Category Archives: Journals

Call for Proposals: RF 2018: Hybrid Labs Symposium

Call for Proposals

RF 2018: Hybrid Labs Symposium

May 30 – June 1, 2018
Aalto University, Espoo, Finland
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Deadline – extended to 5 March, 2018
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Hybrid Labs is the third edition of Renewable Futures conference that aims to challenge the future of knowledge creation through art and science. The HYBRID LABS will take place from May 30 to June 1, 2018 at Aalto University in Espoo, Finland, in the context of Aalto Festival. Celebrating 50 years of Leonardo journal and community, the HYBRID LABS conference will look back into the history of art and science collaboration, with an intent to reconsider and envision the future of hybrid laboratories – where scientific research and artistic practice meet and interact.

Our three-day media event medley includes:

May 30, 2018 – Exhibition Opening
Opening Programme features Oslofjord Ecologies Extended exhibition opening. The exhibition is based on results of artistic research processes following common workshops, field trips and earlier exhibitions and performances linked to the Creative Europe project Renewable Futures and the Nordic collaboration Hybrid Labs. Curated by Kristin Bergaust on behalf of Art in Society research group at HiOA, this cross-disciplinary exhibition includes contributions from visual arts, art and science, theatre, performance, design, visual culture, art didactics and urban research.

May 31, 2018 – Renewable Futures Conference
Renewable Futures conference will begin with keynotes addressing HYBRID LABS topic from different broader perspectives. Parallel tracks of presentations will discuss the future of HYBRID LABS, art and science collaboration, focusing on five main topics: hybrid practices (in art and science), hybrid storytelling, hybrid fabrication, hybrid reality, and hybrid economies.

June 1, 2018 – Collaboratory Day, Celebrating Leonardo’s 50th Anniversary
Collaboratory day and Leonardo birthday celebration includes guided tours of several of the Otaniemi campus laboratories and a workshop on collaboratory methods during the morning followed by afternoon keynote, sauna, and dinner. The topic of the keynote will be about Arts and Science collaboration and planetary healing. Also throughout the Lab tours, we want to stress the heritage aspects of the spaces, the campus and innovative aspects of art and science collaboration.
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Keynote Speakers:

  • Roger MALINA / Executive Editor, Leonardo Publications at M.I.T Press / Professor, the University of Texas at Dallas.
  • Nina CZEGLEDY / Artist, Curator and Educator on Art, Science and Technology / Leonardo Community, Toronto, Canada
  • + others – to be confirmed

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More info:

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Early Bird fee until 15 April, 2018.

Early Bird Full Price: 68 EUR (normal price 86 eur).
Early Bird Student Price: 42 EUR (normal student price 56 eur).

Included: Coffee and Snacks, Sauna and Dinner (Lunch is not included).


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We welcome submissions by academic researchers, designers, artists, scientists, students, social entrepreneurs, visionaries and other creative thinkers and practitioners to submit their proposals related to the topics (below).

List of Topics

  • hybrid practices – combining art and science, technology and ecology, digital and biological in research and education
  • hybrid storytelling – heritage and storytelling for linking virtual with the material domain of everyday life
  • hybrid fabrication – innovative maker trends in art and design practices
  • hybrid reality – interventions into the uncritical excitement about virtual reality, artificial intelligence and machine learning
  • hybrid economies – artistic practices in-between sharing and selling, networking and fabricating

Submission Guidelines

The proposals could be submitted for the following forms of presentations:

  • academic papers (full / short)
  • artistic presentations (performative lectures / performances / participatory sessions)
  • poster sessions

The conference proposals should include:

  • Title and abstract (250 words max – text fields ‘Title’ and ‘Abstract’), mandatory;
  • five to six keywords (text field ‘Keywords’), mandatory;
  • short biography: 100 words (text field ‘Comments’), mandatory;
  • you can also upload a file containing any additional relevant information, optional;
  • please indicate in your abstract if you want to submit pictures or videos (max 100Mb) as part of your final submission.

Deadline for Conference Proposals (Abstracts) – February 19, 2018
Notifications of acceptance – March 2, 2018

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Conference Submissions – for Selected Abstracts:

After receiving the notifications, the selected participants will be asked to submit their Full/Short Papers (working version – for pre-review), Posters (layout) and Artistic Presentations (Slides) by May 14, 2018.

1. Full/Short Paper Submission:
If your abstract for full/short paper will be selected, you will be asked to submit full/short paper for pre-review before the conference (working version). All papers must be original and not simultaneously submitted to another journal or conference:
– Full papers are up to 6000 words long including references and the presenter must prepare 20+10 minutes presentation.
– Short papers are up to 3000 words long including references and the presenter must prepare 10+5 minutes presentation.

2. Artistic Presentations:
Presentations should be prepared as powerpoint or keynote slides.

3. Posters:
Posters should be made in A1 format, and submitted as PDF.


Shortly after the conference, the selected participants will be asked to submit their final version of the paper for peer-review. The submitted papers will undergo the double-blind peer-review process to be published in Acoustic Space journal series (Vol. 18, 2019).

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When submitting your final papers, you should keep in mind the following:

  • Your name. Delete your name from the first page or where ever it is mentioned in the paper.
  • Acknowledgements. Please delete or mark “Acknowledgements removed”, if you have acknowledgements or thanks to those who helped you with the paper.
  • Document properties. Please don’t send word or similar documents, because it might include personal information in the document (for example in Word, go to file à properties).
  • Send your paper in pdf-format.
  • Self-citation. Please anonymize your references or citations to your previous works.
  • Images and Videos. Please hide all such information that can reveal you in videos or images you are sending along with your paper.

More info about the Acoustic Space, peer-reviewed journal series:

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Conference website
Submission link:
Proposal submission deadline February 19, 2018
Notifications of acceptance March 4, 2018
Deadline for selected abstracts May 14, 2018

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Conference Chair
Prof. Lily Díaz

The Local Conference Organisational Board
Prof. Lily DIAZ-KOMMONEN / Head of Research Department of Media, Aalto University, School of Arts, Design and Architecture, Espoo, Finland
Prof. Rasa SMITE / Liepaja University / RIXC / Riga, Latvia
Prof. Kristin BERGAUST / Oslo and Akershus University, Norway
Nina CZEGLEDY, Leonardo Community, Toronto, Canada
Juhani TENHUNEN / Aalto Studios, Espoo, Finland
Saara MÄNTYLÄ / Department of Media, Aalto University, Espoo, Finland.

The International Scientific Board of Renewable Futures Conference
Prof. Lev MANOVICH / Cultural Analytics Lab / The Graduate Center, City University of New York, USA
Ph.D. Jussi PARIKKA / Winchester School of Art / University of Southampton / UK
Ph.D. Geoff COX / School of Communication and Culture, Aarhus University, Denmark
Assoc. Prof. Laura BELOFF / IT University, Copenhagen / Finnish Bioart Society, Helsinki, Finland
Prof. Ursula DAMM / Bauhaus University Weimar, Germany
Dr. Vytautas MICHELKEVICIUS / Nida Art Colony, Vilnius Academy of Arts, Lithuania
Ph.D. Margrét Elísabet ÓLAFSDÓTTIR / Art Education at the University of Akureyri, Iceland
Assoc. Prof. Ilva SKULTE / Riga Stradins University, Latvia
Dr. art. Piibe PIIRMA / Tallinn University / Estonian Academy of Arts, Tallinn, Estonia
Ph. D. Raivo KELOMEES / Estonian Academy of Arts, Tallinn, Estonia
Prof. Miško ŠUVAKOVIĆ / Faculty for Media and Communication, University Singidunum, Belgrade, Serbia
Dr. Ellen PEARLMAN / Parsons / New School University, New York, USA
Ph.D. Chris HALES / Assist. Prof. and Study Director of New Media Art Doctoral Programe, Liepaja University, Liepaja, Latvia
Raphael KIM / PhD Student, Media and Arts Technology, Queen Mary University London, UK

Aalto University, Otakaari 1 x, Espoo Finland

Contact /

Aalto University

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Please note that this call was updated after its first publication.

Canadian Theatre Review – Articulating Artistic Research

available online

Canadian Theatre Review

Vol. 172, Fall 2017

CTR Online:

Articulating Artistic Research


“Introduction: Ahr-tik-yuh-leay-ting Ahr-tis-tik Ree-surch”

Bruce Barton

“What Happens When…?”: A Meditation on Experimentation and Communication in Practices of Artistic Research

Natalia Esling

Natalia Esling’s introductory article to this special issue of CTR offers a snapshot of views and experiences of an international colleague (Falk Hübner) as a point of comparison for her own experiences using practice-based research (PBR) methodologies to examine the impact of sensory manipulation in contemporary performance. Discussing in brief her own research methods and experiment design, she considers several fundamental criteria associated with Artistic Research (AR)—process orientation, knowledge generation, and utility/transferability—arguing that the significance of discoveries made and knowledges gained through practices of AR lies in the capacity to communicate those discoveries and knowledges across multi- and interdisciplinary boundaries. The article further articulates the benefit of hands-on processes that lead to more incisive and precise questions related to discrete aspects of the dynamics of performance; it considers a way of thinking about AR in relation to performances/productions that does not necessarily privilege a performance/production as a final “outcome,” but rather that positions it as one aspect within the broader process of addressing a particular question through AR.

Work Quickly but Think Slowly

Brian Quirt

Brian Quirt reviews the history, impact, and current activities related to Nightswimming’s Pure Research program in the context of his own creative practice. The article examines the program’s impact in light of current partnerships with four Nordic theatre research organizations, relating performance lab work conducted in 2016 in Reykjavik, Iceland, to Quirt’s own practice as a dramaturg and theatremaker. The article assesses Nightswimming’s ongoing efforts to archive past research projects, disseminate the results, and by examining the impact of those projects on participating artists, strategize about future Pure Research iterations. Most importantly, the article explores the relationship between Pure Research’s commitment to ‘pure’ performance research, and how its activities and discoveries have had significant impact on how Nightswimming initiates new creative projects and designs the creation process for those works in development. The article refers to a previous CTR article devoted to Pure Research, published in CTR 119 (Summer 2004) also written by Quirt.

Connective Tissue: Practice as Research in Cross-disciplinary Research Collaborations

Pil Hansen

Practice as Research (PaR and its associated forms) is becoming established within a knowledge paradigm encompassing a broad spectrum of different artistic research practices in the performing arts. In this short essay, Hansen first acknowledges and describes methodological characteristics of this work, which appear across different discussions and examples. The author’s primary objectives, however, are to look at PaR in relationship to broadly established scientific and interpretive research paradigms; to identify the points of negotiation that cross-disciplinary research entails; and to discuss the additional capacity of PaR as ‘connective tissue’ between, for example, creative practice and scientific research. These objectives are driven by the observation that contemporary socio-environmental challenges are too complex to be addressed through segregated, discipline-specific research alone.

The Larval Journey

Peter Balkwill

How does a creating theatre artist access inspiration; how are they able to push the bounds of their current practice and find news of working; how do they get to an original idea? This article might not be able to solve those direct questions but provides avenues toward the possibility of answers. We explore the abstract form in Larval Mask as well as larval shape to goad both our mind and body into the unknown fog of the creative cosmos, to see what happens when we release the pursuit of reaching for a predetermined “idea” and to simply explore the arrival of something unexpected. In this manner of process we are able to push the status quo on many different forms of theatre—in this case toward the advancement of puppetry.

“[So] What Do Dancers Know, [Anyway]?”: Voicing the Dancer’s Perspective through Emergent Choreographic Analysis

P. Megan Andrews

[So] what do dancers know, [anyway]? Part manifesto, part essay, this article presents a woven, multi-level text discussion of my dancer/scholar standpoint and practice-as-research approach to articulating the dancer’s perspective. My recent research develops an emergent choreographic analysis of iconic American dance artist Deborah Hay’s choreography and practice, from my first-person experience as practitioner/performer in her solo “At Once” (2009). Writing as closely as possible to the dancing experience from within the practice, and using phenomenological, critical-poetic and performative writing strategies, this approach involves an iterative practicing, performing, and writing process that echoes the principles of adaptation underlying Hay’s own project. Reflecting Robin Nelson’s proposal that, in PaR, theory is imbricated within practice but must be articulated in complementary writing, I draw on Linda Hutcheon’s definition and principles of adaptation as a tool to amplify the resonances between Hay’s work, my artistic research itself, and the framework for its articulation. I ultimately position my research and writing not as a separate analytical reflection but as a critical-creative adaptation of Hay’s choreographic work.

A Way to Work on My Problem without Knowing What It Is

Evan Webber

The article outlines the background, development, method and impact of performance encyclopaedia, an iterative performance work co-created by Ame Henderson and Evan Webber. performance encyclopaedia, proposes that reading and writing are convivial, choreographic actions that produce not objects but temporal, collective, and embodied experience. The inception of this project is connected to a reading of Artistic research: theories, methods and practices by Mika Hannula, Juha Suoranta, and Tere Vadén, which was a major influence on the creators’ thinking.

Rhythm and Rumination: A Three-Course Conversation

Natalie Doonan

This article examines “specific productions” or products as these notions are called into question through artistic research. It reports on a pedagogical experiment that I conducted with a group of eighty students at Concordia University in the fall of 2016. Through writing, photography, and video, I document and reflect upon the relationships between pedagogy, research, and artistic production. These samples show that there are problems with attempting to distinguish between everyday acts and finished works. The process documented in the article calls into question the boundaries that we imagine between educating and artistic research. It does so by demonstrating the creative role of the educator in eliciting dialogue through the senses and in directing dialogue through attention to rhythm.

Of Puppets and Prototypes—Proposals for an Intermedial Performance Design Practice

Richard C. Windeyer

In this brief essay, puppetry serves as a metaphor for thinking about how several design research techniques—such as participatory prototyping or the development of user requirement specifications—may be adapted to the collective creation of intermedial performance projects. The observations and speculations explored in this essay have emerged primarily through the author’s own experiences as a designer of intermedial performance instruments over the past decade. As such, this essay constitutes a personalized proposal for an improved set of working methods capable of identifying and avoiding several recurring processual tendencies. 

The Invisible Opportunity: All the Light We Cannot See (in Research)

Jessica Watkin

This article articulates the growth that occurs in graduate school when the author comes to terms with their disability as being a positive contribution to their scholarly work by using it in practice-based and embodied research. It explores a project which illuminated the possibilities of embodied research by renegotiating the emphasis of visual performance on stage and by claiming space in graduate life to work with disability to bring new perspectives to scholarly work.

To ‘Hack’ and Back: The Professional Actor as Researcher

Martin Julien

This article examines the idea of “articulating artistic practice” from the positionality of professional actors who also work as researchers within a practice-based research framework. Three main areas of concern are briefly outlined and unpacked: remuneration, scheduling, and aesthetic/practical goals and outcomes. Practice-based research is, by definition, interdisciplinary, and often intermedial. Highlighting some of the commonalities and differences that exist between professional performance practitioners and academic researchers is a necessary and fertile exercise in the quest to establish working methodologies and successful collaborations within the broader praxis of research models based in performance behaviours and technique.

Photo Collection

Aria Evans

Emerging to established Toronto dance artists respond to the question: “How is your artistic research or creative process different when there is no deadline associated with the project?”

A Practitioner’s Attempt at Quantifying the Actor’s Experience

Christine Brubaker

This article outlines selected findings from a personal research project I conducted in 2012 in Toronto with support from Nightswimming Theatre’s Pure Research Program—a program for professional artists to investigate questions within their practice free from any outside academic or performance agenda. I conducted a two-day performance lab with eighteen actors to investigate the experience of acting in different performance mediums and the usefulness of the Visual Analogue Scale to quantify this experience. 

Practice and Research: A Report from the Academy

Patrick BlenkarnCole LewisKer Wells

Summarizing a round-table discussion by faculty members at Simon Fraser University’s School for the Contemporary Arts, this report presents the arguments and assumptions surrounding Practice as Research within the university. The artists present, drawing from their own experiences in a range of disciplines, debate the terminologies of research, institutional conceptions of methodologies, the function of documentation, their relationship with artists outside of the university system, and the place of teaching within the (potentially false) binary of practice and research. While no ultimate conclusions are made, the report serves as a condensed survey of the significant methodological, if not cultural, divides within contemporary art as it exists within the university institution.

Listening to Animals: Interspecies Understandings through Performance-Based Research

Kimber Sider

We live in an interspecies community, and yet much of the time only human perspectives are acknowledged or considered valid. In order for animal perspectives to be recognized, the mode of inquiry needs to privilege animal ways of knowing and being in the world; it needs to privilege performance, and practice-based research. This paper explores the potential and importance of engaging performance-based research in interspecies contexts. The analysis centers on the performance-based research project, Playing in Silence, which invites musicians to improvise with horses in an open and unstructured space. Playing in Silence demonstrates that through the shared language of performance, humans and horses can co-create understandings, expand knowledges, and learn about one another. Many humans spend an inordinate amount of time speaking about animals, but completely overlook the possibilities of speaking with animals, of learning with and from them, and of discovering their perspectives as unique individuals. However, by tuning into the nuances of another’s performance, through the reflexive inquiry of performance-based research, interspecies understandings can be found, challenging the dominant human-centric perspective of the world, and opening up new realms of understanding.

Interactive Research: Media | Animator | Performer

Gwenyth DobieWilliam Mackwood

This article investigates the emerging methodologies of interactive performance. Interactive performance has been defined as one in which: digital technology is a central strategy, andthere is a corporeal presence (live body) on stage, and there is real-time interactivity between the two. The central question of this study revolves around the evolving systems used to develop this work, specifically searching for solutions to the complex challenges raised when developing digital tools synergistically with dramatic content. As artistic researchers and educators in the School of the Arts, Media, Performance and Design, York University, and Artistic Directors of Out of the Box Productions, Gwenyth Dobie and William Mackwood are advantageously positioned to use creative practice as a primary means and method of inquiry. Through their research-creation work they recognize the general term “Animator” as better able to describe the blend of knowledge, interests, and investment needed of all participants for a successful outcome. Further, they implement the terms “Animator Performer” (AP) and “Media Animator” (MA) when working in the world of interactive performance. From the findings on their most recent immersive piece Rallentando — an Installation, Dobie and Mackwood detail new creation methodologies where Media Animator/Animator Performer collaborate in ‘real-time’ throughout the developmental process.

Terms of Engagement: The Ethics and Aesthetics of Artistic Experimentation in the Rencontres/Encounters Project. A Dialogue of Sorts

Rachael Van FossenLisa Ndejuru

Situated within a context of social unease around xenophobic measures such as Québec’s Commission on Reasonable Accommodation and the infamous Charter of Québec Values, Rencontres/Encounters (R/E)’s research-creation process foregrounds what Ric Knowles terms “interculturalism” or “the contested, unsettling, and often unequal spaces between cultures, spaces that can function as performative sites of negotiation.” R/E blurs distinctions of what constitutes “community-engaged,” by experimenting with professional theatre artists from diverse or marginalized communities as an ethical, experimental approach to advancing social engagement processes and artistic creation. Can stepping into performance in the stories of others/another/an Other help build relationships and transform understandings across different life experiences, value systems, racialization, faiths, sexual and gender identities, etc.? The basis of the R/E experimental methodology in studio was to invite performance proposals centred on an ever-evolving set of questions. For example: What personal material can and should be used? How can risks be mitigated in future encounters? What are we looking for? How can we clarify the terms of engagement? Our team now is refining and adapting the experiments for dissemination in the form of workshops, and through a resource guide that will provide a menu of exercises, games, and performance proposals.

The Making of Making Treaty 7: A Practical, Philosophical and Ideological Template for Intercultural Collaboration

Troy Emery TwiggKris DemeanorBruce Barton

The origins of Making Treaty 7 the theatrical production in some ways mirror the treaty signing process itself 140 years ago: Negotiation, protocol, and the quest of two cultures trying to understand each other. Where this process significantly diverges from the murky dealings in 1877 is that the spirit in which this society and this play were created comes out of a need to repair and reconcile the fractured relationship between the First Nations and “newcomers,” a desire to recognize the facts of the past and have it inform us as to how to move forward together on this land. This article is a unique look inside the genesis and creation of Making Treaty 7. Troy Emery Twigg, a Blackfoot artist, dancer, and educator, and Kris Demeanor, a Calgary-based poet and musician, were part of the initial wave of consultation with Treaty 7 elders, research, and discussion with Michael Green, Narcisse Blood, and Blake Brooker that helped define the trajectory of Making Treaty 7. These interviews illuminate how research, largely based on written versions of first hand oral accounts by First Nations leaders, stimulated the artistic process as “theme bundles” were created and as musical and scene creation collaborations were pursued. Ultimately, it is the story of reconciliation through art, and the blending of socially conscious creation with artistic rigour.


Collective Script

Kimber SiderKer WellsNatalie DoonanP. Megan AndrewsPeter BalkwillChristine BrubakerMartin Julien

One of the most complex and complicated aspects of Artistic Research lies in its relationship to documentation, dissemination, and transferability. How does one represent process without turning it into a product? This issue’s ‘script’ is the manifestation of that challenge, a collaboratively realized project that is both a research design and its realization, a material process that is also a work of art.

For a full list of views and reviews:

University of Toronto Press – Journals Division

5201 Dufferin St., Toronto, ON, Canada M3H 5T8

Tel: (416) 667-7810 Fax: (416) 667-7881

Fax Toll Free in North America 1-800-221-9985

ACM Journal on Computing and Cultural Heritage (JOCCH)

Special Issue on Evaluation of Digital Cultural Resources

Guest Editors
Maria Economou, University of Glasgow, UK
Ian Ruthven, University of Strathclyde, Glasgow, UK
Areti Galani, University of Newcastle, UK
Milena Dobreva, UCL Qatar
Marco de Niet, University of Leiden Library, The Netherlands

Scope and Context

Digital technologies are affecting all aspects of our lives, reshaping the way we communicate, learn, and approach the world around us. In the case of cultural institutions, digital applications are used in all key areas of operation, from documenting, interpreting and exhibiting the collections to communicating with diverse audience groups. The communication of collections information in digital form, whether an online catalogue, mobile application, museum interactive or social media exchange, increasingly affects our cultural encounters and shapes our perception of cultural organizations. Although cultural and higher education institutions around the world are heavily investing on digitization and working to make their collections available online, we still know very little about who uses digital collections, how they interact with the associated data, and what the impacts of these digital resources are.

The issue seeks to address this gap by bringing together interested parties from a range of disciplines (e.g. digital heritage, museology, information studies, digital humanities), practices and sectors to discuss the latest developments on evaluating the use of cultural digital resources.

Topics and Themes

The issue will appeal to academics and practitioners working in a range of disciplines: cultural heritage workers, arts professionals and scholars interested in issues relating to digital resources and their impact upon curation, education, engagement and outreach. We invite submissions of both theoretical and practical approaches, efforts and trends in this emergent field presenting innovative research. Topics and issues to be addressed include but are not limited to:

  • Who uses digital cultural resources, where, and how these resources changed the consolidated working practice
  • Addressing diverse users’ needs and expectations (i.e. from schoolchildren and families to students and researchers)
  • Assessing impact, use and value of digital cultural resources (methodologies, approaches and issues)
  • Ways of recording and assessing impact and value
  • Models of access to digital collections
  • Evaluating participatory models of work in digital cultural heritage (crowdsourcing, citizen science, co-creation, co-curation)
  • Moving from impact to value when assessing digital resources
  • Use of evaluation data in the curation of digital collections
  • Integrating evaluation when working with communities in digital cultural heritage
  • Adapting old and testing new innovative methods when evaluating quality, use and effectiveness of digital cultural resources
  • User studies
  • Metrics, webmetrics, infometrics and usage statistics
  • Evaluating emotional impact in digital heritage
  • Research on impact of social media on the usage of digital cultural resources


The idea for this special issue arose from the activities of the Scottish Network on Digital Cultural Resources Evaluation (ScotDigiCH) (, funded by The Royal Society of Edinburgh in 2015-2016, and particularly from the discussions and papers presented at the International Symposium on Evaluating Digital Cultural Resources (EDCR2016) which took place in Glasgow in December 2016 ( ScotDigiCH is coordinated by Information Studies at the University of Glasgow in collaboration with The Hunterian at the University of Glasgow, Glasgow Life Museums, the Moving Image Archive of the National Library of Scotland and the Department of Computer and Information Science at the University of Strathclyde.

This focused issue arises from the work of ScotDigiCH but invites submissions from all researchers and cultural heritage practitioners working in this area.

Paper Submission

Papers submitted to this special issue for possible publication must be original and must not be under consideration for publication in any other journal or conference. Previously published or accepted conference papers must contain at least 30% new material to be considered for the special issue.

Accepted papers will be published in the ACM Journal on Computing and Cultural Heritage. Papers will be reviewed following the journal’s standard review process. Please follow the format instructions for the journal ( All manuscripts must be prepared according to the journal publication guidelines which can also be found on the website provided above.

All papers are to be submitted at Upon submission, under “Article Type”, please select “Evaluation of Digital Cultural Resources” or your manuscript will not be reviewed correctly for the special issue.

Please address inquiries to

Important Dates

  • Paper submission deadline: November 30, 2017
  • First Author Notification: January 30, 2018
  • Revised papers expected: March 30, 2018
  • Final acceptance notification: May, 2018
  • Publication: Issue 4, 2018


Call for Submissions: JAR Issue 16 – Spring 2018

Call for Submissions: JAR Issue 16 – Spring 2018

Journal for Artistic Research (JAR)

The deadline for consideration is 15 September 2017

JAR publishes artistic research from all arts disciplines, with or without academic affiliation, and includes the work of artistic research practitioners and theorists. Rethinking the traditional journal format, JAR offers its contributors a free-to-use online space called the Research Catalogue (RC) where text can be woven together with image, audio and video material. The Journal is specifically interested in contributions that reflect upon and expose artistic practice as research, and welcomes submissions from artists interested in exchanging ideas and opening up the processes and methodologies that underlie their practice. Please view our archive to get a sense of what we publish.

To be considered for Peer Review, the editorial board considers:

1. Whether the exposition exposes artistic practice as research. This engages with questions and claims about knowledge within practice. For a detailed articulation of this please read the editorial to JAR0

2. The degree to which the exposition is conceptually and artistically strong, considered, and significant to the field.

3. Whether the multimedia and design capacities of the RC have been used effectively and meaningfully to support the argument or understanding of the research.

To submit an article, contributors are required to register for an account on the RC and use the online space to layout and expose their research. JAR provides editorial and technical guidance with these processes.

For our guidelines on submissions visit:

For submissions information, and advice on whether your research is suitable for JAR, contact the Managing Editor, at

JAR works with an international editorial board and a large panel of peer-reviewers.

Editor in Chief: Michael Schwab

Peer Review Editor: Julian Klein

Editorial Board: Alex Arteaga, Annette Arlander, Sher Doruff, Barnaby Drabble, Mika Elo, Leonella Grasso Caprioli, Yara Guasque, Julian Klein and Mareli Stolp.

JAR is published by the Society for Artistic Research (SAR)

an independent, non-profit association. You can support JAR by becoming an individual or institutional member of SAR. More information can be found here

RUUKKU 9 call: Aesthetic Intra-Actions: Practising New Materialisms in the Arts


Suomi / English

Uusmaterialismeja taiteissa ja taiteentutkimuksessa

Taidetta koskevassa tutkimuksessa on 1990-luvulta lähtien vähitellen kyseenalaistettu tutkimusmalleja, jotka ensisijaistavat representaation, diskurssin ja tekstuaalisuuden käsitteitä. Samanaikaisesti on ryhdytty kehittämään vaihtoehtoisia lähestymistapoja, jotka painottavat myös taiteenlajien ja taiteellisten käytäntöjen aineellisia, aistimellisia ja esteettisiä ulottuvuuksia irtaantuen kuitenkin formalistisista ja taiteen autonomiaa korostavista perinteistä. Yksi keskeinen näitä lähestymistapoja kehittelevä teoreettis-metodologinen suuntaus on uusmaterialismi. Tutkimuksellisten taustojen moninaisuudesta huolimatta uusmaterialismeja yhdistää paneutuminen niin inhmillisen kuin ei-inhimillisen materian aktiiviseen prosessuaalisuuteen ja vuorovaikutuskykyihin. Uusmaterialismeja luonnehtiikin laaja-alainen kiinnostus materiaalisuuksiin inhimillisestä ruumiillisuudesta digitaalisiin teknologioihin, ihmisen ja ei-inhimillisten elämänmuotojen suhteisiin ja aineellis-sosiaalisiin ympäristöihin. Näiden tarkastelemiseksi tarvitaan sekä uusia käsitteitä että ontologisten ymmärrystapojen päivittämistä.

Tieteenfilosofi Karen Baradin alun perin kehittämä yhteismuotoutuminen (intra-action) on yksi uusmaterialistista tutkimusta vaikutusvaltaisesti muokanneista käsitteistä. Sen sijaan, että tämä käsite ehdottaisi materian toimivan itseriittoisesti, se korostaa aineellisuuksien ja diskurssien, luonnon ja kulttuurin sekä inhimillisen tiedon ja ei-inhimillisten prosessien keskinäistä ja suhteista muovautumista. Täten yhteismuotoutuminen kytkeytyy suhdeperustaiseen ontologiaan. Juuri ontologisen lähtökohtansa takia yhteismuotoutumisen käsite voi edesauttaa ajattelua ja tekemistä paitsi tieteentutkimuksessa myös monilla taiteen- ja siihen kietoutuvan tutkimuksen aloilla.

Kutsumme erikoisnumeroomme ekspositioita ja puheenvuoroja, jotka tutkailevat, arvioivat ja kehittävät yhteismuotoutumisen käsitteen potentiaaleja poikki taiteiden, taideprosessien ja niihin liittyvien tutkimuskäytäntöjen. Näin kutsumme osallistumaan ajankohtaiseen keskusteluun siitä, miten uusmaterialistinen ajattelu voi muovata tutkimuksellista ja/tai taiteellista työtä: niiden metodeja, tekniikoita, kokemuksellisuutta ja suhteita.

Ekspositiot ja puheenvuorot voivat tarttua esimerkiksi seuraaviin kysymyksiin:

Millaisia yhteismuotoutumisia voidaan havaita nykytaiteen käytännöissä elokuvasta ja videosta sekä äänestä ja musiikista esitys- ja kuvataiteisiin, arkkitehtuuriin ja kuratointiin?

Millaisia metodologisia ymmärryksiä ja tekemisen tekniikoita yhteismuotoutuminen voi inspiroida? Entä miten se muokkaa käsitteellistyksiä taiteen toiminnallisuudesta, vaikutuskyvyistä ja poliittisuudesta?

Miten yhteismuotoutumisen käsite ja logiikka vaikuttavat estetiikkaa koskeviin ymmärryksiin? Miten taidekäytännöt puolestaan vaikuttavat tähän käsitteeseen?

Kuinka yhteismuotoutuminen haastaa ja laajentaa aiempia käsityksiä inhimillisestä toimijuudesta sekä taiteilijan ja tutkijan paikantumisesta?

Pyydämme teemaamme liittyviä ekspositioita ja puheenvuoroja RUUKKU 9 -numeroon. Numeron toimittavat Marie-Luise Angerer, Katve-Kaisa Kontturi, Milla Tiainen ja Tero Nauha. Numero liittyy eurooppalaisen uusmaterialismi-verkoston luovien taiteiden työryhmän toimintaan. Katso

Ehdotukset tai luonnokset tutkimusekspositioiksi pyydetään laatimaan RC luetteloon  Huom. luettelon käyttö edellyttää käyttöoikeuksien hankkimista ja rekisteröitymistä (ks. kohta “register”). Ehdotukset tulee lähettää RC luettelon kautta (kohdasta “publish”, “submit” ja “Ruukku”) 12.6.2017 mennessä. Pyydämme myös lähettämään tiedon ehdotuksesta samalla sähköpostitse osoitteisiin, ja, Ilmoitamme valinnoista kesäkuun loppuun mennessä ja deadline valmiille ekspositioille on 15.8. 2017.

RUUKKU on vuonna 2013 toimintansa aloittanut monialainen, vertaisarvioitu taiteellisen tutkimuksen kausijulkaisu, joka käyttää alustanaan monimediaisen julkaisemisen mahdollistavaa kansainvälistä taiteellisen tutkimuksen julkaisualustaa ja tietokantaa Research Catalogue (RC). RUUKUN julkaisukielet ovat suomi, ruotsi tai englanti. Katso



Practising New Materialisms in the Arts

Since the 1990s, art and cultural theories have increasingly questioned models of research that prioritise notions of representation, discourse and text. Many approaches have embraced an alternative or parallel orientation towards re-appreciating the material, sensory, and aesthetic dimensions of the arts. One of the forces shaping this shift comprises theorisations referred to as new materialisms. Developers of new materialist thinking have formulated fresh concepts and ontological positions that foreground the activities and significance of various materialities: human, pre-individual as well as non-human. New materialist matters of concern thus range from human bodily processes to machines, other than human life forms, and at once naturally and socially shaped milieus.

In the context of these concerns, one influential concept has recently been intra-action introduced by philosopher of science Karen Barad. Instead of positing materiality as a self-contained sphere, this concept stresses the mutually constitutive relationships between materialities and discourses, nature and culture, and human knowledges and non-human processes. Because of the relational ontology it advocates, the concept of intra-action can reorganise research approaches beyond Barad’s location in science studies, hence affecting also the practices and theories of the arts.

The aim of the Ruukku 9 is to examine the uses and potentialities of intra-action across different areas of the arts, artistic processes and research practices related to the arts. We also hope to contribute to the urgent task of translating new materialist ideas into actual methodological, technical and analytical practices – that is, into ways of doing art and research.

More specifically, this volume explores for example the following questions:

What kinds of intra-actions can be found in the practices and experiences of contemporary arts spanning from film, media, sound and music to performance, visual arts, architecture and curating?

What methodological insights, techniques of doing, and further concepts can intra-action inspire in artistic research and art studies?

How can aesthetics be reconsidered and studied with the concept of intra-action and with new materialist modes of thinking?

How to reconsider the situatedness of the artist and/or researcher in relation to the notion of intra-action?


We invite theme-related research expositions and contributions for the 9th issue of RUUKKU. The issue is edited by Marie-Luise Angerer, Katve-Kaisa Kontturi and Milla Tiainen, who co-chair the New Materialism embracing Creative Arts working group at the European new materialist network, and Tero Nauha, who’s part of the RUUKKU editorial board.

We ask you to submit your proposals or drafts for research expositions and other contributions in the RC catalogue at Note! The catalogue requires user rights and registration (see ‘register’). Please submit your proposals via the RC catalogue (‘publish’, ‘submit’, and ‘Ruukku’) no later than 12 June 2017, and inform the co-editors about your proposal via email (, ja, We will let you know about the results by the end of June. For accepted proposals the deadline for completed submissions is 15 August, 2017.

RUUKKU is a multidisciplinary, multilingual, peer-reviewed journal on artistic research launched in 2013. This biannual journal is published and supported by the University of the Arts Helsinki, Aalto school of Arts, Design and Architecture and the Faculty of Art and Design at the University of Lapland, with a particular focus on multi-lingual publication. The primary languages of publication are Finnish, Swedish and English. (

CALL FOR PAPERS Journal on Computing and Cultural Heritage Supporting Cultural Heritage through Innovative Technologies

Roberto Scopigno, Institute of Computer Science and Technologies (ISTI)
National Research Council (CNR), Italy

Information For Contributors

ACM Journal on Computing and Cultural Heritage (JOCCH) publishes papers of significant and lasting value in all areas relating to the use of information and communication technologies (ICT) in support of Cultural Heritage. The journal encourages the submission of manuscripts that demonstrate new technology or innovative use of technology for the discovery, analysis, interpretation and presentation of cultural material, as well as manuscripts that illustrate applications in the Cultural Heritage sector that challenge the computational technologies and suggest new research opportunities in computer science.

The field Cultural Heritage spans many distinct sub-areas, which may be divided into two major classifications: tangible heritage, such as the discovery, documentation, organization, interpretation and communication of artifacts, monuments, sites, museums, and collections (including digital archives, catalogues and libraries); and intangible heritage, such as music, performance, storytelling, and mythology. In addition, the increasing volume of digital cultural artifacts and collections is becoming an important body of heritage content in its own right. Submissions that have led to actual cultural applications are particularly welcomed. Papers may be one of several types: research paper; tutorial/survey; software/algorithms; addendum/corrections; datasets.

Topics include:

  • On-site and remotely sensed data collection
  • Enhanced 2D media for CH
  • 3D digital artifact capture, representation and manipulation
  • Tools for reconstruction and processing of digital representations
  • Metadata, classification schema, ontologies and semantic processing for CH multimedia repositories
  • Analytic tools to assist scholars’ research on collections or artifacts
  • ICT assistance in monitoring and restoration
  • Augmentation of physical collections with digital presentations
  • Virtual and Augmented Reality technologies for virtual and digital museums
  • Human-Computer interfaces for virtual and digital museums
  • Story-telling and other forms of communication, multimedia systems
  • Serious games
  • Web-based and mobile technologies for CH
  • Long term preservation of digital artifacts
  • Provenance, copyright and IPR
  • Digital capture and annotation of intangible heritage (performance, audio, dance, oral heritage)
  • ICT technologies in support of creating new cultural experiences or digital artifacts
  • Applications (e.g. in Education and Tourism)

Associate Editors

  • Juan Barceló, Universidad Autónoma de Barcelona, Spain
  • Francesco Bellotti, University of Genova, Italy
  • Pere Brunet, Universitat Politècnica de Catalunya, Spain
  • Areti Damala, University of Strathclyde, UK
  • Matteo Dellepiane, ISTI-CNR, Italy
  • Livio de Luca, CNRS/MCC MAP, France
  • Luciana Duranti, University of British Columbia, Canada
  • Susan Hazan, The Israel Museum, Israel
  • Win Hupperetz, Allard Pierson Museum, University of Amsterdam, The Nederlands
  • Tsvi Kuflik, University of Haifa, Israel
  • Xuelong Li, Chinese Academy of Sciences, China
  • Carlo Meghini, ISTI-CNR, Italy
  • Mark Mudge, Cultural Heritage Imaging, USA
  • Sofia Pescarin, CNR ITABC, Italy
  • Fabio Remondino, Bruno Kessler Foundation, Italy
  • Julian Richards, University of York, UK
  • Karina Rodriguez-Echavarria, University of Brighton, UK
  • Robert Sablatnig, Vienna University of Technology, Austria
  • Filippo Stanco, University of Catania, Italy
  • Didier Stricker, German Research Center for Artificial Intelligence, Germany

Visit for further information or to submit your manuscript.

The Web as History, Using Web Archives to Understand the Past and the Present, an open book publication

The Web as History: Using Web Archives to Understand the Past and the Present (eds. N. Brügger, R. Schroeder). London: UCL Press, 2017

Download FREE copy:

Probing a nation’s web domain: A new approach to web history and a new kind of historical source. In G. Goggin, M. McLelland (Eds.), The Routledge Companion to Global Internet Histories (pp. 61-73). New York/Abingdon: Routledge 2017.

Webraries and Web Archives: The Web between public and private. In D. Baker, W. Ewans (Eds.), The End of Wisdom?: The Future of Libraries in a Digital Age (pp. 185–190). Oxford: Chandos Publishing, 2017.
Pre-pub versions:

Digital Humanities. In K.B. Jensen, R.T. Craig, J. Pooley, E. Rothenbuhler (Eds.), The International Encyclopedia of Communication Theory and Philosophy (vol. 1, pp. 548-556). Oxford: Wiley-Blackwell/The International Communication Association (ICA), 2016

Digital Humanities in the 21st Century: Digital Material as a Driving Force, Digital Humanities Quarterly, 10(3), 2016
Read article:

The Web’s first 25 years (guest editor and Introduction), New Media & Society, 18(7), 2016
Read more:

A brief history of Facebook as a media text: The development of an empty structure, First Monday, 20(5), 2015
Read article:

CALL FOR PAPERS Internet Histories: Digital Technology, Culture and Society

Internet Histories: Digital Technology, Culture and Society is an international, interdisciplinary peer-reviewed journal concerned with research on the cultural, social, political and technological histories of the internet and associated digital cultures. The journal embraces empirical as well as theoretical and methodological studies within the field of the history of the internet broadly conceived — from early computer networks, usenet and Bulletin Board Systems, to everyday Internet with the web through the emergence of new forms of internet with mobile phones and tablet computers, social media, and the internet of things. The journal will also provide the premier outlet for cutting-edge research in the closely related area of histories of digital cultures.

A hallmark of the journal is its desire to publish and catalyse research and scholarly debate on the development, forms, and histories of the internet internationally, across the full global range of countries, regions, cultures, and communities. Importantly, the journal draws on a wide range of disciplines within the humanities and the social sciences. Internet Histories will also be open to interdisciplinary studies of history of internet and digital cultures, from computer, information, engineering, and other science and technology researchers.

Contributions might include but not be limited to:

  • History of the internet and the web
  • Web histories
  • History of networks
  • Alternative, marginal, or subcultural histories
  • Feminist, queer, and disability histories
  • Local and regional internet histories
  • Gender and race studies of digital cultures
  • Histories of digital recording, production, distribution, file formats and sharing
  • Internet and digital music and sound histories
  • Infrastructure studies
  • National paths to digitalization
  • Telecommunications and computing convergence
  • History of code, protocols, services, interfaces, graphical representation and interactivity
  • History of online communities
  • History of digital uses, users and cultures
  • Internet governance, regulation and policy history
  • Historical cross-media studies
  • Pedagogy and teaching of internet histories
  • Methodological approaches to study digital and network histories
  • Histories of internet policy, law, and regulation

Submission Guidelines

A typical original article for this journal should be more than 6000 and no more than 8000 words; this limit includes tables; references; figure captions; endnotes. For advice on preparing a manuscript to submit to the Journal, please refer to the Instructions for Authors here.

This journal uses Editorial Manager to manage the peer-review process. If you haven’t submitted a paper to this journal before, you will need to create an account in the submission centre. Submit your paper here.

Editorial Information

Managing Editor
Niels Brügger
 – Aarhus University, Denmark

Megan Ankerson
 – University of Michigan, USA 
Gerard Goggin – University of Sydney, Australia 
Valérie Schafer – National Center for Scientific Research, France 
Ian Milligan – University of Waterloo, Canada 

Reviews Editor
Ian Milligan
 – University of Waterloo, Canada

Announcing the launch of the AIGA Design Educators’ new journal “Dialectic”

New Journal:

Dialectic, a scholarly journal of thought leadership, education and practice in the discipline of visual communication design.

The entirety of the contents of Volume 1, Issue 01 (V1, I1) of Dialectic, the new, fully open access scholarly journal administrated by the AIGA Design Educators’ Community, can be viewed in full at:

A printed version of Dialectic is also available for $19.99 on Amazon at:

Each of the pieces that has been published in Dialectic V1, I1—their titles and author’s names appear below—may be read or viewed in full online by navigating to the URL listed above and then clicking on the “CONTENTS” box in the upper right corner of Dialectic’s home page. Additionally, each of these pieces may be freely downloaded in .pdf form by anyone in the world who has a viable internet connection and electricity.

The Table of Contents for Dialectic’s inaugural issue is located at:*?rgn=full+text

The content of Dialectic is organized in three sections: “Front Matter,” “The Feature Well,” and “Back Matter.”

The Front Matter section contains the following:

It’s time to stir the pot… An Introductory Letter from Dialectic’s Managing Editor and its Producer by Michael R. Gibson and Keith M. Owens;rgn=main

Journaling through the Back Door by Stephen McCarthy–journaling-through-the-back-door?rgn=main;view=fulltext

A New North American Design Research Organization by John Zimmerman, Carlos Teixeira, Erik Stolterman and Jodi Forlizzi–new-north-american-design-research-organization?rgn=main;view=fulltext

The Feature Well section contains the following:

The Concept of the Design Discipline by Paul A. Rodgers and Craig Bremner–concept-of-the-design-discipline?rgn=main;view=fulltext

First Issues, First Words: Vision in the Making by Jessica Barness–first-issues-first-words-vision-in-the-making?rgn=main;view=fulltext

Tip of the Icon: Examining Socially Symbolic Indexical Signage by Terry Dobson and Saeri Cho Dobson–tip-of-the-icon-examining-socially-symbolic-indexical?rgn=main;view=fulltext

On Web Brutalism and Contemporary Web Design by Aaron Ganci and Bruno Ribeiro–on-web-brutalism-and-contemporary-web-design?rgn=main;view=fulltext

A Visual Essay: My Life as a Fake by Jenny Grigg–visual-essay-my-life-as-a-fake?rgn=main;view=fulltext

A Survey Paper: Doctoral Education in (Graphic) Design by Dori Griffin–survey-paper-doctoral-education-in-graphic-design?rgn=main;view=fulltext

A Position Paper: Defining Design Facilitation: Exploring and Advocating for New Strategic Leadership Roles for Designers and What These Mean for the Future of Design Education by Pamela Napier and Terri Wada–position-paper-defining-design-facilitation-exploring?rgn=main;view=fulltext

The Back Matter section contains the following book reviews:

Developing Citizen Designers by Elizabeth Resnick; reviewed by Ann McDonald–book-review-developing-citizen-designers?rgn=main;view=fulltext

Leap Dialogues by Mariana Amatullo, Bryan Boyer, Liz Danzico and Andrew Shea; reviewed by Annabel Pretty–book-review-leap-dialogues-career-pathways-in-design-for?rgn=main;view=fulltext

Are We There Yet? Insights on How to Lead by Design by Sam Bucolo; reviewed by Heather Corcoran–book-review-are-we-there-yet-insights-on-how-to-lead?rgn=main;view=fulltext

Mapping the Grid of Swiss Graphic Design: A Review of 100 Years of Swiss Graphic Design by Christian Brändle, Karin Gimmi, Barbara Junod, Christina Reble and Bettina Richter; reviewed by Richard Doubleday–book-review-mapping-the-grid-of-swiss-graphic-design?rgn=main;view=fulltext

Dialectic: a scholarly journal of thought leadership, education and practice in the discipline of visual communication design published by the AIGA DEC (Design Educators Community) and Michigan Publishing