Call for Papers: The European Journal of Cultural Studies
Special issue on Data Mining / Analytics
Editors: Mark Andrejevic, University of Queensland, Australia; Alison Hearn, University of Western Ontario, Canada; Helen Kennedy, University of Leeds, UK.
The widespread use of social media has given rise to new forms of monitoring, mining and aggregation strategies designed to monetize the huge volumes of data such usage produces. Social media monitoring and analysis industries, experts and consultancies have emerged offering a broad range of social media intelligence and reputation management services. Such services typically involve a range of analytical methods (sentiment analysis, opinion mining, social network analysis, machine learning, natural language processing), often offered in black-boxed proprietary form, in order to gain insights into public opinion, mood, networks and relationships and identify potential word-of-mouth influencers. Ostensibly, these various forms of data mining, analytics and machine learning also are paving the way for the development of a more intelligent or ‘semantic’ Web 3.0, offering a more ‘productive and intuitive’ user experience. As commercial and non-commercial organisations alike seek to monitor, influence, manage and direct social media conversations, and as global usage of social media expands, questions surface that challenge celebratory accounts of the democratizing, participatory possibilities of social media. Remembering that Web 2.0 was always intended as a business manifesto – O’Reilly’s early maxims included, after all, ‘data is the next Intel inside’, ‘users add value’ and ‘collaboration as data collection’ – we need to interrogate social media not only as communication tools, but also as techno-economic constructs with important implications for the management of populations and the formation of subjects. Data mining and analytics are about much more than targeted advertising: they envision new strategies for forecasting, targeting, and decision making in a growing range of social realms (employment, education, health care, policing, urban planning, epidemiology, etc.) with the potential to usher in new, unaccountable, and opaque forms of discrimination, sorting, inclusion and exclusion. As Web 3.0 and the ‘big data’ it generates moves inexorably toward predictive analytics and the overt technocratic management of human sociality, urgent questions arise about how such data are gathered, constructed and sold, to what ends they are deployed, who gets access to them, and how their analysis is regulated (boyd and Crawford 2012).
This special issue aims to bring together scholars who interrogate social media intelligence work undertaken in the name of big data, big business and big government. It aims to draw together empirically-grounded and theoretically-informed analyses of the key issues in contemporary forms of data mining and analytics from across disparate fields and methodologies. . Contributions are invited that address a range of related issues. Areas for consideration could include, but are not limited to:
• Political economy of social media platforms
• Algorithmic culture
• User perspectives on data mining
• The politics of data visualisation
• Big data and the cultural industries
• Data journalism
• The social life of big data methods
• Inequalities and exclusions in data mining
• Affective prediction and control
• Data mining and new subjectivities
• Ethics, regulation and data mining
• Conceptualising big/data/mining
• Social media intelligence at work
• Social media and surveillance
• Critical histories of data mining, sorting, and surveillance.
Prospective contributors should email an abstract of 500-700 words to the issue editors by 9th December 2013 (to h.kennedy@leeds.ac.uk). Full articles should be submitted to Helen Kennedy (h.kennedy@leeds.ac.uk) by 12th May 2014. Manuscripts must be no longer than 7,000 words. Articles should meet with The European Journal of Cultural Studies’ aim to promote empirically based, theoretically informed cultural studies; essayist discussion papers are not normally accepted by this journal. All articles will be refereed: invitation to submit a paper to the special issue in no way guarantees that the paper will be published; this is dependent on the review process.
Building Digital Humanities Projects for Everyone
Earlier this summer, we profiled a few recipients of the National Endowment for the Humanities’ (NEH) Digital Humanities Start-Up Grants (http://j.mp/1574SEb) to see what kinds of projects were emerging from the world of DH with particular applications for historians.
Unlike DH Start-Up Grants, which are awarded to support planning and prototyping, the implementation grants are for projects that have developed beyond the start-up phase and reflect long-term investments by departments and staff.
(via The American Historical Association)
CFP :Computer Culture area 35th Annual Southwest Popular / American Culture Association Conference
August 18th, 2013
April Durham
Computer Culture area
35th Annual Southwest Popular / American Culture Association Conference
February 19-22, 2014
Hyatt Regency, Albuquerque, NM
We are accepting papers and forming panels for the area of Computer Culture, as one of the many areas within the 35th annual conference of the Southwest Popular/American Culture Association (SWPACA).
The conference was formerly named the Southwest/Texas Popular Culture Association / American Culture Association (SW/TX PCA/ACA).
Computer is broadly defined as any computational device, whether smartphone or abacus, and any form of information technology, including the origins of concepts of interactive text which may predate computational devices as traditionally conceived.
Culture is rooted in the concept of cultural meaning. We ask not just operational questions such as, “How do people communicate using computers?” but questions of meaning such as, “What does it mean when people communicate using computers instead of using pre-computer approaches to communication?”
“Computer Culture” can be understood in a variety of ways:
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the culture of the computer, that is, as computers interact with each other, what culture do they have of their own?
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the culture around the computer, that is, (sub)cultures associated with the production, maintenance, use, and destruction of computers
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the culture through the computer, that is, explicit treatment of how computer mediation influences cultural phenomena that exist or has existed in forms that did not involve computer mediation, and what these influences mean
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the culture by the computer, that is, the ways in which new (sub)cultures or (sub)cultural phenomena have arisen because of computers and understandings of these given awareness of the nature and/or workings of computers
Example questions associated with Computer Culture would include, but not be limited to:
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What implications are there because of the powerfulness of (computer/information) technology ___ and are these implications beneficial, detrimental, inevitable, or avoidable?
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What are the cultural origins of computers, computer/information technologies, and practices (such as ____) associated with them? What is the descriptive and prescriptive outlook for the conditions of those cultural forces associated with those cultural origins?
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How do cultural forces (such as changes from one generation to the next, trends in education or society, or other cultural phenomena) impact (and are impacted by) computer/information technologies/market-forces, and what do these impacts (in either direction or both) mean?
Paper topics might include (but are not limited to) those that address:
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issues of (re)presentation through computers (Web site analysis and design),
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methods of discourse involving computers (blogging, Twitter, social networks, viral video, live feeds),
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theories focused on the relationship between computers and culture,
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uses of computers in particular contexts and the impacts thereof (computers and pedagogy, online literary journals),
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the relationship between computers and cultural forces (such as news, politics, and terrorism),
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security/privacy/fraud and computers (online security issues, spam, scams, and hoaxes),
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and others.
While we will consider any relevant paper, we have a preference for those that involve transferable methodological approaches. This is an interdisciplinary conference, and other conference attendees would benefit from being able to adapt your research methods to their future research.
Scholars, teachers, professionals, artists, and others interested in computer culture are encouraged to participate.
Graduate students are also particularly welcome with award opportunities for the best graduate papers. More information about awards can be found at
http://southwestpca.org/
Specifically, we would like to highlight the following award opportunities:
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The “Computer Culture and Game Studies Award”
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The “Heldrich-Dvorak Travel Fellowships”
Given how papers may often fall into multiple categories, there may be other award opportunities listed athttp://southwestpca.org/
If you wish to form your own panel, we would be glad to facilitate your needs.
This conference is a presentation opportunity. For a publication opportunity, we encourage you to consider submitting your paper to the Southwest PCA/ACA’s new journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at
http://journaldialogue.org/
Please pass along this call to friends and colleagues.
For consideration, submit 100-200 word abstracts and proposals for panels before
Friday, November 1, 2013
to the conference’s electronic submission system which can be found at:
http://conference2014.
If you have any questions, contact the Computer Culture area co-chairs,
Andrew Chen (andrewsw@gmail.com) and Joseph Chaney (jchaney@iusb.edu).
I’ve added some CDH archival material to the Events page.
Rather than creating new posts in the WordPress structure for archival materials, I created these “media archive” web pages from scratch.
It can be difficult to deal with audio files within WordPress — plugins are needed, and sometimes files must be hosted on third-party servers. Also, these audio files are much too large to be housed within the WordPress library.
By creating these external web pages, which are still hosted on our UCR/CDH webspace, we’re able to playback the audio recordings of past events using HTML5 technologies that are built into modern web browsers.
I also uploaded the event photographs to the WordPress library, and I made links to them on these media archive pages.
On the Events page, posts about past events are listed in red — and posts containing archival materials are listed in gray.
Here are the links to the posts I created, and more material is forthcoming:
http://cdh.ucr.edu/a/cdh-kang.html
http://cdh.ucr.edu/a/cdh-raley.html
http://cdh.ucr.edu/a/cdh-anderson-willis.html
http://cdh.ucr.edu/a/cdh-clement.html
http://cdh.ucr.edu/a/cdh-juhasz-bookchin.html
The final invited talk of the 2011-2012 Critical Digital season was presented by Dr. Rita Raley from theEnglish department at UC Santa Barbara. Dr. Raley presented a paper that addressed the way that mobile media and projected display are combining to activate public spaces and social exchange.
Considering various art practices that involve viewers as random collaborators, Raley discussed several projects where common media usage, like texting and Tweeting, are made part of a more clearly public dialog. Concerned with the way media devices generate poetic exchange and are then deployed as engagements as in “being in common.” Addressing the specificities of movement and place as material concerns for the poetics of mobile media, Raley points to work that leverages the mobility of the passing viewer and the resistant practices of graffiti art to inhabit a spontaneous and unsanctioned “commons” as a place for conversation. For example in an ongoing project by Paul Notzold, text messages are projected on buildings like apartment blocks, cathedrals, and art museums. Formatted as cartoon thought or speech bubbles, the images seem to indicate that someone inside the building or the building itself is speaking.
While Notzold has installed various iterations of this project at art festivals around Europe, Raley indicated one work in particular where passers by were able to send the messages to a central network that would filter them and then project them shortly after the viewer passed, allowing foot or automobile traffic circulation to determine the audience. “In this context,” Raley argues, “the cell phone becomes a device to explore public space, rather than a device to remove oneself from it, or a means of enveloping oneself in what Michael Bull has called mobile media bubbles.” The activity of migrating the private to the public, or making public space “clickable,” engage questions of relationality and community where “closed-circuit networks of mobile communication technologies” are broken as the audience contributes to the artwork and to a larger public conversation.
Because the work occurs in a long tradition of tagging or territorial marking long used by graffiti artists, especially before this practice became institutionalized, the work reclaims sanctioned common spaces as places to explore “using private modes of communication to drive transient public displays of commentary.” Further, because the functional grammar of SMS employs a kind of truncated spelling, (e.g., “a sudn stream of flrty txt frm 1 I hrdly knw”) emphasize the demands placed on the viewer/ reader to “decode, to “decifr,” to make the seemingly illegible legible,” linking the writing style to the lyrical voice of poetic traditions generally. This means that the material effects of communicative technologies on language are emphasized and raise questions of the potentials for this kind of linguistic construction to bear affectively upon the viewer and upon public communication more generally.
Finally, Raley emphasized the situated or “locative” aspect of this kind of work where textual environments become more about transient display and process rather than the artifact. While documentation can convey the activity of the work, the interactivity and the ephemerality of even this kind of public SMS communication part of the archive of public memory. This talk has been published as part of an anthology, Comparative Textual Media: Transforming the Humanities in the Postprint Era, edited by N. Katherine Hayles (University of Minnesota Press, 2013).
Rita Raley is Associate Professor of English, with courtesy appointments in Film and Media Studies, Comparative Literature, and Global Studies. Her primary research interests lie at the intersection of digital media and humanist inquiry, with a particular emphasis on cultural critique, artistic practices, language, and textuality. She is the author of Tactical Media (Electronic Mediations)(University of Minnesota, 2009), co-editor of the Electronic Literature Collection, Volume 2 (2011), and has more recently published articles on interventionist media arts practices, digital poetics, and global English. She has had fellowship appointments at the National Humanities Center and UCLA, as part of the Mellon-funded project on the Digital Humanities, and has taught at Rice and the University of Minnesota. In Spring 2011 she held a short-term Fulbright appointment with “ELMCIP: Electronic Literature as a Model of Creativity and Innovation in Practice” at the University of Bergen, Norway; and in December 2011 she was a writer in residence hosted by the Dutch Foundation for Literature in Amsterdam. In 2012-2013 she was a visiting Associate Professor in English at NYU.
Culture Machine is an online, open access journal addressing focused topics in new media and the digital humanities.
from the website:
“Culture Machine is a series of experiments in culture and theory.
The aim of Culture Machine is to seek out and promote the most provocative of new work, and analyses of that work, in culture and theory from a diverse range of international authors. Culture Machine is particularly concerned with promoting research which is engaged in the constitution of new areas of inquiry and the opening of new frontiers of cultural and theoretical activity. It is also committed to the generation of possibilities for new scholarship and research. Other than these founding aims (which are themselves, along with the very concepts of ‘founding’ and of ‘aims’, possible themes to be analysed), Culture Machine has no specific agenda, no project or programme – cultural, theoretical, political, social or ethical – it intends to see worked out in its various manifestations. Culture Machine is instead endeavouring be to cultural studies and cultural theory what ‘fundamental research’ is to the natural sciences: open ended, non-goal orientated, exploratory and experimental in approach.”
CFP for a special issue of NANO on Digital Humanities, Public Humanities
July 23rd, 2013
April Durham
How, when, and for whom is digital humanities also public humanities?
Scholars, artists, and new media practitioners-including Sharon Daniel, Erik Loyer, Alex Juhasz, Liz Losh, Tara McPherson, Kathleen Woodward, Sarah Elwood, Margaret Rhee, Kim Christen, and Alan Liu-have recently investigated the intersections of digital methods with cultural criticism, demonstrating how investments in technologies and computation are not necessarily antithetical to investments in critical theory and social justice. Building on these investments, this special issue of New American Notes Online (NANO) asks how, when, and for whom digital humanities is also public humanities, with particular attention to project-based research.
For instance:
How are building, making, or coding activities embedded in social justice initiatives?
Across text, image, audio, and video, authors are invited to individually or collaboratively submit notes or brief “reports” detailing projects that work across digital and public humanities, including projects that do not identify with either term. For this issue, a note or “report” implies a submission that, at a minimum:
Articulates a narrative for the project, including (where applicable) its workflows, motivations, interventions, management, and partners.
Invited by NANO, the editor of this special issue is the Maker Lab in the Humanities at the University of Victoria, including Adèle Barclay, Nina Belojevic, Alex Christie, Jana Millar Usiskin, Stephen Ross, Jentery Sayers, and Katie Tanigawa.
SUBMISSION GUIDELINES: For this special issue, we are accepting submissions across text, image, video, and audio. All submissions should be submitted to bothmaker@uvic.ca and editor.nanocrit@gmail.com by 11:59pm on 1 October 2013 in your time zone. The body of the email should include your name(s), your affiliation(s), the title of the submission, five keywords describing the submission, and media type(s) and format(s) for the submission. Where possible, the submissions should be attached to the email. Should a submission exceed the email attachment limit, then the body of the email should also include a URL for the submission. The URL should not be discoverable on the web (e.g., it should be behind a passcode-protected wall, in a private cyberlocker, or not visible by search engines). Do not include your name(s) in any file name. Your name(s) should only be included in the body of your email.
If your submission is in text, then it should not exceed 3500 words (DOC(X)s and RTFs are preferred). Up to 15 high-resolution (at least 600 dpi) images are permitted (JPEGs are preferred) per submission. Video submissions should be 3 to 10 minutes in duration (MOVs and MP4s are preferred; minimum resolution: 426 x 400; maximum resolution: 1920 x 1080). Audio essays should also be 3 to 10 minutes in duration (MP3s and WAVs are preferred, encoded at 256 kbit/s or higher). Both audio and video can also be embedded in any text submission (no more than 5 instances of embedded media per submission).
All submissions should follow MLA guidelines for format, in-text citations, and works cited. Please email any questions about the submission guidelines to maker@uvic.caand editor.nanocrit@gmail.com.
SCHEDULE: Below is a tentative timeline for this special issue:
December 6, 2013: Publication in NANO
COPYRIGHT AND PERMISSIONS: NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Please send any questions related to copyright and permissions to editor.nanocrit@gmail.com.
Bad Signals: Collected Essays on the Work of Warren Ellis
Papers are invited for the first academic collection dedicated to the work of comics writer, novelist, and pop culture commentator Warren Ellis. Ellis’ renowned comics career stretches back to anthology comic Deadline, but he has also published two novels. He has written comics for Marvel and DC, as well as a number of independent publishers. He has written for well-known comics such as X-Men, Iron Man, and Hellblazer, he transformed Stormwatch into the post-Watchmen epic The Authority, as well as creating idiosyncratic work such as Transmetropolitan, Planetary, FreakAngels,and Ministry of Space. His two prose novels, Crooked Little Vein and Gun Machine, leans toward noir and were both well received. He maintains an active online presence and is well known for his cultural commentary.
Despite much commercial and critical acclaim, there has been little scholarly work on Ellis. We are seeking proposals for an edited volume as part of the SF Storyworlds: Critical Studies in Science Fiction series at Gylphi (series editor: Dr. Paul March-Russell). We welcome papers on any topic related to Ellis’ writing which might include, but are not limited to:
Formal approaches to comics/graphic novels – case studies of specific texts – science fiction – dystopia/utopia – extropia – post/transhumanism – cyberpunk/post-cyberpunk – superheroes – the influence of pulp fiction – conspiracy theories – noir – accelerationism – steampunk – the ‘British Invasion’ – the city – media technologies – new media – postmodernism/post-
We welcome proposals from any discipline and theoretical perspective. Submissions are welcome from both research students and academics. Essays should be 6,000-8,000 words. Referencing should follow the Chicago style for author-date citation. Please send a title and 300 word abstract along with your name, affiliation and 100 word professional biography in a word document toellis.2014book@gmail.com by 13 December 2013.
Selected authors will be notified by 6 January 2014. Submission of final full essays will be by 21 March 2014. Queries welcome. Please note that invitation to submit a full essay does not guarantee inclusion in the volume.
Editors Hallvard Haug (Birkbeck, University of London) and Tony Venezia (Birkbeck, University of London).
CFP for the 2nd International Conference on The Digital Subject:
“In-scription, Ex-scription, Tele-scription”
University of Paris 8 Vincennes Saint-Denis, France, November 18-21, 2013
The CFP is also available on the Labex Arts-H2H website in French and in English: http://www.labex-arts-h2h.fr/
Call for papers
International symposium: “The digital subject: In-scription, Ex-scription, Tele-scription”
University of Paris 8 Vincennes Saint-Denis, Archives nationales, November 18-21, 2013
Organizers :
Pierre Cassou-Noguès (Department of philosophy, LLCP, SPHERE, EA 4008)
Claire Larsonneur (Department of anglophone studies, Le Texte Étranger, EA1569)
Arnaud Regnauld (Department of anglophone studies, CRLC – Research Center on Literature and Cognition, EA1569)
This symposium is part of a long-term project, “The digital subject,” endorsed by the LABEX Arts-H2H (http://www.labex-arts-h2h.fr/) and follows a first symposium on Hypermnesia held in 2012. We are exploring the ways in which digital tools, be they real or fictional, from Babbage to Internet, have altered our conception of the subject and its representations, affecting both its status and its attributes. We welcome contributions from the following fields : philosophy, literature, arts, archivistics, neurosciences, and the history of science and technology.
The working languages will be French and English. Contributions may be submitted in either language and should not exceed 3000 characters. Please enclose a brief bio-bibliographical note.
Please submit your abstracts via EasyChair: https://www.easychair.org/conferences/?conf=digitalsubject2013
Do not forget to upload your document in PDF format.
For further information, you may write to scriptions@univ-paris8.fr.
Deadline for submissions: September 15, 2013.
Contributors will be informed of the scientific committee’s decision by October 1, 2013.
Opening keynote by Mark Amerika: Nov. 18th, 8-10:30 PM at Conservatoire National Supérieur d’Art Dramatique
Keynote Speakers : Jean-Luc Nancy, Bertrand Gervais (UQAM, Montréal), Wendy Chun (Brown University), Laurent Cohen (Salpêtrière INSERM), James Williams (University of Dundee)
How is writing revisited by digital media? In what ways does the digital turn affect the three dimensions embedded in writing: the production of an artefact, the crafting of meaning and the advent of the subject? We aim at investigating this new field of research from a variety of points of view such as philosophy, arts, neurosciences and archiving and welcome contributions from researchers in all those fields.
With digital technologies writing shifts from paper to a screen or a network of screens. But this is no move into a virtual world: writing is still a gesture, the body is still at writing, still acting under a set of constraints, just different ones. And that shift goes much further than a rewriting of rules. It entails transcribing, usually through digital duplicates or reencoding. It paves the way for what we might call tele-scription, writing at a remove via a technical device, exposing the fallacy of immediacy and introducing another strata of mediation in the process of writing.
“Exscription passes through writing — and certainly not through the ecstasies of flesh or meaning. And so we have to write from a body that we neither have nor are, but where being is exscribed. If I write, this strange hand has already slipped into my writing hand.” (Jean-Luc Nancy, Corpus, Richard A. Rand trans., New York, NY: Fordham UP, 2008, p.19). Writing ex-scribes. Works from another edge. Of course writing is about describing things or states of affairs but it also points to another dimension, that of exscription. Can digital tele-scription be viewed as a form of exscription, spacing out the subject as posited by Nancy or Derrida? Or is digital tele-scription to be understood in the light of the changes it introduces in our relationship to time, and from there on, explored as an entirely novel phenomenon? Will it bring about a radical upheaval of the relations between such notions as writing, technology, the body, the subject?
Digital writing is a brand new world we are barely beginning to explore. See for instance all the second-thoughts of writing, the words crossed out, erased and overwritten, all the editing process which we now keep track of: our traces and drafts are no longer set in their ways but potentially continuously evolving. Will such an instability affect how the subject relates to the traces she leaves, the meanings she construes, her own definition of self? Digital media also revisits our distinction between the original and the copy: once digitized, the trace we inscribe may be reproduced ad libitum, much like a manuscript fans out through the production of fac-similes. That trace may also be augmented through tagging, commentaries and linking. Inscription is no longer the one-off act of a single author but a process entailing various forms of reencoding, transposing, adding, categorising, a whole array of human and technological interventions. Or take this emblematic sign of personal identity, the signature, and see how it is now interfaced and multiform. What used to be the most intimate, chosen mark of our self is now devolved to sets of electronic sequences, usually encoded, sometimes automatically generated, at times delegated, occasionally even produced without our prior knowledge. This is no trifling matter: will the subject, through these new technologies of self-inscription, turn into an avatar? What new interplay between the individual and the institutions (libraries, archives, universities) arises through this collective writing process? One may also consider the legal consequences for the atomised self, who finds herself encoded into binary data within the cloud, and whose history is archived and exposed publicly to an extent she may not control.
How is tele-scription played out in fiction, in arts or in our daily activities (such as email)? Where does it come from? How and why was it established? What are its uses? And crucially, what does it change —if indeed it changes anything— in the relation of the subject and her body to writing? Could tele-scription renew our understanding of what constitutes a subject?
In-scription then. Or re-inscription. While writing shifts to the screen, another major contemporary trend, fuelled by the advances of neuroscience and medical imagery, re-ascribes the advent of meaning to the body, more specifically to the brain which is to be made legible. Reading the mind by reading the brain, drawing from what we can now access in terms of neuronal activity, this is largely today’s scientific agenda. A number of recent experiments in neuroscience focus on imagination and on how humans craft fiction. Some may try to catch what we do as we dream, or as we let our thoughts roam free; some intend to detect lie; some strive to build a “brain reading machine” which would ideally display on screen all that goes on inside our minds. It all rests upon the assumption that who the person really is, her intentions, the images she likes, her biases, even that part of her she may not be aware of, are inscribed in her brain, set into patterns we do not have direct access to but that a machine may read and decipher. What is happening in the field of neuroscience and how is it echoed in fiction? For fiction — literature, the cinema, philosophical thought experiments, all these traditions that largely pre-date neuroscience — provide us with the tools to explore the workings of the mind through the body of the subject. How can we make sense of this re-inscription, being contemporary to digital tele-scription?
April and I have been working on some revisions for the CDH website, especially the Calendar page.
It’s been difficult to find events in the feed of news items, and the old Calendar page with the Google Calendar wasn’t much help either.
We’ve replaced the old Calendar page with the new “Events” page.
On the Events page the blue bar signifies the next event to take place, and past events are below ↓.
Past events that have posts on the CDH website will link to them, and we can add more links for ↳ archival material also.
Events that are still being organized will be listed ↑ above the blue bar to show their pending status.
If I missed any meetings or events, or if anything needs revision, please let me know.
