Apologies for cross posting.

With proposals still coming in for the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance we have now extended the deadline until 4pm, the 30th of September. We have received some particularly strong proposals for both papers and performances however decisions on the final programme won’t be made until after September 30th. If you missed the deadline, were on holidays etc. and are interested in submitting a proposal now is your chance.

We are particularly keen to receive more paper proposals as we feel not all of the breadth and diversity that is networked performance is currently addressed in the proposals we have received. Papers that explore unusual interpretations of networked performance, emerging experimental practice, comparitive analysis of practice, an historical overview etc. are encouraged.

Please find the call included below.


------------------------------------


Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance

keywords: performance, networked, body, space, place, time, real, virtual

URL: http://remote-encounters.tumblr.com/


:: Description ::

Since the internet entered the public domain in the early 90's there has been an explosion in artistic interest in its use as a means, site and context for creative practice.  Much of this practice is performative in nature; ether originating from a performance background and using the internet as a new site and/or augmenting aspect of that practice or is a form of practice developed as direct response to the internet and becomes performative to some degree in its spectatorship.

It has been well established that the internet is not the first or only example of the use of a networked technology repurposed for creative practice.  There is a clear time line that can be traced back through the practice of Roy Ascott and his coining of the term Telematic Art in the 1980's to artist's use of satellite networks, telephone and other telecommunication devices as each were invented.  Seen in this respect the internet can be considered as one of many networked technologies that has enabled networked performance.  

The internet is unique however in that it is not a singular network type that favours a particular form of media, broadcast or spectatorship.  Most famously known as the network of networks it enables multiple protocols of which the world wide web's http is just one, is multimedia in nature and encourages intertextual folding and layering of media, is multi-directional not simply a broadcast communication form, de-centralised in ownership and the majority of its technologies are openly accessible.

Remote Encounters, a two-day international conference with performance evening, aims to explore the use of networks as a means to enhance or create a wide variety of performance arts.  How do networks as a site for performance provide opportunities for us as artists and performers?  In particular how can we remotely collaborate, merge geographically separate places and times, reconfigure the space of performance and the relationship between artist and audience?


:: Call for papers and performances ::

Contributions are invited from practitioners and academics for papers and performances that contextualise current networked performance themes and issues both historically and across the spectrum of different types of networks, explore the wealth of performance opportunities offered by the internet and give a sample of future directions for networked performance.

Topics may include, but will not be limited to, the following:

Bodies and identity:
- Virtual identities and real bodies;
- Self projection as other;
- Hardware, software and wetware - networked bodies;
- The female body and the remote gaze;
- Gender and role play;
- Robots and cyborgs.

New sites, new narratives, new genre:
- Networks as new sites of opportunism;
- Networked spaces as new territories;
- Transmedia storytelling, new narratives;
- Mixed reality narratives;
- Personal and private spaces as public venue;
- First, second and third person narratives;
- Intertextuality;

The relationship between artist and audience:
- Primary and secondary audiences, local and global;
- Audience as performer;
- Interactive performances and breaking down the fourth wall;
- The transformation of audience to user;
- Strategies and levels of engagement;
- The network as a means for converging and collaborative practice.

Tools and technologies:
- Democratisation of form and presentation;
- Subverting networked communication media;
- Alternative and community based networks;
- Tubes and streams, from public access television to webcasting;
- Virtual worlds and video gaming;
- Social networking as performance;
- Pervasive and locative performance;
- Physical interfaces and feedback;
- Telephony and SMS messaging.

We are particularly interested in live performance proposals, existing or new, that employ OpenSim and as such could take advantage of a large space provided by the organisers.  

For further details and an informal chat contact Garrett Lynch (glynch[at]glam[dot]ac[dot]uk) or Inga Burrows (iburrows[at]glam[dot]ac[dot]uk)


:: Submissions ::

Deadline: 4pm (GMT), Sunday 30/09/2012

Proposals are now being accepted for paper presentations and live performances delivered both at the venue and remotely.  Your proposal should take the form of an OpenOffice (.odf), Word (.doc), .pdf or .rtf document only.  

Proposals for papers should include the following:

- An abstract (500 words maximum including bibliography);
- A short bio (200 words maximum);
- Full name and full contact details;
- State whether your proposal is for participation on site or remotely.


Proposal for performances should include the following:

- A description of the work (500 words maximum);
- Accompanying media that may include video, images or sound to give us an idea of the proposed work provided online or on CD/DVD;
- A short bio (200 words maximum) with examples of previous works provided online or on CD/DVD;
- Artist(s) / group / performer(s) name and full contact details;
- A full list of required equipment.  Note that where possible we will provide equipment however the event will host several performances so highly complex configurations and lengthy set-up times cannot be catered for.  Please contact us before making a proposal to discuss requirements;
- State whether your proposal is for participation on site or remotely.  If remotely performing please also state your networked environment of choice.


Send proposals to Garrett Lynch:

Email: glynch[at]glam[dot]ac[dot]uk (proposals as zipped attachments less than 10mb).

Dropbox: https://www.dropbox.com/ (account - glynch[at]glam[dot]ac[dot]uk)

Post: Garrett Lynch, ATRiuM, Cardiff School of Creative & Cultural Industries, University of Glamorgan, Adam Street, Cardiff, Wales, CF24 2FN.


:: Conference information ::

Registration:
Early bird fee - academic affiliated £80, non-affiliated £40
Late fee - academic affiliated £100, non-affiliated £50

Full registration details will be announced at a later date.  Attending conference participants will be required to cover their own travel and if required, accommodation expenses.  Travel information as well as a list of affordable hotels will be posted on the conference website.

Location: ATRiuM, Cardiff School of Creative & Cultural Industries, University of Glamorgan, Adam Street, Cardiff, Wales, CF24 2FN.

Date: 11th - 12th of April 2013


regards
Garrett

----------------------------------------------------------
Garrett Lynch
Senior Lecturer in New Media
Cardiff School of Creative & Cultural Industries
University of Glamorgan

--------------------------------------------------------
MeCCSA mailing list
--------------------------------------------------------
To manage your subscription or unsubscribe from the MECCSA list, please visit:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=MECCSA&A=1
-------------------------------------------------------
MeCCSA is the subject association for the field of media, communication and cultural studies in UK Higher Education. Membership is open to all who teach and research these subjects in HE institutions, via either institutional or individual membership. The field includes film and TV production, journalism, radio, photography, creative writing, publishing, interactive media and the web; and it includes higher education for media practice as well as for media studies.

This mailing list is a free service from MeCCSA and is not restricted to members.

For further information, please visit: http://www.meccsa.org.uk/
--------------------------------------------------------