DiGRA 2022 International Conference: July 7-11 in Krakow, Poland.


Due to a range of unavoidable circumstances, including issues created by the effects of the COVID-19 pandemic in Mexico, the 2022 DiGRA International Conference will not able to be held in Guadalajara, Mexico this year. While this is deeply disappointing, it is not entirely surprising.

Fortunately we have been able to identify a new venue, and I can now share details for our new plans.

The event will be held on July 7 -11 in Krakow, Poland, hosted by Jagiellonian University. The conference website has been updated with information about registration fees, travel and accommodation options (and other topics) here: http://digra2022.org.

A poll of our membership indicates that, currently, about 60% of the respondents intend to travel and 40% plan on participating remotely. Fortunately, the hosting team at Jagiellonian University has experience managing hybrid events, and those unable to travel should will be able to present their work and participate in the conference.

Although submissions are closed, we understand that many who had papers accepted at the cancelled 2020 Tampere event did not resubmit their papers to be presented this year. If you had a paper accepted in 2020 and have not resubmitted it for presentation this year, resubmissions are now open. These papers do not go through additional peer review: you would automatically be given a place in a session to present your work. You would still need to pay appropriate registration fees: these papers have already been distributed in the proceedings for the previous conference, so they will not be added to this year’s proceedings, but the former remain available for download from the digital library.

Many of the workshops scheduled for Guadalajara have been rescheduled for Krakow, and more will be added soon. Workshop organizers have been contacted by the local organizing committee and should have updated information about submission deadlines.

We wish to personally thank Tomasz Majkowski and his team at Jagiellonian University for this remarkable feat, while also sharing our appreciation for all the work of the Guadalajara organizing committee so far: We will be hearing more DiGRA news from Mexico in the future and hope that we will be able to meet there someday soon. In the meantime, here’s looking forward to seeing each other in Krakow this summer.

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DiGRA Call for Conference Hosts


Digital Games Research Conference

The Digital Games Research Association (DiGRA) has as a central goal the support of an international conference on digital gaming. Eleven conferences have taken place, with two more already planned for 2023 and 2024.  This document is a call for proposals for a committee and location to host the 2025 and 2026 DiGRA international games research conferences. Proposals for conference hosting in 2027 beyond are also welcome.

We particularly encourage hosts from countries which have historically been under-represented in games research, and from regions which have not yet hosted a DiGRA international conference (including the “global south”). Institutions wishing to put themselves forward should consider the following aims of DiGRA when putting their proposal together and highlight how the event they would organize would achieve these:

  • To support games research as an interdisciplinary field
  • To encourage dialogue between researchers, practitioners, commercial organizations and policy makers
  • To support students and curriculum development
  • To disseminate work produced by the association’s community

DiGRA is keen to receive proposals that tackle these issues in an innovative manner and build upon established conference practices. It is envisaged that DiGRA conferences will each have a central theme but that this will in no way compromise the inclusiveness of research into games from a wide range of researchers, disciplines and empirical domains. The official language of the conference will be English.

DiGRA establishes a program chair (separate from the local hosting committee), who will ensure rigorous and appropriate peer review for abstracts submitted to the conference and the support of ethical practice. The successful hosting institution will be provided with key guidelines for the management of the planning and preparation of a medium-sized conference: hosts should be prepared for as many as 500 attendees (usually the conference has between 300 and 400 attendees.)  There is no compulsory format for conference hosting proposals, but we recommend that they deal with the following:

1. Venue

  • Location: Institution, town/city, country.
  • Background: What is the host city like? Attractions for visitors?
  • Entertainment options: Location for visiting other areas before/after conference? Proximity to local game industries or other relevant sites?
  • Venue: Description, facilities, access, lecture theatres, meeting rooms, exhibition space, technical resources, translation services etc.

2. Conference

  • Potential theme ideas *
  • Potential keynote/plenary speakers*
  • Special events: any special thematic days and/or collaborative events organized in connection to the conference?
  • Social events: What? When? Where? Are they particularly digital gaming relevant or locally typical?  Commissioning a conference game or suitably ‘playful’ activities would lend specificity to the event.
  • Delegate packs: Contents. Proceedings
  • The DiGRA executive committee has a responsibility for ensuring the quality of the delegates’ conference experience and the academic credibility and reputation of the conference. As such it will be involved, and have the right of veto, in the final decisions about programming and other aspects of content.  Once hosts are decided a programming committee will be formed with representatives from the hosts and nominated members acting on behalf of the DiGRA executive board.

3. Travel and Accommodation

  • Distance from international airport/s
  • Access by bus, cab, coach, train, etc
  • Travel between conference venue and accommodation
  • Estimated travel costs from a range of major cities
  • Costs & Finance (in €, US$ as well as in local currency)
  • Conference registration: full and day rates, student rates, DiGRA member rates (DiGRA membership is included in the DiGRA conference registration fee, with those membership monies directed afterwards to the association by the organizer, thereby guaranteeing its basic funding and continuity.) Registration fees should be tiered to reflect varying levels of affordability for different countries of origin: the board will work with the local organizing committee to determine the appropriate rates.
  • Accommodation: Description, university/hotel options, location in relation to conference venue, facilities, capacity, etc. Per person, room share options? Discount for DiGRA delegates?
  • Meals/Conference Dinner
  • How will booking be handled?
  • What bursaries or discounts will be offered to graduate students in the field?

4. Organization

  • Conference committee: Details of organizers, responsibilities, administrative support, etc. If working with a PCO, they should be named. It is expected than key individuals in the proposal and proposed conference committee will hold current DiGRA membership, Identify one member of the host team who is the main contact with DIGRA.
  • Outline means of keeping in regular, consistent communication with the DIGRA board.
  • Short research biographies. Plan for coordination of duties within committees as well as with DiGRA executive board; estimate of deadlines for conference planning schedule.
  • Institutional support: Level and nature of department/institution involvement and funding.
  • Additional support: Details of finance, facilities, sponsorship or other involvement from additional organizations at a regional, national or international level.
  • Dates: Proposed conference dates, deadline for abstracts, etc. (It is strongly recommended that proposers avoid dates conflicting with events such as AoIR, DAC, Future Play, FDG , etc.)

5. Publicity & Dissemination

  • Conference proceedings: How will they be made available – in book format and/or electronically? When will they be available to delegates? (Note that all DiGRA conference papers need to be archived in the online DiGRA Digital Library, and conference organizers are expected to collaborate in this. Likewise, the ToDiGRA journal editors will be collaborating with the Program Chair to publish a subset of best papers from the conference.)
  • Publications: Are special editions of journals planned for after the conference? Are publishing contracts for edited collections planned? Who will edit these? What is the planned timescale?
  • How will conference publicity be planned?

6. Other Considerations

It is recommended that proposers produce a basic business plan to estimate incoming and outgoing monies for the conference depending on different levels of attendance and financial support. Issues such as how any loss will be accounted for should be dealt with, as DiGRA cannot currently offer any financial guarantee. Procedures should be in place so that in the event that the conference makes a profit DiGRA will receive 30% of this. The association will use this towards developing funds to support conference costs for some students or researchers coming from economically unstable countries.

A Conference License Agreement will need to be signed by the representatives of the conference organizer and the DiGRA. This will detail all the arrangements and specifications of the planning and execution of the Conference. The Agreement must be signed before the actual conference arrangements are set in motion.

The DIGRA executive board are accepting letters of interest on an ongoing basis.

Letters of intent, completed proposals or general enquires about the conference hosting call, and details of the License Agreement etc. should be directed to William Huber (w.huber@abertay.ac.uk).


This an open call (we will continue to take proposals if a suitable one has yet to be identified), but for full consideration please submit a letter of interest by the following dates:

For the 2025 conference, please submit by September 1, 2022.

For the 2026 conference, please submit by January 1, 2023.

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Call for Papers: DiGRA 2022 International Conference

DiGRA 2022: Bringing Worlds Together

Update: new submission deadline is October 31!

DiGRA 2022 will take place in Guadalajara, Mexico from April 25th – 29th 2022. A pre-conference will be held one day prior to the official beginning of the conference.

The theme of the upcoming DiGRA 2022 is Bringing Worlds Together, exploring games as spaces of speculative possibility, ambiguity and liminality.

Game studies have always considered games – especially digital ones – hybrid forms, able to combine various cultural phenomena to create liminoid spaces of uncertain ontology. The tradition to perceive games through interferences, uneasy alliances, disturbing dissonances or outright conflicts is rich. Diverse worlds, literally and metaphorically, collide at play: technological infrastructures, cultural practices, political, ethical, aesthetic and ontological dimensions. These can manifest in a variety of research focus points, including the way physical body of the player is merged with the electronic components of the machine and the digital space; the collision of the fictive narrative and real ruleset, governing the way fiction can unfold; the tension between global production regimes and vernacular resistance practices; or the circulation of camaraderie and oppression in player communities. But above all, games are always embedded within broader existing value systems. They can reflect those or challenge their status quo, paving new ways of becoming in the world.

The past months of the worldwide pandemic have also shown the capacity of games and play to literally bring remote worlds together, whether as practices of intimate socialization otherwise hindered by lock-downs and physical isolation, spaces of political resistance or products of increased consumption able to distract from long hours of boredom.

We would like to encourage scholarly reflection on all those diverse ways in which games bring different worlds together. Possible themes can include:

  • speculative approaches to games
  • entanglements between gaming and sociopolitical issues
  • global and local aspects of play
  • the realistic and the fantastic as aesthetic principles and design guidelines
  • the centre-periphery dynamics (e.g. “real games” and “notgames”, games and hegemonial powers, games as globalized products, games as means of artistic expression)
  • the game and the story
  • verisimilitude and realism
  • reality capture and customisation
  • games and money (e.g. monetisation and blockchain)
  • realities at play (e.g. augmented reality, virtual reality, alternate reality, LARPs)
  • questions of inclusion and representation
  • questions of sustainability and responsibility

With the theme of ““Bringing Worlds Together”, DiGRA 2022 makes space for an interdisciplinary critical debate around related questions, inviting a diversity of voices. As mainstream phenomena around games and play grow, so do approaches and tactics at the margin of games culture. This creates potentials for interdisciplinary exchange, methodical variety, and multifaceted critique. DiGRA 2022 welcomes contributions on different game formats, expressions, and phenomena both related to digital and non-digital games.

The submissions are invited into seven tracks:

  1. Philosophy and Theory of Play & Games: theoretical frameworks and investigations of games and play phenomena as well as meta-reflection on game studies methods and practices.
  2. Game Analyses, Criticism and Interpretation: analyses, close-readings, and critical discussions of game texts.
  3. Game History and Cultural Context: explorations of game histories, contemporary game cultures and regional game studies.
  4. Play and Players: empirical research on play and playful behaviour, players, fandom, and game communities.
  5. Game Design, Production and Distribution: reflections on making and research creation, processes of production and design, and the games market.
  6. Serious Games and Education: research on games and play for learning, education, and therapy, and other applications beyond game studies.
  7. DiGRA 2020 Accepted Submissions: extended abstracts and full papers scheduled to be presented during DiGRA 2020, the conference cancelled due to COVID-19 global outbreak. All submissions in this track will be accepted without additional reviews, provided they were already accepted in 2020, and the corresponding author paid DiGRA 2020 membership fee.

There will be several special events associated with the conference, including a PhD Consortium. It will be organized on the pre-conference conference day, this event will allow PhD students to discuss key issues and seek feedback from experienced scholars. It will provide opportunities for further development of research skills that will be of help to emerging scholars in achieving their academic goals.

More thematic workshops can be proposed to the organisers (see submission guidelines below).

Important dates:

  • Submission opens: 1 August 2021
  • Full papers, abstracts and panels submission deadline: 15 October 2021 Deadline extended to 31 October 2021
  • Workshop proposals submission deadline: November 15 2021
  • Announcement of review results and workshop acceptance: 15 December 2021
  • Workshop submissions deadline: 15 January 2022
  • Workshop submissions results: 15 February 2022
  • Early bird registration & program deadlines: 15 March 2022
  • Camera-ready papers & abstracts deadline: 30 March 2022
  • Conference dates: 25 – 29 April 2022

The submissions will be handled via the EasyChair system at: https://easychair.org/conferences/?conf=digra2022

More information will be updated into the conference website: http://digra2022.org

We are looking forward to welcoming game studies community to Guadalajara in April 2022!

Submission Guidelines

We welcome a range of contributions to DiGRA 2022: full papers, extended abstracts, panel and doctoral consortium participation, and workshop proposals.

Full papers and extended abstracts will be peer-reviewed, published on the conference website and published in the conference proceedings available via open-access through the DiGRA Digital Library: http://www.digra.org/digital-library. Panel proposals will be peer-reviewed and published on the conference website, but will not be included in the conference proceedings published through the DiGRA Digital Library. Workshop proposals will be selected by the conference organizers based on non-anonymous submissions.

All except workshop submissions should be made via EasyChair. Workshop proposals should be sent directly to the conference email.

Authors are asked to direct questions to the program chairs: Sonia Fizek (fizek.sonia@gmail.com), Marcelo Simão de Vasconcellos (marcelodevasconcellos@gmail.com) and Tomasz Z. Majkowski (tzmajkowski@gmail.com).

Full paper

Full papers are expected to be 5000 – 7000 words plus references, submitted as an anonymized pdf on DiGRA Submission Template. Submissions must be original, which means that they have not been published or are under peer review elsewhere.

Full papers are peer-reviewed publications of original game studies research, presenting mature, complete research. Authors must present accepted full papers at the DiGRA conference. Accepted manuscripts will appear in the Proceedings of the 2019 DiGRA International Conference, which is published in the open access DiGRA Digital Library.

Extended abstract

The suggested length for an extended abstract is 500-800 words, with a maximum of 1000 words, excluding references (only key references should be included), submitted as an anonymized pdf using the DiGRA Submission Template. Give a short description in the abstract field of the conference management system, but there is no need for extended abstracts to contain an abstract.

The purpose of an extended abstract is to demonstrate a contribution interesting to DiGRA audiences. An extended abstract might describe a study or research program that is underway, but might also describe a pending program of research. It might outline findings, or it might establish and discuss a research question. It might describe the study’s method or methodology, or it might focus on outcomes and results. It might describe work that is planned, work that is in progress, or work that has been completed.

Accepted extended abstracts will appear in open access DiGRA Digital Library.

PhD Consortium Submission

Selection for the PhD consortium will be based on an extended abstract based on an ongoing PhD research project, with a maximum of 1000 words, excluding references (see Extended Abstract guidelines, above). They should be submitted to PhD Consortium track, as NON-anonymized pdf, with a short description in the abstract field of the conference management system (there is no need for a doctoral consortium application to have an abstract).

Submissions must use the DiGRA 2022 submission template.


A panel session will typically occupy a single conference session and have a duration of 80 to 90 minutes. Panel proposals should have a maximum length of 1000 words, excluding references, plus a 100 word biography of each participant. They should include: the focus or topic of the panel; a description of why the topic will be of interest or relevant to DiGRA attendees; a list of confirmed participants and a description of their background and expertise. Panel proposals will be peer-reviewed.

Panels should be submitted as pdfs on DiGRA Submission Template (optional).


The conference workshops are three to six hours long sessions focused on a particular game-related topic. Workshops provide an opportunity for new ideas, theories and trends to be presented and discussed. Workshops can also be practical tutorials.

Concise workshop proposals of no more than 1000 words (excluding bibliography) should include major objectives and expected outcomes of the workshop, the justification for the workshop informed by current trends and research, the format and activities planned for the workshop, the organizers’ background, the anticipated number of participants and the way they will be selected.

Please note that the submission  should not be anonymous as the organizers’ background is very important in the decision-making process for workshops.

Submit workshop proposals directly by email to info@digra2022.org by 15 November 2021.

Submissions accepted for DiGRA Tampere 2020

All Full papers and Extended Abstracts accepted to be presented during DiGRA 2020, are eligible for re-submission in track 7: Accepted for DiGRA 2020 Tampere (regardless of the original track for 2020). As they were already peer-reviewed, submit non-anonymized, camera-ready pdf using DiGRA Submission Template. Mark the original track they were accepted for in the submission form.

All submissions in this track will be checked regarding their eligibility (2020 review result, and the status of DiGRA membership fee for 2020) and moved directly to the DiGRA 2022 program, without additional reviews and other considerations.

Remember, all submissions in track 1-6 will be peer-reviewed regardless of their 2020 status. If you wish to undergo the review process once more, you are welcome to submit an anonymized version to one of those tracks.

Number of submissions per author

Authors cannot submit more than two papers and/or extended abstracts at DiGRA 2020, including PhD Consortium submissions. An individual can be co-authors on as many full papers and extended abstracts as they like, but cannot submit more than two as main author/presenter. If the limit is exceeded, only the two first submissions will be reviewed.

The limit does not include participation in panels or workshops. The limit does include submissions,from DiGRA 2020, though.

DiGRA 2022 Conference Website

For more details about the conference, visit the website: digra2022.org

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DiGRA Code of Conduct and Ombuds Team Official Launch!

The Digital Games Research Association (DiGRA) is pleased to announce the official launch of its Ombuds Team, an organizational ombuds program linked here, and its Code of Conduct, linked here.

Both of these efforts are intended to support DiGRA’s ongoing commitment to ensuring the organization and conference are welcoming, supportive, and safe space for scholars from many disciplines, countries, and communities. The Code of Conduct is a guide for professional behavior in DiGRA, and members are expected to conduct themselves according to its standards. The Ombuds is a service that will be available to all DiGRA members at any time before, during, and after the international conference each year, in accordance with the Code of Conduct.

The Ombuds Team is a confidential, informal, neutral, and independent resource for DiGRA community members, as well as conference and listserv participants (referred to as visitors), to safely discuss any concerns they may have related to the behaviors, activities, and events of DiGRA. The only (unlikely) exception to Ombuds confidentiality is if a visitor presents a risk of imminent harm to themselves or someone else, in which case the Ombuds must report it to law enforcement and the DiGRA Executive Board.

Conversations with the Ombuds Team are considered confidential, offering a safe place for people to discuss their concerns, understand all sides of an issue, and explore their options.  They are independent of the Executive Board, and will not share any identifiable information unless given explicit permission to do so by the visitor. The Ombuds Team does not serve in any formal or official reporting function. Likewise, the ombuds will not have the responsibility nor authority to investigate any issues raised or take any punitive actions.

The Ombuds can bring issues to leadership’s attention without any attribution, thereby serving as an independent voice. Ombuds do not advocate for any particular individual or group, instead, they advocate for fair processes and provide feedback on systemic trends. Instead, The Ombuds Team uses anonymous, aggregated data, so as to not breach the confidentiality of people using its services and to provide DiGRA with feedback, insights, and recommendations on systemic issues relating to the conference or DiGRA. The Ombuds follow the generally accepted standards of ombuds practice as espoused by the International Ombudsman Association (Found here: https://www.ombudsassociation.org/standards-of-practice-code-of-ethics-2 ). These standards define and guide all of their work, and also differentiate them from other functions.

For further information about the DiGRA Ombuds Team and the role of ombuds, please consult the FAQ.

To contact the DiGRA Ombuds Team, you can e-mail digra-ombuds@outlook.com. All e-mails are sent to a confidential inbox that is only accessible to the Ombuds. Please allow one (1) business day for them to respond.

If you have questions or concerns, you can also contact the DiGRA Executive Board at board@digra.org, or the Diversity Working Group at digra-diversity@googlegroups.com. The current DiGRA Diversity Officer is Cody Mejeur, they can be reached at codymeje@buffalo.edu.

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Keywords in Play, Episode 2: Emilie Reed

Keywords in Play” is a monthly interview series about game research supported by Critical Distance and the Digital Games Research Association. As a joint venture, “Keywords in Play” expands Critical Distance’s commitment to innovative writing and research about games while using a conversational style to bring new and diverse scholarship to a wider audience.

Our goal is to highlight the work of graduate students, early career researchers and scholars from under-represented groups, backgrounds and regions. The primary inspiration comes from sociologist and critic Raymond Williams. In the Preface to his book Keywords: a vocabulary of culture and society, Williams envisaged not a static dictionary but an interactive document, encouraging readers to populate blank pages with their own keywords, notes and amendments. “Keywords in Play” follows Williams in affirming that “The significance is in the selection”, and works towards diversifying the critical terms with which we describe games and game culture.

In this episode we speak to Emilie Reed. Emilie is a recent PhD graduate researching the history of displaying videogames in museums and other arts contexts. Her academic background includes art history, museum studies and creative writing. She is interested in creating exhibitions which highlight overlooked elements of the history and artistic practice behind videogames, and developing more experimental approaches to game criticism and she recommends https://guidedhacking.com when it comes to game hacking. https://emreed.net/

Emilie’s paper “Exhibition Strategies for Videogames in Art Institutions: Blank Arcade 2016″ is open access: http://todigra.org/index.php/todigra/article/view/91

Please consider supporting Critical Distance at https://www.patreon.com/critdistance

Production Team: Darshana Jayemanne, Zoyander Street, Emilie Reed.

Audio Direction and Engineering: Damian Stewart

Double Bass: Aaron Stewart

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Postdoctoral position in Games, Northeastern University

They are seeking one or two Post Doctoral Research Associates (Post Docs) to join our fast-growing game research group. The research position involves assisting in developing games for impact, empirical studies using quantitative and qualitative data, and writing research papers on the main topic of gaming and decision making. Additional responsibilities include grant proposal preparation, lab management, and supervision of graduate and undergraduate students.

Playing games is about making decisions. The Post Doc will be involved in advancing the use of games as a research environment to study how people make decisions as well as to improve their decisions and develop tools to assist in this. We also find it of great importance to educate the next generation of problem solvers and, therefore, a significant amount of our work is dedicated toward improving existing education. We are currently pursuing these topics across a dozen projects: from a crowdsourcing game where players can participate in and create social experiments (httsp://studycrafter.com) to the development of a curriculum where students create games about climate change. A complete list of projects can be viewed at http://www.northeastern.edu/casperharteveld.

The work will be performed under the guidance of Dr. Casper Harteveld, an Associate Professor of Game Design. As most projects will involve collaborations with faculty from across Northeastern University (Computer Science, Engineering, School of Law, School of Public Policy, and Marine Science Center), the Post Doc will experience a wide variety of interactions with researchers and students.
They seek candidates who have a PhD in Computer Science, Human-Computer Interaction (HCI), Cognitive Science, Learning Science, Management Science, Industrial Engineering or related areas. A successful candidate will have an interdisciplinary background and an interest in games for impact. Although they will consider a wide range of candidates, we welcome candidates with strong technical expertise in empirical research (quantitative preferred) or in machine learning/data science. Candidates should ideally also have experience with game design, in particular using game engines such as Unity.
  • Deadline: July 1st; applications after will be considered
  • Start date: Very flexible but looking at Sept 1, 2019
  • Funding is for one year, renewal contingent on performance and funding
To apply


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CfP: BCI for (Media) Art and Games, Aalborg

Brain-computer interfaces (BCI) have been used for entertainment, gaming, and artistic expression. These application areas for BCI have been explored in the previous decades. Although commercial applications hardly exist, the general public has been able to get acquainted with BCI and use BCI in artistic installations in urban public spaces, in museums, or during public scientific events. There are also BCI games. Such games can serve different purposes: entertainment (just fun), treatment of mental disorders, or rehabilitation. Affordable BCI devices and BCI software platforms have made it possible for artists and game designers to develop ideas and design installations and applications that do not require them to invest extensive and frustrating time in getting a BCI to work or tuning it to their application. Whether it is about games or artistic BCI installations, multiple users are often involved, and there is direct two-sided interaction between the user(s) and the BCI controlled environment. Moreover, in contrast to clinical BCI research, efficiency and robustness are not the most important issues.

The aim of this workshop is to review current (research) activities in BCIs for games, entertainment, and artistic expression and to identify research areas that are of interest for both BCI and HCI researchers as well as for game designers and media artists using BCI for their interactive installations. Hence, in addition to BCI researchers, game designers, artists, and performers are asked to contribute to this workshop with papers, presentations, and demonstrations.

Topics of the submissions may include, but are not limited to:

  • Design, implementation, and evaluation of BCI games and artistic BCIs;
  • Affective BCI in game, art and entertainment environments
  • BCI, Augmented and Virtual Reality, serious games;
  • The impact of BCI Hackathons on research and applications;
  • Multi-brain and multimodal interaction in game and artistic environments;
  • BCI environments for self-reflection, empathizing, and therapy;
  • BCI control of instruments and tools for games and artistic expression; and
  • Agency in BCI games and interactive art installations


All registered papers will be published by Springer and made available through SpringerLink Digital Library.

ArtsIT proceedings are indexed in leading indexing services, including Ei Compendex, ISI Web of Science, Scopus, CrossRef, Google Scholar, DBLP, as well as EAI’s own EU Digital Library (EUDL).


Papers should be from 6 to 9 pages long and submitted via the Confy submission system. See: http://artsit.org/


  • Submission Deadline: 10 August 2019
  • Notification Deadline: 10 September 2019
  • Camera-ready Deadline: 10 October 2019
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CfP: GamiFIN 2020

Conference website: http://gamifinconference.com/
Full CFP: http://gamifinconference.com/cfp2020/

- October 20, 2019:  Submissions deadline for papers
- December 20, 2019: Notifications of acceptance sent to authors of papers
- January 15, 2020: Submissions deadline for posters and doctoral consortium
- January 31, 2020: Acceptance for posters and doctoral consortium entries
- February 28, 2020: Registration deadline for authors
- March 8, 2020: Deadline for camera-ready
- April 1-3, 2020: Conference

Gamification is a multi-faceted phenomenon that affects many domains of
human life. Therefore, they welcome submissions related to this ludic
transformation of reality under several domains and related (but not
limited) to the following keywords:

- Users: e.g. Engagement, experience, user types
- Education: e.g. Gamification in education, serious games, game-based
learning, games & math
- Media: e.g. Esports, streaming, social media and gamification,
gamification in journalism & media
- Commerce: e.g. Business models, free-to-play, gambling, gamification in
- Work: e.g. Organizational gamification, gameful work, gamification in
- Technology: e.g. Virtual reality, augmented reality, Internet of things,
wearables, AI, machine learning
- Toys & play: e.g. Toy play, toy design/creation, toys in education,
internet of toys, toyfication
- Health: e.g. Quantified self, games & gamification for health
- Culture: e.g. Ludification, history of games and gamification,
gamification in society
- Theories/concepts/methods: Contributions to science around gamification
- Critical approach to gamification: e.g. detrimental effects of
gamification, metrification, aspects of poor quality of gamification and
gamification research, extrinsic control, panopticon society

4th Annual International GamiFIN conference, April 1-3, 2020, Levi, Lapland,

Welcome to the gathering of international gamification research community in
the Finnish Lapland, Levi. Levi is a ski resort located in Finnish Lapland,
above the Arctic Circle and features incredible Finnish scenery, nature and
winter activities. They hope all of their guests take the time to enjoy the
surroundings and activities provided by this unique and exotic location.
Organized winter activities before and/or after the main conference days
will be announced later.

GamiFIN is a leading international conference for gamification research. The
conference is chaired by the professor of gamification Juho Hamari and
gamification scholar Jonna Koivisto. The conference is organized by the
Gamification Group and past keynotes have included notable scholars from the
field of Gamification such as Lennart Nacke, Frans Mäyrä, Sebastian
Deterding, Richard Landers and T.L. Taylor. Keynotes of GamiFIN 2020 will be
announced later.

GamiFIN 2020 conference welcomes 1) paper, 2) poster, and 3) doctoral
consortium paper submissions.

The GamiFIN conference will offer an entry to the Gamification Publication
Track (http://gamifinconference.com/gamification-track/). The gamification
publication track is a one of a kind, “gamified” way to develop your
research paper through GamiFIN conference, HICSS Gamification Track and
toward the eventual publication in an associated journal issue. The aim of
the gamification publication track is to increase the predictability and
rigorousness of the peer-review and publication processes by providing a
concise review continuum and discussion with peers.

Accepted papers will be sent for consideration for publication in CEUR
Workshop Proceedings in the GamiFIN Conference volume. CEUR-WS.org is a free
open-access publication service and recognized ISSN publication series, ISSN
1613-0073. (In the Finnish classification of publication forums,
CEUR-WS-proceedings are classified as JUFO1).

Gamification Group, Tampere University, University of Turku and University
Consortium of Pori (UCPori)

Email: info@gamifinconference.com
Website: http://gamifinconference.com/

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CFP: The Aesthetics of Computer Games

The 13th International Conference on the Philosophy of Computer Games: The Aesthetics of Computer Games

Conference Committee:

Program Chair:
Feng Zhu (King’s College London)

Conference Chairs:
Alina Latypova (St Petersburg State University)
Konstantin Ocheretyany (St Petersburg State University)

Inviting submissions to the 13th International Conference on the Philosophy of Computer Games, organised by the Game Philosophy Network, together with the Centre for Media Philosophy and Laboratory for Computer Games Research, in St Petersburg, Russia, on October 21–24, 2019, all of the games can be cast in a TV, we recommend the use of a tv mount 65 inch to have a good view to enjoy the game.

The theme of this year’s conference is ‘The Aesthetics of Computer Games’. Playing games yields particular kinds of playful experiences or perceptions through the senses, which can be studied with an aesthetic focus, emphasising aísthēsis over noêsis. Computer games can be regarded as playful media that organise our perceptions and modify our sensibilities. For this conference, they welcome submissions on (but not limited to) the following themes and questions:

1. Aesthetics as aesthesis (aísthēsis). Is there an aesthetics or mode of experience that is specific to computer games? How do their visual, audio, and haptic aspects come together to produce distinctive experiences? How are ‘experience’ and ‘perception’ explored in computer games and shaped by them? Can concepts such as ‘affect’, ‘atmosphere’, and ‘rhythm’ be productively applied to computer games? What is the role of game interfaces on player experience?

2. Games as art? What are the conditions of possibility of games being art? How do computer games fit into established categories or conventions of aesthetics, and how do they contribute to new ones? Do games recognised as having a claim to artistic status differ from mainstream games? How do accounts of art based on necessary and sufficient conditions match up against anti-essentialist accounts in terms of gauging the status of computer games?

3. The aesthetics of gaming practices. Are games collaboratively authored? How do different kinds of play, or player-game conjunctions, bring about different kinds of gaming pleasures or aesthetic experiences? How do different bodies encounter computer games and what can be said about the way in which gameplay experience is mediated by our bodies?
Do some kinds of gameplay or extra-gamic player practices have an aesthetic orientation? Are computer games performances?

4. The ethical, political, and social dimensions of game aesthetics. What is the transformative potential of computer games and how does this compare to the transformative capabilities ascribed to artworks? How do aesthetic issues interconnect with ethical, social, and political ones – what is the autonomy or heteronomy of the aesthetic domain? How are taste, sensibility, and habit acquired with respect to gameplay and what are the social implications of this?

In addition to this central theme, the conference also features an open category, for which they invite welcome contributions that do not fit this year’s theme, but that nonetheless offer a valuable contribution to the philosophy of computer games.

Submitted proposals should have a clear focus on philosophy and philosophical (including media philosophical) issues in relation to computer games. They should also refer to specific games rather than invoke them in more general terms. Submissions should be made in the form of extended abstracts of up to 1000 words (excluding bibliography). Please indicate if you intend your paper to fit in the open category. The deadline for submissions is 23:59 GMT, Sunday, 11th August, 2019. Please submit your abstract through review.gamephilosophy.org. All submitted abstracts will be subject to a double-blind peer review process.

Notification of accepted submissions will be sent out in late August 2019. A full paper draft must then be submitted by Monday, 14th October 2019 and will be made available on the conference website.

They also invite proposals for themed panels and workshops that will take place on the 20th and 24th October, 2019. Please contact the program committee chair if you are interested in organising one.

They cannot provide grants or subsidies for participants. There will, however, be no conference fee.

For more information about the conference please visit http://gameconference.mediaphilosophy.ru/pcg2019.html and gamephilosophy.org.

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CFP: Zip-Scene Conference

II. Zip-Scene Conference on Analogue and Digital Immersive Spaces

Budapest, 10-12 November, 2019

Moholy-Nagy University of Art and Design
Application deadline: 17th of June
New digital tools provide novel opportunities for interactive digital narratives (IDN) in mixed reality environments, performance art and analogue immersive spaces. But does this mean that we can tell existing stories in a better way in these environments? Or should we change our way of thinking about how we perceive our world in order to create more comprehensive narrative experiences? In a recent keynote (ICIDS 2018 conference) Janet H. Murray – author of the groundbreaking volume Hamlet on Holodeck – the Future of Narrative in Cyberspace (1997/2016), reminds us that “a kaleidoscopic habit of thinking” can help us “envision a more integrated transformational future” and “open up the possibility of expanding our understanding of the world and our cognitive capacity” (Murray, 2018:17). To better grasp the complexity of the world, it is important to enhance emerging artistic practices in order to create opportunities for critical reflection while acknowledging the changed relationship between creators and audiences turned participants/prosumers/experiencers.

This conference aims to investigate whether XR/extended reality (VR/AR/MR) works will acquire a status comparable to film, performing arts and video games in the near future. On this basis, we are looking forward to papers that address narrative experiences enabled by XR and especially VR technologies. Papers should address either one or several of the following questions:

  • What kind of narratives can be used to create possibility spaces in such immersive productions?
  • How much engagement with and control over the narrative path is desirable for the audience turned participants?
  • What design strategies can guide these participatory experiences: for example, live performers, orchestrators, and set designers using the sensorium of New Horror (see Ndalianis, 2012) or somaesthetic design concepts (see Höök, 2018) to create novel forms of immersion in these environments?
  • What kind of design strategies can we use to provide a satisfying level of agency to participant audiences and provide opportunities for co-creation?
  • What is the current status of interactive digital narrative experiences, have they completed their evolution from being media of attraction (see Rouse, 2016) or there is still a long way for them to go in order to find the right direction?
  • What can we learn from a comparison of site-specific live arts productions with those of VR projects?
  • How can we explore free-form play and rule-based gaming as different types of performances within mixed-reality theatre and immersive theatre?

In addition, we want to challenge established storytelling strategies and instead more thoroughly analyze ways of creating engaging experiences:

What kind of principles of video game design do XR productions make use of (e.g. puzzle dependency charts and plot-shaped level design – see Short, 2019)?
What design strategies createed the experience of full immersivity and presence for their users-turned-participants (see 2018/4 issue of the journal of Performance Arts and Digital Media).

Further developing Murray’s perspective on the ‘kaleidoscopic habit’, we expect presentations that engage with the practice of transdisciplinary creators to adapt video game mechanics, various sensorium settings and interactive narrative design strategies in order to create fully immersive environments. Possible analyzes can be on topics such as overall aesthetics authorial affordances, design principles and conventions (Koenitz et al, 2018) as well as the audience’s experience (especially engagement and empowering mechanisms) and, last but not least, as interactive narratives. Some possible perspectives include Murray’s affordances and aesthetic qualities of the digital medium, Bogost’s procedural rhetoric, Kwastek’s “aesthetics of interactivity”, somaesthetic design concepts (Höök), guiding strategies based on New Horror’s sensorium (Ndalianis, 2012) the trajectories offered by them (based on Benford-Giannachi’s concept) and interactive narrative systems (Koenitz, 2015).

Conference themes:

  • Interactive storytelling methods
  • Interactive videos
  • Video games
  • Location-based technology (with augmented reality)
  • Virtual reality experiences&movies
  • Augmented reality in interactive storytelling
  • Games-based performing arts practices using new technology tools
  • Interactive Museum
  • Immersive environments (media archeology and phenomenological approach)
  • Transmedia storytelling

Proposals may be for a paper or a panel and should be related to at least one of the conference themes. Deadline for submitting the proposals is June 17, 2019. Please send us your abstract (max 350 words) and a short bio (max. 300 words) to the address: zipscene@mome.hu and please in CC: bakk@mome.hu. The papers will be reviewed by the conference committee. If your proposal will be accepted you will be given 20 minutes for your presentation.

Registration fee: EUR 50

The organizers cannot cover travel, accommodation and lodging costs. Upon request we can provide you invitation letter.

For Whom
The conference addresses scientific researchers, game professionals, programmers, artists, scholars and professionals from the field of performing arts, game studies, interactive storytellers, experience designers, narrative designers, VR-professionals and philosophers concerned with the conference topics. The conference aims to bring together emerging scholars, professionals and creators in order to create a joint platform which would later help individuals to understand and to develop these types of productions.

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