of our digitized, supposedly ‘accelerationist’ epoch, and/or are they symptoms of post-media nostalgia?
Lastly, if the material configuration of literature, comics, art, and other media are shifting, how should this be reflected in our methodology? Should research, critique and scholarship aspire to become a multi-media experience? What are adequate forms for the digital humanities to respond to these challenges?

These are but some of the questions the conference will raise. Additional areas include, but are not limited to:
•	Intermediality, transmediality, remediation, media archeology
•	The notion of the author vs new media creation as a collaborative production, or delegation (‘outsourcing’) from author to digital production team
•	Gaming, comics and narrative
•	Digital comics, digital experiments with the language of comics, web-comics
•	interactive literature
•	Memes as (anti-)narrative
•	From Being-in-the-world to Being-with-Siri/Cortana
•	Smooth screens or rough textures: drawing on tablets, or drawing on paper, with pen, ink, paint
•	‘Old media’ in times of high-tech algorithmic hyper-capitalism
•	The art of coding, coding art
•	Database and narrative logics
•	Internet and the digital archive
•	Phenomenology of the digital
•	Modes of narration: Point-and-click, scrolling, touch, gestures narration
•	Poetics and emerging conventions and genres in digital media storytelling
•	The line between gaming, the ‘app-novel’, interactive fiction
•	As of yet ‘unidentified’ highly experimental media
•	Media literacy, illiteracy
•	Capitalism, new media, political economy
•	Media obsolescence, garbage, electronic debris, lost codes
•	Dirt and the machine, malfunctions, glitches, static, noise, tactics, hacks
•	Digital avant-gardes
•	Art, autonomy and the app-store
•	Media art (history)
•	The coder-researcher, new research practices, ‘minor’ data-humanities in Big Data
•	…

Submissions:
---------------
Please send abstracts (500 words maximum) by 11 January to acme.bdresearch at gmail.com

We are greatly looking forward to your proposals. You can visit the conference website (https://poeticsofthealgorithm.wordpress.com/) for more information, and if you have any questions, do not hesitate to contact us.

ACME Comics Research Group
University of Liege (ULg)
Place du 20-Aout, 7
4000 Liège
http://www.acme.ulg.ac.be/
Contact: acme.bdresearch at gmail.com

---------------
Poétiques de l’algorithme : objets médiatiques « non-identifiés »
Un colloque international organisé par
ACME, groupe de recherche en bande dessinée
Université de Liège (ULg), Belgique
du 16 au 18 juin 2016
---------------
Introduction
---------------
Le colloque international Poétiques de l’algorithme : objets médiatiques « non-identifiés » aura lieu à l’Université de Liège (Belgique ; du 16 au 18 juin 2016) et se penchera sur la fiction interactive, les apps, la bande dessinée numérique, les jeux vidéo, la littérature électronique et ces autres « nouveaux » médias. La conférence accueillera des communications ainsi que des tables-rondes, ateliers et panels. Nous invitons à participer des chercheurs aussi bien que des artistes, auteurs, programmeurs, développeurs, praticiens, designers, etc.
Description

Le « code-source » du récit et de nos manières de raconter est depuis quelques années l’objet d’un changement radical. Les nouvelles technologies transforment la manière dont les textes sont produits, distribués, lus et vus. Le colloque Poétiques de l’algorithme propose de documenter les conséquences d’un tel changement. Des artefacts et des évènements tels que de la littérature au format codex, des albums de bandes dessinées, des expositions, des films, des photographies, voire l’art plastique se retrouvent désormais à portée d’un même écran (tactile). Comment les technologiques numériques ont-elles transformé des médias auparavant perçus comme distincts ? La notion de spécificité médiatique serait-elle devenue obsolète depuis que le code binaire et les algorithmes permettent de contourner ces contraintes matérielles ?

Le phénomène d’adaptation ou de remédiation d’œuvres low tech vers le format numérique en dit déjà long à ce sujet. Une bande dessinée déjà peu conventionnelle sous format papier, Here de Richard McGuire, fut par exemple adapté dans une version dite « améliorée » pour tablette. Est-ce que l’idée d’« amélioration » implique que la version papier est inférieure d’une manière ou d’une autre ? Et en regardant la version numérique de Here, quels changements cette conversion implique-t-elle pour la simulation d’un voyage dans les abysses du « temps profond », qui ne s’opère plus en tournant la page mais en touchant, zoomant et balayant l’écran des doigts ? La transpositiondu format livresque en application numérique affecte-elle la signification du roman graphique ? Comment la création de l’œuvre elle-est touchée par ce changement, puisque le travail d’un seul auteur devient celui d’un projet collaboratif impliquant des concepteurs de logiciel, des codeurs et des programmeurs ? Outre la maîtrise de son métier, l’artiste doit-il aujourd’hui être capable de lire et de traiter du code informatique ? De plus, ce changement participe aussi de la modification de l’attitude du consommateur de médias numériques, par rapport à un lecteur classique plus passif. En effet, est-ce que le toucher et les protocoles gestuels tels que le zoom, le pinch et le balayage entraînent un paradigme radicalement nouveau, transformant le visible et le dicible, refaisant du monde un lieu étrange et méconnaissable ? Quelles sont les nouvelles habitudes physiques et cognitives qui émergent dans un tel contexte ?

Ces questions nous mènent directement à la politique d’une poétique post-média, un des axes principaux de cette conférence. Comment penser de façon constructive la relation entre l'exploitation économique (souvent néocoloniale) qui rend possible l'existence de ces nouveaux médias et leurs beaux matériaux brillants qui semblent justement être réfractaires au déchet et à la crasse ? Les modes de production lents, sales et artisanaux (typographie, livres d'artiste, taches de peinture, gravure, etc.) peuvent-ils être lus comme des critiques d’une ère numérique supposée accélérationniste, ou bien s’agit-il de symptômes d’une nostalgie post-média ?

Enfin, si la configuration matérielle de la littérature, de la bande dessinée, de l’art et d’autres médias est en train de changer, comment ce changement devrait-il se répercuter dans notre approche méthodologique ? Est-ce que la recherche et la critique devraient aspirer à une existence multi-média ? Comment les humanités numériques peuvent-elles répondre à ces défis ?
Il ne s’agit là que d’une poignée de questions que le colloque espère soulever. D’autres pistes à explorer incluent, mais ne sont pas limitées à :

•	Intermedialité, transmedialité, remédiation, archéologie des médias
•	La notion d’auteur vs. la création numérique comme production collaborative, ou la délégation de l’auteur à une équipe de production (« outsourcing »)
•	Jeu vidéo, bande dessinée et narration
•	Bande dessinée numérique, expérimentations numériques avec le langage de la bande dessinées, webcomics
•	Littérature interactive
•	L’(anti)-narration des mèmes
•	L’être-au-monde vs. l’être-avec-Siri/Cortana
•	Écrans plats ou textures rugueuses : dessiner sur tablette et dessiner sur papier avec plume, encre, et peinture
•	Médias ‘obsolètes’ à l’ère d’un hyper-capitalisme algorithmique
•	L’art de coder et faire de l’art avec du code
•	Logiques (non)-séquentielles : narration et structure en bases de données
•	Internet et archives numériques
•	Phénoménologie du numérique
•	Gestuelles du récit numérique : point-and-click, scrolling, touch
•	Poétiques, conventions et genres de la narration numérique
•	Frontière entre jeu vidéo, app-novel et narration interactive
•	Médias expérimentaux ‘non-identifiés’
•	Capitalisme et nouveaux médias ; économie politique
•	L’obsolescence médiatique, déchet, débris électroniques, codes perdus
•	Saleté et technologie : pannes, bugs, déformations, bruit, piratage
•	Les avant-gardes numériques
•	Art, autonomie et l’app-store
•	Le chercheur-codeur, nouvelles pratiques de recherche, big data et humanités numériques
•	…

Modalités de soumission des communications
---------------------------------------------
Les propositions de communication (500 mots maximum) devront nous être adressées à l’adresse suivante: acme.bdresearch at gmail.com
Vous pouvez trouver plus d'informations sur le site web de la conférence website et n'hésitez pas à prendre contact avec nous pour toute information supplémentaire.

ACME Comics Research Group
University of Liege (ULg)
Place du 20-Aout, 7
4000 Liège
http://www.acme.ulg.ac.be/
Contact: acme.bdresearch at gmail.com



--[2]------------------------------------------------------------------------
        Date: Mon, 21 Dec 2015 08:32:00 +0000
        From: "Lauer, Gerhard" <Gerhard.Lauer at phil.uni-goettingen.de>
        Subject: CfP TPDL2016 "The Digital Libraries as Digital Humanities engines"
        In-Reply-To: <1405535259.23081274.1450641508010.JavaMail.zimbra at ulg.ac.be>



Call for Contributions

Leibniz Track on Digital Humanities (TPDL-DH)
"The Digital Libraries as Digital Humanities engines"

a specialized track of the

TPDL2016 - 20th International Conference on Theory and Practice of Digital Libraries
September 5-9, 2016 in Hannover, Germany
http://www.tpdl2016.org/ and http://www.tpdl2016.org/digitalhumanities
Twitter: @TPDL2016
--------------------------------------------------------------------------------

The Digital Libraries as Digital Humanities engines

Research in Digital Humanities relies on the accessibility to and quality of data. Digital libraries and Web Archives provide a fast growing number of data sets and data bases with metadata and standardized interfaces. From single collection to huge libraries like the Internet Archive "Big Data" is not a metaphor but a reality. To explore the richness of data in libraries and archives is one major task in the area of Digital Humanities. Libraries and archives are digital humanities engines to unlock the treasures with new computer-based approaches.

We invite digital humanists from all walks of academic life to show in detail how to make use of the richness of libraries and archives and apply for the digital humanities track at the upcoming 20th International Conference on Theory and Practice of Digital Libraries "Overcoming the Limits of Digital Archives". The following topics are of interest, but are not limited to:

- Building corpora out of libraries or archives
- Exploring the semantic of collections
- Making use of data mining techniques based on data of libraries and archives
- Information extraction for digital humanities
- Ontologies building and usage (including named entity recognition, GND etc.)
- The value of metadata for scholarly research
- Visualisation of primary and secondary sources data from DLs for DH research
- Impact and value of digital libraries in humanities research and teaching
- Methodological aspects of developing DLs for scholarly use

Submissions and TPDL Proceedings
--------------------------------
The Digital Humanities track of the TPDL 2016 invites submissions full-papers (12 pages) and short-papers (6 pages). The papers accepted for the specialized track will be published in the regular TPDL Proceedings. Therefore all submissions should conform to the formatting instructions described in the "For Authors" section of the TPDL 2016 website.

According to the TPDL 2016 rules, inclusion of papers in the proceedings is conditional upon registration of at least one author per paper.

http://www.tpdl2016.org/digitalhumanities

Important Dates
---------------
The deadline for submissions is March 15, 2016.
Notification of acceptance: May 22, 2016
Camera ready versions: June 12, 2016

Post-conference Journal Publication
-----------------------------------
A special issue with selected papers will be negotiated in addition to this publication.

Organization
------------
TPDL-DH Track Co-Chairs
- Gerhard Lauer (Uni Göttingen)
- Milena Dobreva (Uni Malta)





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