Conferences & CFPs

  1. Journal of Hate Studies Call for Submissions
    1. Submission Deadline for Full Papers: Dec 30th, 2020
  2. “Critical and Creative Engagements with Petro-Media” / special issue of Imaginations
    1. Submission Deadline for Full Papers: Dec 10th, 2020
  3. Communication +1 is seeking proposals for Volume 8, “Crises and Communication"
    1. Proposals Submission Deadline Jan 10th, 2021
  4. Call for Chapters: Screening Controversy
    1. Abstract Submission Deadline Feb 1st, 2021
  5. Horror Outside of Film/TV: Special Ed of Journal of Entertainment Media
    1. Abstract Submissin Deadline Dec 11th, 2020
  6. Sonic Engagement: The ethics and aesthetics of community engaged audio practice
    1. Proposal Submission Deadline Dec 7th, 2020
  7. Journal of Global Diaspora and Media (Special Issue: ‘Migrations, Diasporas and Media: Human Rights and (In)mobility during the Pandemic’)
    1. Abstract Submission Deadline Jan 15th, 2021
  8. New Media & Society Special Issue: The Future of Mobile Communication Research
    1. Proposal Submission Deadline Dec 30th, 2020
  9. Conference and Edited Volume: Artificial Intelligence and the Human – Cross-Cultural Perspectives on Science and Fiction
    1. Abstract Submission Deadline Feb 10th, 2021
  10. Call for Abstracts: Edited Volume “China, Media and International Conflicts”
    1. Abstract Submission Deadline Feb 1st, 2021

 

 

Journal of Hate Studies Call for Submissions

The Journal of Hate Studies General Issue, Vol. 17 with a Forum on“Pandemania”
Guest Editor: Lisa Silvestri (Gonzaga University)

*The Journal of Hate Studies* is an international scholarly journal promoting intellectual engagement with processes that embolden the expression of hate. The goal is to establish a deep repository of theory and research on which to ground practical anti-hate interventions. For example, past articles in the journal have:
·      Examined hate in any one or more of its manifestations (e.g. racism, misogyny, antisemitism, homophobia, religious intolerance, ethnoviolence, anti-immigrant animus, etc.).
·      Considered how hate is institutionalized, maintained, or perpetrated through culture, organizations, policies, politics, media, discourses, epistemologies, etc.
·      Developed, adapted, or refined disciplinary specific or trans-disciplinary research methods for understanding and/or effectively addressing hate.

*The Journal* reflects the optimism that understanding hate can lead to itscontainment, allowing humans to flourish without fear of reprisal.

For this issue, we will accept both general submissions on any topic within the field as well as contributions destined for a subsection featuring conversations on hate taking place during the COVID-19 pandemic. General submissions range between 6,000-8,000 words. Forum submissions are shorter, ranging between 3,000-5,000 words. Potential topics covered by the
“pandemania” forum can include, but should not be limited to, the following COVID-19 focused topics:
Racism and anti-racism
Xenophobia
Protests
Policing
Masks and social distancing
Institutional violence
Digital manifestations of hate

We invite both textual and visual submissions employing interdisciplinary and innovative approaches in the humanities and social sciences. To float ideas and proposals for the general submission or for this forum, specifically, please contact silvestri@gonzaga.edu.

*Brief Guidelines for Submissions*
The Journal seeks compelling articles written with precision and depth that find resonance with an interdisciplinary audience. A primary criterion for acceptance is the level to which the article enriches, extends, and advances the study and understanding of hate in its multiplicity of forms.


Research-based submissions should follow 7th APA format and include a discussion of approach, method, and analysis. Submissions focusing on pedagogy should balance theoretical frameworks with practical considerations of how particular approaches play out in both formal and informal educational settings. Discipline-specific submissions should be written for non-specialists.

For further information on style and formatting, accessibility requirements, please consult: https://jhs.press.gonzaga.edu/

*Submission and Review Process*
All work appearing in The Journal undergoes extensive double-blind peer-review. As a courtesy to our reviewers, we will not consider simultaneous submissions, but we will do our best to reply with reviewer comments within 4 months of the submission deadline. All work should be original and previously unpublished. Essays or presentations posted on a personal blog may be accepted, provided they are substantially revised.

Important Dates
Submission deadline for full manuscripts is *December 30, 2020*. Notification of acceptance expected April 30 *for publication in early fall 2021*. For full journal details, including themes and goals, general topic areas, submission instructions or to apply to become a reviewer, please
visit: https://jhs.press.gonzaga.edu/

 

“Critical and Creative Engagements with Petro-Media” / special issue of Imaginations

Guest edited by Rachel W. Jekanowski (Memorial University) & Emily Roehl (Texas State University)

SUBMISSION DEADLINE: DECEMBER 10, 2020

This special issue of Imaginations will concentrate on media engaging with petroleum and its attendant socio-political and economic structures. Drawing on technology and media studies, energy humanities scholarship, and a range of methods in visual and cultural studies, the contributors will theorize contemporary and historical uses of media to resist and facilitate petroleum infrastructures. Building on Imaginations’ long-standing engagement with petrocultures scholarship, including their 2012 special issue “Sighting Oil” (Sheena Wilson and Andrew Pendakis, eds.), this issue will mobilize critiques of corporate petro-media with decolonial methods from a range of disciplines, focusing on the interlacing of oil, settler colonialism, Indigenous resurgence, and media production. The issue will consist of peer-reviewed essays from scholars and practitioners, artist interviews and contributions (including samples of multimedia work with accompanying artists statements), and a review section (including a comparative book review essay, curatorial reviews and responses to digital exhibitions in the age of COVID-19, etc.). We are particularly invested in featuring research-creation and media-rich scholarship.

We invite submissions that take up different facets of media production by Indigenous, immigrant, and settler artists, activists, and corporate representatives to examine the complex entanglements of cultural production, settler colonialism, and fossil fuel extraction. Given our location on occupied Indigenous territories where we work as researchers and educators, we assert that energy developments are always already implicated within histories of colonialism and white settlement in North America. Critically, we invite contributions that include and foreground visual media in their analyses, featuring original videos, archival photographs and film stills, and photographs of authors’ art installations.

We invite submissions that engage with the following topics (including but not limited to):

* the way media networks and ways of viewing the world support the extraction, production, and consumption of fossil fuels and interact with the financial and socio-political systems the production of oil requires;
* the way media, like energy infrastructures, are used as conduits for the transportation and transmission of fuel, people, capital, and ideas about sovereignty, identity, futurity, and relationships to the nonhuman world;
* the way various media—from corporate films, digital photography, games, and television advertisements, to activist protests and social media—have alternatively been used to uphold, legitimize, critique, and resist energy practices within settler colonial nations like Canada and the United States.

Submissions are also welcome from the following fields and approaches (including but not limited to):

- cultural studies
- energy studies
- critical Indigenous studies
- critical settler colonial studies
- decolonial approaches to media
- environmental humanities
- Indigenous sovereignty
- film and media studies
- literary studies
- multimedia and digital arts
- petrocultures
- research-creation methods
- social and environmental justice
- feminist, queer, and posthumanist approaches to petro-media
- interventions from critical race studies

In sum, this special issue will contribute to discussions within media and literature studies about the imbrication of energy, communication, and art, while foregrounding Indigenous resurgence, energy justice movements, and deepening attention to the asymmetrical effects of climate change on communities and environments.

SUBMISSION GUIDELINES

Recognizing the challenges of producing work during a pandemic, and reflecting the editors’ commitment to experimenting with mixed methodologies and media-rich scholarship, this special issue will feature shorter research essays alongside artist submissions and research-creation. Research essays should be 3000-5000 words; artist contributions and curatorial reviews can be 500-2000 words. Citations should adhere to the MLA Style Guide.

All submissions must be sent to imaginations@ualberta.ca and copied to mrln@yorku.ca and bbellamy@ualberta.ca. Please include a separate sheet with short biographical and contact information. Media can be emailed as an attachment or accessible by hyperlink.

The Imaginations Journal style sheet is accessible here.

SUBMISSION DEADLINE IS DECEMBER 10, 2020.


We plan to notify contributors as to the status of their submissions by May 2021 at the latest. The special issue is tentatively planned for publication in Fall 2021.

CONTACT US
Please direct questions and inquiries to issue editors Emily Roehl (e.a.roehl@gmail.com) and Rachel W. Jekanowski (rjekanowski@mun.ca).

 

Communication +1 is seeking proposals for Volume 8, “Crises and Communication"

Notwithstanding the current situation, periods of crisis and upheaval exacerbate inequities in our communication infrastructure and throw into sharp relief the profound barriers to access. In such fraught moments, we can glimpse the extent to which our systems of mediation differentially serve and confound us according to our positionality within these systems. To understand the effects of crises on communication, it is important to consider the history of systems of mediation that have both limited and encouraged access, participation, and equity across knowledge, space, and culture. What have crises, both present, perpetual, and past, intimated about flaws, gaps, and inequities in systems of communication that are overlooked or disregarded under “normal” (if “normal” exists) conditions? How might we think about how infrastructure relates to the crises and thus the infrastructures of communication are the infrastructures of communication in/justice? How and why are people and communities affected differently in these crises, and how do systems of communication and mediation both mitigate and compound these phenomena?

Questions of meaning making, truth, misinformation, and access are welcomed within our new collection. In particular, bringing new context and contextualization (whether philosophical, historical, archeological, rhetorical, ecological, or otherwise) to query contemporary crises of communicative access issues are welcome.

Please submit short proposals of no more than 500 words by January 10th, 2021 to communicationplusone@gmail.com.
 
Upon invitation, full text submissions will be due April 5th, 2021, with expected publication in August, 2021.
 
About the Journal
The aim of communication +1 is to promote new approaches to and open new horizons in the study of communication from an interdisciplinary perspective. We are particularly committed to promoting research that seeks to constitute new areas of inquiry and to explore new frontiers of theoretical activities linking the study of communication to both established and emerging research programs in the humanities, social sciences, and arts. Other than the commitment to rigorous scholarship, communication +1 sets no specific agenda. Its primary objective is to create a space for thoughtful experiments and for communicating these experiments.
 
communication +1 is an open access journal supported by University of Massachusetts Amherst Libraries and the Department of Communication
communicationplusone.org.

Editors
Briankle G. Chang, University of Massachusetts Amherst
Zachary J. McDowell, University of Illinois at Chicago
Guest Editors

Peter Royal, University of Illinois at Chicago, Department of Communication

Justin Raden, University of Illinois at Chicago, Department of English

Advisory Board
Sean Johnson Andrews, Columbia College Chicago
Lisa Åkervall, University of Gothenburg, Sweden
Nathalie Casemajor, University of Québec Outaouais
Jimena Canales, University of Illinois Urbana Champaign
Bernard Geoghegan, Kings College, London
Lawrence Grossberg, University of North Carolina Chapel Hill
David Gunkel, Northern Illinois University
Peter Krapp, University of California Irvine
Catherine Malabou, Kingston University, United Kingdom
Jussi Parikka, University of Southampton, United Kingdom
John Durham Peters, Yale University
Amit Pinchevski,The Hebrew University of Jerusalem
Florian Sprenger, Goethe-University Frankfurt, Germany
Jonathan Sterne, McGill University
Ted Striphas, University of Colorado, Boulder
Christina Vagt, University of California Santa Barbara
Greg Wise, Arizona State University

 
For more information about the project in general, as well as short pieces, lectures, and interviews, visit communicationplusone.org.
 
For more information or to participate in the communicationplusone.org project, please email communicationplusone@gmail.com

 

Call for Chapters: Screening Controversy

You are invited to submit an abstract for the upcoming edited collection Screening Controversy, part of the Routledge Screening Film series of books that aim to support the use of individual film screenings as a core aspect of film studies pedagogy. Books devoted to individual films are often difficult to assign as set readings due to their length and approach which is not conceptualized for screening-based support. Screening Film is positioned to fill this gap in teaching film where screenings are a core activity. Each volume of Screening Film includes fifty key readings on individual films specifically designed with the aim of supporting film screenings. Contributions should be short, focused, contextual and analytical readings that address an individual film of your choice, and, as the title of this volume suggests, this volume is specifically interested in films whose reception has been marred by controversy. We invite established and emerging scholars specializing in film studies and cognate disciplines, to contribute chapters of a maximum of 4000 words on an individual film that responds to the theme of the collection. It is expected that each chapter includes any key historical, political, stylistic, industrial contexts which are necessary for understanding the film more broadly, especially in relation to the canon, movements, and debates which circulate around the text and that this is in advance of, or alongside, any new insights, research, and arguments brought to the analysis.

Since the beginning of the twentieth century as the early experiments with celluloid evolved into the first feature-length narratively driven films, film has enthralled and entertained its audiences. However, it has simultaneously functioned as a barometer for social mores and often served as an uncomfortable reflection of the society that produced it. With representations of religious imagery, political commentary, sex and violence frequently at the forefront of debates around what is, and what should be, permissible within the cinematic frame, controversy has followed films that seek to push the boundaries of cinematic expression, ensuring that cinema has retained the ability to shock and offend. Screening Controversy aims to bring together scholarship that offers insightful analysis into film that has been demarcated as controversial, exploring key concepts, theories, arguments, histories, and debates within film studies or pertaining to the film’s wider contexts. Chapters should consider 2-4 key themes or issues relevant to the film of your choice and be mindful that the book’s purpose is to support and supplement the screening of that film. We welcome historic examples and examples from outside of the Anglo/American/European canon.

Chapters might explore but are not limited to:

   * Aesthetic, technological, economic and/or social histories
   * Obscenity and offence
   * Morality
   * Blasphemy and religious controversy
   * Sexuality and sexual representation
   * Pornography
   * Representations of rape and sexual violence
   * Subversion and transgression
   * The representation of violence
   * Political Controversy
   * Profanity
   * Drug use
   * Satire and comedy
   * Fascism
   * xenophobia and racism
   * Censorship and censors
   * Moral panics and responses to problematic media in the public sphere
   * Nationally specific responses
   * Associations with trends, i.e. Video Nasties/Torture Porn/New French
     Extremism
   * Responses to new technologies
*Key dates*

Abstract submission deadline: 1 February 2021
Notification of acceptance: 28 February 2021
Full chapter submission (min / max 4000 words): 31 December 2021

Please send in abstracts of max 300 words and a brief biographical note
of 150 words to:
Dr Mark McKenna,
Department of Media and Performance,
Staffordshire University,
United Kingdom,
Mark.Mckenna@staffs.ac.uk <mailto:Mark.Mckenna@staffs.ac.uk>

 

Horror Outside of Film/TV: Special Ed of Journal of Entertainment Media

This is a CFP for a special issue of 'Refractory: A Journal of Entertainment Media' that will be themed around Nightmares, Nations and Innovations. This edition will focus on horror outside of film/TV and will be published on Halloween 2021. Articles (3-8k words) will explore the ways in which the horror genre functions in all its multifarious forms outside of film/TV, to explore the synergies between the horror film and popular culture. By approaching horror away from the screen, it hopes to examine the interconnections between the complex forces at work on both sides of the horror equation: the economies of modern entertainment industries and production practice, cultural and political forums, spectators and fans.

Articles sought in and around the following areas:
- Appropriation and use of horror texts by fans
- Immersive horror & Hallowe’en experiences  - Dark rides & haunted
attractions
- Horror in video games or horror themed DLC & modding
- Horror podcasts
- Synergies between the horror film and popular culture
- Horror-centric social & cultural internet phenomena (Images, Memes, GIFS)
- Horror and transmedia storytelling
- Cosplay, apocalypse-ready (pandemic) fashion, Halloween costumes -
Monsters as pop culture heroes & monster merchandise

Please send a short abstract and author bio to Gerard Gibson
<Gibson-G8@ulster.ac.uk> and John Kavanagh <Kavanagh-J7@ulster.ac.uk> by
Dec 11. Articles will be selected in Dec and should be completed by May.

Here's a little more info on our special edition:

Ndalianis (2012) theorises that horror is about the crossing of boundaries, suggesting that horror manifests where order falls into chaos and meaning collapses. Jowett and Abbott (2013), persuasively assert that horror has long ago successfully entered the mainstream, permeating popular culture. If these are so, have scholarly distinctions in horror been outmoded by new technologies, experiences and audience practices? Are academic distinctions in horror supported, complicated or eroded by such developments? If horror has transcended cultural boundaries can national ones be far behind? Horror films and literature are marketed internationally. Creations like Carpenter and Hill’s homicidal Michael Myers are international brands, almost global folk characters, and worth millions. Popular Halloween experiences, immersive horror and dark rides take the intellectual chills of the horror story and embody them for corporeal, haptic experience, transforming the narrative into the material, fright into flesh. Horror, Cherry (2009) reminds us, is highly adaptable, finding expression in a multitude of forms; nationally, internationally, globally and across a wide palette of media. The aesthetics of horror and cute culture collide/converge in merchandise, figures toys and GIFs. Monsters, serial killers, demons and ghosts are conventionalised on children’s clothing and as plushies. Do stories and characters remain in the hands of the creators and production companies or are they, as Jenkins (1992) argues, poached and appropriated by the fans? How does such poaching manifest in fan participation? Where do concepts of authorships sit in such a participatory culture? How have audiences taken horror and made it their own? Do narratives combine and storytelling practices intermingle? Does proliferation affect mainstream tastes and interests? Has it informed fashion? Has horror stepped off the screen and into our everyday lives? Might this erode the power of
horror? If the transgressive is now the everyday, what remains taboo?

 

Sonic Engagement: The ethics and aesthetics of community engaged audio practice

Edited by Sarah Woodland (Faculty of Fine Arts and Music, University of Melbourne, Australia) and Wolfgang Vachon (School of Social and Community Services, Humber Institute of Technology and Advanced Learning, Canada)
Due for publication in early 2022
*About the book*
This edited collection aims to investigate the use of sound and audio production in community engaged participatory arts practice and research. The popularity of podcast and audio drama, combined with the accessibility and portability of affordable field recording and home studio equipment, makes audio a compelling mode of participatory creative practice. Working in audio enables a flexible approach to participation, where collaborators in sites such as prisons, schools,
and community settings, can engage in performance and production in flexible ways, while learning valuable skills and producing satisfying creative outcomes. Audio works also allow projects to reach wider audience (and for longer) than an ephemeral performance event, extending the potential for diverse perspectives to be heard beyond prison walls, across borders, and between different communities and cultures.

The book will map current projects occurring globally and imagine where participatory audio creation could lead us. This will be done through a series of case study chapters that exemplify community engaged creative audio practice; theoretical analyses that illuminate and extend ideas of community-created sound practices; and methodological considerations in developing and implementing participatory audio-based research.

Chapters will focus on audio and sound based arts practices that are undertaken by artists and arts-led researchers in collaboration with (or from within) communities and groups. These practices may include: Applied audio drama, community engaged podcasting, community engaged sound art, sound and verbatim theatre, sound walks, community engaged acoustic ecology, digital storytelling, oral history and reminiscence, radio drama in health and community development … and more. (Please note: Although some of these practices may incorporate music and there can be crossover between certain forms of sound art and music, the work in this collection will not have music as its primary focus).

The emphasis will be on collaborative creative audio-based work with communities towards artistic, social, pedagogical, and/or research outcomes.

*Call for Contributions*
We are seeking contributions from practitioners and researchers that consider the ethics, aesthetics, and practice of the work, investigating the role of sound in areas such as community building, wellbeing, education, and social or environmental justice. Contributors will be welcome to submit non-traditional papers, including interview transcripts, scripts, and audio files (for inclusion on the online Routledge Performance Archive). Contributions will represent a breadth of different practices and voices, across diverse community, cultural, and global contexts. Authors may consider (but are not limited to):

•What are some of the tensions and possibilities of using sound and audio in community engaged arts practice?
•What contribution can creative sound and audio practice make as an arts-led, participatory research methodology?
•How might activist approaches to creative sound and audio practice work from within communities to resist existing structures of power and knowledge? (E.g. how might these approaches contribute to feminist, queer, decolonising or antiracist actions and discourses?)
•What contribution can sound and audio technologies make towards supporting and strengthening situated, local, or cultural knowledges and practices?
•What are the aesthetic implications of using sound and audio in community engaged arts practice? How does working in sound/audio impact on aesthetic engagement, listening, representation, and cultural production?
•What are the ethical implications of using sound and audio in community engaged arts practice? What tensions and opportunities exist in terms of access, equity, participation, ownership, and voice?
•What role do creative sound and audio practices play for communities responding to contemporary global crises, events, and movements such as the climate crisis, migration and displacement, COVID-19 pandemic, Black Lives Matter movement, Hong Kong pro-democracy protests, etc.

By focusing on practices that work collaboratively with and within diverse communities and groups, the collection will engage with and extend fields such as applied theatre, sound art, qualitative inquiry, and sound studies to place the emphasis on sound and community engaged participatory arts practice. As such, it will provide the first extensive analysis of what sound and audio brings to participatory interdisciplinary arts-led research and practice, representing a vital
resource for community arts and performance practice and research in the digital age.
Chapters will be maximum 8000 words (including references), shorter contributions in the form of provocations, reflections on practice, scripts, interviews etc. will be welcome.

*In the first instance, please submit a 300-word proposal and 150-word author biographies to the editors by the closing date: Monday 7th December 2020 *
*Please also feel free to email us to discuss the volume or your proposal prior to submitting. *

Editor contacts:
Sarah Woodland: sarah.woodland@unimelb.edu.au
<mailto:sarah.woodland@unimelb.edu.au>
Wolfgang Vachon: Wolfgang.Vachon@humber.ca
<mailto:Wolfgang.Vachon@humber.ca>

 

Journal of Global Diaspora and Media (Special Issue: ‘Migrations, Diasporas and Media: Human Rights and (In)mobility during the Pandemic’)

The IAMCR Diaspora and the Media Working Group together with the Journal of Global Diaspora and Media encourage scholars to submit papers that address key topics from interdisciplinary and transdisciplinary perspectives in relation to the pandemic of COVID-19 regarding the migrant and refugee population, with all its implications in terms of human rights and (in)mobility, highlighting the practices of resistance carried out by part of the people directly involved or by the social organizations.

The year 2020 will be marked by the COVID-19 pandemic, the thousands of deaths caused by it, in addition to a slowdown in the economies of several countries, increased inequality, and, in the context of international migrations, the intensification of issues related to mobility, securitization and vulnerability of migrants and refugees. If digital culture has a fundamental role in contemporary diasporic transnationalism, in a time where being in quarantine was almost a routine, we have never been so dependent on electronic communications as in 2020.

Key Questions:

• Studies on digital diasporas that are contributing to the discussion on digital humanities’ epistemological and methodological approaches when analyzing migrant communities and their interactions in physical and digital scenarios.

• Studies on mobility and migration in the digital era, including critical approaches on power structures, inequality, imbalances and discriminatory scenarios, and how they can promote inclusiveness and reciprocity; how studies on dynamic hybridization of migrant collective identities between home and host countries evolve when diasporic communities regroup and interact in second or third migratory projects such as transborder, transnational or transcontinental mobilizations.

• How contemporary diasporas and their media can promote or recreate homeland and host land discourses of belonging, and how they can challenge discrimination and/or advocate for inclusiveness.

• How diaspora and media studies can contribute to the understanding of interconnections of diverse groups in global cities and urban encounters.

• Potential approaches to responding to the questions, could be built on, but not limited to, the following areas:

• Migrant subjects (irregular, female and LGBT migrations) in the context of the COVID-19 pandemic.

• Strategies of resistance and resilience in the face of the pandemic.

• Strategies for (in)mobility in the context of the pandemic.

• Solidarity practices by organized society with migrant and refugee people in the context of the pandemic

• State of emergency/exemption, migration policies and suspension/reduction of the rights of migrants and refugees.

Submission

Submission of abstracts should include: name, institutional affiliation, contact information, title and a 500-word abstract
Email your abstracts to both guest editors:

Sofia Zanforlin: szanforlin@gmail.com <mailto:szanforlin@gmail.com>

Jessica Retis: jessica.retis@gmail.com <mailto:jessica.retis@gmail.com>

Publication Deadlines and Timeline

Submission of abstracts: 15 January 2021

Confirmation of acceptance: 15 March 2021

Full manuscripts: 15 October 2021

Post-review acceptance decisions: 15 January 2022

Publication of special issue: May 2022

 

New Media & Society Special Issue: The Future of Mobile Communication Research

Call for papers for a special issue of New Media & Society, Volume 24, 2022.

Guest editors (ordered alphabetically by last name)
• Scott W. Campbell, Constance F. and Arnold C. Pohs Professor of Telecommunications, Dept. of Communication and Media, University of Michigan
• Adriana de Souza e Silva, Professor, Dept. of Communication, North Carolina State University
• Leopoldina Fortunati, Professor, Dept. of Mathematics, Computer Science, and Physics, University of Udine
• Gerard Goggin, Professor, Wee Kim Wee School of Communication and Information, Nanyang Technological University

Overview
In recent decades mobile communication has become central to how people navigate and experience everyday social life. As mobile phones diffused globally in the 1990s, scholars began investigating changes in how people relate to distant and proximal others, as well as the physical surroundings. Among the first was Rich Ling, a sociologist with one foot in industry and the other in academia. Throughout his career as a researcher with Norway’s Telenor Group and a faculty member at universities around the world, Rich Ling has contributed to the foundation of the emerging field of Mobile Media and Communication.

In light of Ling’s approaching retirement as an endowed professor at Nanyang Technological University, this special issue pays tribute to his scholarly contributions as we look to the future of mobile communication research. It is no stretch to suggest that Rich Ling is one of the most prolific and influential scholars of mobile communication. He wrote the first single-authored book on the social consequences of mobile communication, The Mobile Connection (2004, Morgan Kaufmann), which remains one of the most heavily cited volumes on the subject. His second book, New Tech, New Ties (2008, MIT Press) reveals how the ritualistic use of mobile media facilitates cohesion in the intimate sphere of friends and family. He extended this analysis in his subsequent book, Taken for Grantedness (2012, MIT Press), which offers a broader theoretical framework explaining how mobile communication has become embedded in the social structure. Along with these and other books, Ling has also published hundreds of journal articles, book chapters, and industry/policy reports on the uses and consequences of mobile media and communication.

In addition to his own scholarship, Rich Ling’s influence in the field is evident through his leadership, serving as editor of many volumes, editor of Journal of Computer-Mediated Communication, and founding co-editor of the journal Mobile Media and Communication. Ling is also recognized for being a generous mentor, providing opportunities for new generations of scholars to become active in the field. As such, Rich Ling’s contributions not only shape the past but also strongly influence the future of mobile communication scholarship.

This special issue seeks papers that envision the future of mobile communication scholarship in the light of Ling’s contributions to research and theory. While articles should primarily raise and address questions about future scholarship in the field, they should also be, at least to some extent, grounded in some aspect of Ling’s work. Submissions can focus on different types of topics and approaches. Articles may centrally address future directions in research questions pursued, theory, methods, or other aspects of mobile communication scholarship. We are also open to different types of manuscripts, ranging from theoretical essays, empirical investigations, critical/cultural analysis, and other forms of scholarship.

Submission
Proposals of no more than 1,000 words should include a brief abstract and a clear explanation of the main argument and how the full submission would contribute to the aims of this special issue.

Please email your proposal to Future.of.Mobile.NMS@gmail.com no later than December 30, 2020. Authors can expect feedback on their proposal by February 1, 2021 and invited paper submissions will be due May 1, 2021. Invited submissions will undergo peer review following the usual procedures of New Media & Society. Approximately 10-12 papers will be sent out for full review. Therefore, the invitation to submit a full article does not guarantee acceptance into the special issue. Full articles will need to follow the New Media & Society submission guidelines. The special issue is scheduled for publication in Volume 24 of 2022.

 

Conference and Edited Volume: Artificial Intelligence and the Human – Cross-Cultural Perspectives on Science and Fiction

A Japanese-German conference in Berlin, Germany (17 and 18 June 2021) & edited volume (2022)

Current debates on artificial intelligence often conflate the realities of AI technologies with the fictional renditions of what they might one day become. They are said to be able to learn, make autonomous decisions or process information much faster than humans, which raises hopes and fears alike. What if these useful technologies will one day develop their own intentions that run contrary to those of humans?

The line between science and fiction is becoming increasingly blurry: what is already a fact, what is still only imagination; and is it even possible to make this clear-cut distinction? Innovation and development goals in the field of AI are inspired by popular culture, such as its portrayal in literature, comics, film or television. At the same time, images of these technologies drive discussions and set particular priorities in politics, business, journalism, religion, civil society, ethics or research. Fictions, potentials and scenarios inform a society about the hopes, risks, solutions and expectations associated with new technologies. But what is more, the discourses on AI, robots and intelligent, even sentient machines are nothing short of a mirror of the human condition: they renew fundamental questions on concepts such as consciousness, free will and autonomy or the ways we humans think, act and feel.

Imaginations about the human and technologies are far from universal, they are culturally specific. This is why a cross-cultural comparison is crucial for better understanding the relationship between AI and the human and how they are mutually constructed by uncovering those aspects that are regarded as natural, normal or given. Focusing on concepts, representations and narratives from different cultures, the conference aims to address two axes of comparison that help us make sense of the diverse realities of artificial intelligence and the ideas of what is human: *Science and fiction, East Asia and the West.*

*Papers are invited on the following topics (among others):*
   - Which meanings and functions are ascribed to AI technologies and robots?
   - How is science informed by popular discursive images of AI?
   - Which cultural differences are there concerning the relationship between the natural and the artificial? What are the particular traditions of how to represent the human and its technological surrogates?
   - What can the different cultural and conceptual histories tell us about our present and future with artificial intelligence?

Besides papers on these more general topics, we also invite *case studies on innovative technologies and their fictional precursors* as well as *on the social, ethical or political contexts in which they are applied*. All contributions are expected to address the *comparative perspective on East Asian and Euro-American discourses.*

Relevant issues and perspectives for these comparisons include but are not limited to cyberpunk and science-fiction in literature and film, public debates and imaginations of AI, the relation between simulation and reality, materiality, historical and legal accounts, sociotechnical
imaginaries and politics.

We welcome contributions from scholars of diverse disciplines, such as cognitive science, computer science, cultural studies, literature and film studies, media and communication studies, psychology, political science, science and technology studies or sociology. Interdisciplinary approaches (e.g., those combining social, cultural and technical perspectives) as well as perspectives from practitioners and developers are particularly encouraged.

*Submission process*

   - *Extended abstracts* of approximately 4,000 to 6,000 characters in length (excl. references) should be submitted no later than *10 February* *2021* to ai21@hiig.de
   - Speakers will be notified by *15 March* *2021*.

*Conference and publication of selected papers in an edited volume *

   - The conference will take place on *Thursday* *17 and Friday 18 June 2021* in Berlin.
   - Invitations for the submission of selected full manuscripts sent out in July 2021.
   - *Full manuscripts* of between 30.000 to 50.000 characters (excluding references) to be submitted by *September 2021*.
   - Comprehensive review returned to authors in December 2021; *final papers due in February 2022.*
   - The *edited volume* will be *published in early 2022*.

If you have any questions, you can contact the conference organisers via
ai21@hiig.de.

For more information, visit our website at hiig.de/events/ai21.

*Alexander von Humboldt Institute for Internet and Society, Berlin*

Thomas Christian Bächle
Christian Katzenbach

*Japanese-German Center Berlin*
Phoebe Stella Holdgrün


*Waseda University, Tokyo*
Katsumi Watanabe

 

Call for Abstracts: Edited Volume “China, Media and International Conflicts”

Editors:

Dr. Shixin Ivy Zhang, Associate Professor in Journalism Studies (University of Nottingham Ningbo China)

Dr. Altman Yuzhu Peng, Lecturer in PR & Global Communications (Newcastle University, UK)

*Please send your abstracts (max. 300 words) by 1 February 2021 to Shixin Zhang (Shixin.zhang (at) nottingham.edu.cn) and Altman Peng (altman.peng (at) ncl.ac.uk).*

This edited volume aims to contribute to the studies of complex, fluid and dynamic media-conflict relationship through the lens of China. Studies of mediatized conflict in the digital age is still very much a Eurocentric research area, which requires to be de-Westernized. As McQuail (2006) claims, ‘Western “communication science” does not offer any clear framework for collecting and interpreting observations and information about contemporary war situations’ and has ‘largely neglected were the colonial wars of post-Second World War and the many bitter conflicts that did not directly impinge on western interests or responsibilities’. In a sense, McQuail’s statement still stands today. The existing researches in media and conflict are mostly confined to the Western democracies and interests.

With China showing growing and controversial power and influence on the world’s stage, on the one hand, the East Asian power faces its own security issues due to crises in the Asia-Pacific region that have escalated and intensified such as Sino-Indian border crisis, South China Sea disputes, North Korea nuclear crisis and the Senkaku/Diaoyu-islands disputes.On the other hand, China as one of the five permanent members in the UN Security Council has more and more involvement and interests in the seemingly isolated international conflicts such as Afghanistan
war, Israeli-Palestinian conflict, Libyan and Syrian crisis.

The media and conflict studies are multi-leveled and multi-faceted. Thus, we invite scholars to explore and study media-conflict relationship either from the view of China or conduct comparative analysis between China and other nation-states.Here media can be mass media (TV, films, newspapers, magazines, posters, etc.), digital and/or social media at local, national, regional or global levels. International conflicts include but not limited to Sino-Indian border
crisis, South China Sea disputes, North Korea nuclear crisis, the Senkaku-Diaoyu islands disputes, Afghanistan war, Israeli-Palestinian conflict, Libyan and Syrian crisis.

The proposed chapters can be either theoretical, empirical or comparative work. Authors are welcome to explore and address the following questions and go beyond.

  1. What roles do media (both traditional and new media) play in the conflicts that directly or indirectly involve China?
  2. What is the media-conflict relationship in China and in the Asia-Pacific region more broadly?
  3. How is China represented in the media and what is the image and the role of China in the international conflicts?
  4. What are the changes and continuity of media representation of China in the international conflicts?
  5. Do Chinese media practice peace or war journalism? How?
  6. How are international conflicts mediated in China within its particular historical and cultural contexts?
  7. How do the local, national and global audience receive and perceive China’s role in international conflicts?
  8. What are the impacts of information and communication technology (ICT) on the media-conflict relationship in China?

Please send your abstracts (max. 300 words) by 1 February 2021 to Shixin Zhang (Shixin.zhang (at) nottingham.edu.cn) and Altman Peng (altman.peng (at) ncl.ac.uk).