Monat: November 2016

CFP: NECS Conference 2017. Sensibility and the Senses


The NECS 2017 Conference
SENSIBILITY AND THE SENSES. Media, Bodies, Practices

Paris, France
29 June to 01 July 2017
Hosted by the Université Sorbonne Nouvelle – Paris 3

27 and 28 June 2017
Hosted by the Université Paris Diderot – Paris 7

Keynote presentations
Centre Pompidou
Grand Amphithéâtre de la Sorbonne

Deadline for submissions: 31 January 2017

Please note that the membership fee must be paid before submission (see for more details). Pay the fee in January to get access for the full calendar year.

The question of the relationship between media, bodies, and the senses cuts across the entire history of media theories. Since their first appearance, technical media such as telegraphy, photography, gramophone, film, typewriter, the telephone, radio, and then television, computer, internet, as well as a wide variety of cultural techniques for the recording, processing, and transmitting of information have been analyzed taking into consideration their relationships with the human body and its sensory organs. Concepts such as “organ projection,” “prosthesis,” “innervation,” “extension,” and “interface” have been used to describe the contact and the interaction between human organisms and technical apparatuses with their various degrees of hybridization, which in turn have generated a whole series of utopian and dystopian visions of a future “post-human” condition. And while the very notion of medium is strictly related to the problem of sensory perception (since it finds one of its origins in the Latin translation of a Greek term, metaxy, which was used by Aristotle in order to indicate the material intermediary entities that make perception possible), the body itself (with its expressive face, its sensitive skin, and its meaningful gestures and movements) has often been considered a sort of primary medium, a crucial reference point in order to understand the very nature of mediation.

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Workshop: Immersion – Transition – Figuration. Die neuen Grenzen des Ich

Veranstaltung: Immersion – Transition – Figuration. Die neuen Grenzen des Ich
(Köln, 01.-02.12.2016)
Workshop der a.r.t.e.s. Graduate School for the Humanities, Universität zu Köln
Aachener Str. 217 | 50931 Köln |
Organisiert von Thiemo Breyer (Köln) und Dawid Kasprowicz (Lüneburg)
Öffentlich. Eintritt frei

Die Vorstellung eines „Eintauchens“ oder gar „Versinkens“ in virtuelle Welten hat unter dem Begriff der Immersion eine abwechslungsreiche Geschichte hinter sich. Sei es das Hineingezogen-Werden in einen virtuellen Bildraum, die Multisensibilität von technischen Endgeräten oder das Versinken des Spielers in Computerspielwelten: Begleitet werden all diese Figuren von einer Steigerungslogik, die immer wieder die Immersion an den Horizont interaktiver Erlebnisse stellt. Im Hintergrund steht die Idee, ein vollständiges Dasein („Presence“) jenseits einer physisch verankerten Realität zu proklamieren. Mit der neuen Ausweitung von Virtual-Reality-Anwendungen im Unterhaltungssektor, wie in diversen Wissenschaften, tauchen immersive Erlebnisse sowohl als empirischer Forschungsgegenstand als auch als dokumentarische Erfahrungsform auf. Sie referieren auf zentrale Bereiche der Identität, der Personalität und nicht zuletzt der Körperlichkeit eines heute noch unscharfen Gegenstandes namens „digitales Subjekt“. Der Workshop will der Frage nachgehen, wie der diffuse Begriff der Immersion inmitten dieser digitalen Wissenskulturen zu positionieren ist.

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CfP: Why VR? Why Now?

Why VR? Why Now?: A critical discussion of Virtual Reality experiments and experiences*

Journal of Transformative Technologies

Abstracts due:
February 10th, 2017

Issue Editors:
Simon Young, <>
Thao Phan, <>
Andrew Lynch, <>

The ‘virtual insanity’ predicted by Jamiroquai’s Jay Kay in 1997, has certainly arrived, bringing with it an unprecedented range of VR technologies and software to experience for the contemporary media consumer. While it remains to be seen which of the multitude of competing technologies (Sony’s PlayStation VR, HTC’s Vive, Samsung’s Gear VR or even the humble Google Cardboard) will reign supreme in the consumer market, there has never been a more pressing time for scholarly analysis of how this state of ‘virtual insanity’ came to be, and how we might better comprehend its significance for the academic areas of media, screen and cultural studies.

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