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<p class="owaPara">**Kind reminder</p>
<p class="owaPara">**Apologies for cross-posting</p>
<p class="owaPara"> </p>
<p class="owaPara">CALL FOR SUBMISSIONS </p>
<div class="entry-content clearfix">
<blockquote>
<p style="text-align: justify;"><b><span style="text-decoration: underline;">Conference</span></b></p>
<p style="text-align: justify;"><b>AFFECTIVE EXPERIENCES</b></p>
<p style="text-align: justify;"><b>media art, design & research </b></p>
<p style="text-align: justify;"><span style="text-decoration: underline;">twitter hashtag</span> #affectexp</p>
<p style="text-align: justify;"><strong><u>affectiveexperiences.com/</u></strong></p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;">The conference is funded by the AHRC and will be held on Monday 9<sup>th</sup> of December 2013 at Parasol Unit, London, UK. It is a collaboration by City University London, Kings College London, Middlesex University, New London
Graduate School (NLGS) and University College London in the academic fields of Creative Industries and Practice, Art and Design and Digital Humanities.</p>
</blockquote>
<p class="owaPara"><b>Date</b></p>
<p class="owaPara">9<sup>th</sup> December, 2013</p>
<p class="owaPara"><b>Conference Venue</b></p>
<p class="owaPara">Parasol Unit, 14 Wharf Rd N1 7RW, London UK.</p>
<p class="owaPara"><cite>www.parasol-unit.org/</cite>ý<br>
<b></b></p>
<p class="owaPara"><b><span class="Apple-style-span" style="font-weight: normal;"><b><u>Keynote speakers</u></b></span></b></p>
<p class="owaPara"><b><span class="Apple-style-span" style="font-weight: normal;"><strong><u></u></strong></span></b> </p>
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<p class="owaPara"><em><strong>Professor Ernest Edmonds</strong></em></p>
<p class="owaPara">Professor of Computation and Creative Media at the University of Technology, Sydney and Professor of Computational Art at De Montfort University in Leicester, UK.</p>
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<p class="owaPara"><em><strong>Professor Lisa Blackman</strong></em></p>
<p class="owaPara">Professor in Media and Communications, Goldsmiths College</p>
<a href="http://film.sapientia.ro/en/contact"><b>
<p style="text-align: justify;"><br>
</p>
</b>
<p style="text-align: justify;"></p>
</a></div>
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<div class="entry-content clearfix">
<p style="text-align: justify;"><b>Deadline for submissions</b></p>
<p style="text-align: justify;">September 2, 2013</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;">The various uses of technological innovation in the social sphere have shaken our engagement with events, histories, art and culture and brought the question of emotional and physical encounters to the foreground. We are witnessing
encounters that impact largely the understanding of previously established dichotomies of mind-body, social-natural, human-nonhuman, cognitive-affective. They seem to amalgamate in concepts as ‘assemblage’, ‘flow’, ‘becoming’, ‘relationality’ and ‘heterogeneity’
(Blackman, 2012). The experience of the digital era is today often argued to move beyond forms of representation involving corporeality of perception with artists, practitioners and designers to explore the many intersections between affect, emotion, sensation
and action.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;">The analysis of affect is emerging significantly in a number of disciplines including social and cultural theory. Computing, design and usability are also part of ‘the affective turn’ with the emergence and development of affective
computing, emotional usability and emotional design (Picard, 2003). The experience of emotions involves bodily movements, movements on feelings and thoughts, allowing the potential to occur. Affects are transitions (Massumi, 2002) and these movements of affects
and emotions are encaptured in-between one experiential state of the body to another. The ability to affect and be affected is intrinsic to the category of emotion as well as the body. To have a body is to learn to be affected… put into motion by other entities,
humans or nonhumans (Latour, 2004). Emotions are part of the change in the relation between affect and cognition, argued to be a necessary part of interpretation, expression, evaluations of circumstances that provide information about relations to other,
objects and events.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;">Audience participation is a familiar and arguably essential feature in these practices, as it is integral to the new forms of relationship that are developing in the intersections of art, technology and the social. This brings
to the fore a questioning of participation and interactivity, particularly as a source of affective and emotional experiences in relation to technology. Investigating the notion of audiences, visitors and users also seem valuable in this context.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;">The conference aims to offer a multi-disciplinary space to discuss challenges in theorizing and researching emotional and affective experiences across disciplines and practices that centre on the use of interactive and digital
technologies. How do we explore affective encounters in relation to interactivity, audience participation and interactive experiences? How do artists’ work and engagement with audiences experience reveal affective qualities? What is the stake of galleries
and cultural institutions in these challenges? What is the role of affect and emotion when researching audience’s experience? How should we formulate research questions, research methods, and research dissemination? What methods researchers use and how affective
encounters can be captured? The symposium will specifically discuss audience experiences and interaction with new media interventions in art galleries, museums and institutions invoking affect.</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><b>Submissions may address (but are not limited to) the following themes:</b></p>
<ul style="text-align: justify;">
<li>experiencing mediated digital environments;</li><li>the in-betweenness of digital experiences; affective dynamics; art and technology;</li><li>audiences, visitors and users; new audience relationships;</li><li>institutional engagement in affective encounters;</li><li>phenomenological understanding of the interactions of audiences, media and other forms of media;</li><li>theorisation of affective encounters;</li><li>audience participation; performing histories and events;</li><li>the aesthetics and ‘politics’ of interactivity, participation and engagement in the digital age;</li><li>art, cultural heritage and changing relationships between affect, cognition and perception;</li><li>audience research and new media: new methodological horizons;</li><li>research methodologies; users’ experience and involvement;</li></ul>
<p style="text-align: justify;">The time for presentations is limited to maximum 20 minutes, followed by a 10 minute debate.</p>
<p style="text-align: justify;"><b>Deadline </b>for the submission of proposals: <b>
2 September 2013.</b><br>
We will notify you about the acceptance of your proposals by: <b>16 September 2013.</b></p>
<p style="text-align: justify;"><b>Submission of proposals:</b> please send an attachment to the following address
<b><span style="text-decoration: underline;">Irida.Ntalla.1@city.ac.uk</span></b></p>
<p style="text-align: justify;">Abstract from 200-300 words. Innovative forms of presentation will be considered such as dialogues between several presenters or artistic interventions such as video or participatory practice sessions.The papers based on the
conference presentations will be published in English in a <i>Special Issue</i> in a peer reviewed journal. Detailed will be revealed in due time.</p>
<p style="text-align: justify;"><b>Conference fee</b> £15 / £10 concessions</p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>REGISTRATION IS NOW OPEN</strong></p>
<p style="text-align: justify;"><a href="http://affectiveexperiences.com/conference-overview/registration/"><strong>http://affectiveexperiences.com/conference-overview/registration</strong>/</a></p>
<p style="text-align: justify;"> </p>
<p style="text-align: justify;"><strong>Please note: </strong></p>
<p style="text-align: justify;"><em>A number of 12 free tickets are allocated for graduate and postgraduate students from the partner universities (see below) . This is on a first come, first served basis. Students need to send their details and a few lines on
their interest in attending the conference to </em><a href="mailto:Irida.Ntalla.1@city.ac.uk" target="_blank"><em>Irida.Ntalla.1@city.ac.uk</em></a><em>
</em></p>
<p style="text-align: justify;"><em></em> </p>
<p style="text-align: justify;"><b>Partners:</b></p>
<ul style="text-align: justify;">
<li><strong><a href="http://www.kcl.ac.uk/artshums/depts/cmci/index.aspx">Department of Culture, Media and Creative Industries (CMCI),</a></strong> King’s College London</li><li><b><a title="Art and Design Research Institute" href="http://adri.mdx.ac.uk.contentcurator.net/about" target="_blank">Art and Design Research Institute</a>,</b> New London Graduate School (NLGS), Middlesex University<i>
</i></li><li><a title="UCL Centre for Digital Humanities" href="http://www.ucl.ac.uk/dh" target="_blank"><b>Centre for Digital Humanities</b></a>, University College London</li><li><a title="Parasol Unit" href="http://www.parasol-unit.org/" target="_blank"><b>Parasol unit</b></a> foundation for contemporary art</li></ul>
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<div class="PlainText"><font face="Arial">Irida Ntalla<br>
PhD Candidate<br>
Schools of Arts, Cultural Policy and Management<br>
Irida.Ntalla.1@city.ac.uk<br>
@irisflying<br>
<br>
<font size="1">This email and any attachments to it are confidential and are intended solely for the use of the individual(s) to whom they are addressed. If you are not the named addressee you should not disseminate, distribute or copy this e-mail. Please notify
the sender immediately by e-mail if you have received this e-mail by mistake and delete this e-mail from your system</font>.</font></div>
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