CETAC.MEDIA

III COBCIBER Proceedings are now available here.

The  VI EDICIC Iberian Meeting, und the theme Globalization, Science, Information, is organized by CETAC.MEDIA, and will take place in 4-6  november 2013 in Faculty of Arts of University of Porto. Call for papers until 31 january 2013.

More information in: http://ocs.letras.up.pt/index.php/EDICIC/edicic2013

The I Congress ISKO Spain and Portugal, under the theme Information and/or Knowledge: the two faces of Janus will take place on 7, 8 and 9 november 2013, in Porto (Portugal) at Faculty of Arts and Humanities of University of Porto.

The ISKO Spanish Chapter, established in 1991, integrated several Portuguese members and it is under a process of changing its denomination to ISKO Spain and Portugal. Because of that, the I Congress ISKO Spain and Portugal will take place in Porto and it will be, simultaneousely, the XI Congress ISKO Spain.

The congresso organization is assured by the research centre CETAC.MEDIA (Centre of Studies on Technologies and Communication Siencies).

Call for papers is open here.

The new issue of MATRIZes is now available online in English and in Portuguese on: http://www.matrizes.usp.br

Date: 18-19 July, 2013

Venue: University of Minho, Braga, Portugal

Deadline for abstracts: 1 March, 2013

Organization: Communication and Society Research Centre, University of Minho, Braga, Portugal

More info: http://www.lasics.uminho.pt/mediareg/

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School of Communication, University of Seville (Spain)

Deadline: 15 January 2013

The University of Seville and the Research Group ‘Critical Thinking, Communication and Human Rights’ are organizing the II International Conference on Media Ethics, which will take place in Seville from 3rd to 5th April 2013.

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The Objects of Journalism: Media, Materiality, and the News

London, June 17, 2013
Frontline Club
an ICA Pre-Conference
Lead sponsor: Journalism Studies Division
Co-sponsor: Communication History Division

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communication +1 invites submissions for its upcoming issue, Communication and New Materialism.

Given the recent emergence of new perspectives in critical theories, such as Object-Oriented Ontology, Speculative Realism, Alien Phenomenology, Flat Ontology, and associated research programs, this issue seeks to explore the implications of these perspectives for the study of communication and media. We use the term, New Materialism, broadly to include all the aforementioned as well as other related perspectives in the hope to be as inclusive as possible and to encourage diverse voices and analytic angles that focus on the forms and processes of mediation across different fields. We are particularly interested in works that engage with the theoretical underpinnings of New Materialism to challenge the text-centered approaches in media and communication studies.

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The Projector: An Electronic Journal on Film, Media, and Culture is seeking research essays for an issue on food, film, and media/consumer culture.

While there are a collection of food films that have acquired canonical status, e.g., Babette’s Feast, Tampopo, Big Night, foodways play an integral role in scores of films and media-related consumer practices that have not been considered in the ongoing research. The journal is looking for essays that analyze and contextualize representations that are not covered extensively in volumes such as Reel Food, ed. Anne Bower, Food, Film, and Culture, by James Keller, or Food in the Movies, by Steve Zimmerman and Ken Weiss. It is interested in research that examines food (and film) practices that surround and run parallel to the consumption of contemporary media.

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University of Reading: Wednesday 18 – Friday 20 September 2013

The culminating conference arising from the AHRC ‘Spaces of Television’ project will be held at the University of Reading from Wednesday 18th to Friday 20th September, 2013. Proposals are invited for papers and/or panels on the theme of ‘Spaces of Television: Production, Site and Style’. The project is about television fiction produced in the UK from 1955-94. It analyses how the material spaces of production (in TV studios and on location) conditioned the aesthetic forms of programmes. We are interested in how fictional spaces represented on the screen across a range of drama during this period negotiated the opportunities and constraints of studio and exterior space, film and video technologies, and live-ness and recording.

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