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DTSTART:20230101T000000
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DTSTART;VALUE=DATE:20240710
DTEND;VALUE=DATE:20240713
DTSTAMP:20260503T170335
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240624
DTEND;VALUE=DATE:20240629
DTSTAMP:20260503T170335
CREATED:20240629T113916Z
LAST-MODIFIED:20240629T114830Z
UID:20079-1719187200-1719619199@unicorerecords.com
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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