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The Center for Film and Moving Image Research housed at the Academy of Film, Hong Kong Baptist University and published by the University of Michigan Press has launched the inaugural issue of the Global Storytelling: Journal of Digital and Moving Image.

Global Storytelling is a peer-reviewed, biannual journal that serves as an international and interdisciplinary forum for intellectual debates concerning the politics, economics, culture, media and technology of the moving image. The new journal emphasizes storytelling as a particular field of inquiry and covers modes ranging from narrative features to documentaries, journalistic videos, personal essays, broadcast series and serial dramas, and user-generated content.

“No cinema or media journal has before focused on storytelling across multiple platforms and genres, theatrically and digitally both in its affect (emotional engagement) and effect (social impact). Examining how audio-visual narrative works and functions in its multifaceted formations and formats, this journal fills that void,” says Professor Ying Zhu, the Founding Chief Editor of the new journal, who is also Director of the Academy’s Centre for Film and Moving Image Research.

The inaugural issue (https://journals.publishing.umich.edu/gs/) includes 11 articles written by prominent academics and researchers on themes of Hong Kong and social movements, building and documenting national and transnational cinema, Sino-US relations, and the narrative of virus. 

Global Storytelling also invites articles, editorials, and book/film reviews. Potential contributors can find the open call guidelines at: https://journals.publishing.umich.edu/gs/submissions/  

Enquiries: gstjournal@hkbu.edu.hk or https://journals.publishing.umich.edu/gs/contact/ 

 

Call for papers:
States of Immersion: Bodies, Medias Technologies 

Edited collection — Estimated publication 2023
Updated deadline: July 31, 2021
(Version française ci-bas)

Over five days in October 2020, the conference “Immersivity and Technological Innovations” brought together more than fifty researchers and artists to address questions raised by virtual reality and, more broadly, by immersive media. To tackle the question of media immersivity and its related technological innovations, event participants addressed subjects ranging from the different “ramas” (panoramas, cyclorama, circorama, sensorama, etc.) to artificial intelligence through to a range of extended realities (augmented, virtual, mixed, etc.). The presentations questioned the ‘innovative’ nature of contemporary immersive media, by foregrounding a historical perspective often missing from industry discourses. While the latter continues to feed the fantasy of an ever-more-total immersion, we seek instead to propose a reflection on the role of the body, the media and the technologies of the development of immersion.

The organizing committee of the conference “Immersivity and Technological Innovations” is seeking contributions to bring together our reflections on all types of immersive experiments in a collective work. This proposed edited collection was presented to Santiago Hidalgo, co-director of the collection “Cinema and Technology” (Amsterdam University Press), who confirmed his interest.

Understanding contemporary immersive forms requires a range of approaches aimed at decoding the notion of immersivity through its different sociohistorical, disciplinary, technological and artistic contexts. It is also essential to develop a better understanding of the formation of media fantasies based on the appeal of immersion. How has the notion of immersivity been informed by art history, literature, cinema and video game studies? Do contributions from the field of design and applied sciences map easily onto these conceptions of immersion? What can past experiments in immersive media teach us about this (as yet unfulfilled) fantasy of totally immersive virtual experiences? What roles do bodies, spaces and narrative play in fostering and maintaining immersivity? What are the aesthetic aims of works that take advantage of the latest immersive technologies? What purposes do immersive technologies serve? Have virtual reality and other contemporary avatars of immersion managed, as these practices have become more professionalized, and despite their relatively slow adoption by the general public, to define their frames? Finally, can we recognize, within the emergent and specific conventions of these new forms, techniques of spatialization and storytelling that originate in ancient forms of immersive visual spaces, to use Oliver Grau’s expression?

In the context of the edited collection States of Immersion, we seek contributions that will foster a dialogue between the corporeal, affective and technological aspects of immersion. We encourage proposals that question the novelty of immersivity and those that propose new ways of looking at “immersive” forms of media. We invite contributions that address these issues from one or more of the following perspectives (including but not necessarily limited to):

  • (Pre-)history of immersive media (panoramas, cinéorama, sensorama, cinerama, etc.).
  • The limits of immersivity (challenges and flaws).
  • Psychological and cognitive approaches to the concept of immersivity.
  • The place of the body (agency, incorporation, presence, senses, affect).
  • Large formats (from Monet’s Nymphéas to IMAX).
  • Situating immersivity (sites, spaces and immersive locations).
  • Suspension of disbelief (automatons, conversational agents, Artificial Intelligence)
  • Creating immersivity (screenwriting, programming and the creation of immersive experiences).
  • Economic and logistical challenges of immersivity.
  • Institutionalization of immersive media forms.
  • (Photo)realism and other conventions.
  • Immersive systems in education or training scenarios (medical, military, etc.).
  • Accessibility and safety (universal and inclusive approaches to mediated immersivity).
   Beyond the traditional format of academic essays, we welcome suggestions for other types of reflections, such as interviews with artists working in immersive media or other forms of intellectual engagement that we have not listed here.
If you have an idea for content, we’re all ears!
 

Other information

In addition to the edited collection, we are considering other possibilities for the submissions, depending on the number of proposals we receive and in which language. These include the possibility of a special issue of a journal, depending on the thematic connections across the proposals.  

Submissions

The submission process will have two stages:

  1. First, please submit your proposals to immersivite@gmail.com by July 15  July 31, 2021 with the following details: 1) Title; 2) a 500-word proposal + 50 word bio; 3) three key references; 4) up to five keywords; 5) the language in which you would like to submit the text (English and/or French).Responses will be sent in September.
  1. Full papers (25,000-35,000 characters including spaces, excluding bibliography) must be submitted for review by December 1, 2021. Submissions may be sent to immersivite@gmail.com.

Editorial Committee

Philippe Bédard (Carleton University), Alanna Thain (McGill University) and Carl Therrien (Université de Montréal).

 

 


 

Appel à contributions :
L’immersion sous toutes ses formes : corps, médias, technologies

Ouvrage collectif — Publication prévue 2023
Nouvelle date limite: 31 juillet 2021

Pendant cinq jours en octobre 2020, le colloque « Immersivité et Innovations Technologiques » a réuni plus de cinquante chercheu.r.se.s et artistes autour des questions soulevées par la réalité virtuelle et les médias immersifs en général. Mobilisé.e.s par la question de l’immersivité médiatique et par les innovations technologiques afférentes, les intervenant.e.s de l’événement ont abordé des sujets allant des différents “-ramas” (panoramas, cyclorama, circorama, sensorama, etc.) à l’intelligence artificielle en passant par l’éventail des réalités étendues (augmentée, virtuelle, mixte, etc.). Ces conférences ont su remettre en question le caractère innovant des médias immersifs contemporains en ramenant à l’ordre du jour une perspective historique souvent évacuée dans les discours de l’industrie. Alors que ces derniers continuent d’alimenter le fantasme d’une immersion toujours plus totale, il est de notre ressort de proposer une réflexion sur le rôle du corps, des médias et des technologies dans le développement de l’immersion.

Le comité d’organisation du colloque « Immersivité et Innovations technologiques » vous propose de réunir nos réflexions sur tout type d’expérimentations immersives au sein d’un ouvrage collectif. Ce projet d’anthologie a été présenté à Santiago Hidalgo, codirecteur de la collection « Cinéma et technologie » (Amsterdam University Press), qui nous confirme son intérêt.

Comprendre les formes immersives contemporaines implique un éventail d’approches visant à déchiffrer la notion d’immersivité à travers différents contextes sociohistoriques, disciplinaires, technologiques et artistiques. Il nous apparaît également essentiel de développer une compréhension critique de la formation des fantasmes médiatiques associés à l’immersion. Comment l’histoire de l’art, la littérature, les études cinématographiques ou vidéoludiques ont-elles réfléchi l’immersivité? Est-ce que les apports des sciences du design peuvent s’arrimer facilement avec ces conceptions de l’immersion? Qu’est-ce que les pratiques immersives antérieures nous apprennent de l’idéal (encore irréalisé) d’une expérience virtuelle totalement englobante? Quels rôles le corps, l’espace et le récit jouent-ils dans la production et le maintien d’une expérience immersive? Quelles sont les visées esthétiques des œuvres qui tirent profit des dernières technologies immersives? À quelles fins les fonctions immersives des technologies sont-elles utilisées?  La réalité virtuelle et les autres avatars contemporains de l’immersion sont-ils parvenus, au fil de la professionnalisation de ces pratiques, et malgré leur adoption relativement lente par le grand public, à trouver leur cadre? Finalement,  peut-on reconnaître, au sein des conventions spécifiques à ces nouvelles formes qui émergent actuellement, des techniques de mise en espace et de mise en récit qui trouvent leur origine dans des formes antiques d’espaces imagés immersifs, pour reprendre l’expression d’Oliver Grau?

Dans le cadre de l’anthologie L’immersion sous toutes ses formes, nous sommes à la recherche de contributions qui sauront faire dialoguer les enjeux corporels, affectifs et technologiques de l’immersion. Nous encourageons les propositions qui remettent en question la nouveauté de l’immersivité et celles qui proposent de nouveaux regards sur les formations médiatiques dites « immersives ». Nous invitons les contributions touchant à ces questions dans l’une ou plusieurs des perspectives suivantes (sans nécessairement s’y limiter) :

  • (Pré-)histoire des médias immersifs (panoramas, cinéorama, sensorama, cinerama, etc.).
  • Les limites de l’immersivité (menaces et défauts).
  • Approches psychologiques et cognitives du concept d’immersivité.
  • La place du corps (agentivité, incorporation, impression de présence, les sens, l’affect, l’empathie).
  • Formats surdimensionnés (des Nymphéas à IMAX).
  • Situer l’immersivité (sites, lieux et espaces immersifs).
  • Suspension du jugement critique (automates, agents conversationnels et intelligence artificielle). 
  • Créer l’immersivité (scénarisation, programmation et production d’expériences immersives).
  • Enjeux économiques et logistiques liés à l’immersivité.
  • Institutionnalisation des formes médiatiques immersives.
  • (Photo)réalisme et autres conventions.
  • Systèmes immersifs d’éducation ou d’entraînement (médecine, aéronautique, armée, etc.).
  • Accessibilité et sécurité (approches universelles et inclusives à l’immersivité médiatique).
   Outre les contributions universitaires typiquement attendues dans ce genre d’ouvrage, nous aimerions aussi proposer d’autres types de réflexions, qu’il s’agisse d’entretiens avec des artistes qui œuvrent dans le milieu des médias immersifs ou de toute autre forme de production intellectuelle que nous n’aurions pas considérée.

Si vous avez une idée de contenu, nous sommes tout ouïe!

 

Informations supplémentaires

En plus du projet d’anthologie, nous étudions plusieurs possibilités pour la publication des textes qui seront remis, et ce, en fonction du nombre de propositions et de leur langue. Les options que nous prévoyons incluent la publication d’un ouvrage collectif accompagné d’un numéro de revue thématique, selon les maillages thématiques des propositions reçues.

Soumissions

Le processus de soumission se déroulera en deux temps:

  1. Veuillez d’abord soumettre vos propositions à immersivite@gmail.com au plus tard le 15 juillet  31 juillet 2021 avec les détails suivants :  1) Titre; 2) une proposition de 500 mots + bio de 50 mots; 3) jusqu’à trois références clés; 4) jusqu’à cinq mots-clés; 5) la langue dans laquelle vous pourriez soumettre le texte (français et/ou anglais).
                
    Les réponses seront envoyées au mois de septembre.
  2. Les textes complets (25,000-35,000 signes espaces compris, excluant la bibliographie) devront être soumis pour évaluation au plus tard le 1er décembre 2021. Les textes pourront être envoyés à immersivite@gmail.com.

Comité éditorial

Philippe Bédard (Carleton University), Alanna Thain (McGill University) et Carl Therrien (Université de Montréal).

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CALL FOR ARTICLES 

As a follow up to the one-day CLIC (Centre for Literary and Intermediality Crossings) conference on Seriality in December 2020 (keynotes by Jason Mittell and Adil El Arbi), the Spring 2022 issue of Journal for Literary and Intermedial Crossings (JLIC) will focus on Seriality research. 

Guest editors are Ronald Geerts, Anneleen Masschelein, Ernest Mathijs and Bart Nuyens.

The Journal for Literary and Intermedial Crossings (JLIChttps://clic.research.vub.be/en/journal) is an international, peer-reviewed open access journal. It publishes high-quality, innovative research engaging with literary and intermedial phenomena from various methodological angles and a wide range of disciplines including studies on literature, theatre, screenwriting, media and culture. The e-journal is supported by an international editorial board and aimed at an academic readership. JLIC offers an online publication platform to researchers from various fields engaging either directly or indirectly with the study of hybrid literary and/or intermedial phenomena.

Seriality has become “an endemic feature of our twenty-first-century, hypermediated world” (Lindner 2014, ix) permeating contemporary literature, theatre, tv-series, feature films, narrative games, podcasts, YouTube channels, Instagram and other forms of storytelling social media.

Seriality is traditionally associated with repetition and variation. However, our interest seems to have shifted to the dynamic qualities of seriality. What strikes us and interests us today is not so much repetition but evolution, the development of (story) lines. As a result, the narrative aspects of seriality appear to grow in importance, which seems to go hand in hand with the rise of what is covered by the broad umbrella term ‘storytelling’ (sometimes ‘complex storytelling’, e.g. Mittell 2015). Although seriality is often explicitly linked to popular culture (e.g. Kelleter 2017), an increased interest in ‘seriality as a strategy’ can be observed in all kinds of art forms. Seriality also seems to be an important element in multi, cross and transmedial storytelling as serial narrative strategies spill from one media to another. To the idea of a Serial Shakespeare as “an infinite variety of appropriations in American TV drama” (Bronfen 2020) Ivo Van Hove and Internationaal Theater Amsterdam recently added not just their theatrical serial Romeinse Tragedies (2007, Roman Tragedies) in a carefully reworked online streaming version (2021) but also a ‘classic’ weekly -thus not bingeable- ten-episode tv-serial on Dutch television (2021).

No wonder some see emerging a new field of research, seriality studies (Denson 2011).

We welcome academic and artistic research contributions.

Topics for articles might include, but are not limited to:

  • Seriality as an inter-, trans-, cross-media research field, …
  • Seriality and story worlds, …
  • Seriality in anthology series (Black Mirror, True Detective, other, literature), …
  • Seriality in literature: from crime literature to novel cycles (e.g. Proust, Knausgard, Elena Ferrante), …
  • Seriality as research process (theater, dance, performance, writing, eg Luk Perceval, Milo Rau, Michiel Vandevelde, Radouan Mriziga, Kenneth Goldsmith), …
  • Seriality and time (eg Richard Linklater (Boyhood, Before trilogy), François Truffaut (the “Antoine Doinel” films), Michael Apted (Up series), …
  • Seriality and how it influenced the conception of the term “character” (see previous point, but also multiple protagonists, influences on the narrative construction of the character, …
  • Seriality as never-ending story: 1001 nights (also in its many Covid-19 apparitions?), …
  • Seriality as episodicity and seriality-as-franchise: expanding series by developing relatively independent elements. Historical examples (literature, comics, theater, film). How far can one go (cf. the lack of success from recent Star Wars “episodes”)? (Franchising also to ‘occupy the market’, as the producers of the successful series CSI themselves created franchises very quickly, for fear that the story formula would be copied by others.), …
  • Seriality as a tension-building strategy (e.g. in podcasts, in documentaries or docu-fiction) when narrative strategies from fiction are used in documentary series of the type Wild Wild Country, Making a Murderer, De verdwijning van Britta Cloetens). How is its factual character influenced by the fictional narrative strategies?
  • Seriality as a commercial strategy: how an audience’s familiarity with characters, theme, arena and genre generates a customer-binding effect. To what extent is there a tension between the provision of fixed story elements vs variation, surprise, innovation? …
  • Seriality as fragmentation, e.g. p.o.v. storytelling of the same events from different successive narrators, creating repetitions and creating cognitive dissonance, Rashomon, The Leftovers, Westworld, De dag, in film and TV, in literature much older (Faulkner obviously, but also later), …
  • Seriality as in ‘adaptation’, ‘translation’, ‘recycling’, ‘remix’, … (The Bridge; The Office; Flikken (resp. Ghent, Maastricht, Rotterdam) but also e.g. “Serial Shakespeare” as a ‘dramaturg’ of contemporary series, Bronfen 2020), …
  • Seriality in / as social media (podcasts, YouTube vloggers, Instagram storytellers, Twitter poetry), …
  • Seriality and repetition and the tension between offering trusted elements vs necessary variation and progression (see seriality as a commercial strategy), …
  • Seriality in comics (“see album x”), …
  • Seriality in games, …
  • Seriality and poetry, …
  • Seriality and genre, …
  • To be continued … 

 

Academic articles should be between 5,000 and 6,000 words (references and footnotes included) in Dutch, English, French, German, Italian or Spanish. All manuscripts are peer- reviewed. JLIC supports textual as well as multi-media formatting. All work submitted to JLIC should reference and be formatted according to our Author Guidelines. Articles may be submitted in Word format. Figures, video and audio files etc. should be saved separately from the text.

The deadline for articles is 15 October 2021. Please send an abstract of maximum 500 words (in English and, if applicable, also in the language of your article, i.e. Dutch, French, German, Italian or Spanish) and a list of 5 keywords (in the same (two) language(s)) and a 100-word author bio (in English only) to ronald.geerts@vub.be by 1 September 2021.

Potential contributors should bear in mind that a two-stage review process is envisaged for full essays. In the first stage, articles will be reviewed by one of the journal editors. In the second stage, articles will be double-blind peer-reviewed by at least one external anonymous expert referee.

JLIC considers all manuscripts on the strict condition that:

  • The manuscript is your own original work, and does not duplicate any other previously published work, including your own previously published work.
  • the manuscript has been submitted only to the Journal of Literary and Intermedial Crossings; it is not under consideration or peer review or accepted for publication or in press or published elsewhere.
  • The manuscript contains nothing that is abusive, defamatory, libellous, obscene, fraudulent, or illegal.
  • Tthe author has obtained the necessary permission to reuse third-party material in their article. The use of short extracts of text and some other types of material is usually permitted, on a limited basis, for the purposes of criticism and review without securing formal permission. If you wish to include any material in your article for which you do not hold copyright, and which is not covered by this informal agreement, you will need to obtain written permission from the copyright owner prior to submission. 

References:

Lindner, C. 2014. “Foreword.”, Serialization in Popular Culture, edited by R. Allen and T. vanden Berg, ix–xi. Routledge.

Bronfen, E. 2020. Serial Shakespeare. An infinite variety of appropriations in American TV drama. Univ. of Manchester Press

Denson, S. 2011. ““To be continued…”: Seriality and Serialization in Interdisciplinary Perspective”, JLTonline (17.06.2011)

Kelleter, F. (ed). 2017 Media of Serial Narrative. Ohio State Univ. Press

Mittell, J. 2015. Complex TV. The Poetics of Contemporary Television Storytelling. NYU Press

Roman Tragedies, 2007-2021, International Theatre Amsterdam, re: Ivo Van Hove, https://ita.nl/en/shows/romeinse-tragedies/1569929/

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CALL FOR PAPERS

POSTHUMANISM AT THE MARGINS: ON FILM, MEDIA, AND NEW WAYS OF BEING

 

The term posthumanism has, throughout its relatively short lifespan, swelled to encompass any number of definitions and permutations, ranging from a descriptor for a technological afterlife of the “human” to a critical look at ways of being within a wider ecology. The immediate quandary that any scholar of the posthuman faces is the wrangling of a proper definition for such an expansive yet timely topic. It is precisely this ambiguity that we hope to engage with in this issue of Synoptique, as the amorphous idea of the posthuman offers us the chance to re-examine the “human.”

 

Traditionally, posthumanism has remained “committed to a specific order of rationality, one rooted in the epistemological locus of the West” (Jackson 2013, 671). By building upon such legacies of radical perspectives that decentre traditional Western humanist paradigms, such as deanthropocentrism, decoloniality, feminist, and Queer lenses, we aim to place posthumanism in conversation with film and media studies, with the goal of highlighting the historically marginalized perspectives central to this intersection. We believe that film and other new media are uniquely situated to address these sets of questions due to the breadth of disciplines they intersect with, as well as their positions between the technological and the cultural. We invite submissions to consider how different forms of media may challenge, transform, and transcend traditional paradigms of the posthuman; we especially invite submissions of alternative media such as video essays, zines, or other art pieces.

In the midst of a pandemic that has both exacerbated our differences and underscored our interconnectedness – particularly through widespread digital platforms – we might ask how the posthuman may act as a remapping of humanity away from Eurocentric individualism and onto one woven through with networks of relationality first expressed by marginalized communities. This issue of Synoptique looks to re-evaluate the notion of “moving beyond” the “human,” identifying the limitations of the posthuman movement in critical academic discourse – what we are moving away from, who is permitted to be seen as posthuman, what a posthuman world may entail – as well as reframing and renegotiating the normative, hierarchical configurations of the “human” that we wish to transcend (Muñoz 2015).

Drawing on recent work by scholars such as Kathryn Yusoff, Amy Cutter-Mackenzie-Knowles, and Zakiyyah Iman Jackson, this issue centres marginalized perspectives and stewardship, and departs from Western notions of linear time, uninhibited technological advancement, and individualism. In countering these traditions, we can instead expand upon the posthuman as it pertains to: postcolonial visions and our different places within those futures, technological futures and bodily enhancements, communal networks and infrastructures, ontological reconfigurations of the “human,” and temporal disruptions as decolonial knowledge production, among a vast array of other research areas. In mapping these points of tension, we hope to examine the renewed posthumanist perspectives and pathways forged by their interaction and intersection, which can be seen in works such as Asinnajaq’s “Three Thousand” and her reading of Inuit futurism, as well as Janelle Monáe’s ‘emotion picture’ “Dirty Computer,” which interrogates and queers the idea of cyborg. Through a multiplicity of such approaches including historical surveys, textual analyses, and more, we want to reassess film and media’s place in this conversation in conjunction with new ideas of what posthumanism can do, and it is our hope that you will explore these possibilities alongside us.

We are inviting submissions from scholars of all disciplines to submit works that interrogate the intersection between posthumanism and film and media, and that centre critical lenses including, but not limited to, the following:

  • Critical race and/or postcolonial theory
  • Afro and/or Indigenous futurisms
  • Queer studies
  • Trans studies
  • Feminist and gender studies
  • Disability studies 

We ask how classic sites of interrogation for posthumanist discourse, such as the cyborg and the (post-)apocalyptic, might be re-examined in a new light through these richly vibrant and still under-explored critical formulations. Essays submitted for peer review should be approximately 5,500 – 7,500 words and must conform to the Chicago author-date style (17th ed.). Video essays submitted for peer review are also accepted. All images must be accompanied by photo credits and captions.

We also warmly invite submissions to the review section, including conference or exhibition reports, book reviews, film festival reports, thought pieces and interviews related to the aforementioned topics. All non-peer reviewed articles should be a maximum of 2,500 words and include a bibliography following Chicago author-date style (17th ed.).

Creative works and interventions in the forms of digital video, still imagery, creative writing, and other multimedia forms are also welcome. These works will be embedded on the Synoptique website, and/or otherwise linked to in the PDF version of the journal. Please do not hesitate to contact us should you have any questions regarding your submission ideas for the non-peer reviewed section.

All submissions may be written in either French or English.

Please submit completed essays or works to the journal editors (editor@synoptique.ca) and the issue guest editors Brianna Setaro (brisetaro@gmail.com), Jess Stewart-Lee (Jess.stewart-lee@mail.concordia.ca), and Marielle Coleman (marielle.coleman@mail.mcgill.ca) by August 31, 2021.

 

 

APPEL À CONTRIBUTIONS:

Aux frontières du post-humanisme : De nouvelles représentations
de l’être humain dans les nouveaux médias et au cinéma

 

À travers sa vie courte mais riche en recherche, le terme post-humanisme a su se développer pour englober un grand nombre de définitions et de permutations, allant d’une conception de « l’être humain » dans un futur défini par la technologie à un regard critique sur les manières d’être au sein d’une écologie plus large. Le dilemme immédiat auquel chaque chercheur.e.s fait face en étudiant le post-humanisme est qu’il est difficile d’établir une définition exacte de ce sujet aussi vaste que d’actualité. C’est précisément cette ambiguïté que nous espérons aborder dans notre numéro de Synoptique ; puisque l’identité du post-humain reste floue, nous pouvons nous interroger sur les multiples définitions de « l’être humain ».

 

Traditionnellement, le post-humanisme est resté « committed to a specific order of rationality, one rooted in the epistemological locus of the West » (Jackson 2013, 671). En s’appuyant sur l’héritage offert par ce type de perspective radicale, qui a pour objectif de décentrer l’humanisme occidental traditionnel, il devient possible de mettre en avant les théories avancées dans le domaine des études décoloniales, féministes et queer. Cela nous permet de faire entrer le post-humanisme en conversation avec les études cinématographiques et médiatiques, dans le but d’éclairer les multiples perspectives historiquement marginalisées dans cette discussion. Nous pensons que le cinéma et les nouveaux médias sont particulièrement bien placés pour répondre à ces problématiques, en raison de l’étendue des disciplines avec lesquelles ils interagissent, ainsi que leur position entre le technologique et le culturel. Nous invitons les autreur.ice.s souhaiteraient répondre à cet énoncé à examiner comment différentes formes de médias peuvent remettre en question, transformer et surpasser les formulations traditionnelles du post-humanisme. Nous invitons également les contributions à prendre des formes alternatives, telle que des essais vidéo, des magazines ou d’autres œuvres d’art.

 

En sachant que cette pandémie a à la fois exacerbé nos différences et souligné notre interconnectivité – notamment par le biais de plateformes numériques généralisées – nous pouvons nous demander comment le post-humanisme peut être redessiné pour promouvoir une idée de l’humanité loin de l’individualisme eurocentrique. De plus, comment pouvons-nous baser cette nouvelle conception sur des réseaux de relations tissés par les communautés marginalisées ? Ce numéro de Synoptique cherche à réévaluer la notion de « dépassement » de « l’être humain », identifier les limites du mouvement dans le discours académique critique – ce dont nous nous éloignons, qui ou quoi peut être considéré comme post-humain, ce qu’un monde posthumain pourrait impliquer – ainsi que le recadrage et la renégociation des normes hiérarchiques de la définition de « l’être humain » que nous souhaitons transcender (Muñoz 2015).

 

En s’inspirant du travail des chercheur.e.s tels que Kathryn Yusoff, Amy Cutter-Mackenzie-Knowles, et Zakiyyah Iman Jackson, cette publication se centre sur les perspectives offertes par une directive marginalisée, et s’écarte des conceptions occidentales du temps linéaire, du progrès technologique démesuré et des phénomènes d’individualisme et d’anthropocentrisme. En allant à l’encontre de ces traditions académiques, nous pouvons nuancer le terme de post-humanisme pour qu’il comprenne des sujets variés tels que les visions postcoloniales, les modifications corporelles liées à la technologie, les réseaux et infrastructures communes, les multiples reconfigurations de « l’être humain » ; ainsi que de créer du savoir décolonialisé en renouvelant certaines conceptions partiales du temps. Nous espérons examiner les points de tension qui émergent à l’intersection de toutes ces idées, permettant ainsi une exploration d’une vision du post-humanisme renouvelée. Ces points d’intersection sont particulièrement visibles dans des œuvres telles que « Trois mille » d’Asinnajaq et son interprétation d’un futurisme inuit, ainsi que le film « Dirty Computer » de Janelle Monáe, qui interroge et bouleverse l’idée du cyborg. En se basant sur une variété de méthodologies, y compris enquêtes historiques et analyses textuelles, nous souhaitons réévaluer la place du cinéma et des médias dans cette conversation tout en considérant le rôle du post-humanisme. Nous espérons que vous explorerez ces possibilités à nos côtés.

 

Nous invitons les contributions de chercheur.e.s de toutes disciplines à nous faire parvenir leurs travaux interrogeant l’intersection du post-humanisme avec le cinéma et les médias, et centré sur des aspects critiques tels que :

  • Les études postcoloniales
  • Les futurismes afro et autochtones
  • Les théories queer
  • Les études sur la trans-identité
  • Les études féministes et de genre
  • Les études sur le handicap

Nous souhaitons explorer comment les sites traditionnels d’interrogation du discours post-humaniste, tels que le cyborg et le (post-)apocalyptique, pourraient être réexaminés à travers des formulations critiques et décolonialisées. Les contributions pour la section avec comité de lecture devraient faire environ 5 500-7 500 mots et doivent suivre les directives du style auteur-date de Chicago (17e éd.). Les essais vidéo pour la section avec comité de lecture seront également acceptés. Toutes les images doivent être accompagnées de leur source et d’une légende.

 

Nous invitons également les contributions comprenant des critiques de conférences, d’expositions, de festivals de films, de livres ainsi que des entretiens et réflexions liés aux sujets mentionnés. Les articles sans comité de lecture doivent comporter un maximum de 2 500 mots et inclure une bibliographie suivant le style auteur-date de Chicago (17e éd.).

 

Enfin, les œuvres et interventions créatives sous forme de vidéo numérique, d’images, d’écriture créative et d’autres formes multimédias sont également les bienvenues. Ces œuvres seront intégrées sur le site web de Synoptique, et/ou liées à la version PDF de la revue. N’hésitez pas à nous contacter si vous avez des questions concernant vos idées de soumission pour la section sans comité de lecture.

Toutes les contributions peuvent être rédigées en français ou en anglais.

Veuillez soumettre vos essais ou vos travaux terminés aux éditeurs de la revue (editor@synoptique.ca) et aux rédacteurs invités du numéro Brianna Setaro (brisetaro@gmail.com), Jess Stewart-Lee (Jess.stewart-lee@mail.concordia.ca), et Marielle Coleman (marielle.coleman@mail.mcgill.ca) avant le 31 août 2021.

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If you weren’t able to join us for this year’s Annual General Meeting, here are a few updates regarding the composition of the executive committee and the bylaws that were modified during the meeting.

 

2021-22 Executive committee

  • Shana Macdonald, President (Waterloo) (year 2 of a two-year term)
  • Louis-Paul Willis, VP (UQAT) (year 2 of a two-year term)
  • Shannon Brownlee, Treasurer (Dalhousie) (year 1 of a two-year term)
  • Daniel Keyes, Secretary (UBCO) (year 2 of a two-year term)
  • May Chew, Member-at-Large (Concordia) (year 2 of a three-year term)
  • Michelle Mohabeer Member-at-Large (York) (year 1 of a three-year term)
  • Kanika Lawton, Student Representative (U of Toronto) (1 year term)

These motions were approved at the June 3, 2021 annual general meeting:

  • By-laws for ensuring the executive represents diversity expanded from expression of gender and region to include racialized scholars
  • The previously designated complimentary memberships to Indigenous scholars (passed at the 2019 AGM) will now include all self-identifying Black scholars and racialized scholars.
  • The annual conference will institute a speaker’s panel that highlights the work of emerging Indigenous and Black scholars, thinkers, and makers to be named the Sylvia D. Hamilton Dialogues in recognition of Ms. Hamilton’s lifetime of leadership, support, and mentorship of emerging scholars.
  • Approved a process to consider via online voting in fall 2021 a name change for the organization to reflect that the study of film moving forward includes the study of various media.
  • Honoraria be paid to the FSAC webmaster, chairs of committees, and members of the Executive when these positions are filled by people who are not tenured/tenure-track faculty.

 

Calls for this year’s working groups will circulate shortly. There will be a Fall meeting to ensure fulsome input from the membership regarding the future of our relationship with the Federation and our plans for next year’s conference. More details will be forthcoming by end of summer.

 


 

 

Si vous n’avez pas pu vous joindre à nous lors de l’Assemblée Générale Annuelle de cette année, voici quelques mises à jour quant à la constitution du comité exécutif et à la constitution: 

Comité exécutif 2021-22

  • Shana Macdonald, Présidente (Waterloo) (2e année d’un mandat de deux ans)
  • Louis-Paul Willis, Vice-Président (UQAT) (2e année d’un mandat de deux ans)
  • Shannon Brownlee, Treasurer (Dalhousie) (1ère année d’un mandat de deux ans)
  • Daniel Keyes, Secrétaire (UBCO) (2e année d’un mandat de deux ans)
  • May Chew, Membre active (Concordia) (2e année d’un mandat de trois ans)
  • Michelle Mohabeer, Membre active (York) (1ère année d’un mandat de trois ans)
  • Kanika Lawton, Représentante des étudiant.e.s de cycles supérieurs (U of Toronto) (mandat d’un an)

Les motions suivantes ont été approuvées lors de l’assemblée générale annuelle du 3 juin 2020:

  • Règlements visant à assurer que la composition du comité exécutif représente la diversité de ses membres, ajoutant l’enjeu d’individus racisés aux questions de genre et de région.
  • L’offre d’adhésion gratuite précédemment offerte aux membres des communautés autochtones (motion passée à l’AGA 2019) sera dorénavant offerte aux individus s’identifiant comme Noir.e.s ou Racisé.e.s.
  • La conférence annuelle mettra en place un panel de conférencier.ère.s qui mettra en valeur le travail de chercheur.euse.s, penseur.euse.s et artistes autochtones et noir.e.s. Cet événement sera nommé Dialogues Sylvia D. Hamilton en reconnaissance du leadership, du soutien et du mentorat de cette dernière auprès de chercheur.euse.s émergent.e.s.
  • Un processus de vote en ligne prendra place à l’automne 2021 pour déterminer si l’association devrait changer son nom pour refléter le fait que les études cinématographiques incluent l’étude d’autres formes de médias.
  • Des honoraires seront versés au/à la webmestre, aux têtes de comités, ainsi qu’aux membres du comité exécutif quand ces positions seront occupées par des individus qui sont en situation d’emploi précaire.

Des appels pour les groupes de travail de cette année circuleront prochainement. Il y aura également une rencontre organisée cet automne pour discuter de la relation de l’association avec la Fédération et de nos plans pour la conférence de l’an prochain. Des détails suivront avant la fin de l’été.

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Dean, Faculty of Fine & Applied Arts – Capilano University (North Vancouver, BC)

ORGANIZATIONAL PROFILE

Capilano University has an international reputation for high quality teaching and academic opportunities across innovative programs and services. The University’s approximately 11,600 students, supported by a diversity of faculty and staff, build an extraordinary academic foundation grounded in a sense of community and collegiality. Academic programs are offered by the five University’s Faculties: Fine & Applied Arts; Arts & Science; Business & Professional Studies; Education, Health & Human Development; and Global & Community Studies. Campus events, including plays, concerts, ceremonies, exhibitions, conferences, continuing studies programs, public lectures, and a range of community engagement attracting local and international guests annually.

Capilano University’s Faculty of Fine & Applied Arts is widely recognized for programs in motion picture arts, animation, music, theatre, costuming, design and more. Thriving on a culture of outstanding teaching, scholarly activity, research, innovation, the Faculty is committed to dynamic, collaborative, and creative opportunities including working with industry, community professionals, and acclaimed artists.

ABOUT THE ROLE

Reporting to the Vice President, Academic & Provost, the Dean of the Faculty of Fine & Applied Arts is the chief academic and administrative office, responsible for all operational and strategic decisions/communications of the Faculty including budget, planning and curriculum design, general operations, personnel management, strategic planning, mission fulfillment, and future development. As an integral member of the senior leadership group, the Dean upholds the values of the University plan and contributes to its goals, focused activity to contribute to fulfillment of the Academic Plan.

The Dean, Faculty of Fine and Applied Arts will be an inspiring and strategic leader with a strong record of success as a faculty and academic administrator with a deep understanding of the creative and digital arts education in Canada. The successful candidate will have demonstrated teaching, creative activity, research, and an academic track record, with knowledge of program development and administration. The successful candidate will have exceptional interpersonal skills with the ability to inspire innovation and collaboration and meet the evolving and diverse needs of students, faculty, and staff.

CONTACT DETAILS

Diversity and inclusivity are an integral part of Capilano University’s campus community. Our multicultural student body, faculty and employees enrich our learning environment and experience. CapU is committed to attracting and retaining a respectful and diverse workforce. Human rights, diversity, inclusion and equity underpin our employment practices and policies. We are proud to be an equity employer and encourage applications from women, persons with disabilities, visible minorities, Indigenous peoples, people of all sexual orientations, gender identities and expressions, and all other grounds included under the BC Human Rights Code.

Should you be interested in learning more about this exciting opportunity with the Capilano University, please contact Harbour West Consulting at 604-998-4032 or forward your CV and letter of introduction, in confidence, to info@hwest.ca. We will respond to all who express interest.

EXPERIENCE

  • Academic administration
  • Creative activity and research
  • Program development
  • Strategic planning
  • Team development

SKILLS & COMPETENCIES

  • Social and cultural awareness Service and student focus
  • Results orientated
  • Problem solving
  • Decision making

TO APPLY

  • Letter of Introduction & CV via email to Harbour West

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– 2021 Call for Applications –
Submission Deadline: FRIDAY, AUGUST 13, 2021 (5pm)
 

For over four decades, TIFF has been committed to transforming the way people see the world through film. Central to this commitment is our pledge to preserve and promote Canada’s moving-image culture through educational initiatives and learning opportunities. TIFF is currently accepting applications for the 2021 Jeffrey and Sandra Lyons Canadian Film Scholarship, supporting the development of scholarship or research-creation that activates the archive. The award aims to:

  • increase access to the reference and archival collections of the Film Reference Library (FRL);
  • support research and research-creation that deepens knowledge about Canadian film and media;
  •  and strengthen the relationship between cultural and academic institutions in pursuit of knowledge mobilization.

TIFF encourages proposals from scholars, researcher-creators, and artists whose project would benefit from the unique collections of the FRL. Applications were previously accepted from MA, PhD, and post-doc students exclusively. In recognition of the interdisciplinary nature of film and media research, and the diversity of methodological approaches within the field, we have expanded the eligibility requirements to include those enrolled in any master’s program who are pursuing related research.

This Scholarship provides the recipient access to the extensive resources and collections of the FRL for one month between October 2021 and May 2022. On-site access to research materials will be conducted safely and in line with COVID-19 protocols. Digital research may be possible, depending on the Special Collection and the research material requested. The successful applicant will be provided with a stipend of $1,000 CAD, a designated office space, and access to the FRL’s collections in support of their research. Special Collections of particular interest include the archives of experimental filmmaker Mike Hoolboom; the Conquering Lion Pictures Archive of materials related to the works of filmmakers Clement Virgo and Damon D’Oliveira; the Deepa Mehta Archive; the Christopher Chapman archive; and the archives of score composer Christopher Dedrick.

The FRL is the ultimate free resource for filmmakers, students, researchers, screenwriters, and film and television professionals. A proud affiliate member of the International Federation of Film Archives (FIAF), the FRL is dedicated to the preservation of Canada’s cinematic history, maintaining extensive archival and research collections with a focus on Canadian cinema. The collection is a library and archive that includes a comprehensive reference collection on all aspects of filmmaking and cinema studies (books, periodicals, research files, audio-visual materials, photographs), and Special Collections representing over 100 industry figures in Canadian cinema. Visit tiff.net/library to learn more about our collections, access the online catalogue, and browse Special Collections.

The Jeffrey and Sandra Lyons Canadian Film Scholarship is generously supported by the Jeffrey & Sandra Lyons Endowment Fund at TIFF. 

As part of TIFF’s commitment to promoting diversity and inclusion in the Canadian film and media industries, we encourage and prioritize applications from equity seeking groups. We encourage you to self-identify in your application. TIFF is an equal-opportunity employer and is committed to providing accommodations in our hiring process for people with disabilities. If you require an accommodation, please inform us in advance and we will work with you to meet your needs.

 


 
 
 – Appel de candidatures 2021 –
Clôture des candidatures : LE VENDREDI 13 AOÛT 2021 (17 h)
 

Depuis plus de quatre décennies, le TIFF se voue à transformer la vision du monde, par le biais du cinéma. Au cœur de notre engagement, nous cherchons à préserver et à promouvoir la culture canadienne de l’image en mouvement à l’aide d’initiatives éducatives et de possibilités d’apprentissage. Le TIFF accepte actuellement les candidatures pour la Bourse du cinéma canadien Jeffrey et Sandra Lyons de 2021, afin d’appuyer le développement d’études et de recherche-création qui pourront mettre à profit l’archive. Ce prix vise à :

  • donner l’accès aux collections de références et d’archives de la Bibliothèque de référence cinématographique (Film Reference Library ou FRL, en anglais) ;
  • soutenir la recherche et la création de recherche qui favorisent l’approfondissement de la connaissance du cinéma et des médias canadiens ;
  • et à renforcer la relation entre les institutions culturelles et académiques pour favoriser la mobilisation du savoir.

Le TIFF encourage les universitaires, chercheurs-créateurs et artistes travaillant sur des projets qui bénéficieraient de l’accès aux collections uniques de la FRL à présenter des propositions. Antérieurement, seulement les candidatures d’étudiants inscrits à un programme de maîtrise, de doctorat ou de post-doctorat étaient acceptées. En reconnaissance de la nature interdisciplinaire de la recherche cinématographique et médiatique ainsi que de la diversité des approches méthodologiques dans le domaine, nous avons élargi les critères d’admissibilité afin d’inclure les étudiants inscrits à tout programme de maîtrise qui font des recherches connexes.

Cette Bourse offre au chercheur l’accès aux vastes ressources et collections de la FRL pour une période d’un mois entre octobre 2021 et août 2022. L’accès sur place au matériel sera effectué en toute sécurité et conformément aux protocoles de la COVID-19. La recherche numérique peut être possible selon la Collection spéciale et le matériel de recherche demandé. Le candidat retenu recevra une allocation de 1 000 $ CAD, un bureau désigné et l’accès aux collections de la FRL pour soutenir leur recherche. Les Collections spéciales d’intérêt particulier incluent les archives du cinéaste expérimental Mike Hoolboom ; l’archive Conquering Lion Pictures du matériel lié aux œuvres des cinéastes Clement Virgo et Damon D’Oliveira ; l’archive Deepa Mehta ; l’archive Christopher Chapman ; et les archives du compositeur de musique de film Christopher Dedrick.

La FRL est la ressource ultime pour les cinéastes, étudiants, chercheurs, scénaristes, et professionnels du cinéma et de la télévision. Fier membre affilié de la Fédération internationale des archives du film (FIAF), la FRL se voue à la préservation de l’histoire cinématographique du Canada, par le maintien de vastes collections d’archives et de recherche axées sur le cinéma canadien. La collection est une bibliothèque et une archive comprenant une vaste collection de références sur tous les aspects des études concernant la production de films et le cinéma (livres, périodiques, dossiers de recherche, matériels audiovisuels, photos), ainsi que des Collections spéciales représentant plus de 100 chefs d’industrie du cinéma canadien. Consultez tiff.net/library pour en apprendre davantage sur nos collections, pour accéder au catalogue en ligne et pour découvrir les Collections spéciales. 

La Bourse du cinéma canadien Jeffrey et Sandra Lyons bénéficie du généreux soutien du fonds de dotation Jeffrey & Sandra Lyons au TIFF. 

Dans le cadre de l’engagement du TIFF à l’égard de la promotion de la diversité et de l’inclusion dans les industries canadiennes du cinéma et des médias, nous encourageons et priorisons la soumission de demandes de groupes luttant pour l’équité. Nous vous encourageons de vous auto-identifier dans votre demande. Le TIFF souscrit au principe de l’égalité en matière d’emploi et s’engage à accommoder les personnes handicapées dans notre processus d’embauche. Si vous avez besoin de mesures d’adaptation spéciales, veuillez nous en informer à l’avance et nous travaillerons avec vous pour répondre à vos besoins.

 

 

 
 

Call for papers:
States of Immersion: Bodies, Medias Technologies 

Edited collection — Estimated publication 2023
(Version française ci-bas)

Over five days in October 2020, the conference “Immersivity and Technological Innovations” brought together more than fifty researchers and artists to address questions raised by virtual reality and, more broadly, by immersive media. To tackle the question of media immersivity and its related technological innovations, event participants addressed subjects ranging from the different “ramas” (panoramas, cyclorama, circorama, sensorama, etc.) to artificial intelligence through to a range of extended realities (augmented, virtual, mixed, etc.). The presentations questioned the ‘innovative’ nature of contemporary immersive media, by foregrounding a historical perspective often missing from industry discourses. While the latter continues to feed the fantasy of an ever-more-total immersion, we seek instead to propose a reflection on the role of the body, the media and the technologies of the development of immersion.

The organizing committee of the conference “Immersivity and Technological Innovations” is seeking contributions to bring together our reflections on all types of immersive experiments in a collective work. This proposed edited collection was presented to Santiago Hidalgo, co-director of the collection “Cinema and Technology” (Amsterdam University Press), who confirmed his interest.

Understanding contemporary immersive forms requires a range of approaches aimed at decoding the notion of immersivity through its different sociohistorical, disciplinary, technological and artistic contexts. It is also essential to develop a better understanding of the formation of media fantasies based on the appeal of immersion. How has the notion of immersivity been informed by art history, literature, cinema and video game studies? Do contributions from the field of design and applied sciences map easily onto these conceptions of immersion? What can past experiments in immersive media teach us about this (as yet unfulfilled) fantasy of totally immersive virtual experiences? What roles do bodies, spaces and narrative play in fostering and maintaining immersivity? What are the aesthetic aims of works that take advantage of the latest immersive technologies? What purposes do immersive technologies serve? Have virtual reality and other contemporary avatars of immersion managed, as these practices have become more professionalized, and despite their relatively slow adoption by the general public, to define their frames? Finally, can we recognize, within the emergent and specific conventions of these new forms, techniques of spatialization and storytelling that originate in ancient forms of immersive visual spaces, to use Oliver Grau’s expression?

In the context of the edited collection States of Immersion, we seek contributions that will foster a dialogue between the corporeal, affective and technological aspects of immersion. We encourage proposals that question the novelty of immersivity and those that propose new ways of looking at “immersive” forms of media. We invite contributions that address these issues from one or more of the following perspectives (including but not necessarily limited to):

  • (Pre-)history of immersive media (panoramas, cinéorama, sensorama, cinerama, etc.).
  • The limits of immersivity (challenges and flaws).
  • Psychological and cognitive approaches to the concept of immersivity.
  • The place of the body (agency, incorporation, presence, senses, affect).
  • Large formats (from Monet’s Nymphéas to IMAX).
  • Situating immersivity (sites, spaces and immersive locations).
  • Suspension of disbelief (automatons, conversational agents, Artificial Intelligence)
  • Creating immersivity (screenwriting, programming and the creation of immersive experiences).
  • Economic and logistical challenges of immersivity.
  • Institutionalization of immersive media forms.
  • (Photo)realism and other conventions.
  • Immersive systems in education or training scenarios (medical, military, etc.).
  • Accessibility and safety (universal and inclusive approaches to mediated immersivity).
   Beyond the traditional format of academic essays, we welcome suggestions for other types of reflections, such as interviews with artists working in immersive media or other forms of intellectual engagement that we have not listed here.
If you have an idea for content, we’re all ears!
 

Other information

In addition to the edited collection, we are considering other possibilities for the submissions, depending on the number of proposals we receive and in which language. These include the possibility of a special issue of a journal, depending on the thematic connections across the proposals.  

Submissions

The submission process will have two stages:

  1. First, please submit your proposals to immersivite@gmail.com by July 15, 2021 with the following details: 1) Title; 2) a 500-word proposal + 50 word bio; 3) three key references; 4) up to five keywords; 5) the language in which you would like to submit the text (English and/or French).Responses will be sent in September.
  1. Full papers (25,000-35,000 characters including spaces, excluding bibliography) must be submitted for review by December 1, 2021. Submissions may be sent to immersivite@gmail.com.

Editorial Committee

Philippe Bédard (Carleton University), Alanna Thain (McGill University) and Carl Therrien (Université de Montréal).

 

 


 

Appel à contributions :
L’immersion sous toutes ses formes : corps, médias, technologies

Ouvrage collectif — Publication prévue 2023

Pendant cinq jours en octobre 2020, le colloque « Immersivité et Innovations Technologiques » a réuni plus de cinquante chercheu.r.se.s et artistes autour des questions soulevées par la réalité virtuelle et les médias immersifs en général. Mobilisé.e.s par la question de l’immersivité médiatique et par les innovations technologiques afférentes, les intervenant.e.s de l’événement ont abordé des sujets allant des différents “-ramas” (panoramas, cyclorama, circorama, sensorama, etc.) à l’intelligence artificielle en passant par l’éventail des réalités étendues (augmentée, virtuelle, mixte, etc.). Ces conférences ont su remettre en question le caractère innovant des médias immersifs contemporains en ramenant à l’ordre du jour une perspective historique souvent évacuée dans les discours de l’industrie. Alors que ces derniers continuent d’alimenter le fantasme d’une immersion toujours plus totale, il est de notre ressort de proposer une réflexion sur le rôle du corps, des médias et des technologies dans le développement de l’immersion.

Le comité d’organisation du colloque « Immersivité et Innovations technologiques » vous propose de réunir nos réflexions sur tout type d’expérimentations immersives au sein d’un ouvrage collectif. Ce projet d’anthologie a été présenté à Santiago Hidalgo, codirecteur de la collection « Cinéma et technologie » (Amsterdam University Press), qui nous confirme son intérêt.

Comprendre les formes immersives contemporaines implique un éventail d’approches visant à déchiffrer la notion d’immersivité à travers différents contextes sociohistoriques, disciplinaires, technologiques et artistiques. Il nous apparaît également essentiel de développer une compréhension critique de la formation des fantasmes médiatiques associés à l’immersion. Comment l’histoire de l’art, la littérature, les études cinématographiques ou vidéoludiques ont-elles réfléchi l’immersivité? Est-ce que les apports des sciences du design peuvent s’arrimer facilement avec ces conceptions de l’immersion? Qu’est-ce que les pratiques immersives antérieures nous apprennent de l’idéal (encore irréalisé) d’une expérience virtuelle totalement englobante? Quels rôles le corps, l’espace et le récit jouent-ils dans la production et le maintien d’une expérience immersive? Quelles sont les visées esthétiques des œuvres qui tirent profit des dernières technologies immersives? À quelles fins les fonctions immersives des technologies sont-elles utilisées?  La réalité virtuelle et les autres avatars contemporains de l’immersion sont-ils parvenus, au fil de la professionnalisation de ces pratiques, et malgré leur adoption relativement lente par le grand public, à trouver leur cadre? Finalement,  peut-on reconnaître, au sein des conventions spécifiques à ces nouvelles formes qui émergent actuellement, des techniques de mise en espace et de mise en récit qui trouvent leur origine dans des formes antiques d’espaces imagés immersifs, pour reprendre l’expression d’Oliver Grau?

Dans le cadre de l’anthologie L’immersion sous toutes ses formes, nous sommes à la recherche de contributions qui sauront faire dialoguer les enjeux corporels, affectifs et technologiques de l’immersion. Nous encourageons les propositions qui remettent en question la nouveauté de l’immersivité et celles qui proposent de nouveaux regards sur les formations médiatiques dites « immersives ». Nous invitons les contributions touchant à ces questions dans l’une ou plusieurs des perspectives suivantes (sans nécessairement s’y limiter) :

  • (Pré-)histoire des médias immersifs (panoramas, cinéorama, sensorama, cinerama, etc.).
  • Les limites de l’immersivité (menaces et défauts).
  • Approches psychologiques et cognitives du concept d’immersivité.
  • La place du corps (agentivité, incorporation, impression de présence, les sens, l’affect, l’empathie).
  • Formats surdimensionnés (des Nymphéas à IMAX).
  • Situer l’immersivité (sites, lieux et espaces immersifs).
  • Suspension du jugement critique (automates, agents conversationnels et intelligence artificielle). 
  • Créer l’immersivité (scénarisation, programmation et production d’expériences immersives).
  • Enjeux économiques et logistiques liés à l’immersivité.
  • Institutionnalisation des formes médiatiques immersives.
  • (Photo)réalisme et autres conventions.
  • Systèmes immersifs d’éducation ou d’entraînement (médecine, aéronautique, armée, etc.).
  • Accessibilité et sécurité (approches universelles et inclusives à l’immersivité médiatique).
   Outre les contributions universitaires typiquement attendues dans ce genre d’ouvrage, nous aimerions aussi proposer d’autres types de réflexions, qu’il s’agisse d’entretiens avec des artistes qui œuvrent dans le milieu des médias immersifs ou de toute autre forme de production intellectuelle que nous n’aurions pas considérée.

Si vous avez une idée de contenu, nous sommes tout ouïe!

 

Informations supplémentaires

En plus du projet d’anthologie, nous étudions plusieurs possibilités pour la publication des textes qui seront remis, et ce, en fonction du nombre de propositions et de leur langue. Les options que nous prévoyons incluent la publication d’un ouvrage collectif accompagné d’un numéro de revue thématique, selon les maillages thématiques des propositions reçues.

Soumissions

Le processus de soumission se déroulera en deux temps:

  1. Veuillez d’abord soumettre vos propositions à immersivite@gmail.com au plus tard le 15 juillet 2021 avec les détails suivants :  1) Titre; 2) une proposition de 500 mots + bio de 50 mots; 3) jusqu’à trois références clés; 4) jusqu’à cinq mots-clés; 5) la langue dans laquelle vous pourriez soumettre le texte (français et/ou anglais).
                
    Les réponses seront envoyées au mois de septembre.
  2. Les textes complets (25,000-35,000 signes espaces compris, excluant la bibliographie) devront être soumis pour évaluation au plus tard le 1er décembre 2021. Les textes pourront être envoyés à immersivite@gmail.com.

Comité éditorial

Philippe Bédard (Carleton University), Alanna Thain (McGill University) et Carl Therrien (Université de Montréal).

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Call for Applications – Postdoctoral Fellowship

“The Sociability of Sleep: Careful Design for Collective Conditions”
Université de Montréal and McGill University, Montreal, Canada
DEADLINE: June 15, 2021
 
We are seeking a postdoctoral fellow for a 10-month position to work on the new interdisciplinary research-creation project: The Sociability of Sleep. The candidate will work directly with Professors Aleksandra Kaminska (Director of the Bricolab, Université de Montréal, Communications) and Alanna Thain (Director of the Moving Image Research Lab, McGill University, English) and have the opportunity to work with project collaborators. These include researchers and practitioners from communication and media studies, media arts, cinema and performance, psychiatry, psychology, and clinical medicine across Montreal’s universities.
 
The Sociability of Sleep is funded through a special initiative to support interdisciplinary, experimental, and intensive projects. We explore exceptional and everyday experiences of sleep and its problems to generate new knowledge and empathies for sleep conditions, defined as a disordered and debilitating relation between sleep and wakefulness (including, but not limited to somnambulism, insomnia, narcolepsy, parasomnias, dreams and nightmares, sleep apnea, chronodiversity, etc.). Through collaboration between artists, scientists, and media studies scholars, we aim to generate novel sleep situations that make perceptible, and thus actionable, our key intuition: that sleep is much more social than it might seem. In sleep, we become radically vulnerable in a way that requires social forms of care: individuals are experts of their somatic experience, and yet access to the sleeping self relies on the perception of human and technological others. How might exploring a sleeper subjectivity—the quotidian ways we navigate time, space, ourselves, and others—help us rethink and reanimate the sociability of sleep itself?
 
We engage these questions by working on 1) developing interdisciplinary approaches to sleep research taking advantage of the tools, methods, and insights of arts, humanities and social sciences; 2) thinking critically and historically about technologies of sleep, including biometrics and sleep tracking apps; and 3) identifying, analysing, and producing artistic interventions into sleep in design, media, and performance, to see how they might enrich normative treatment of sleep conditions. Our approach is rooted in art-science experimentation, collaboration, prototyping, and various forms of “critical making” that integrate and engage with qualitative or quantitative research data. Over the two years of the project, we have planned a series of experimental events, including Sleep Salons, maker labs and prototyping workshops, artist residencies, pedagogical videos, a summer school, and a final exhibition.
 
We are looking for a critical and engaged researcher with an established interest and expertise in sleep. We are open to a variety of (inter)disciplinary backgrounds, including: media studies, communications, cinema studies, performance studies, science and technology studies, media arts, visual and sound arts, disability studies, design, urban planning, architecture, Indigenous studies, gender, feminist and sexuality studies, critical race studies, visual and material culture, information science, history of science, neuroscience, psychology, psychiatry, sociology, research-creation, curation, critical making, etc.
 
The fellow’s primary responsibilities will be to facilitate the collaborative activities across the team, while also developing their own research within the project. They will have the opportunity to be implicated in all aspects of the project with specific responsibilities to be determined according to their particular interests and profile. These may include curation, programming, medical or public outreach, publishing collaborations, workshop design, prototyping, exhibition design, etc. The position is best suited for someone with strong organizational and communication skills, experience working collaboratively, and an enthusiastic approach to interdisciplinary teams and research.
 
The fellow will have a workspace and access to equipment, mentoring, and support through the project headquarters at the Bricolab and the MIRL, as well as the opportunity to access partner resources and expertise, including the Topological Media Lab (Concordia), the Visualisation Laboratory and Screen (UdeM), Artefact Lab (UdeM), Hexagram, GRAFIM, the Dream & Nightmare Laboratory within the Center for Advanced Research in Sleep Medicine (UdeM, Hôpital du Sacré-Coeur), and the Sleep Lab (McGill Health University Centre), among others.
 
Eligibility: Candidates must have received a PhD within the past 5 years, or have a doctoral defence scheduled prior to Sept. 15, 2021.  Regardless of field or discpline, they must have demonstrated expertise in a relevant area of sleep-related research. The fellowship is open to both national and international scholars. Fluency in English is essential; working knowledge of French is an asset.
 
We welcome and encourage applications from racialized persons/visible minorities, women, Indigenous persons, persons with disabilities, ethnic minorities, and persons of minority sexual orientations and gender identities, as well as from all qualified candidates with the skills and knowledge to engage productively with diverse communities.
 
Start date and duration: The position is from Sept. 1, 2021 to June 2022, with the possibility of a renewal for a second 10-month term (July 2023-April 2023).
 
Salary: The salary is $35,000 CAD for 10 months, plus 17% in benefits. The fellow will also have access to a research stipend for materials and research dissemination.
 
TO APPLY
Documents required: 1) a current CV, 2) a cover letter describing your training, relevant research interests and a brief description of the work you would like to pursue in relation to the project including, if relevant, any anticipated material needs (max 2 pages), and 3) contact information for 2 referees.
 
Please send your application as a single PDF file to both a.kaminska@umontreal.ca and alanna.thain@mcgill.ca. Zoom interviews for shortlisted candidates will be held on June 17-18.
 
Deadline: June 15, 2021

https://bricolab.org/2021/05/25/sleep-postdoc/

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Job TitleProfessor, Bachelor of Film and Television (BFTV) (Part-time)
Faculty/DepartmentFaculty of Animation, Arts and Design
LocationOakville, Ontario, Canada
Application DeadlineJune 7, 2021
Job NumberJ0521-0892

 

Sheridan is looking for outstanding individuals to join our faculty team in the Bachelor of Film and Television. This program offers students a comprehensive set of practical and critical thinking/writing skills, as well as knowledge in the Canadian film and television industries.  We are looking for part-time professors with knowledge and experience working in African and Black Diaspora Cinemas, Indigenous media, and/or Queer Media to teach in related courses including:  

  • BUSM43314 Business of Film and Television 2
  • MEDA13431 The Art of Cinema
  • MEDA30146 The Experimental Tradition
  • MEDA29501 Media Theory and Criticism
  • LITT23796 The 7-Minute Screenplay

To view course outlines, visit: https://ulysses.sheridanc.on.ca/coutline/searchform.jsp

Sheridan professors are responsible for developing an effective learning environment for students while respecting their diverse cultural and educational backgrounds, experiences, and individual learning styles. 

What You’ll be Doing

  • Delivering course curriculum in classroom and/or online, which includes ensuring student awareness of course objectives, approach and evaluation techniques
  • Tutoring and academic counselling of students, while evaluating student progress/achievement and assuming responsibility for the overall assessment of the students’ work within assigned courses
  • Defining, evaluating and validating learning outcomes and designing appropriate strategies and tools for assessing student learning
  • Developing individualized instruction and multi-media presentations and incorporating technology into the learning process where applicable
  • Attending periodic faculty meetings

About You

You have a passion for sharing your knowledge with others and contributing to the advancement of your field.

You respect equity and diversity and value participating in and creating safe and inclusive environments at work and in the community.

You have excellent communication and interpersonal skills and enjoy working as part of a team.

You are an agile individual with an ability to respond and adapt to change while using your problem-solving skills to most appropriately and effectively support each student’s unique needs.

The successful candidate(s) will also meet the following qualifications:

  • PhD in Film Studies, Communication Studies or a related field.
  • Minimum of 3 years related professional experience.
  • Advanced knowledge and experience in African and/or Black Diaspora Cinemas, Latin American cinemas and/or Queer Media.
  • Practical experience in filmmaking would be an asset. 
  • Experience with online learning tools (e.g. Blackboard, Google Classroom), teaching with Zoom or a similar platform.
  • Experience in teaching and curriculum development at the post-secondary level.

Who We Are:

At Sheridan, we are passionate about the transformational role we play in people’s lives.  Our graduates enjoy a well-deserved reputation for their ability to succeed in the workplace from day one. This is a testament to Sheridan’s dedicated and caring faculty and staff, who have strong ties to industry and ensure our students have hands-on learning experiences and the best possible preparation for their future careers. We’re building a new, groundbreaking model of higher education — one that prepares graduates with the hard and soft skills to navigate change in a complex world.  As a member of the Sheridan community, you will have the opportunity to shape our teaching and learning experience and help prepare the future leaders of tomorrow.

Other Details

Campus Location: Trafalgar (may be assigned activities at any Sheridan campus) once normal campus operations resume. This position is currently working remotely.  

Reference #: 21/PT/23

Employee Group: Non-full-time Faculty

Salary Range: Based on relevant educational qualifications and experience

Start Date: September 6, 2021

Application Deadline: Monday June 7, 2021

Sheridan is deeply committed to promoting diversity, advancing equity and fostering a culture of inclusion. Therefore, we invite applications from marginalized and equity-seeking groups. Persons with a disability may contact the Human Resources department to request accommodation at any stage of the recruitment process.

You may be asked to provide copies of your educational credentials at the time of interview. Upon hire, we require official confirmation of educational credentials and Canadian equivalency assessments, if applicable.

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