DiGRA Solidarity Fund

Featured

We are happy to announce the second edition of the DiGRA Solidarity Fund! The fund is meant for providing scholars from less privileged countries with means to travel to the DiGRA international conference which will be held in Sevilla 19-23 June 2023.  Last year we provided travel funding for 5 scholars to attend the conference in Krakow. With a slightly increased budged we are aiming at providing travel funding for the same, or higher number of scholars this year.

Continue reading

Call for papers: DiGRA 2023 International Conference

DiGRA 2023 will take place in Sevilla, Spain, 19th-23rd June 2023. A pre-conference will be held one day prior to the official beginning of the conference, on Monday 19, with a PhD Consortium and Workshops.

The theme of the conference will be Limits and Margins of Games, exploring games as interstitial spaces between disparate realities.

The negotiation of limits and margins is a fundamental component of play which has been discussed regularly, from foundational approaches of the study of games and play to more contemporary ones. DiGRA 2023 aims to continue expanding this discussion with debates that take into account recent developments in society, technology, and gaming industries, such as underground and countercultural game-making, the consolidation of VR as a gaming platform, the decentralisation of player communities, the interlacing between games and politics, and the changes in digital culture caused by the COVID-19 pandemic, to name a few. These events challenge the traditional theoretical framework of game studies as a discipline and call for new conversations.

Margins and limits are, by their very own nature, nebulous and hard to define. They accommodate conflicts for the social imaginary where matters of culture, race, gender, and social class are articulated. These spaces can be material or symbolic, from conceptions of the Global South, citizenship, and censorship to ideas about community, belonging, and representation.

By limits we understand the moving zone in which the materiality of play and games is manifested. This includes, but is not limited to, the ontology of games, the aesthetics of games and play, games as media, game genres, virtual reality experiences, and games and new social realities.

By margins we understand the emergent practices in light of a changing environment under continuous transformation. This includes, but is not limited to, queer practices in games, playing with sexuality, the hegemony of play, game developments in the periphery, identity/identification through play, games as texts, and flaneurism, contemplation, and archaeogaming.

We would like to encourage scholarly reflection on all those diverse ways in which games act as spaces of possibility between disparate realities. Possible themes can include:

  • ontological approaches to games;
  • the aesthetics of gaming & playing;
  • games of the future: avant-garde and digital games;
  • games as media/media as games;
  • genres and generations: the limits of the experience;
  • virtual reality experiences;
  • games and new social realities;
  • queerness in games;
  • playing with sexuality;
  • the hegemony of play;
  • game developments in the periphery;
  • identity/identification through play;
  • games and politics;
  • games as texts: playing with literature;
  • local/regional histories and game studies;
  • flaneurism, contemplation, and archaeogaming.

With the theme of Limits and Margins of Games, DiGRA 2023 makes space for an interdisciplinary critical debate around a plethora of interconnected topics, inviting a diversity of voices and perspectives. As games continue to grow and playful practices continue to shape both dominant and resisting forces in society, game studies must keep looking at the margins and limits not only of its objects of study, but of itself as a discipline. This creates potentials for interdisciplinary exchange, methodical variety, and multifaceted critique. DiGRA 2023 welcomes contributions on different game formats, expressions, and phenomena both related to digital and non-digital games.

The submissions are invited into six 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.
  1. Game Analyses, Criticism, and Interpretation: analyses, close-readings, and critical discussions of game texts.
  1. Game History and Cultural Context: explorations of game histories, contemporary game cultures and regional game studies.
  1. Play and Players: empirical research on play and playful behaviour, players, fandom, and game communities.
  1. Game Design, Production, and Distribution: reflections on making and research creation, processes of production and design, and the games market.
  1. Serious Games and Education: research on games and play for learning, education, and therapy, and other applications beyond game studies.

There will be several special events associated with the conference, including a PhD Consortium. It will beorganised on the pre-conference day, and it will allow PhD students to discuss key issues, benefit from peer support, 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.

To submit your proposal, please apply directly through EasyChair: https://easychair.org/my/conference?conf=digra2023

The organisers also accept thematic workshop proposals (see submission guidelines below).

About DiGRA

DiGRA was established by an international group of scholars in Tampere, Finland, after the Computer Games and Digital Cultures conference that took place in 2002. Since then, it has continued to grow, including the establishment of many regional chapters in different parts of the world.

Important dates

  • Submission opens: 1 November 2022.
  • Full papers, abstracts, and panels submission deadline: 30 December 2022.
  • Workshop proposals submission deadline: 30 January 2023.
  • Announcement of review results and workshop acceptance: 28 February 2023.
  • Workshop submission deadline: 30 March 2023.
  • Early bird registration & program deadlines: 1 May 2023.
  • Camera-ready papers & abstracts deadline: 15 May 2023.
  • Conference dates: 19-23 June 2023.

To submit your proposal, please apply directly through EasyChair: https://easychair.org/my/conference?conf=digra2023

Proposals other than workshop proposals sent to the DiGRA email address will not be considered.

We are looking forward to welcoming the game studies community to Sevilla in June 2023!

Submission Guidelines

We welcome a range of contributions to DiGRA 2023: 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 organisers based on non-anonymous submissions.

All except workshop submissions should be made via EasyChair. Workshop proposals should be sent directly to the conference email: heylisten@digra2023.org.

Authors are asked to direct questions to the program chairs: Marcelo Simão de Vasconcellos (marcelodevasconcellos@gmail.com), Tanja Sihvonen (tanja.sihvonen@uwasa.fi), and Víctor Navarro-Remesal (vnavarro@tecnocampus.cat).

Full Paper

Full papers are expected to be 5000-7000 words plus references, submitted as an anonymized PDF on DiGRA 2023 Submission Template. Submissions must be original, which means that they have not been published or are not 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 2023 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 anonymised PDF using the DiGRA 2023 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-anonymised 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 2023 Submission Template.

Panel

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 2023 Submission Template

Workshop

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 organisers’ background, the anticipated number of participants, and the way they will be selected.

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

Submit workshop proposals directly by email to heylisten@digra2023.org by 30 January 2023.

Number of submissions per author

Authors cannot submit more than two papers and/or extended abstracts to DiGRA 2023, 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.

DiGRA 2023 Website

For more details about the conference, visit the website: https://digra2023.org/

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.

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.

Panel

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).

Workshop

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

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

Publication

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).

Submission

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

Deadlines

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

CfP: GamiFIN 2020

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

=== IMPORTANT DATES
- 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

=== THEMES
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
marketing/advergaming
- Work: e.g. Organizational gamification, gameful work, gamification in
leadership
- 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

=== GENERAL INFORMATION
4th Annual International GamiFIN conference, April 1-3, 2020, Levi, Lapland,
Finland!

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.

=== PROCEEDINGS, PUBLICATIONS & PRESENTATIONS
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).

=== SUPPORTED AND HOSTED BY
Gamification Group, Tampere University, University of Turku and University
Consortium of Pori (UCPori)

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

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)
feng.zhu@kcl.ac.uk

Conference Chairs:
Alina Latypova (St Petersburg State University)
latypova.al@gmail.com
Konstantin Ocheretyany (St Petersburg State University)
kocheretyany@gmail.com

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.

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.

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

27-29 November 2019, Aveiro, Portugal
http://videojogos2019.web.ua.pt/

S1288is an agent of s128 cockfighting or commonly called a trusted online chicken gambling place in Indonesia. Gambling is usually done or where to bet on chicken matches that are played online. Now with the development of sophisticated technology, you can do chicken gambling online using your favorite computer or smartphone.

*** 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

*** SUBMISSIONS ***

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 https://www.springer.com/gp/computer-science/lncs/conference-proceedings-guidelines) use the Word Template https://resource-cms.springernature.com/springer-cms/rest/v1/content/7117506/data/v1.

Link for submission: https://easychair.org/my/conference?conf=vj2019

*** IMPORTANT DATES ***

  • 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

*** PUBLICATION ***

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 https://www.springer.com/series/7899

*** Contacts ***
Ana Veloso, aiv@ua.pt
Nelson Zagalo, nzagalo@ua.pt

CfP: 7th Games and Literary Theory Conference, Kolkata

Announcing the 7th Games and Literary Theory Conference (GamesLit 2019) to be held in Kolkata, India  on November 18th to 20th. The venue is Presidency University, Kolkata (formerly Hindoo College and Presidency College), which has just celebrated its bicentenary. It is an honour to be able to host the first large games conference in this part of Asia and indeed, the so-named Global South.

Kolkata (formerly Calcutta), also known as the ‘second city of the British Empire, used to be the capital of the British Raj and is now a vibrant and diverse city with a rich mix of cultures. It is also an appropriate location for a conference themed ‘Games at the Margin’. The full call for papers is available on the conference website: https://gameslit2019.wordpress.com and also below.

They are looking for abstracts of at least 300 and no more than. 700 words; more information is available on the conference website.  Please submit your abstracts via EasyChair at https://easychair.org/conferences/?conf=gameslit2019 on or before June 30th.

More information on the travel, accommodation and other logistical issues will be provided on the website shortly. If you have any queries, please email me at souvik.eng@presiuniv.ac.in or my coorganiser at debanjana.eng@presiuniv.ac.in.