CFP: Nordic DiGRA 2023

Nordic DiGRA (Digital Games Research Association) invites research contributions in the form of extended abstracts which will be peer reviewed for quality and suitability to the theme. We accept deviations from the format as well as creative interpretations (such as panels, workshops and demos). The conference will be a fully in-person event in Uppsala, Sweden, on 27–28 April 2023.

We invite contributions from within and across any discipline committed to advancing knowledge on games. The conference theme this year, Interdisciplinary embraces, speaks to the multidisciplinary nature of the field of games research. We ask for extended abstracts in a first round, all accepted speakers will be invited to submit full papers for a special issue in the Transactions of the Digital Games Research Association (ToDiGRA) journal. This will be subject to a second round of peer-review.

The conference is organised at the Department for Informatics and Media, Unit for Human-Computer Interaction, at Uppsala University and supported by The Centre for Digital Humanities, Uppsala University and the Centre for Integrated Research on Culture and Society (CIRCUS), Uppsala University.

The deadline for research contributions is 18 November 2022. Nov 25 2022.

See you in Uppsala in 2023!

Full CFP:

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:

More information will be updated into the conference website:

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: 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 (, Marcelo Simão de Vasconcellos ( and Tomasz Z. Majkowski (

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 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:

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:


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

CfP: GamiFIN 2020

Conference website:
Full CFP:

- 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 ( 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. 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)


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 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 and

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: and please in CC: 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.

CFP: VJ 2019 11th Conference on Videogame Sciences and Arts

27-29 November 2019, Aveiro, Portugal

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*** SCOPE ***

Ten years, and ten years more

The 11th Conference on Videogame Sciences and Arts will be held on November 27-29, organised by the Departament of Communication and Art of the University of Aveiro, and the Society of Video Games Sciences (SPCV). The annual conferences of the SPCV promote the scientific gathering of researchers in Portugal. These conferences are attended by researchers and professionals in the expanded field of videogames — Multimedia, Communication, Technology, Education, Psychology and Arts — to disseminate work and exchange experiences between the academic community and with the industry.

In 2009 the conference was held at University of Aveiro. 2019 will mark the coming back after 10 years. They intend then to show a thorough roadmap of the evolution of the national and international game research during these 10 years, as also ideas and speculations for the next 10 years. Due to the global situation, online casino games on 메리트카지노 have been soaring in popularity as a means of entertainment.

Also, this time they plan going full international, using as working language English, for the CFP, the website, as the Proceedings. Therefore, if you’ve never participated in one Videojogos, this may be the best time to do it. They are calling for papers on games research from all over the world.

*** TOPICS ***

They welcome research proposals, long and short papers, and demos. All presenting new scientific results, innovative technologies, best practices, or improvements to existing techniques and approaches in the multidisciplinary research field of Games Research.

Suggested research topics for contributions include, but are not limited to:

  • Tabletop Games
  • Hybrid Games
  • Gamification
  • Technology
  • Aesthetics
  • Culture
  • Development
  • Learning
  • Methodology
  • Design
  • Criticism
  • Transmedia
  • Narrative
  • Serious Games


Papers (short and full) must be in English. Only submissions that receive high ratings in the review process will be selected for publication by the Program Committee.

All submissions should follow the Springer Communications in Computer and Information Science (CCIS) format (see “Information for Authors of Springer Computer Science Proceedings” at use the Word Template

Link for submission:


  • Submission deadline (full and short paper): July 31, 2019
  • Author notification of the review: September 15, 2019
  • Submission of the print-ready version: October 1, 2019
  • VJ2019 conference: November 27-29, 2019


Full papers: 12-15 pages
Short papers: < 12 pages

The proceedings are planned to be published by Springer in their Communications in Computer and Information Science series, pending of final approval.

The Communications in Computer and Information Science is a book proceedings series by Springer and Indexed by SCOPUS, SCImago, and ISI Proceedings. More info at

*** Contacts ***
Ana Veloso,
Nelson Zagalo,

G|A|M|E – Call For Papers N.8 – ‘Would you kindly?’

‘Would you kindly?’: Claiming Video Game Agency as Interdisciplinary Concept

The new issue of G|A|M|E proposes a re-examination of the concept of agency in games. They welcome contributions that address the idea of agency from a variety of academic perspectives, taking into account its interdisciplinary history and application, in order to expand our critical understanding of the concept more broadly. They therefore invite scholars from all fields to reflect on different notions of agency, not only in relation to physical and digital games, but also to other media and art forms as they impact on games and game studies. At the end of the influential first-person shooter Bioshock (2K Games, 2007), its critique of the rhetoric of choice and freedom emerges from the dialogue between the protagonist Jack and the visionary despot of Rapture, Andrew Rayan. Rayan’s seemingly innocent question ‘Would You Kindly?’ conceals a cognitive trigger that casts a shadow over the protagonist’s actions. By shattering the illusion of free will for both character and player, the game breaks the fourth wall and confronts the user with the question: who is being/has been controlled?

Already central to the fields of Human-Computer Interaction as well as that of design (e.g. Sherry Turkle, 1984; Brenda Laurel, 1991), agency was redefined more than twenty years ago in Janet Murray’s seminal volume Hamlet on the Holodeck (1996, p. 123) as ‘the satisfying power to take meaningful action and see the results of our decisions and choices’. To this day, the concept of agency is still prominent in scholarly debates on video game and game design: to describe a key ontological category that delineates the multiplicity of paths as well as the breadth of choices made available by interactive texts; and also –closer to Murray’s acceptation– to define a primary category of video game aesthetics, a textual effect attached to the pleasure of taking meaningful decisions within virtual environments.

On one level, agency informs media objects, texts and devices. Agency can be observed in relation to old and new game genres (adventure games with branching narratives, interactive movies, sandbox and open-world games); degrees of agency are provided by the affordances of VR/AR and mixed reality technologies (Oculus, PlayStationVR, HoloLens etc.); forms of agency are conceptualised across diverse media and art forms (interactive design, experimental film, on- demand TV, experiential theatre, museum installations) as well as in physical and digital hypertexts (Choose You Own Adventure books); agency is reallocated through new modes of distribution and fruition (VoD, streaming platforms and digital piracy); and agency is also embedded in sub-cultural practices and products (machinima, fan-fiction etc.).

On another level, agency is crucial to debating conceptual categories relevant to interactive digital media. Digital artefacts are immersed in a cross- and trans-media landscape, in which the interface constantly brings into question the relationship between objects, developers and users, blurring the boundaries between authors and audiences and questioning the sovereignty over these objects on multiple fronts. Here, agency provides an opening to explore aesthetic, social and political tensions (gender, race, class), and can be used to analyse discourses that challenge the role of the spectator/reader/player in relation to media object and their creators (art and exhibition, authorship, fandom, prosumer culture).

With its eighth issue, G|A|M|E wants to investigate the agency afforded by games, software and interfaces, as well as the agency claimed by players, users and spectators. Exceeding Murray’s original aesthetic understanding of the term, they intend to expand their examination of agency within and beyond the virtual borders of game studies. Agency is, in fact, a pivotal concept in philosophy, adopted to address relations of intentionality and causality between actors and actions (e.g. Anscombe, 1957; Davidson, 1963); as well as in social sciences, which locate agency within material and immaterial networks between human and non-human agents (Latour, 2005). In light of the vast interdisciplinary history of this concept, they seek contributions that can productively inform and renew our understandings of agency in gaming and play, while also using game agency to inform larger political, philosophical and cultural issues, developing current critical debates in game studies and in other disciplines.

Topics may include:

  • agency in game studies
  • agency and gaming technologies (VR, AR, mixed reality)
  • agency and interactivity
  • agency in video game criticism
  • close textual analysis of games in relation to agency
  • player reception and agency: modding, fandom etc.
  • agency in traditional games: board games, sports etc.
  • video game agency and issues of authorship
  • agency as interdisciplinary concept, from games to: arts, social sciences, law and philosophy
  • game agency in relation to other cultural forms (experimental film, cinema, art, architecture, design)
  • agency and non-linear textuality
  • politics (race, class, sexuality, gender, geopolitics) and video game agency
  • agency and media ecologies

Scholars are invited to submit an extended abstract (between 500-1,000 words excluding references) or full papers by Friday the 19th of July, 2019 to

Extended Abstract deadline: 19th of July 2019; Notification of acceptance: 25th of July 2019

All accepted authors will be asked to submit the full paper by the 15th of October 2019. We expect to release this issue in Winter 2019

Editors: Ivan Girina (Brunel University London), Berenike Jung (University of Tübingen)

CfP: Audio Mostly 2019

The Audio Mostly ( conference series is interested in sound Interaction Design & Human-Computer Interaction (HCI) in general. Audio Mostly will take place from the 18th to 20th of September 2019 at the University of Nottingham in the city of Nottingham in the UK. The conference provides a space to reflect on the role of sound/music in our lives and how to understand, develop and design systems which relate to sound and music. The special theme for the conference this year is ‘A Journey in Sound’. This year the theme of the conference is open to interpretation, but people might think about the following, in relation to the theme:

  • Sonic aspects of digital stories, documentaries and archives
  • The soundtrack to our lives. Archiving and sharing sound
  • The emotional potential of a sound, how might this be used to support interaction
  • The different uses of sound and music across different settings
  • The re-use of recollections and memories by composers and sound designers
  • The development of musical tools that can let us express our experiences over time
  • Socio-technical uses of AI create highly personalised soundtracks that respond to one’s context
  • Adaptive sound and music use in journeys, time and the creative use of data

We encourage original regular papers (oral/poster presentation) addressing the conference theme or other topics from the list provided below. We welcome multidisciplinary approaches involving fields such as music informatics, information and communication technologies, sound design, music performance, visualisation, composition, perception/cognition and aesthetics.

  • Accessibility
  • Aesthetics
  • Affective computing applied to sound/music
  • AI, HCI and Music
  • Acoustics and Psychoacoustics
  • Auditory display and sonification
  • Augmented and virtual reality with or for sound and music
  • Computational musicology
  • Critical approaches to interaction, design and sound
  • Digital augmentation (e.g. musical instruments, stage, studio, audiences, performers, objects)
  • Digital music libraries
  • Ethnographic studies

For more information and other topics please see:
The Audio Mostly 2019 proceedings will be published by the Association for Computing Machinery (ACM) (awaiting approval) and made available through their digital library. Regular papers, posters and demos/installations will be double-blind peer reviewed. It is envisaged that there will be a special issue of a journal relating to the conference, as with previous years.


  • Submission Deadline: 14th of June 2019 (new deadline)
  • Acceptance: 14th July 2019
  • Camera Ready: 9th August 2019
  • Conference: 18th to 20th of September at the University of Nottingham in the city of Nottingham in the UK

Submission Site


For more information or questions, please contact either Konstantinos Papangelis at or the Paper and Poster Chairs: Adrian Hazzard – Elizabeth Kelly –

CfP: Special Issue – Intergenerational Gaming, Accessibility, Motivation, and Engagement (iGAME)

The CGJ is pleased to announce a CFP for the forthcoming special issue: iGAME (intergenerational: Gaming, Accessibility, Motivation, and Engagement).

The field of Games Studies has received a vast amount of interest and investigation over the last 50 years, ranging from game addiction, gender, engagement/interaction, to health rehabilitation and cohorts (i.e. baby boomers). However, intergenerational gaming has received less attention, with the exception of works by Voida and Greenberg (2009;2010), de Schutter et al. (2017), and Wang et al. (2018).

Given the nature of play and the developments of game technologies over the last couple of decades, intergenerational gaming offers a myriad of experiences for both gamers and nongamers, novice and expert gamers alike. Intergenerational gaming can facilitate several motivations in a milieu of domains from health and rehabilitation, to co-op and online gaming.

They invite submissions for this special issue of TCGJ, which focus on cutting edge research and perspectives in relation to intergenerational gaming. They welcome contributions from academics, industry professionals, students, and those with direct experience of intergenerational gaming. They will also consider papers concerning non-computing related intergenerational gaming, which reflect the intersectional and interlinked nature of intergenerational gaming.


Please see below for all important submission dates:

  • Title and abstract of proposed paper 30th June 2019
  • Draft paper for peer review 30th September 2019
  • Revised paper 10th December 2019

Topics include, but are not limited to:

  • Flow/immersion
  • Design
  • Usability, accessibility
  • Player experiences
  • Multi-methods
  • Health and rehabilitation
  • Culture and/or Environment
  • Multi-disciplinary
  • Player modelling
  • Predictive analysis

For queries regarding scope and applicability, please contact the guest editor, Dr Hannah R. Marston, by sending an email to:

For submission enquiries, please contact Drs John Sutherland (Editor-in-chief) or Malcolm Sutherland (Assistant Editor-in-chief) at:

Abstract & Proposed Title – Submission Instructions
Please submit your abstract & proposed title to:

Paper Submission Instructions
1. All submissions should be emailed to:
2. All submissions should follow the Journal formatting and guidelines
3. In your email, please add <Paper Submission – Title for Intergen Special Issue> in the subject box