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DTSTART;VALUE=DATE:20250630
DTEND;VALUE=DATE:20250705
DTSTAMP:20260425T221742
CREATED:20240712T211457Z
LAST-MODIFIED:20240712T211457Z
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SUMMARY:Joint International Bande Dessinée Society conference and International Graphic Novels And Comics Conference
DESCRIPTION:
URL:https://unicorerecords.com/event/joint-international-bande-dessinee-society-conference-and-international-graphic-novels-and-comics-conference/
CATEGORIES:Conference
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250109
DTEND;VALUE=DATE:20250113
DTSTAMP:20260425T221742
CREATED:20240629T112917Z
LAST-MODIFIED:20240629T114803Z
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SUMMARY:Modern Language Association Annual Convention
DESCRIPTION:
URL:https://unicorerecords.com/event/modern-language-association-annual-convention/
CATEGORIES:Conference
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241114
DTEND;VALUE=DATE:20241116
DTSTAMP:20260425T221742
CREATED:20240712T185037Z
LAST-MODIFIED:20240713T165659Z
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SUMMARY:Comics Forum 2024: Between Bodies: Embodiment and Comics
DESCRIPTION:The thirteenth Comics Forum will focus on themes of embodiment within comics and Comics Studies across cultures\, disciplines\, and forms. \nEmbodiment is the process through which both individual and cultural ideas and beliefs become material. Embodiment generates an emerging challenge to and within Comics Studies that scholars such as Eszter Szép and Scott Jeffery have begun to explore within the field. Through themes of embodiment\, we hope to call attention to how comics are a deeply embodied medium. Comics become embodied when they are made\, through the movement of the body to draw\, write\, and make comics; when they are read through the readers’ bodily responses; when they become bodies of work or story. Comics themselves embody ideas and narratives through their lines\, colours\, layouts\, speech balloons\, visual and narrative styles\, publishing formats\, and sizes. \nAs an embodied medium\, comics can re-affirm or unsettle the boundaries of dichotomies\, such as the embodied Self/Other; the individual/collective; the objective/subjective; the fictional/real; the powerful/powerless. We are particularly interested in work that moves away from or challenges Western hegemonic forms and practices of embodiment in comics and graphic narratives. \nComics Studies attempts to situate itself between these cultures\, bodies of work\, creators\, and readers. We are therefore also interested in how Comics Studies is embodied in the academy. What might Comics Studies\, as an embodied methodology\, bring to other disciplines or fields? Comics Forum 2024 therefore invites participants to consider embodiment through or within any new\, developing\, or previous work in the field. Subjects for discussion may include\, but are not limited to: \n\nComics as archival bodies\n\n\nEmbodiment in comics industries\n\n\nEmbodiment of Comics Studies in the academy\n\n\nEmbodiment in Comics Studies’ research methodologies\n\n\nPossibilities of disembodiment in comics\n\n\nEmbodiment in/of/through comics forms\n\n\nEmbodiment and biopolitics in comics\n\n\nEmbodied identities and positions in comics\n\n\nNegotiations of embodied boundaries in comics\n\n\nInteraction between comics and bodies of comics creators/readers/scholars\n\nComics Forum welcomes speakers from a diverse range of backgrounds\, ranging from students to senior academics\, practitioners and beyond. No particular academic disciplines are preferred\, and we are open to proposals on comics and related forms from any part of the world. Proposals of up to 250 words for papers of 20 minutes in length are now being accepted at: comicsforum@hotmail.co.uk. Alternative formats of presentation\, such as workshops or roundtable discussions\, are welcome but must fit within the same 20-minute time limit. If you are proposing an alternative format\, please indicate this in your proposal. \nThe deadline for submissions is the 31st of August\, and you will be notified of acceptance by or before the 13th of September 2024. Please include a short (100 word) biography with your proposal. We look forward to seeing you in Leeds!
URL:https://unicorerecords.com/event/comics-forum-2024-between-bodies-embodiment-and-comics/
LOCATION:Leeds Central Library\, Calverley Street\, Leeds\, LS1 3AB\, United Kingdom
CATEGORIES:Conference
ORGANIZER;CN="Comics Forum":MAILTO:comicsforum@hotmail.co.uk
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241023
DTEND;VALUE=DATE:20241026
DTSTAMP:20260425T221742
CREATED:20240705T120315Z
LAST-MODIFIED:20240713T165557Z
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SUMMARY:19TH ANNUAL COMFOR CONFERENCE 2024 IN GRONINGEN: “GRAPHIC MEDICINE”
DESCRIPTION:9th annual ComFor  conference 2024:\n“Graphic Medicine: Communicating Illness and Health Through Comics”\n23-25 October 2024 at the University of Groningen\,the Netherlands\nOrganizers: Janina Wildfeuer and Barbara Postema (University of Groningen) \nWe are very pleased to announce that the keynote speakers for the conference will be:\nIrmela Krüger-Fürhoff (Freie Universität Berlin)\,\nLisa El Refaie (Cardiff University)\, and\nErin La Cour (Vrije Universiteit Amsterdam).\nIn addition\, we will be joined by guest artists Mark Hektor and Mo Qasem. \nInitiated in 2007\, the area of study called “Graphic Medicine” has developed into an impressive field of research that is today broadly understood as “the intersection of the medium of comics and the discourse of healthcare” (Czerwiec et al. 2015). As a discipline\, it understands itself as an “emerging area of interdisciplinary academic study” including both theoretical and methodological developments from several disciplines connected to comics studies as well as practical insights and applications from medical practitioners in the healthcare context. As Squier notes\, many different areas of academic scholarship prove to be relevant to the field: “While graphic medicine may seem most closely tied to the medical humanities\, a closer look will reveal its relevance to fields of engaged scholarship beyond the medical or health humanities. This category includes women’s studies\, environmental studies\, disability studies\, and science and technology studies\, as well as critical race studies\, queer studies\, and animal studies. Each of these areas has a mandate for real-world commitment and engagement that comics can serve well” (Squier 2015: 43). \nFurthermore\, in public health\, good communication skills are key for effectively mediating between professionals and laypeople. Conveying information clearly is a strong pillar of support and trust. Health and science communication therefore can be major considerations in the scientific as well as practical contexts of complex graphic narratives that combine the visual elements of comic art with narrative and informative aspects of medicine. Multiple formats of comics can be put to work in this endeavor\, since they “could include graphic memoirs of illness\, educational comics for both students and patients\, academic papers and books\, gag strips about healthcare\, graphic reportage\, and therapeutic workshops involving comic making\, as well as many other practices and source material\, both fictional and non-fictional” (https://www.graphicmedicine.org/why-graphic-medicine/). Thus\, Graphic Medicine is described as being remarkably accessible and engaging\, in part because it can capture individuals’ emotional experiences\, as a patient or caregiver\, and clarify processes and\nsensations related to the clinical side of (mental) illness and health. In fact\, comics in particular have not only proven to strengthen the comprehension and retention of health education information (Leiner et al. 2018)\, but also show themselves to be particularly approachable in comparison with other media due to their ability to structure information in manageable steps (Kearns et al. 2021). \nThis conference will bring together theoretical and methodological developments on Graphic Medicine\, as well as practical insights and applications\, and hopes to offer a fruitful place for discussion\nand critical evaluation of the field and its most recent developments and insights. \nGuiding questions and topics:\n● What are the benefits of Graphic Medicine for patients\, healthcare professionals\, creators\, and\nthe general reading public? What are the challenges?\n● Does Graphic Medicine need special ethical considerations?\n● Can Graphic Medicine be fictional? Are there genre or format limitations for Graphic Medicine?\n● Which media specific components of comics and graphic narratives are particularly suited for\nhealth-related information to be conveyed?\n● Which semiotic modes\, (multimodal) metaphors\, frames or other aspects of Graphic Medicine\nprovide ways of effectively relaxing health messages?\n● Which methods of creating and drawing comics are needed to implement Graphic\nMedicine as practice in science learning and health promotion?\n● Graphic Medicine for Scholarship\, Graphic Storytelling and Medical Narrative\n● Graphic Pathography\n● Iconography of Illness\n● Practical applications of Graphic Medicine
URL:https://unicorerecords.com/event/19th-annual-comfor-conference-2024-in-groningen-graphic-medicine/
LOCATION:University of Groningen\, Groningen\, Netherlands
CATEGORIES:Conference
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240914
DTEND;VALUE=DATE:20240916
DTSTAMP:20260425T221742
CREATED:20240629T120015Z
LAST-MODIFIED:20240629T120015Z
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SUMMARY:Small Press Expo 2024
DESCRIPTION:The Small Press Expo (SPX) is a registered 501(c)(3) nonprofit created in 1994 to promote artists and publishers who produce independent comics. SPX hosts an annual festival that provides a forum for artists\, writers and publishers of comic art in its various forms to present to the public comic art not accessible through normal commercial channels. SPX sponsors a number of events and charitable initiatives\, including: \nThe Expo\nThe annual SPX comics and graphic arts festival presents the best and brightest established creators in independent comics. In addition to the opportunity for public exposure and potential revenue the festival provides to attending artists\, the event also allows less established to network with publishers and prominent creators\, providing unique opportunities for the comic artist/writer that is just starting out. \nSPX prides itself on maintaining an open (rather than curated) registration policy and open access between attendees\, exhibitors and volunteers. SPX is unique amongst the various comic book exhibitions\, as it does not allow retailers to have a formal presence at the festival. Only creators and publishers are allowed to exhibit. The festival includes: \n\n\nA public exhibition where artists\, creators and publishers and the public interact in an informal setting. Graphic novels\, comics and related merchandise are for sale and SPX attendees can interact with the attending creators/publishers.\nA series of symposium held during the festival\, where creators of comics engage in formal panel discussions and/or interviews open to SPX attendees.\nSPX often sponsors off-site events the week of the convention\, including academic seminars\, book signings and school outreach programs.\n\n\nThe SPX Mission\nThe SPX non-profit charter defines the following goals for the organization: \n\n\nTo provide a forum to showcase new and emerging talent in the fields of comics\, graphic novels and political cartooning.\nEnable participants in the comics field to learn from more experienced people in the various aspects of the creation\, publishing\, marketing and distribution of comics related content.\nTo educate the public and members of the comics field in the areas of comic history\, current trends in the comics field\, the impact of comics on popular culture and other analytical topics.\nTo further the art form of independent comics by identifying organizations and partnerships where independent comics can be exposed to a broad audience\n\nSPX Program Areas\n\nThe Annual Festival\nThe Ignatz Awards\nThe Library of Congress\nGraphic Novel Gift Program\nLibrarian Outreach
URL:https://unicorerecords.com/event/small-press-expo-2024/
LOCATION:Bethesda North Marriott Hotel & Conference Center\, 5701 Marinelli Road\, Rockville\, MD\, 20852\, United States
CATEGORIES:Expo
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240710
DTEND;VALUE=DATE:20240713
DTSTAMP:20260425T221742
CREATED:20240128T210359Z
LAST-MODIFIED:20240629T114725Z
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SUMMARY:The Fifteenth Annual International Graphic Novel and Comics Conference Comics and Technologies University of East Anglia\, Norwich
DESCRIPTION:New technologies have affected the creation\, production\, distribution\, forms\, themes\, ethics\, and cultures of comics. Collaboration and creativity have been enabled by digital communication and creative tools. Comics have adapted to emerging technologies that inspire new formats\, such as photomechanical reproduction\, the four-colour process\, photocopying\, free computer software such as Canva\, MediBang Paint\, or the Internet. Apps and platforms enable new possibilities for access and ways of reading. Most recently\, the emergence of AI has led to concerns about copyright\, data protection and creator exploitation. \nComics have also represented technologies thematically: in genres such as superheroes and science fiction\, for instance in the grandiose future technologies envisioned by Moebius or Jack Kirby; in war comics that depict industrialised conflict; and under the umbrella of graphic medicine\, which describe and critique medical tech. Technologies can be useful for researchers\, for instance in the development of software to analyse huge amounts of data or cataloguing long runs of comics. \nWe are interested in all aspects of comics and technologies and themes that might be addressed (but are not limited to) the following: \n\nRepresenting technologies – e.g. future worlds (including Afrofuturist\, Arabfuturist\, etc.)\nThe interfaces between people and technologies\nUsing technology in researching\, or education through\, comics\nProducing comics via technologies – from major global corporations to small scale production\nHistorical aspects of technologies: comics formats\, production\, distribution\nComics and the politics of technology – race\, gender\, sexuality\, class\, etc.\nThe future of comics arising from technologies\nThe effect of digital tools on collaboration and creation\n\nWe will also have room within our programme\, as always\, for papers\, workshops\, and roundtables that do not fit this specific theme. \nWe are now accepting proposals for papers (20 minutes)\, panels (of 2 or 3 papers) or roundtable and workshop sessions (60-90 minutes).  Please submit the following to TheIGNCC@gmail.com  by 15 December 2023: \n\nabstract of 250 words\na biography of 50 words including your name\, email\, affiliation\, and gender pronouns\nstate whether your paper will be given in person or online\nstate whether you would be interested in chairing a panel\n\nIf you have any queries please email TheIGNCC@gmail.com.
URL:https://unicorerecords.com/event/the-fifteenth-annual-international-graphic-novel-and-comics-conference-comics-and-technologies-university-of-east-anglia-norwich/
LOCATION:University of East Anglia\, Research Park\, Norwich\, NR4 7TJ\, United Kingdom
CATEGORIES:Conference
ORGANIZER;CN="International Conference of Graphic Novels and Comics":MAILTO:TheIGNCC@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240624
DTEND;VALUE=DATE:20240629
DTSTAMP:20260425T221742
CREATED:20240629T113916Z
LAST-MODIFIED:20240629T114830Z
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SUMMARY:Comics Studies Society Annual Conference: Glitching Comics
DESCRIPTION:In her 2020 publication Glitch Feminism: A Manifesto\, Legacy Russell explores the notion of “glitch-as-error with its genesis in the realm of the machinic and the digital.” With this framing\, she argues that glitches might “inform the way we see the AFK [Away-From-Keyboard or real] world\, shaping how we might participate in it toward greater agency for and by ourselves” (8-9). With her sights set on social systems of gender\, race\, and sexuality in particular\, Russell asks how embodied subjects who defy patriarchal white supremacist cisheterosexist norms are positioned or appear as glitches\, as errors\, in digital and AFK spaces. Rather than take for granted the normative understanding of glitch-as-error\, Russell argues for a feminist praxis that reconceives glitches as a form of refusal and a means by which to challenge the status quo. Russell is particularly interested in how artists record\, perform\, and embrace the glitch to expose our flawed social systems\, explore the in-between\, and “imagine new possibilities of what the body can do\, and how this can work against the normative” (14). To read Russell’s work online or to hear her talking about glitch feminism see here: https://www.legacyrussell.com/GLITCHFEMINISM \nBuilding on Russell’s bold and necessary work\, the CSS Conference Committee invites members to join us in glitching comics. What can errors in production processes of print comics reveal about systems of racialization? How might digital reading practices expose industry sexism or ableism? What do creators accomplish when they embrace glitchy aesthetics? How do comics or comics media that dwell in the in-between or sit with discomfort help us to refuse violent social norms? How do marginalized creators take advantage of systemic failures? \nLike Russell\, we recognize the feedback loop between digital and AFK spaces so we encourage participants to draw on print or digital comics\, comics-related media\, or texts that actively blur these distinctions. The Comics Studies Society invites proposals for 15-minute individual papers\, pre-formed panels\, media objects (such as critical making\, comics\, video\, Twine\, or performance)\, and pedagogy or other workshops that engage with how comics (across forms\, genres\, media\, experiences\, regions\, and cultures) disrupt the status quo. Topics may include but are by no means limited to: \n\n\n\n\n\n\n\n\n\n\n\n\n\n“Glitch Refuses”\n\nResistant narratives\nTexts that defy genre distinctions\nSubversive reading practices\n\n\n“Glitch Throws Shade”\n\nErrors that expose hegemonic social norms\nAesthetics that reveal the fallibility of normative ideals\nReactivity in fan communities\n\n\n“Glitch is Error”\n\nComics that embrace the unknowable\nMedia that strive for elasticity\nHistorical errors that disrupted the status quo\n\n\n“Glitch is Anti-body”\n\nDisability in comics\nProduction processes that prioritize accessibility for disabled creators and readers\nRepresentations of bodies that glitch “hegemonic normative formulations”\n\n\n\n\n\n\n\n\n\n\n\n\n“Glitch is Virus”\n\nReception of or resistance to AI art in comics\nThe brokenness of labor standards in the comics industry\nInfection or monstrosity as a “vehicle of resistance” to identity norms\n\n\n“Glitch Mobilizes”\n\nHow digital platforms/modes of creation provide opportunity\nThe promise of “newly proposed worlds” in comics media\nFan activism\n\n\n“Glitch is Remix”\n\nRetcon as a form of reclamation\nThe rearranging of creative traditions to generate something liberatory\nRepurposing discomfort to reveal truths\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSubmit 250-word abstracts via the Google Forms below no later than 11:59pm Central Time (US) on February 16\, 2024. All submissions will undergo transparent peer review. Notifications will go out in February and registration will open in March. The virtual conference will take place in June 24-28\, 2024. \n\nIndividual Paper Proposals\nPanel Proposals\nRoundtable Proposals\nWorkshop Proposals\n\n\nPlease contact the Conference Committee with any questions: comicsstudiesorg@gmail.com
URL:https://unicorerecords.com/event/comics-studies-society-annual-conference-glitching-comics/
LOCATION:Online
CATEGORIES:Conference
ORGANIZER;CN="Comics Studies Society":MAILTO:comicsstudiesorg@gmail.com
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