Erik Champion

Interactive History & Digital Culture


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#CFP Games For Change, New York 31 July – 2 August 2017

Calls due 24 March http://festival.gamesforchange.org/#submit

Early-bird pricing is available for a limited time. Discounts are available for students, educators, nonprofits, and independent game studios.

Explore the positive power of digital games and virtual technologies in three days of keynotes, panels, and workshops.

Explore groundbreaking new games across three tracks of programming

Back by popular demand, the G4C Festival offers three expertly curated tracks of panels, talks and workshops around emerging sectors in the impact games field.

1. Neurogaming & Health Exploring how games can improve health, fitness, cognitive skills, and mindfulness through interactive experiences and new technologies.

2. Civics & Social Impact Highlighting games that help players engage with contemporary issues on matters of social justice, human development, environment and responsible citizenship.

3. Games for Learning Summit-Sharing new projects and research that evidence the power of game-based learning to transform education in and out of school.

INTRODUCING:

VR for Change Summit

On August 2, join us to explore how virtual technologies offer radical new ways to create social impact.

Talk Ideas and Proposals (Deadline: March 24)

We invite you to submit ideas for talks, panels, demos, and workshops for the 2017 Festival. Session topics should fall within the three tracks of Festival programming or the VR for Change Summit.

Games for Change Awards (Deadline: March 24)

Each year, we celebrate the year’s best impact games with the G4C Awards. If you have launched or will launch a game between January 1, 2016, and March 31, 2017, we encourage you to apply! Categories include: Most Significant Impact, Most Innovative, Best Game Play, Best Learning Game, and Game of the Year.


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#CFP: VSMM2017 30/10-2/11/2017, Dublin

We are glad to announce that the 23rd Int’l Conference on Virtual Systems and Multimedia will be held October 30th – November 2nd 2017 in Ireland at University College Dublin, with Special Workshops and Cultural Tours on November 3rd – 5th in Belfast, Northern Ireland.

For over 2 decades, VSMM has been the premier world forum for cross-disciplinary research on multimedia, VR, AR, 3D acquisition, visualization and interaction technologies, and their myriad applications. Known for its broad multidisciplinary approach, VSMM has become a unique bridge between technology and the arts, history, science and engineering.

Held annually since 1995, VSMM2017 will mark the 23rd international gathering of the VSMM Society. VSMM’s Proceedings are available in IEEE’s digital library, Xplore.

IMPORTANT DATES

1 Mar 2017 Call for Papers, Posters, & Workshops

Fri 2 Jun 2017 Deadline for Abstracts/Workshop Proposals

Fri 28 Jul 2017 Notification of Acceptance to Authors/Presenters

Fri 1 Sep 2017 Registration Opens

Mon 15 Sep 2017 Camera-ready Papers Due

Fri 13 Oct 2017 Registration Closes

Tue 31 Oct VSMM2017 Launches in Dublin

3 – 5 Nov Workshops & Cultural Tours, Belfast

https://gallery.mailchimp.com/40e5ea0b2a965056983e93436/files/710ba1f0-5d33-4531-8752-940ac5fd6c89/VSMM2017_CfP.pdf


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The Rickman Effect in VR

I have been in an interesting twitter conversation on the Swayze effect in Virtual Reality (see https://www.oculus.com/story-studio/blog/the-swayze-effect/)

Very thought-provoking article and it is a real problem, engagement in VR, but Swayze as ghost actually cares, the VR audience doesn’t..

So I suggest to redefine the Swayze Effect: where one wants to interact in VR but cannot, and to use the term Rickman Effect where one cannot or can only slightly interact but one has no great desire to. Alan Rickman’s character in the movie Truly Madly Deeply is a ghost who returns for his partner, but permanently feels cold and spends most of his time on the sofa aimlessly watching TV. See this youtube clip of Alan Rickman in the movie for more of a visual explanation.


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Interactive diagrams in online slides

I have been thinking that I should have the above in future slides.com/erikchampion/ presentations.What to use? Inside slides.com you can use code (frames etc) so why not try:

Smoothly animate thousands of points with HTML5 Canvas and D3
Peter Beshai (16 Mar 2017 blog post)
https://bocoup.com/blog/smoothly-animate-thousands-of-points-with-html5-canvas-and-d3


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CFP: Translating Pasts into Futures: Decolonial Perspectives on Things in Art, Design & Film

13- 14 October 2017, Hamburg, Germany
Speculations and fictions allow us to journey through time, drawing on the narratives of the pasts to craft and shape possible futures. These narratives have the potential to influence the present, and they call a linear conception of time into question. Stories shatter into fragments, bound together diagrammatically or as a bricolage, queering historical narratives, regimes, and geographies. What sort of futures will be created in the rereading of past eras? Is the future already colonized? What sort of postcolonial strategies are being developed in contemporary design, contemporary art, and film for the shaping and creation of possible futures?
The symposium focuses on observations of temporality with regard to the function, production, use, and significance of things in colonial, decolonial, and postcolonial contexts. Questions arising from this theme include:
How does the temporal interchange of things come about?
How should we deal with omissions and absences of things in archives?
What sort of transformational potential is inherent in things, or assigned to them? Can things be translated, or do they themselves do the translating?
Can things — or the way they are used and perceived — be emancipated from their contexts?
We are looking for artistic, essayistic, and scholarly responses to these questions. We are particularly interested in designers and artists whose work is rooted in these topics.
We are also looking for submissions in the form of performances, short films, and objects. In addition, we are
open to suggestions for workshops which deal with relevant questions, as well as other forms of presentation go beyond the boundaries of the categories mentioned.
The symposium will take a flexible structure. It will be organized around artistic contributions, artist talks, workshops, and thematic discussions. After the symposium, a book publication is planned, which will gather a selection of contributions.
Please email your submission to mara.recklieshamburg.de with the subject line
“Proposal Translating Pasts into Futures” by March 31, 2017
.Contributions, workshops, and other formats: 1,500 characters as a PDF.
Performances, videos, exhibition displays, images: images/reproductions, along with a short description, as a PDF. Article proposals for the book project without participation in the symposium: proposal of 1,000 – 1,500 characters with a reading sample as a PDF.
We ask each applicant to include a brief CV as a PDF.
Travel and accommodation costs may be covered by a grant subject to approval, as can transport
costs and screening fees.
Idea and realization: Eva Knopf, Sophie Lembcke, Mara Recklies, University of Hamburg and University of the Fine Arts of Hamburg.
For more information, please contact: sophie.lembcke@hfbk – hamburg.de
This event will take place under the auspices of the interdisciplinary research group “Übersetzen und Rahmen. Praktiken medialer Transformationen” (Translation and Framing: Practices of Medial Transformations) at the Universität Hamburg and the Hochschule für bildende Künste Hamburg.

https://www.bw.uni-hamburg.de/uebersetzen-und-rahmen/english-version.html


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CFP: Heritage Across Borders,” Association for Critical Heritage Studies, 4th Biennial Conference

Call for Session Proposals: “Heritage Across Borders” Association for Critical Heritage Studies, 4th Biennial Conference

01-06 September 2018, Hangzhou, China

The global rise of heritage studies and the heritage industry in recent decades has been a story of crossing frontiers and transcending boundaries. The 2018 Association of Critical Heritage Studies conference, held in Hangzhou, China, thus takes ‘borders’ as a broadly defined, yet key, concept for better understanding how heritage is valued, preserved, politicised, mobilised, financed, planned and destroyed. Thinking through borders raises questions about theories of heritage, its methodologies of research, and where its boundaries lie with tourism, urban development, post-disaster recovery, collective identities, climate change, memory or violent conflict. Held in the city of Hangzhou, China, Heritage Across Borders will be the largest ever international conference in Asia dedicated to the topic of heritage. It has been conceived to connect

international participants with local issues, and in so doing open up debates about the rural-urban, east-west, tangible-intangible and other familiar divides.

Borders tell us much about the complex role heritage plays in societies around the world today. Historically speaking, physical and political borders have led to ideas about enclosed cultures, and

a language of cultural property and ownership which marches forward today in tension alongside ideals of universalism and the cosmopolitan. More people are moving across borders than ever before, with vastly different motivations and capacities. What role can heritage studies play in understanding the experiences of migrants or the plight of refugees? And what heritage futures do

we need to anticipate as the pressures of international tourism seem to relentlessly grow year by year?

Heritage Across Borders will consider how the values of heritage and approaches to conservation change as objects, experts, and institutions move across frontiers. It will ask how new international cultural policies alter creation, performance, and transmission for artists, craftspersons, musicians, and tradition-bearers.

What are the frontiers of cultural memory in times of rapid transformation? How can museums engage with increasingly diverse audiences by blurring the distinctions between the affective and

representational? And do digital reproductions cross important ethical boundaries?

One of the key contributions of critical heritage studies has been to draw attention to the role of heritage in constructing and operationalising boundaries and borders of many kinds

-national, social, cultural, ethnic, economic and political.

In what ways do international flows of capital rework indigenous and urban cultures, and reshape nature in ways that redefine existing

boundaries?

We especially welcome papers that challenge disciplinary boundaries and professional divides, and explore cross-border dialogues.

What lessons can be learned from Asia where the distinctions between the tangible and intangible are less well marked? And how can researchers bridge

cultural and linguistic barriers to better understand these nuances?

Organised by Zhejiang University this major international conference will be held in Hangzhou, China on16 September 2018

Please send your session proposals to the following email address: 2018achs by the 31st of March, 2017.

For more information please visit http://www.2018achs.com/#/


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Research Infrastructures

I found myself in a meeting yesterday on the above. It reminded me of the DH2014 workshop that I wrote the call for and then couldn’t get to go to.

The points below, I feel I have to return to:

1. What are the objectives of each digital infrastructure project, and what are its intended users?
2. What are the functionalities and outcomes it aims to provide, and how do they serve the overarching goal of supporting and transforming humanities research?
3. To what extent were the needs of humanities researchers considered, and how is the digital humanities research community involved in the project?
4. Are there potential synergies, and actual collaboration, with other infrastructure projects? Conversely, are there any overlaps?
5. What are the main lessons learned from the life of the project so far? What are the pitfalls and potential failures, and what improvements could be achieved?