Conference

The world's annual gathering of the international computer graphics community, where the digital future is defined and revealed. Learn the next generation of powerful hardware and software. Understand how technical innovations are changing your work, your profession, your company. Apply your new knowledge to creative and business breakthroughs.

(source: http://www.siggraph.org/s2002/conference/index.html)

DRHA 2015, Digital Research in the Humanities and Arts Dublin Conference is starting on 30 August, 2015 and ending on 02 September, 2015.

The place of the Conference was picked out as Dublin City University.

DRHA 2015 should be an astounding Conference that will cope with the topics of Digital Humanities, Digital Arts, Digital Media and Social Sciences and alot more.

Digital Research in the Humanities and Arts Dublin Conference is organized annually.

(source: http://eventegg.com/drha-2015/)

ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics of change, renewal, and game-changing paradigms. We look to raw bursts of energy, reconciliation, error, and the destructive and creative forces of the new. Disruption contains both blue sky and black smoke. When we speak of radical emergence we must also address things left behind. Disruption is both incremental and monumental.

In practices ranging from hacking and detournement to inversions of place, time, and intention, creative work across disciplines constantly finds ways to rethink or reconsider form, function, context, body, network, and culture. Artists push, shape, break; designers reinvent and overturn; scientists challenge, disprove and re-state; technologists hack and subvert to rebuild.

Disruption and rupture are fundamental to digital aesthetics. Instantiations of the digital realm continue to proliferate in contemporary culture, allowing us to observe ever-broader consequences of these effects and the aesthetic, functional, social and political possibilities that arise from them.

Within this theme, we want to investigate trends in digital and internet aesthetics and revive exchange across disciplines. We hope to broaden the spheres in which disruptive aesthetics can be explored, crossing into the worlds of science, technology, design, visual art, contemporary and media art, innovation, performance, and sound.

(Source: http://isea2015.org/about/theme/)

"The End(s) of Electronic Literature" Conference took place August 5-7, 2015, and was hosted by the BEL, the Bergen Electronic Literature Research Group at the University of Bergen. Pre-conference workshops took place on August 4th. The call for papers and works resulted in more than 300 submissions and selections have been made for the conference, performances, and exhibitions. (Source: http://conference.eliterature.org/2015)

‘Digital Literary Studies’ is an international conference exploring methods, tools, objects and digital practices in the field of literary studies. The digitization of artifacts and literary practices, the adoption of computational methods for aggregating, editing and analyzing texts as well as the development of collaborative forms of research and teaching through networking and communication platforms are three dimensions of the ongoing relocation of literature and literary studies in the digital medium. The aim of this two-day conference is to contribute to the mapping of material practices and interpretative processes of literary studies in a changing media ecology.

(Source: https://eld2015.wordpress.com/call-for-papers/)

In 2010, the Slow Media Institute circulated a manifesto highlighting how the concept of ‘slow’ could be employed in responding to the pace of technological change in the 21st century. Making the link to other slow movements, the Slow Media manifesto emphasized the ‘choice of ingredients’ and ‘concentration in the preparation’. As Jennifer Rauch (2011) writes, attention to ‘Slow Media’ suggests that ‘we are observing a moment of transformation in the way that many people around the world think about and engage with mediated communication’.

This broad ‘slow media’ approach has been taken up in relation to a range of media sectors. ‘Slow journalism’ seeks to respond to some of the contemporary newsgathering and journalism practices with a concern for investing in journalism, questioning 24/7 news cycles and immediacy as the most important factors, and exploring stories over a longer period. The focus on completeness and full coverage is also a central element of the ‘Slow TV’ approach. The sustained coverage of cruise ships and knitting that the Norwegian Broadcasting Corporation has offered since 2009 indicates the popular appetite for ‘Slow TV’ and in September 2014 The New Yorker declared ‘Slow TV is Here’. Further perspectives come with ‘Slow Film’ and the approach taken by filmmakers such as those at Echo Park Film Center who use analogue technologies, hands-on techniques and collaborative processes as a catalyst for a community-based cinema wherein filmmakers invent, own and control the means of production, exhibition and distribution.

This one-day symposium is hosted by the Media Futures Research Centre at Bath Spa University’s Corsham Court campus.

Textual Machines was an international symposium exploring literary objects that produce texts through the material interaction with mechanical devices or procedures. We define “textual machines” as a perspective on literature and book objects where text is “a mechanical device for the production and consumption of verbal signs” (Espen J. Aarseth). From the symposium’s perspective, textual machines are not limited to a specific media or epoch, and include literary objects ranging from early modern movable books, to modern pop-up books, artist’s books, game books, concrete poetry, combinatory literature, electronic literature and interactive fictions. A distinctive feature of textual machines is that they invite readers to traverse text through the non-trivial manipulation of mechanistic devices or procedures: by navigating through hyperlinks, footnotes, marginalia or other semiotic cues, or by answering to configurational, exploratory or writing prompts.
In conjunction with the symposium, the Willson Center Digital Humanities Lab at the University of Georgia hosted the Textual Machines Exhibit, showcasing holdings from the Hargrett rare Book & Manuscript Library and the Digital Arts Library, including early modern movable books, modern artist’s books, and electronic literature. The exhibit explored literary objects that produce texts through the material interaction with mechanical devices or procedures. Espen J. Aarseth defines textual machines as objects where text is “a mechanical device for the production and consumption of verbal signs” (Cybertext, 1997). From the exhibit’s perspective, textual machines are not limited to a specific medium or epoch and include literary objects ranging from early modern books with moveable parts to modern artist’s books and interactive fictions.