Monthly Archives: March 2012

Seminar series announcement: From conference contribution to journal manuscript

Doctoral Writing Seminars (4 ECTS)
From conference contribution to journal manuscript

After successfully writing down your research in a paper and presenting it at a conference, you are faced with a new challenge: How to extend the conference paper into a journal manuscript. The purpose of this doctoral seminar series is to support you in this, following a very hands-on approach.

In a series of five small-group seminars, we will cover the practical challenges of locating a suitable journal, as well as how to sharpen your writing. In each seminar, a specific aspect of journal publishing is studied through presentations and exercises. In addition, you will be developing your manuscript further in take-home assignments.  Upon completion of all the seminars, you should have a first draft for a journal manuscript as well as a plan for how to finalize it.

As a first introduction to journal publishing, the seminar series is intended for second- and third-year doctoral students that have written a couple of conference papers and now are in the process of preparing their first journal submission.  The seminar series will be limited to a maximum of eight doctoral students to facilitate in-depth discussions of all participants’ work. You need to participate in all the seminars and do all the assignments to receive the course credits.

In applying for the seminar series, please submit the conference article you wish to develop by participating in the seminars and a short description of the current state of your PhD research (max 200 words) to Oscar Person ( before the 13th of April. All doctoral students at the School of Arts, Design and Architecture are invited to apply.


9 May, 13.00 – 16.00: Selecting a suitable format and outlet for your manuscript

24 May, 13.00 – 16.00: Establishing a ‘hook’ in the introduction

14 June, 13.00 – 16.00: Positioning your work and its contribution

22 Aug, 13.00 – 16.00: Reporting your method

12 Sep, 13.00 – 16.00: The final (and important) details at the beginning and the end

Call for Papers and Creative Works CODE – A Media, Games & Art Conference, 21-23 November, 2012, Swinburne University of Technology Melbourne, Australia

Jussi Parikka – Reader, Winchester School of Art
Christian McCrea – Program Director for Games, RMIT University
Anna Munster – Associate Professor at the College of Fine Arts, UNSW

Code is the invisible force at the heart of contemporary media and
games, routinely obscured by the gadget fetish of breathless tech
marketing and scholarly focus on more visible social and technical
interfaces. With the recent material turn in media studies and the
refinement of new approaches including software studies and platform
politics, which emphasise interrogating the formal characteristics and
underlying technical architecture of contemporary media, the time has
come to bring code out into the open.

Code can be defined in two distinct but related ways: as an underlying
technological process, a set of rules and instructions governing, for
instance, the permutations of all those 0s and 1s obscured behind user
interfaces, but also as a cultural framework navigated and understood
socially and performatively, as is the case with legal, social and
behavioural codes. As an operative principle, code’s significance thus
extends far deeper than its current digital manifestation. For this
conference, we invite submissions of papers and creative works that
consider the role of code as a simultaneously material and semiotic
force that operates across the wider cultural, social and political
field, with particular emphasis on media, games and art.

The conference theme is also an opportunity to reflect on how, as
academics and creative practitioners, we often participate in but can
also challenge the disciplinary and institutional codes that can
arbitrarily separate these domains. CODE will be a transdisciplinary
event that brings media studies, media arts and games studies into
dialogue through individual papers, combined panels, master classes and
an included exhibition.

We welcome submissions related to any aspect of code in all its
diversity. Possible considerations might include, but are not limited

– Code and the in/visible: what are the technical, ideological and
academic aspects that work to obscure codes? And what might be the
strategies for making codes visible again? Topics: ‘screen essentialism’
(Kirschenbaum 2008); race and/as technology (Chun 2009); glitch and
error; programming activism; DIY coding; game exploits.

– Code and/as ideology: as something that both carries and obscures
meaning, what is code’s relationship to ideology? Topics: Black-boxing;
the fetish of visualisation (Chun 2011); ‘there is no software’ (Kittler
2005); code as social frame; encoding/decoding.

– Coding the disciplines: media and games studies. How do these closely
related disciplinary formations account for their existence? What
epistemological and methodological insights might they share or
contribute to one another, perhaps through emergent fields like software
studies and platform politics? Or should they remain distinct?

– The deeper history of code: as a principle of information exchange,
code’s centrality in media and communications technologies goes beyond
the digital. What is the role of code in the deeper history of media,
and what are the media archaeological resonances or links between ‘old’
and ‘new’ forms of code? Can their emergence often be traced back to the
military-industrial complex? Topics: Prehistory of code; Morse code and
semaphore; encryption and cryptography; cybernetics and early computing;
pre- and non-digital games.

– Code and the public/private: What are the historical, legislative,
technological and cultural settings for the emergence of ‘public
privacy’, in which public signifying systems are vehicles for highly
personal messages? Topics: public, private and intimate spheres;
epistolary networks; social media; reality programming; celebrity;
geolocating identity, meaning and destination.

– ‘Code and other laws of media’: the continuities and discontinuities
of different codes. Just as legal codes embedded in technical protocols
like digital rights management may disastrously overextend copyright
protections (Lessig 1999), how else do different codes meet, overlap,
extend and come into conflict with one another? Topics: Copyright and
intellectual property; distribution; technical, legal, social and
behavioural codes.

– Security codes: Though code often serves to secure and obscure
authority, it remains vulnerable to hacking, raising the spectre of a
whole new form of risk society operating at the level of code and
through its breaches and accidents – how does this play out across
networked information, communication and entertainment environments?
Topics: phone hacking; Wikileaks; Anonymous and software-based protest;
gaming hacks and cracks; data theft.

– Code and agency: Interactive media, games, art and cultural practice
can all deal with the relationship between the interacting participant
and the coded system. What aesthetics and politics are at work when the
participant’s presumed agency and the coded constraints are in tension?
Topics: aesthetics of code-based media; interface; participant
experience; emergence/counter-play; proceduralism and performativity.

– Bodies in code: how do information and code, not only interfaces and
devices, reconfigure the social, political and corporeal body, and vice
versa? How might we conceptualise the materiality and ontology of code
in relation to phenomenologies of embodiment and new materialism?
Topics: post-humanism (Hayles 1999); new and vital materialism (Bennett
2010); genetics and other codes for the body; disembodiment and

– Failures of code: Much of code’s power lies in its invisibility, a
transparency that allows it to be embedded as the ‘common sense’ of
everyday life, but what happens when code fails, socially culturally,
politically or technologically, or is exploited? Topics: rules and
disobedience; comedy; subversion; disruption; revolution.

:: For further discussion, please view the conference website:

Code operates, as if by stealth, beneath the materiality of networked
media performances, software art, games, mobile apps, locative and
social media. But code also presents artists, performers and creative
practitioners with opportunities to construct innovative hybrid media
forms that can extend our understanding of contemporary art practice.
From video installations in the 1960s, through to sophisticated
interactive media and augmented reality applications, artists have
arguably been at the forefront of innovation, adopting the language of
the computer to forge new creative frontiers. We invite contributions
that examine the creative potential of code, including but not limited
to, the implications of code for contemporary art/ists, code as art
and/or performance, code as avant-garde, virus and anti-art.

The CODE conference will include a thematic exhibition. We are seeking
submissions of screen-based works, pervasive games, and locative media
projects that respond to the conference themes. Projected and
performance works will also be considered.

– Individual 20 minute paper presentations: 300 word abstract.

– Panel submissions: panel submission should include three/four
individual abstracts of 300 words, a panel title, and a 200 words
rationale for the panel as a whole.

– Artists should submit a 250 word outline of the proposed creative
work including links to supporting documentation (10 stills or up to 3
minutes of video).

All submissions are due 31 May 2012 and should be emailed to

Please include your name, affiliation, contact details, and a brief

A special journal issue or edited collection on the conference theme is

– Conference website: (includes venue and
registration information, thematic discussion, reading list, etc.)
– Contact:

Dr Esther Milne
Deputy Head, Humanities, Arts and Social Sciences
Convenor, BA Honours Program
Faculty of Life and Social Sciences
Swinburne University of Technology
Letters, Postcards, Email: Technologies of Presence (Routledge 2010):

Tenure-track Assistant Professor in Digital Media position at Old Dominion University

The Department of Communication and Theatre Arts at Old Dominion University invites applications for a position at the rank of Assistant Professor (tenure-track). Successful candidates will hold a Ph.D. in Communication, Media Arts, or related disciplines, and have expertise in digital media. Possible interests include one or more of the following areas: creative industries, digital arts and production, media history-criticism, identity studies, media activism, narrative and storytelling, new media technologies, and/or web studies. Candidates should be committed to undergraduate and graduate teaching, and are expected to participate in university/college/departmental service activities. Send a letter of application that addresses the position, a curriculum vitae, a sample publication, and the names and contact information of three references to: Dr. Robert Arnett Search Committee Chair, Department of Communication and Theatre Arts, Old Dominion University, Norfolk, Virginia 23529-0087. Review of applications will begin on April 13, 2012 and will continue until the position is filled. Old Dominion University is an equal opportunity, affirmative action employer and requires compliance with the Immigration Reform and Control Act of 1986
Avi Santo, Ph.D.
Assistant Professor
Department of Communication and Theatre Arts
Old Dominion University
Office: Batten Arts & Letters 3014
Tel: 757-683-6971

Co-Creator, Flow: A Critical Forum on Television and Media Culture (
Co-Creator, MediaCommons: A Digital Scholarly Network (
Creator and Coordinating Editor, In Media Res (

Comments on Heidi Tikka’s Presentation

The presentation yesterday was very comprehensive. Heidi took us through her artistic projects from the last ten years and then explained which ones she was selecting for the thesis and why. She then continued by focusing on her latest project “At hand”. This important project was exhibited as part of the Media Facades Festival in 2011 and was the subject of an article in a peer-reviewed publication last semester.

After the presentation there was a good critical discussion of many of the issues elaborated such as: How is the Other represented in the work? Why is it this way? How does the artist seek to instantiate a critical practice? What about the representation of technology and its visibility (or invisibility)? How can this work for the installation? Does it help to create a new aesthetic experience to the work?

Attendance was ok. but we could use a larger audience: Sinikka Laine, Ferhat Sen, Mia Muurimäki, Callum Goddard, James Nesfield, Mika Tuomola, Susanna Ånas, and Lily Díaz.

I encourage all our students and staff to attend these seminars!