DASH Archives - March 2017

CALL FOR PROPOSALS to host the 8th International Conference on the
Histories of Media Art, Science and Technology: Re: 2019
 
The Media Art Histories Board invites applications to host the 8th
International Conference on the Histories of Media Art, Science and
Technology.
 
The international conference series, which was inaugurated in 2005 in
Banff, Canada, has since been held in several international venues
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, Riga 2013, Montreal 2015 and will be held this fall in Paris.
The
conference series aims to engage the growing community of scholars
from
a range of disciplines including art history, contemporary art
practice,
art theory, history of science, history of technology, science and
technology studies, media studies, image science, visual studies,
philosophy, cultural studies, anthropology, architecture theory, sound
studies, computer science among others to develop and share new
research
and scholarship in the intersecting fields of the histories of media
art, science and technology. The host of the conference in 2019 will
have the opportunity to continue to build on the impressive history of
the conference series.
　
CONFERENCE SERIES MISSION
*Recognizing the increasing significance of media art for our culture,
the conference series on the Histories of Media Art will discuss the
history of media arts within the interdisciplinary and intercultural
contexts of the histories of the arts. Numerous individuals and
institutions collaborate to produce the international art history
conference series covering the media arts, the arts and technology,
art-science interaction, and the history of media as pertinent to the
contemporary arts.*
 
GUIDELINES, SELECTION CRITERIA AND DEADLINES
Proposals to host the conference will include the following
information:
 
1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience
in hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget
 
Those interested in making a bid to host the conference can download
GUIDELINES here
(http://www.mediaarthistory.org/wp-content/uploads/2016/07/MAH-conf-guidelines_2019.pdf)
 
Deadline for final submission of proposals: 
March 31, 2017 
MAH Advisory Boards final decision for the 2015 host: 
June 31, 2017.
 
***********************************
MediaArtHistory Board (Steering Committee)
 
Sean CUBITT Goldsmiths College, University of London
Jorge LAFERLA University of Buenos Aires
Oliver GRAU Danube University
Linda HENDERSON, University of Texas, Austin
Erkki HUHTAMO University of California Los Angeles
Douglas KAHN University of New South Wales
Martin KEMP Oxford University
Timothy LENIOR Duke University
Machiko KUSAHARA Waseda University, Tokyo
Gunalan NADARAJAN University of Michigan
Paul THOMAS UNSW Sydney
　
MEDIA ART HISTORIES PLATTFORM http://www.mediaarthistory.org
 
ARCHIVE OF DIGITAL ART http://www.digitalartarchive.at 
 
LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration 
 
CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html 
http://www.mediaarthistory.org/pub/place_studies.html 
http://mitpress.mit.edu/books/relive 

Posted on behalf of Vera Monaco  vera.monaco@rca.ac.uk 

V&A/RCA Masters Programme in History of Design

Open Evening and Scholarships

5.30 pm, Monday 20th March 2017, Blythe House, London, W14 0QX

The V&A/RCA History of Design programme is internationally recognised as a leading centre for study and research in the history of design and material culture at MA and PhD level. Our graduates go on to careers in museums and galleries, universities and the cultural and media sectors world-wide. For 2017, the programme introduces a new specialism in the History and Material Cultures of Performance, run jointly with the V&A’s Department of Theatre & Performance.


Prospective applicants are invited to an open evening to introduce the programme in general, and hear more about the new Performance specialism on offer.  The event will be held at the V&A’s Archive and Collections Storage Facilities in Blythe House, Kensington Olympia, London. A presentation by tutors and curators will be followed by a chance to talk with past and present students and hear more about their projects. A behind-the-scenes tour of the facilities and collections, in the company of curators and tutors, will close the event.


The V&A/RCA History of Design programme is also delighted to announce two scholarships for the academic year 2017-2018:


The Friends of the V&A Scholarship. The Scholarship covers fees (£14,500) for the 15 months of the MA and includes a maintenance grant of £4,000. Students applying from the UK or EU, who hope to work in a public-facing institution, such as a museum or similar, after graduating from the MA are eligible.


The Dr Sylvia Lennie England Scholarship. The Scholarship covers fees (£14,500) for the 15 months of the MA. Students applying from the UK or EU, who are interested in focussing on the Renaissance or Early Modern period are eligible.


For further details on the programme, including its structure and duration, fees and scholarships, visit https://www.vam.ac.uk/info/history-of-design-postgraduate-programme  and https://www.rca.ac.uk/schools/school-of-humanities/hod/ .  To register for the event, or for any queries about the programme, please email hod@rca.ac.uk .  Attendees must register in advance due to security arrangements at the site. Directions to Blythe House can be found here http://www.vam.ac.uk/content/articles/a/archives/

Vera Monaco
Admin Assistant (temp), (Mon-Wed and Fri)

School of Humanities
Royal College of Art
Kensington Gore, London
SW7 2EU
E: vera.monaco@rca.ac.uk 
T: +44 (0)20 7590 4489 
www.rca.ac.uk 
twitter.com/rca 
facebook.com/rca.london 

====
Paul Brown
http://www.paul-brown.com == http://www.brown-and-son.com
UK Mobile +44 (0)794 104 8228
Skype paul-g-brown
====
Honorary Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====

RE:TRACE 2017: Call for Papers
　
The 7th International Conference on the Histories of Media Art, Science
and Technology titled RE:TRACE focuses on an evaluation of the status of
the meta-discipline MediaArtHistories today.
　
More than a decade after the first conference founded the field now
recognized worldwide as a significant historical inquiry at the
intersection of art, science, and technology, Media Art Histories is now
firmly established as a dynamic area of study guided by changing media
and research priorities, drawing a growing community of scholars,
artists and artist-researchers.
　
Immersed in both contemporary and historiographical aspects of the
digital world, we explore the most immediate socio-cultural questions of
our time: from body futures, information society, and media
(r)evolutions, to environmental interference, financial virtualization,
and surveillance. And we do so through a fractal lens of inter- and
trans-disciplinarity, bridging art history, media studies, neuroscience,
psychology, sociology, and beyond. MediaArtHistories is a field whose
theory, methods, and objects of study interweave with and overlay other
disciplines.
　
The organizing committee invites researchers of different areas,
disciplines and practices to submit individual papers, posters and full
panels with new and original research preferably in the following
themes:
　
- MediaArtHistories historiographies and futures of an ever-emerging
field
- Institutional histories of Media Art
- Media Art & Politics (surveillance, climate, visualizations, etc.)
- Collecting media art / Media Art market
- Archiving, preserving and representing Media Art
- Re-Use of cultural heritage data, including education, learning and
research
- Methodologies and research tools for MediaArtHistories with a focus
on Digital Humanities
- International and local histories and practices of media art
- (Post-)Colonial experiences and non-Western histories of media art,
science and technology
- Paradigm shift Digital vs. Post-Digital Theory
- Alternative histories for Media Art in relation to newly evolving or
unexpected fields.
- Models and perspectives of research fields adapted across traditional
disciplinary lines.
- New symbolic architecture of digital super companies (Apple, Amazon,
Microsoft, FB, Google)
　
The conference program will include competitively selected,
peer-reviewed individual papers, panel presentations and posters, as
well as a small number of invited speakers. Presentations will be
delivered in a range of formats, from panel discussions to a poster
session. We particularly encourage submissions by researchers from
international contexts outside of Europe and North America.
　
KEYNOTE LECTURES and DEBATES with 
Martin KEMP (emeritus professor Oxford University, British Academy,
UK)
Ryszard KLUSCZYNSKI (Universität Lodz, PL)
Morten SøNDERGAARD (Aalborg University, DAN)
t.b.a. 
t.b.a.
　
Submission Deadline: March 26, 2017 
Notification of acceptance will be announced by April 30, 2017.
　
Individual proposals for papers should consist of a max. 250-word
abstract with title.
Proposals for full panels should consist of a max. 500-word abstract
outlining the panel and individual topics of confirmed speakers.
Submission language is English.
　
Submitters should upload a short bio file (Word), no longer than ½ page
per person. The short bios will be used on the conference website
together with your abstracts.
　
Initiated by the Media Art Histories Board (Steering Committee):
Dr. Andreas BROECKMANN (Leuphana University Lüneburg, DE); Prof. Dr.
Sean CUBITT (Goldsmiths University of London, UK); Univ.-Prof. Dr.
Oliver GRAU, MAE (Danube University, AT); Dr. Linda Dalrymple HENDERSON
(University of Texas at Austin, US); Prof. Dr. Erkki HUHTAMO (University
of California Los Angeles, US); Prof. Dr. Douglas KAHN (University of
New South Wales, AU); Prof. Dr. Machiko KUSAHARA (Waseda University
Tokyo, JP); Prof. Dr. Tim LENOIR (Stanford University, US); Prof. Dr.
Gunalan NADARAJAN (University of Michigan, US); Prof. Dr. Paul THOMAS
(University of New South Wales, AU)
　
MAH Honorary Board: Martin KEMP, Jasia REICHARDT, Itsuo SAKANE, Peter
WEIBEL, Rudolf ARNHEIM †, Douglas DAVIS †
　
Conference dates: November 2325 , 2017, Krems (World Cultural Heritage)
& Austrian Academy of Sciences (ÖAW) Vienna, hosted by DANUBE UNIVERSITY
and ÖAW
　
Co-Chairs RE:TRACE: Oliver GRAU & Inge HINTERWALDNER
　
Austria RE:TRACE: Conference Advisory Board 
Carl AIGNER (Landesmuseum St. Pölten, AT); Jose Ramon ALCALA
(University of Castilla La Mancha, ES); Giselle BEIGUELMAN (University
of São Paulo, BR); Beatriz Escribano BELMAR (University of Castilla La
Mancha, ES); Andreas BROECKMANN (Leuphana University Lüneburg, DE);
Andres BURBANO (Universidad de los Andes, CO); Valentino CATRICALA
(University Roma Tre / Media Art Festival, IT); Sebastian EGENHOFER
(University of Vienna, AT); Ksenia FEDEROVA (RU/UC Davis, US); Sabine
FLACH (University of Graz, AT); Katharina GSÖLLPOINTNER (University of
Applied Arts, Vienna, AT); Erkki HUHTAMO (University of California Los
Angeles, US); Ryszard KLUSCZYNSKI (University of Lodz, PL); Katja
KWASTEK (University of Amsterdam, NL); Daniel Cardoso LLACH (Carnegie
Mellon University, US); Sjoukje van der MEULEN (Utrecht University, NL);
Gunalan NADARAJAN (University of Michigan, US); Gerald NESTLER (Vienna,
A); Ana PERAICA (Split, HR); Christopher SALTER (Concordia University,
CA); Christa SOMMERER (University of Art and Design, Linz, AT); Morten
SøNDERGAARD (Aalborg University, DK); Axel STOCKBURGER (Academy of
Fine Arts, Vienna, AT); Gerfried STOCKER (Ars Electronica, Linz, AT);
Eveline WANDL-VOGT (ÖAW, Vienna, AT).
　
Venues:
Danube University / Located 70km from Vienna in the UNESCO World
Heritage Wachau region,
Danube University is the only public university in Europe specializing
in advanced continuing education by offering low-residency degree
programs for working professionals and life-long learners. Located at
both a modern university campus and in the Göttweig Monastery, the Dept.
for Image Science is an internationally unique institution for research
and innovative teaching with an international faculty, at this point 120
scholars from various nations and disciplines. The innovative approach
of the Department for Image Science with the close connection to
practice has developed the and founded in 2006 the low-residency Master
program MediaArtHistories and Futures answering the need for
international, post-graduate studies.
　
Academy of Science, Vienna / The vibrant capital of the Republic of
Austria in Central Europe meeting international travel standards with
safe and exciting surroundings that embrace culture both old and new.
Planning for Vienna is being organized with partner institutions and
colleagues. Fast and frequent public transportation between Vienna and
Krems allows for a blending of two locations into one venue,
distributing separate days in each venue
　
www.mediaarthistory.org/retrace 
www.mediacultures.net/mah 
www.digitalartarchive.at 
https://www.academia.edu/30551255/What_is_MediaArtHistories_.pdf 
　
　
PARTNERS: 
Danube University, Austrian Academy of Sciences (ÖAW), Academia
Europaea (AE), Erasmus+ MediaArtCultures, 
Archive of Digital Arts (ADA), Leonardo, Humboldt-University Berlin,
Kunsthalle Krems
　
　

=> MEDIA ART HISTORIES, MA (4/5 Semester) 
*low residency* *world renowned faculty* 
*international network* *world heritage Wachau*
> Start: May/Sept 2017
www.mediacultures.net/mah

The MediaArtHistories MA at Danube University is the only international
Master of Arts program focused on preparing art professionals and
researchers through a deep exploration of the diverse histories of Media
Art, Science and Technology. An interdisciplinary field at the
intersection of digital technology and humanities disciplines,
MediaArtHistories examines the knowledge frontiers of new media,
digital, and electronic art. It addresses the scientific discovery and
technological innovation that emerge as part of these art practices and
productions, as well as the genealogies of their historical development
and context. At a time when digital technologies are fundamentally
revolutionizing the very ways in which we communicate, interact, and
perceive images, the MediaArtHistories program trains students from
diverse backgrounds to critically analyze the visual media cultures of
today.

==> BRAIN TRUST Faculty:
Lev MANOVICH, Christiane PAUL, Roger MALINA, Andreas BROECKMANN, Jens
HAUSER, Jeffrey SHAW, Jussi PARIKKA, Sean CUBITT, Paul SERMON, Oliver
GRAU, Christa SOMMERER, Edward SHANKEN, Frieder NAKE, Ana PERAICA, Nat
MULLER, Gunalan NADARAJAN, Monika FLEISCHMANN, Margit ROSEN, Martina
LEEKER, Christopher LINDINGER, Kathy Rae HUFFMAN, KNOWBOTIC RESEARCH,
Wolf LIESER, UBERMORGEN, Andreas LANGE, Christopher SALTER, Darko FRITZ,
Morten SONDERGAARD, Irina ARISTARKHOVA, and others. 
　
　
The program is a two-year low-residency, either 90 or 120 ECTS Masters
degree offered in English. In addition to individual study and project
work at your home location, students gather 2-3 times a year for intense
seminar modules with internationally renowned media artists and
scholars. These enriching sessions take place at Danube University or
another European location relevant to the community of media art, such
as Linz, Austria as well as Karlsruhe and Berlin, Germany.


Since its beginnings in 2006, Danube Universitys prestigious
MediaArtHistories MA has offered its students both a deeper critical
comprehension and a practical orientation regarding the most important
developments of this most contemporary art, by building on its faculty
network of renowned international theorists, artists, and curators.
These faculty come from across the globe to give seminars during the
modules held at Danube University, and from their home universities
maintain through online network and project collaboration individualized
instruction with students throughout the program.
www.donau-uni.ac.at/mah 


==> CONTENT - Courses cover Media Art genres such as Net, Telematic and
Genetic Art as well as the most recent reflections on Nano, Bio and
Transgenic Art, Video Games, Computer Graphics and Animation, Virtual
Reality, Augmented Reality, and Intelligent Environments, Hacktivism and
Tactical Media, Performance, Glitch Art, hybrid art and Robotics.
MediaArtHistories offers a basis for understanding the evolutionary
history of media, from historic examples such as the Laterna Magica and
Mechanical Automaton of the 17th century, to computer art at the
earliest stages of the Internet in the mid-Twentieth Century and the
algorithmic art of today. Explored in depth are key methods and theory
from Digital Humanities, Image Science, Media Archaeology, Sound
Studies, the Intellectual History of Science & Technology, and Digital
Gender Theory. Excursions, and on site faculty seminars, introduce
students to the main cultural heritage institutions in the field, such
as Ars Electronica and ZKM, archives such as the Archive of Digital Art
(ADA www.digitalartarchive.at), festivals such as Transmediale, and the
Media Art market. 


==> AUSTRIA - the low-residency modules allow working professionals to
maintain their usual employment, and students entering directly after a
Bachelors degree will have opportunity to gain valuable career
experience while they study. Students are eligible for student visas for
year-round residency, enabling parallel pursuit of a research project
with the Archive of Digital Art or digitized Graphic Art Collection of
nearby Göttweig Abbey, both developed by Danube University, or other
opportunities for internships within the MediaArtHistories network.
Portions of the Modules take place at the Center for Image Science
housed at the Göttweig Abbey. The Danube University is located in the
UNESCO World Cultural Hertiage "WACHAU" and offers a spectacular
backdrop for learning and living.
http://www.donau.com/en/wachau-nibelungengau-kremstal/ National
Geographic:
http://travel.nationalgeographic.com/travel/sustainable/pdf/destination-scorecard.pdf

==> STUDENTS - International students to our program have come from
locations including Austria, Brazil, Canada, Germany, Nigeria, China,
Egypt, Iceland, Japan, Korea, Mexico, Russia, Spain, Italy, Ukraine, and
USA... 
www.donau-uni.ac.at/mahstudents 
==> ALUMNI of the program are employed at renowned cultural
institutions like: Austrian National Library, Süddeutsche Zeitung,
Chicago Art Institute, Deutsche Kinemathek, ETH Zürich, Ars Electronica,
ITAU Cultural Sao Paulo, Nicolaus Copernicus Universtiy, Auckland Art
Gallery, Pinchuk Art Centre, Hive Advertising, imai, Polytechnic Museum
Moscow, and more. 
　

MODULES: May 1-5, 2017 / Sept 15-25, 2017/ Nov 20-30, 2017 / May 2-6,
2018 / October 1-10, 2018
INTERNSHIP: (MAH-Advanced only) between May -Dec 2018 
MASTER THESIS: Nov 2018 April 2019

==> APPLICATION (digital) and FUNDING POSSIBILITIES - Acceptance into
the program requires either a Bachelors degree (or higher), or
equivalent relevant work experience. Requirements: application form,
letter of motivation, copies of previous degree(s) or employment
validation, copy of passport and Europass CV. An application interview
is required, which may be conducted in person or through internet
videoconferencing. Resources for funding possibilities and estimated
costs:
www.donau-uni.ac.at/mah 
www.donau-uni.ac.at/mah/funding 
www.mediacultures.net/mah 
MediaArtHistories on Facebook:
www.facebook.com/groups/377264145713664/

*******************************************************
Department for Image Science
Danube-University Krems
Dr.-Karl-Dorrek-Strasse 30
3500 Krems
AUSTRIA
Wendy Coones, M.Ed. 
wendy.coones@donau-uni.ac.at 
www.donau-uni.ac.at/dis

Dear all,

The Digital Methods Initiative (DMI) will host its 11th annual Digital
Methods Summer School from 26 June – 7 July 2017 at the University of
Amsterdam, the Netherlands. Below please find the call for participation.

This year's theme is 'Get the Picture. Digital Methods for Visual
Research'. The deadline for applications is 5 May 2017. More information is
available from: http://bit.ly/dmi17_ss_call.

Best regards,

Fernando van der Vlist

-- 
F. N. van der Vlist, BDes MA
*Doctoral Researcher*
*Research Associate, Media of Cooperation*
*Research Associate, Digital Methods Initiative*
*Lecturer, New Media and Digital Culture*

University of Siegen, DFG Collab. Res. Centre 1187
University of Amsterdam, Dept. of Media Studies

F.N.vanderVlist@uva.nl; @fvandervlist 
uva.nl/profile/f.n.vandervlist 
fernandovandervlist.nl 

-- 

# CALL FOR PARTICIPATION
# DIGITAL METHODS SUMMER SCHOOL 2017
# 27 JUNE - 7 JULY 2017
# UNIVERSITY OF AMSTERDAM

# GET THE PICTURE
# DIGITAL METHODS FOR VISUAL RESEARCH

Gillian Rose employs the term visual methodologies for "researching with
visual materials" (2016). Iconography, semiotics, framing analysis and
multimodal analysis are among the approaches that may be applied to digital
materials. One may also ask, does the online make a difference to the study
of the visual? That is, with which approaches is the image considered
primarily, or secondarily, as a digital object embedded in online media?
Apart from the change in the setting of the object, there may also be
methods that emerge from the new media, engines and platforms. What kinds
of so-called ?natively? digital methods can be repurposed productively for
visual analysis? How to make use of the Google?s reverse image search?

Gillian Rose employs the term visual methodologies for "researching with
visual materials" (2016). Iconography, semiotics, framing analysis and
multimodal analysis are among the approaches that may be applied to digital
materials. One may also ask, does the online make a difference to the study
of the visual? That is, with which approaches is the image considered
primarily, or secondarily, as a digital object embedded in online media?
Apart from the change in the setting of the object, there may also be
methods that emerge from the new media, engines and platforms. What kinds
of so-called 'natively' digital methods can be repurposed productively for
visual analysis? How to make use of the Google's reverse image search?

More broadly, with the increasing focus on selfies and memes but also on
Instagram stories, animated gifs, filters, stickers and emoticons, social
media and digital communications are pushing for a visual turn in the study
of digital culture. Such a push invites visual analysis into the realm of
digital studies, too. One may begin to open the discussion of interplay by
examining the new outputs such as journalists' data visualisations as well
as policy-makers' dashboards like the open data city platforms. One may
similarly compare visual literacies. Are there new ways of interpreting
images through data, both substantively (which are the related materials?)
and temporally (how do they develop over time? do they resonate? are they
memes?). In digital methods, the image is not only a research object but
also a research device. Making images "that can be seen and manipulated"
(Venturini, Jacomy & Pereira 2015) enables scholars to access and actively
explore datasets. How to make them and read them? At the same time, the
technical properties of digital images both in terms of their color,
resolution, and timestamp, as well as their 'networkedness', traceability
and resonance, become available for research, allowing one to think with
images (as visual guides and narratives) as well as through them (as data
objects).

Novel visual methodologies then emerge. There is the 'active' data
visualisation, which includes research protocol diagrams, data dashboards,
visual network analysis, and issue mapping. Protocol diagrams (Figure 1)
guide analysts, programmers and designers through their collaborative
research project. Data dashboards offer a visual aid for data metrics and
analytics, in side-by-side graphs and tables; or become critical tools (as
in the People's Dashboard). Visual network analysis offers a way into data
that can be engaged with and requires an active research attitude
(Venturini, Jacomy & Pereira 2015). Issue mapping renders legible the
actors and substance of a (possibly controversial) issue (Rogers,
Sánchez-Querubín & Kil 2015). In a second group of approaches, the image is
treated as a digitised or natively digital object of study. This includes
visual and cultural analytics, which provide distant visual reading
techniques to explore and plot visual objects such as selfies and websites
based on their formal properties (Manovich 2014; Ben-David, Amram &
Bekkerman 2016). Networked visual content analysis, in which images may be
queried 'in reverse' to study their circulation, can be used to critically
assess questions of representation and cultural standing (Figure 2).
Another group of approaches repurpose visual formats, where more playful
explorations appropriate (and tweak) the templates and visual aesthetics of
the web, creating research GIFs and critical social media profiles (Figure
3). In this 10th Digital Methods Summer School we will explore and expand
such digital methods for visual research, and critically inquire into their
proposed epistemologies.

We look forward to welcoming you to Amsterdam in the Summertime!

--

## SUMMER SCHOOL PHILOSOPHY

The Digital Methods Summer School is exploratory and experimental. It is
not a setting for 'just' tool training or for principally tool-driven
research. Substantive research projects are conceived and carried out.
Participants are encouraged to 'span time with their issue' and the
materials. In other words, we heed Alexander Galloway's admonition about
data and tool-driven work: "Those who were formerly scholars or experts in
a certain area are now recast as mere tool users beholden to the
affordances of the tool - while students spend ever more time mastering
menus and buttons, becoming literate in a digital device rather than a
literary corpus" (Galloway 2014: 127). We encourage device and corpus
literacy! The device training we ask you to do prior to the Summer School
through online tutorials, and at the Summer School itself, in a kind of
flipped learning environment (if you'll excuse the overused phrase), we
would like to believe that you have familiarised yourself already with the
tools and completed the tutorials available online. During the Summer
School we will discuss and tinker with the nitty-gritty, aim to invent new
methods, techniques and heuristics and create the first iterations of
compelling work to be shared.

## ABOUT DIGITAL METHODS AS A CONCEPT

Digital methods is a term coined as a counterpoint to virtual methods,
which typically digitize existing methods and port them onto the Web.
Digital methods, contrariwise, seek to learn from the methods built into
the dominant devices online, and repurpose them for social and cultural
research. That is, the challenge is to study both the info-web as well as
the social web with the tools that organize them. There is a general
protocol to digital methods. At the outset stock is taken of the natively
digital objects that are available (links, tags, threads, etc.) and how
devices such as search engines make use of them. Can the device techniques
be repurposed, for example by remixing the digital objects they take as
inputs? Once findings are made with online data, where to ground them? Is
the baseline still the offline, or are findings to be grounded in more
online data? Taking up these questions more theoretically (but also
practically) there is also a Digital Methods book (MIT Press, 2013) as well
as a complementary Issue Mapping book (Amsterdam University Press, 2015),
and other digital methods publications.

## ABOUT THE DIGITAL METHODS SUMMER SCHOOL

The Digital Methods Summer School, founded ten years ago, in 2007, together
with the Digital Methods Initiative, is directed by Prof. Richard Rogers,
Chair in New Media & Digital Culture and Department Chair at Media Studies,
University of Amsterdam. The Summer School is one training opportunity
provided by the Digital Methods Initiative (DMI). DMI also has a Winter
School, which includes a mini-conference, where papers are presented and
responded to. Winter School papers are often the result of Summer School
projects. The Summer School is coordinated by PhD candidates in New Media
at the University of Amsterdam, or affiliates. This year the coordinators
are Sabine Niederer, Natalia Sánchez-Quérubin and Fernando van der Vlist.
The Summer School has a technical staff as well as a design staff, drawn
from the ranks of Density Design in Milan. The Summer School also relies on
a technical infrastructure of some nine servers hosting tools and storing
data, which recently (and intrepidly) moved to the cloud. In a culture of
experimentation and skill-sharing, participants bring their laptops, learn
method, undertake research projects, make reports, tools and graphics and
write them up on the Digital Methods wiki. The Summer School concludes with
final presentations. Often there are subject matter experts from
non-governmental or other organizations who present their analytical needs
and issues at the outset and the projects seek to meet those needs, however
indirectly. For instance, Women on Waves came along during the 2010, Fair
Phone to the 2012 Summer School and Greenpeace International and their Gezi
Park project in 2013 as well as the COP21 Lima project in 2015. We have
worked on the issue of rewilding eco-spaces with NGOs in the 2014 Summer
School. More recently we have sought to repopulate city dashboards (Summer
School 2015 and Winter School 2017).

* Previous Digital Methods Summer Schools, 2007-2016, https://wiki.digita
lmethods.net/Dmi/DmiSummerSchool.
* Previous Digital Methods Winter Schools, 2009-2017, https://wiki.digita
lmethods.net/Dmi/WinterSchool.
* What's it like? Digital Methods Summer School flickr stream 2012 and
flickr stream 2013. There is also a 2015 flickr collection.
* Most recently we have created Summer and Winter school shorts (thanks to
Lisa Maier): Promo video about the Digital Methods Summer School (2014);
Summer School in 2015. (tip!) and Winter School 2016 video.
* 2016 keynote lecture by Prof. Richard Rogers on Critical Analytics

## ABOUT THE DIGITAL METHODS INITIATIVE

The Digital Methods Summer School is part of the Digital Methods Initiative
(DMI), Amsterdam, dedicated to developing methods for Internet-related
research. DMI was founded a decade ago with a grant from the Mondriaan
Foundation, and the Summer School has been supported by the Center for
Creation, Content and Technology (CCCT), University of Amsterdam, organized
by the Faculty of Science with sponsorship from Platform Betatechniek. It
also has received support from the Citizen Data Lab, Amsterdam University
of Applied Sciences as well as "Media of Cooperation," University of
Siegen. The 2017 Summer School will be held in collaboration with the
Netherlands Research school for Media Studies (RMeS).

## APPLICATIONS & KEY DATES

To apply for the Digital Methods Summer School 2017, please use the
University of Amsterdam Summer School form. Or, please send a one-page
letter explaining how digital methods training would benefit your current
work, and also enclose a CV (with full postal address), a copy of your
passport (details page only), a headshot photo as well as a 100-word bio
(to be included in the Summer School welcome package). Mark your
application "DMI Training Certificate Program," and send to summerschool
[at] digitalmethods.net.

* The deadline for applications for the Summer School is 5 May 2017.
* Notifications will be sent on 8 May. Accepted participants will receive a
welcome package, which includes a reader, a schedule, and a face book of
all participants.
* The cost of the Summer School is eur 895 and is open to PhD candidates
and motivated scholars as well as to research master's students and
advanced master's students. Data journalists, artists, and research
professionals are also welcome to apply. Accepted applicants will be
informed of the bank transfer details upon notice of acceptance to the
Summer School on 8 May.
* The fee must be paid by 16 June.
* University of Amsterdam students are exempt from tuition and should state
on the application form (under tuition fee remarks) that they wish to apply
for a fee waiver. Please also provide your student number.
* RMeS members participate in the first two days of the Summer School. To
participate in the full Summer School the regular fee applies.

Any questions may be addressed to the Summer School coordinators Sabine
Niederer, Natalia Sánchez-Querubín, and Fernando van der Vlist:
summerschool [at] digitalmethods.net. Informal queries may be sent to this
email address as well.

## SCHOLARSHIPS

The Digital Methods Summer School is part of the University of Amsterdam
Summer School programme, which has a video giving a flavor of the Summer
School experience. Students from universities (outside of the Netherlands)
in the LERU and U21 networks are eligible for a scholarship to help cover
the cost of tuition for the DMI Summer School. Please state LERU or U21
university affiliation under tuition remarks when applying to the Summer
School. Dutch universities are not eligible.

## ACCOMMODATIONS & CATERING

The Summer School is self-catered, and there are abundant cafes and a
university mensa nearby. For a map we made of nearby lunch (and coffee)
places, see bit.ly/dmi17_ss_lunch.
Apply as early as possible to the reasonably priced Student Hotel. For
those who prefer other accommodations, we suggest Airbnb or similar. For
shorter stay, there is Hotel Le Coin, where you may request a university
discount.

## SUCCESSFUL COMPLETION & COMPLETION CERTIFICATES

To successfully complete the Summer School and receive a completion
certificate (and 6 ECTS when necessary), you must complete a significant
contribution to two Summer School projects (one in week one and the other
in week two), evidenced by co-authorship of the project reports as well as
final (joint) presentations. Templates for the project report as well as
for the presentation slides are supplied.

## SUMMER SCHOOL SCHEDULE

The Summer School meets every weekday. Please bring your laptop. (An iPad
is not enough.) We will provide abundant connectivity. We start generally
at 9:30 in the morning, and end around 17:30. There are morning talks one
to two days per week. All other time is devoted to project work with
occasional collective and individual feedback sessions. On the second
Friday we have a a festive closing with a boat trip on the canals of
Amsterdam.

## REFERENCES

* Ben-David, A., Amram, A. & Bekkerman, R. (2016). The colors of the
national Web: visual data analysis of the historical Yugoslav Web domain.
International Journal on Digital Libraries. doi:10.1007/s00799-016-0202-6
* Galloway, A. (2014). The Cybernetic Hypothesis. Differences. 25(1),
107-131.
Manovich, L., Stefaner, M., Mehrdad, Y., Baur, D., & et al. (2014).
Selfiecity. Investigating the style of self-portraits (selfies) in five
cities across the world. URL: http://selfiecity.net/
* Rogers, R. Sánchez-Querubín, N. & Kil, A. (2015). Issue Mapping for an
Ageing Europe. Amsterdam: Amsterdam University Press. Open access book
download
* Rose, G. (2016). Visual Methodologies. An Introduction to Researching
with Visual Materials. London: Sage.
* Venturini, T., Jacomy, M, De Carvalho Pereira, D. (2015). Visual Network
Analysis, (working paper). URL: http://www.tommasoventuri
ni.it/wp/wp-content/uploads/2014/08/Venturini-Jacomy_Visual-
Network-Analysis_WorkingPaper.pdf.

Dear all,

this is a reminder that our Graduate School ‘Locating Media’ has an opening for 4 PhD positions 

----
The University of Siegen is an innovative institution with an emphasis on an interdisciplinary orientation and has about 20,000 students and 2,000 employees, including 1,200 academic positions. There is a broad spectrum of departments, ranging from liberal arts, social sciences, and economics through to natural sciences and engineering, and the University of Siegen provides an outstanding teaching and research environment with numerous inter/transdisciplinary research projects. The University of Siegen offers diverse options for combining professional and family life. For this reason, it has been certified as a family-friendly university since 2006 and provides a dual career service. 

Starting on October 1st 2017,

four doctoral posts in cultural and social studies (media research)

(salary category TV-L 13, 65%)

are available at the University of Siegen in the German Research Foundation (DFG) Graduate School, GRK 1769 "Locating Media", for the fixed-term period of three years, with the possibility for extension. The duration of the contract complies with the Wissenschaftszeitvertragsgesetz.

Locating Media 

The Graduate School "Locating Media" was set up in 2012 and has focused on researching historical and current media practices 'in motion' and 'in situ'. The main objective of "Locating Media" is to facilitate a methodological re-orientation of interdisciplinary media research by engaging with locational and situational analyses and the development of new methods for the analysis and design of mobile digital media. In the second phase of funding, the existing expertise in ethnographic methodologies will be expanded to include digital and mobile methods, to investigate the increased mobility and distributed spatiality of media and data processes.

The German Research Foundation (DFG) Graduate School provides an international environment for inventive and interdisciplinary media research by offering an intensive training programme, joint events with collaboration partners, training in relevant ethnographic, digital and mobile methods and the possibility of field research and research abroad. The research program will be realised in close collaboration with international partners and supporters, such as the Digital Ethnography Research Centre in Melbourne (RMIT), the Digital Methods Initiative (University of Amsterdam), the Centre for Interdisciplinary Methodologies (Warwick University), Centre for Science Studies and Mobilities Lab at Lancaster University and other collaborators.

More information on the profile and program can be found here: www.locatingmedia.uni-siegen.de  

Job description:

We expect:

–   independent conceptual design and implementation of a research project in one of the subject areas of Locating Media.

–   participation in the Graduate School events including workshops, international conferences, intensive workshops and summer schools.

–   regular presentation of interim findings of individual research projects during internal events (Research Colloquium, Lecture Series) and conferences.

This is a position for obtaining further academic qualifications (doctorate), for which the ongoing media research in Siegen, for instance the collaborative research centre 1187 "Media of Cooperation", provides a stimulating environment. The opportunity for this is provided within the scope of official duties.

Your profile

−   a relevant postgraduate degree (Magister, Master or Diploma) in one of the following areas of study: media studies, ethnology, geography, history, information science, science of art, cultural studies, literary studies, linguistics, political science, sociology or Science and Technology Studies.

–   outstanding scholarly achievements.

−   research project in one of the areas of study listed above (5-page project prospectus including timetable).

–   interest in media research methods as well as an affinity for interdisciplinary research.

–   willingness to participate in the international event programme of the Graduate School.

The University of Siegen is an equal opportunity employer. In accordance with its policy of increasing the proportion of women in this type of employment, the University actively encourages applications from women. The University facilitates a viable combination of professional and family needs. 

For candidates with equivalent qualifications, preference will be given to people with physical disabilities.

For further information, please contact Herr Dr. Pablo Abend (Tel.: +49 271/740-2080)

E-Mail: abend@locatingmedia.uni-siegen.de

Homepage: www.uni-siegen.de/locatingmedia  

Please send application documents (CV, copies of diplomas and certificates, letter of recommendation from a professor concerning the research project, approx. 10-page project prospectus, including task schedule) in duplicate by 31.03.2017 with reference number 2016/I/Locating Media/WM/270 to the program address: Dr. Pablo Abend, Universität Siegen, DFG-Graduiertenkolleg "Locating Media", Artur-Woll-Haus, Am Eichenhang 50, 57076 Siegen, Germany.

Information on the University of Siegen is available online: www.uni-siegen.de .


-----
Prof. Dr. Carolin Gerlitz
Professor Digital Media and Methods

University of Siegen
Room AE-B 104
Am Eichenhang 50 
57076 Siegen
+49-(0)271-740-5150
carolin.gerlitz@uni-siegen.de
https://www.uni-siegen.de/phil/medienwissenschaft/personal/lehrende/gerlitz_carolin/?lang=

Sekretariat: Vera Beer, AR-H 410
+49-(0)271-740-4692
sekretariat-ii@medienwissenschaft.uni-siegen.de

RE:TRACE 2017: (Call for Papers - extended deadline, April 12)
　
The 7th International Conference on the Histories of Media Art, Science
and Technology titled RE:TRACE focuses on an evaluation of the status of
the meta-discipline MediaArtHistories today.
　
More than a decade after the first conference founded the field now
recognized worldwide as a significant historical inquiry at the
intersection of art, science, and technology, Media Art Histories is now
firmly established as a dynamic area of study guided by changing media
and research priorities, drawing a growing community of scholars,
artists and artist-researchers.
　
Immersed in both contemporary and historiographical aspects of the
digital world, we explore the most immediate socio-cultural questions of
our time: from body futures, information society, and media
(r)evolutions, to environmental interference, financial virtualization,
and surveillance. And we do so through a fractal lens of inter- and
trans-disciplinarity, bridging art history, media studies, neuroscience,
psychology, sociology, and beyond. MediaArtHistories is a field whose
theory, methods, and objects of study interweave with and overlay other
disciplines.
　
The organizing committee invites researchers of different areas,
disciplines and practices to submit individual papers, posters and full
panels with new and original research preferably in the following
themes:
　
- MediaArtHistories historiographies and futures of an ever-emerging
field
- Institutional histories of Media Art
- Media Art & Politics (surveillance, climate, visualizations, etc.)
- Collecting media art / Media Art market
- Archiving, preserving and representing Media Art
- Re-Use of cultural heritage data, including education, learning and
research
- Methodologies and research tools for MediaArtHistories with a focus
on Digital Humanities
- International and local histories and practices of media art
- (Post-)Colonial experiences and non-Western histories of media art,
science and technology
- Paradigm shift Digital vs. Post-Digital Theory
- Alternative histories for Media Art in relation to newly evolving or
unexpected fields.
- Models and perspectives of research fields adapted across traditional
disciplinary lines.
- New symbolic architecture of digital super companies (Apple, Amazon,
Microsoft, FB, Google)
　
The conference program will include competitively selected,
peer-reviewed individual papers, panel presentations and posters, as
well as a small number of invited speakers. Presentations will be
delivered in a range of formats, from panel discussions to a poster
session. We particularly encourage submissions by researchers from
international contexts outside of Europe and North America.
　
KEYNOTE LECTURES and DEBATES with
Martin KEMP (emeritus professor Oxford University, British Academy,
UK)
Wendy Hui CHUN (Brown University) - requested
Ryszard KLUSZCZYNSKI (Universität Lodz, PL)
Morten SøNDERGAARD (Aalborg University, DAN)
t.b.a.
t.b.a.
　
Submission Deadline: April 12, 2017
Notification of acceptance will be announced by May 10, 2017.
　
Individual proposals for papers should consist of a max. 250-word
abstract with title.
Proposals for full panels should consist of a max. 500-word abstract
outlining the panel and individual topics of confirmed speakers.
Submission language is English.
Submitters should upload a short bio file (Word), no longer than ½ page
per person. The short bios will be used on the conference website
together with your abstracts.
　
Initiated by the Media Art Histories Board (Steering Committee):
Dr. Andreas BROECKMANN (Leuphana University Lüneburg, DE); Prof. Dr.
Sean CUBITT (Goldsmiths University of London, UK); Univ.-Prof. Dr.
Oliver GRAU, MAE (Danube University, AT); Dr. Linda Dalrymple HENDERSON
(University of Texas at Austin, US); Prof. Dr. Erkki HUHTAMO (University
of California Los Angeles, US); Prof. Dr. Douglas KAHN (University of
New South Wales, AU); Prof. Dr. Machiko KUSAHARA (Waseda University
Tokyo, JP); Prof. Dr. Tim LENOIR (Stanford University, US); Prof. Dr.
Gunalan NADARAJAN (University of Michigan, US); Prof. Dr. Paul THOMAS
(University of New South Wales, AU)
　
MAH Honorary Board: Martin KEMP, Jasia REICHARDT, Itsuo SAKANE, Peter
WEIBEL, Rudolf ARNHEIM †, Douglas DAVIS †
　
Conference dates: November 2325th, 2017, Krems (World Cultural
Heritage) & Austrian Academy of Sciences (ÖAW) Vienna, hosted by DANUBE
UNIVERSITY and ÖAW
　
Co-Chairs RE:TRACE: Oliver GRAU & Inge HINTERWALDNER
　
Austria RE:TRACE: Conference Advisory Board
Carl AIGNER (Landesmuseum St. Pölten, AT); Jose Ramon ALCALA
(University of Castilla La Mancha, ES); Giselle BEIGUELMAN (University
of São Paulo, BR); Beatriz Escribano BELMAR (University of Castilla La
Mancha, ES); Andreas BROECKMANN (Leuphana University Lüneburg, DE);
Andres BURBANO (Universidad de los Andes, CO); Valentino CATRICALA
(University Roma Tre / Media Art Festival, IT); Sebastian EGENHOFER
(University of Vienna, AT); Ksenia FEDEROVA (RU/UC Davis, US); Sabine
FLACH (University of Graz, AT); Katharina GSÖLLPOINTNER (University of
Applied Arts, Vienna, AT); Erkki HUHTAMO (University of California Los
Angeles, US); Ryszard KLUSZCZYNSKI (University of Lodz, PL); Katja
KWASTEK (University of Amsterdam, NL); Daniel Cardoso LLACH (Carnegie
Mellon University, US); Sjoukje van der MEULEN (Utrecht University, NL);
Gunalan NADARAJAN (University of Michigan, US); Gerald NESTLER (Vienna,
A); Ana PERAICA (Split, HR); Christopher SALTER (Concordia University,
CA); Yukiko SHIKATA (Tokio, JP), Christa SOMMERER (University of Art and
Design, Linz, AT); Morten SøNDERGAARD (Aalborg University, DK); Axel
STOCKBURGER (Academy of Fine Arts, Vienna, AT); Gerfried STOCKER (Ars
Electronica, Linz, AT); Eveline WANDL-VOGT (ÖAW, Vienna, AT).
　
Venues:
Danube University / Located 70km from Vienna in the UNESCO World
Heritage Wachau region and Austrian Academy of Sciences, Vienna
　
Danube University is the only public university in Europe specializing
in advanced continuing education by offering low-residency degree
programs for working professionals and life-long learners. Located at
both a modern university campus and in the Göttweig Monastery, the Dept.
for Image Science is an internationally unique institution for research
and innovative teaching with an international faculty, at this point 120
scholars from various nations and disciplines. The innovative approach
of the Department for Image Science with the close connection to
practice has developed the and founded in 2006 the low-residency Master
program MediaArtHistories and Futures answering the need for
international, post-graduate studies.
　
Austrian Academy of Science, Vienna / The vibrant capital of the
Republic of Austria in Central Europe meeting international travel
standards with safe and exciting surroundings that embrace culture both
old and new. Planning for Vienna is being organized with partner
institutions and colleagues. Fast and frequent public transportation
between Vienna and Krems allows for a blending of two locations into one
venue, distributing separate days in each venue.
　
www.mediaarthistory.org/retrace 
www.mediacultures.net/mah 
www.digitalartarchive.at 
https://www.academia.edu/30551255/What_is_MediaArtHistories_.pdf 
　
PARTNERS:
Danube University, Austrian Academy of Sciences (ÖAW), Academia
Europaea (AE), Erasmus+ MediaArtCultures, Archive of Digital Arts (ADA),
Leonardo, Humboldt-University Berlin, Kunsthalle Krems