September 2021 - Air-L - lists.aoir.org

Future Digileaders 2021 at Digital Futures - Call for participation
by Airi Lampinen 20 Sep '21

20 Sep '21

Dear all, I am writing to bring to your attention Future Digileaders ( https://www.digitalfutures.kth.se/news/future-digileaders/) an event for early career researchers interested in the broad area of digitalisation, who are women or non-binary. The event consists of a career workshop with talks, panels, and sincere discussions. We will cover professional development, and provide opportunities to meet inspiring role models and to network with each other. This year, its third edition will be held fully online on October 19, 13:00 to 18:00 (CET). I kindly ask you to encourage senior PhD students, postdocs, and even fresh assistant professors in your circles to apply (deadline: September 30). You can find more details on the event website (including eligibility criteria), but please let me know if you would like to hear more about it. Best wishes and have a nice week, Airi, on behalf of the Future Digileaders 2021 Organising Committee (Marianela Ciolfi Felice, Airi Lampinen, Asreen Rostami, Fatemeh Rahimian, Yvonne Stürz, Stacy Vallis, and Claudia Núñez-Pacheco) -- Airi Lampinen Associate Professor (Docent) Department of Computer and Systems Sciences (DSV) Stockholm University airi(a)dsv.su.se | @airi_ | airilampinen.fi Weekly newsletter: tinyletter.com/airi_/

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Call For Abstract Proposals
by Kathleen Paciga 18 Sep '21

18 Sep '21

>From the Cradle to the Classroom: Teaching Media While Raising Kids in a Media Saturated World Penny Dreadfuls, comic books, radio serials, teen magazines, television, movies, D&D, MTV, rap music, video games, the Internet, social media...From the moment media industries began specifically targeting children and teens, parents have been bombarded with warnings and guidelines about how to manage media’s role in their kids’ everyday lives. Each new format seems to trigger extensive studies and reports, often with conflicting information and advice for parents. As content spreads across a multitude of devices and an array of media forms, it’s perhaps unsurprising that these concerns have only escalated. Parents now grapple not just with content but with how their kids (1) access that content and (2) even create and distribute their own media. And in 2020 and 2021, as many kids and parents spent the Coronavirus pandemic shuttered in their homes, the worlds of school, work and home blurred; the roles, limits, and uses for media and devices muddied even further. Much of the mainstream literature discussing children’s media use sets aside the lived realities of parents, focusing primarily on limitations. For example, the American Academy of Pediatrics intermittently updates their guidelines, but they often run in opposition to recommendations of pediatric ophthalmologists or behavioral therapists ( https://www.pathwaypeds.com/american-academy-of-pediatrics-announces-new-re…) It is rare to hear from media scholars and researchers who are themselves parents, explicitly foregrounding how their dual roles intersect. We hope to use this opportunity to engender such a discussion among media scholar parents. This proposed book project will take the form of an augmented anthology, with the author-editors writing structured chapters into which shorter pieces written by other scholar-parents will be placed and addressed. What issues face us as parents today in terms of our children's media use? How does being a media scholar filter how we approach our children's use of media and vice versa? How are we struggling just like everyone else to understand, control, and cultivate our kids’ media engagement? We invite media scholar parents to submit abstract proposals for contributions to an edited volume that will examine kids and media through the lens of this doubled position. A primary goal of this anthology is to reach beyond the circles of academia, so we are looking for short think pieces (1,000-2,000 words) that avoid jargon and that keep the direct use of theory to a minimum. Think “theory light.” These pieces should reflect your personality as well, and be written in an open and approachable manner. (Examples of such writing include Susan Douglas’ Where the Girls Are and The Rise of Enlightened Sexism, Peggy Orenstein’s Cinderella Ate My Daughter, Kim Brooks’ Small Animals: Parenthood in the Age of Fear, and Mary Dalton and Laura Linder’s Screen Lessons.) We welcome any ideas that could take alternate forms (e.g. comic strips, 2D or 3D art, doodles, poems, etc.) as well, and we encourage a broad array of topics. For this volume “children” range in age from infants to teens. Possible questions to consider include but are not limited to: - Despite your role as a media scholar, do you still view media as an obstacle you must "parent through?" - How has media has helped you parent better or smarter? - How has the pandemic or your child’s own personal health, learning, or behavioral challenges put a wrinkle in how you approached media consumption or creation? - How does media factor into how your children learn about structures of race and racism, gender and sexuality, class and other socio-cultural lived realities? How do you use—or avoid—media when it comes to related socio-cultural issues? - How do you weigh the potential risks and rewards of media in your children’s lives? - In what ways have your children voiced their own desires regarding media use and how did you work through that dialogue? - In what ways has your job as a media scholar caused conflict between you and other parents when it came to media use? - Has having children directly impacted the way your write about or research media? For this volume, media is broadly and inclusively conceptualized: - Media consumption or production via YouTube, Tik Tok, and social media - Device culture (tablets, cell phones, laptops, computers, TV, video game platforms) - Video games, movies, TV shows, educational media, news - Streaming platforms, cable, broadcast - Media safety in multiplayer environments - Talking toys and AI objects - Marketing and advertising to kids and/or to parents - Media in schools, along with media literacy education Important Dates - CALL FOR ABSTRACT PROPOSALS: November 15, 2021 - DECISIONS ON ABSTRACT PROPOSALS: January 31, 2022 - FULL PAPER SUBMISSIONS: June 15, 2022 Please send 250-word abstract proposals with the submission form, attached or linked here <https://drive.google.com/file/d/1Q0_MAvBMvIYwAWNiqcoY4npK0NgacmAp/view?usp=…>, by November 15, 2021 to the three editors of the volume. -- *Katie A. Paciga, PhD* Associate Professor of Education *Columbia College Chicago* <https://colum.academia.edu/KathleenPaciga> <http://katiepaciga.blogspot.com>

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Keynote at SIGDOC 2021 Conference
by Luke Thominet 17 Sep '21

17 Sep '21

Dear Colleagues, We're pleased to announce the first keynote at the SIGDOC 2021 conference: Progress, Promise, and Perils in User Experience: A Midterm Report Card by Russell J. Branaghan. Dr. Branaghan is President of Research Collective, a Human Factors and User Experience (UX) consulting firm and laboratory in Tempe, AZ, and Professor Emeritus of Human Systems Engineering and UX at Arizona State University (ASU). In his keynote, Dr. Branaghan will discuss the transdisciplinary roots of UX in the 1982 ACM SIGCHI (Computer-Human Interaction) conference, the progress that UX has made in the past four decades, and changes we need to make to achieve our potential. More information about Dr. Branaghan's keynote<https://sigdoc.acm.org/conference/2021/keynote-by-russell-j-branaghan/> can be found on the SIGDOC 2021 website. Registration<https://urldefense.com/v3/__https:/sigdoc.acm.org/conference/2021/registrat…> for SIGDOC 2021 is now open. We're looking forward to seeing you at the conference on October 12-14! Best, Luke Thominet SIGDOC Communications Manager

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Overview CAMRI Seminars (University of Westminster) - Autumn term
by camrievent 17 Sep '21

17 Sep '21

Please join us at the CAMRI Research Seminars planned for this term. Time: Thursdays, 17:00-19:00 (UK time) Location: Online event - Zoom Meeting Registration: All seminars are free, but we kindly ask you to register using the links below. Thursday, 7 October 2021 Gavin Mueller (University of Amsterdam) - Breaking Things at Work https://www.eventbrite.co.uk/e/breaking-things-at-work-tickets-170527897532 Thursday, 28 October 2021 Benedetta Brevini (University of Sydney) - Is AI Good for the Planet? https://www.eventbrite.co.uk/e/is-ai-good-for-the-planet-tickets-1705283087… Thursday, 25 November 2021 Taina Bucher (University of Oslo) - Facebook https://www.eventbrite.co.uk/e/facebook-tickets-172310093127 Thursday, 9 December 2021 Matthew Flisfeder (University of Winnipeg) - Algorithmic Desire and the Ideology of Twenty-First Century Capitalism https://www.eventbrite.co.uk/e/algorithmic-desire-and-the-ideology-of-twent… The University of Westminster is a charity and a company limited by guarantee. Registration number: 977818 England. Registered Office: 309 Regent Street, London W1B 2HW. This message and its attachments are private and confidential. If you have received this message in error, please notify the sender and remove it and its attachments from your system.

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M/C Journal CFP 'Conspiracy'
by Naomi Smith 16 Sep '21

16 Sep '21

Dear Colleagues, We are pleased announce a special issue on "Conspiracy" in M/C Journal. If there's something you're working on that you'd like to submit a tight 3K article on, we'll be keen to receive your 100-250w abstract and author bio. If you can submit your abstract to us by 30th September, we'll be inviting authors whose work aligns with the CFP to an online workshop to build engagement with these works and develop a research network around this topic. The full CFP is below. 'conspiracy' Conspiracies have assumed broad cultural and political resonance over the last century (Butter and Knight). While often framed as an American problem (Melley), social media has contributed to their global reach (Gerts et al.). Bruns, Harrington, and Hurcombe have traced the contemporary movement of conspiracy theories into the cultural mainstream. They identify the networked and cross-platform nature of conspiracy theory movement from fringe conspiracist groups on social media platforms such as Facebook through their greater uptake in more diverse communities and to substantial amplification by celebrities, sports stars, and media outlets. Consequently, conspiracy theories that were once the product of subcultural groups, have increasingly mixed into popular and authoritative media (Marwick and Lewis) and entertainment (Hyzen and Van den Bulck; Van den Bulck and Hyzen). The illusion of neat segmentation between the sites of conspiracy theorising and the mainstream media has vanished. As conspiracy theories push into the mainstream, they generate material engagement with government and social institutions as demonstrated in the 6 January 2021 storming of the US Capitol (Moskalenko and McCauley) and the COVID-19 pandemic (Baker, Wade, and Walsh). While conspiracies flourish online, this issue also aims to highlight the affective and aesthetic dimensions of conspiracy theories; including how the sensory and affective capacities of the body work alongside seemingly ‘rational’ informational practices and platform logics. This issue welcomes submissions on four broad themes: - Theorising conspiracy in digital contexts - Methodological approaches to conspiracy research in digital contexts - Contemporary conspiracies that span the body and digital environments - The consequences of digital conspiracies Prospective contributors should email an abstract of 100-250 words and a brief biography to the issue editors. Abstracts should include the article title and should describe your research question, approach, and argument. Biographies should be about three sentences (maximum 75 words) and should include your institutional affiliation and research interests. Articles should be 3000 words (plus bibliography). All articles will be double-blind refereed and must adhere to MLA style (6th edition). *Details* - Article deadline: 7 Jan. 2022 - Release date: 9 Mar. 2022 - Editors: Alexia Maddox, Stephanie Baker, Naomi Smith, and Clare Southerton Please submit articles through the M/C Journal website ( https://journal.media-culture.org.au/index.php/mcjournal/information/author… ) Send any enquiries to conspiracy(a)journal.media-culture.org.au. Naomi Smith (with Alexia, Clare and Stephanie) Lecturer in Sociology | School of Arts Federation University Australia Office 221| Building 1E | Gippsland Campus PO Box 3191 Gippsland VIC 3841

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WEBCAST TODAY: Measuring the Internet in Africa Project (MIRA) Quarterly Update
by Joly MacFie 16 Sep '21

16 Sep '21

AFRINIC are hosting today's meeting, a MIRA progress report. English only this time round. ISOC Live posted: "On Thursday 16 September 2021 at 13:00 UTC the Measuring the Internet in Africa (MIRA) project will hold its first quarterly update meeting. The project uses Internet measurements gathered by measurement devices called MIRA pods, which are located within " [image: livestream] <http://livestream.com/internetsociety/miraupdate1>On *Thursday 16 September 2021* at *13:00 UTC* the *Measuring the Internet in Africa (MIRA) project <https://pulse.internetsociety.org/resilience>* will hold its *first quarterly update <https://pulse.internetsociety.org/blog/6220>* meeting. The project uses Internet measurements gathered by measurement devices called MIRA pods, which are located within African countries, to 1) Determine levels of Internet resilience in African countries over time by recording specific metrics, including throughput and latency (the time it takes to reach various Internet destinations); 2) Increase the number of Internet measurement vantage points in Africa, i.e., the places from which measurements are taken; 3) Make the data available to everyone, everywhere on the *Internet Society’s Pulse platform <https://pulse.internetsociety.org>*. During this one hour webinar, topics include: The MIRA Internet Resilience Index; MIRA Pods deployment and hosting; MIRA Pods data visualization MIRA is a joint initiative between *African Network Information Centre <http://www.afrinic.org/>* (AFRINIC) and the *Internet Society <https://www.internetsociety.org/>*. *SPEAKERS* *Arthur Carindal*, AFRINIC *Simon Seruyinda*, AFRINIC *Kevin Chege*, Internet Society *Amreesh Phokeer*, Internet Society *Dieudonne Munganga*, Researcher *Henok Sisay*, Researcher *LIVESTREAM http://livestream.com/internetsociety/miraupdate1 <http://livestream.com/internetsociety/miraupdate1>* *AGENDA https://pulse.internetsociety.org/blog/6220 <https://pulse.internetsociety.org/blog/6220>* *PARTICIPATE VIA ZOOM https://bit.ly/3lvKlYW <https://bit.ly/3lvKlYW>* (ENGLISH ONLY) *REAL TIME TEXT https://bit.ly/3Cghi2h <https://bit.ly/3Cghi2h>* *TWITTER #InternetResilience <https://twitter.com/hashtag/InternetResilience?src=hashtag_click> @isoc_pulse @afrinic @isoc_africa @InternetSociety* *SIMULCASTS* *https://www.twitter.com/ISOC_Live/ <https://www.twitter.com/ISOC_Live/>* *https://www.twitch.tv/isoclive <https://www.twitch.tv/isoclive>* *https://www.facebook.com/liveisoc/ <https://www.facebook.com/liveisoc/>* (AI captions) *https://www.facebook.com/InternetSociety/ <https://www.facebook.com/InternetSociety/>* *https://www.facebook.com/ISOCAfrica/ <https://www.facebook.com/ISOCAfrica/>* *ARCHIVE* *https://archive.org/details/miraupdate1 <https://archive.org/details/miraupdate1>* *IMAGE: Gerd Altmann <https://pixabay.com/users/geralt-9301/> from Pixabay* *Permalink* https://isoc.live/14534/ - -- -------------------------------------- Joly MacFie +12185659365 -------------------------------------- -

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CFP: Hybridity in Life Writing: How Text and Images Work Together to Tell a Life
by Rob Gallagher 16 Sep '21

16 Sep '21

Hello all, Please see below for details of an upcoming conference that may be of interest to colleagues researching forms of multimodal self-presentation and self-narration online. Many thanks, Rob Gallagher (on behalf of the organisers) Call for Papers International and Interdisciplinary Conference *Hybridity in Life Writing: How Text and Images Work Together to Tell a Life* Organizers: Clare Brant (King’s College London), Arnaud Schmitt (Bordeaux University & LARCA Université de Paris) Venue: Université de Paris, Paris, 7–8 July, 2022 Keynote Speaker: Pr. Teresa Bruś (Wrocław University) Please submit an abstract of approx. 250 words and a short bionote to clare.brant(a)kcl.ac.uk and arnaud.schmitt(a)u-bordeaux.fr by *30 November, 2021* at the latest. It might seem that, to some extent, almost all visual content in autobiographical texts is visual *aid*. But what is it in aid of? Of the text, somehow. Victor Burgin notes that “we rarely see a photograph in use which does not have a caption or a title, it is more usual to encounter photographs attached to long texts, or with copy superimposed over them. Even a photograph which has no actual writing on or around it is traversed by language when it is ‘read’ by a viewer.” As powerful as images can be, and they frequently outshine the text that precedes or follows them, their narrative potential is nevertheless tethered to the text that introduces them or comments them a posteriori. In other words, the text has the first or last word, it *frames* the picture and, in a way, ‘tames’ its impact: a picture is at the text’s service. And yet, it can also be argued that images contradict texts in the same Derridean way as texts and more particularly words contradict each other, or at least unsettle themselves. In *Picture Theory*, W. J. T. Mitchell states that he wants “to concentrate, however, on the kinds of photographic essays which contain strong textual elements, where the text is most definitely an ‘invasive’ and even domineering element.” Thus, even if and when they are supposed to work together, words and images in a memoir establish a balance of power, one that requires investigation as the autobiographical narrative of a hybrid memoir depends on this very balance. >From a historical point of view, this balance of power may also result from the evolution of each medium’s status, as an art form or cultural artefact. For instance, it can be argued that the first memoir written by a photographer is Talbot’s *The Pencil of Nature*. Teresa Bruś claims that “*The Pencil of Nature*, presented to the public in 1844, is the first autobiographical book of a photographer. […] aligning the ‘art’ of photography with a rhetorical, if not a literary, project.” But in *Photography and Literature, *François Brunet points out that, contrary to what might have been expected, Talbot’s effort had little effect on the publishing world, and this “estrangement of photography from literature,” with the odd exception, lasted until the end of the 19th century. According to him, nothing much happened before the beginning of the 20th century and “the growing recognition of photography as a distinct art form.” It makes sense that photography’s relation with literature very much depended on its evolving status.[1] <#_ftn1> On a more positive note, hybridity may also be seen to operate beyond this semantic and cultural balance of power and to aim at an *additional meaning* created thanks to intermediality at a level where, despite their intrinsic cognitive features and differences, text and images are able to produce content that they would not have been able to produce had they been kept separate. In a way, it hinges on how a book balances text and images, how it ‘monitors’ intermediality. But Gilles Mora writes that “photography has rarely generated autobiographical works able to exist without the support of language” (“*la photographie a rarement produit des œuvres autobiographiques qui puissent se passer de l’appui du langage*”). Maybe because one of the main (if not the only) functions of photographs in life writing is to *authenticate*. Roland Barthes is mostly responsible for the widespread belief that photography is better at accessing the past than words, principally through two assertions he made in *Camera Lucida*: “it [photography] does not invent; it is authentication incarnate. […] Every photograph certifies a presence” (“*elle [la photographie] n’invente rien ; elle est l’authentification même. […] **Toute photographie est un certificat de presence*”) and “It seems that Photography always carries its referent with it […]” (“*On dirait que la Photographie emporte toujours son référent avec elle* […]”). The role of non-photographic images in hybrid memoirs or autobiographical works is thus more complex as paintings for instance do not have this ability to authenticate and similarly to words do not “carry their referent with them.” However, in a post-PhotoShop age, the way photographs have the ability to tamper with or even falsify “their referent” can be seen as highly problematic in an autobiographical context. The same can be said about graphic memoirs, a booming field, as drawings are also very low on the ‘authentication scale’. Nevertheless, Narratologist Robyn Warhol made the following remark regarding them: “The juxtaposition of cartooning with verbal memoir offers methods of representing subjectivity that are unprecedented in traditional autobiography. Indeed, as Versaci asserts ‘while many prose memoirists address the complex nature of identity and the self, comic book memoirists are able to represent such complexity in ways that cannot be captured in words alone’.” But is this “subjectivity” represented separately or jointly? And in the latter case, how? Also not as authenticating as photographs, paintings remain nevertheless a potential narrative resource for any autobiographer. In *The Privileged Eye, Max *Kozloff reminds us that “a main distinction between a painting and a photograph is that the painting alludes to its content, whereas the photograph summons it, from wherever and whenever, to us.” It might only be “alluding to a content,” but a painting in a memoir simply is another form of hybridity and a way for an author to diversify the work’s content. Stanley Cavell wrote that we might say that “a painting *is* a world” and that “a photograph is *of *the world” but a painting in many ways continue to allude to *the* world, and more precisely to the autobiographer’s world. Finally, beyond the intermedial question, there is the issue of autobiography, and more specifically autobiography at the beginning of the 21st century, a different type from previous centuries, one more informed of the limits of referential writing and more than ever aware of its importance; one also that has often outgrown its usual vessel—even though the latter remains its most prestigious one in terms of official recognition—and has branched out into social and often more visual media (just one example among so many: the renowned American photographer Stephen Shore’s Instagram account on which he posts one picture everyday). Sidonie Smith and Julia Watson have identified and explored “the visual-verbal-virtual contexts of life narrative” which have multiplied through for example performance and visual arts, autobiographical films and videos, and variously curated online lives. Véronique Montémont rightfully points out that Philippe Lejeune, one of the most prominent life writing theorists, “does not mention photography because for him autobiography involves enunciation, a narrator in other terms.” And yet photography has entered the field of autobiography in a multitude of ways. In *Picturing Ourselves: Photography & Autobiography,* Linda Haverty Rugg sums up her study’s main objectives thus: “This book explores the intersection of these two debates—the point at which photographs enter the autobiographical act. What (or how) do photographs mean in the context of an autobiography?” The aim of this symposium is to explore the point at which an image, *any* image, whether fixed or moving (in vlogs for instance), enters the autobiographical act and confronts the verbal form. *Keynote Speaker*: Pr. Teresa Bruś (Wrocław University), author of the forthcoming *Face Forms in Photography and Life Writing of the 1920s and 1930s* ------------------------------ [1] <#_ftnref1> “At any rate, the issue of how photographers have related to writing, literature, and expression is, in my view, closely linked to the issue of their public, social status, and by the same token to the various ways photographers have chosen to represent themselves” (Brunet). -- Rob Gallagher Lecturer in Film & Media, Manchester Metropolitan University @r_gealga

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New UNU Macau Research Report - "Civil Society Organizations? Cyber Resilience - leaving no civil society organization behind in cyber resilience"
by Debora Irene Christine 16 Sep '21

16 Sep '21

Dear Colleagues, I hope that you are well. We, at the United Nations University Institute in Macau (UNU Macau), are delighted to launch our research report, *Civil Society Organizations’ Cyber Resilience - leaving no civil society organization behind in cyber resilience <https://go.unu.edu/3NN1O>. *The report observes CSOs' evolving cybersecurity risk environment, their underinvestment in cybersecurity, and limited cyber resilience capacity, and their marginalization in the national and global cybersecurity ecosystems. It details an investigation of the cyber resilience posture of CSOs in Macau SAR, China. We argue that cross-sectoral cooperation and coordination in cybersecurity policymaking and incident handling, addressing the unequal distribution of cybersecurity resources between different sectors of society, and strengthening the cybersecurity support ecosystem for CSOs are crucial for CSOs’ cyber resilience and societal resilience. Feel free to share, and it would also be great to get your feedback. -- Best regards, *Debora Irene Christine* debora.irene.christine(a)gmail.com | debora(a)unu.edu +62 81807035447 (IDN) | +853 62326088 (MO)| Skype: debora.irene7 _______________________________________________ The Air-L(a)listserv.aoir.org mailing list is provided by the Association of Internet Researchers http://aoir.org Subscribe, change options or unsubscribe at: http://listserv.aoir.org/listinfo.cgi/air-l-aoir.org Join the Association of Internet Researchers: http://www.aoir.org/

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Details released for #AoIR2021
by Michelle, Association of Internet Researchers 15 Sep '21

15 Sep '21

Hello AoIR-istas! Today, the #AoIR2021 conference released its 41 playlists containing 258 videos! The AoIR conference is free for all members, and standard individual membership is $45 USD. with a student rate of $30 USD. Join now or renew your membership <https://members.aoir.org/> and register <https://members.aoir.org/event-4396398> to participate in the conference *at no additional cost!* Learn more about what’s happening at 2021 AoIR: Independence <https://aoir.org/aoir2021confinfo/>. Nonmembers can watch the live conference keynote that takes place 12 October 2021 at 22:00 UTC (what time is that for me? <https://www.timeanddate.com/worldclock/fixedtime.html?msg=AoIR2021+Keynote+…>) and features André Brock, Associate Professor in the School of Literature, Media and Communication at Georgia Tech. Brock’s book *Distributed Blackness: African American Cybercultures* (NYU 2020) was the 2021 recipient of the AoIR Nancy Baym Book Award. <https://aoir.org/2021nbbookaward/> Want to participate in more ways? Registration is free for members, so please join or renew your membership <https://members.aoir.org/> and then register <https://members.aoir.org/event-4396398> today! We look forward to seeing you in October! Adrienne Shaw, Head of conference host committee And Members of your AoIR Executive Committee: Lynn Schofield Clark, President Tama Leaver, Vice President Axel Bruns, Immediate Past President Kelly Quinn, Treasurer Kat Tiidenberg, Secretary Zoë Glatt, Grad Student Representative Crystal Abidin, Open Seat Fabio Giglietto, Open Seat Erika Pearson, Open Seat And Michelle, AoIR Association Coordinator

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CFP CSCW 2021 workshop: The Future of Care Work: Towards a Radical Politics of Care in CSCW Research and Practice
by Seetharama Bhat, Karthik 15 Sep '21

15 Sep '21

Hi all, We are organizing a workshop at CSCW this year titled “The Future of Care Work: Towards a Radical Politics of Care in CSCW Research and Practice.” We aim to gather researchers across academia and industry to explore what a world centered around care and care workers might look like. The deadline for submissions is soon on September 16th (so, please email us if you need an extension!) and the workshop will take place on October 23rd. Submission formats are short and flexible, and you can apply at https://forms.gle/xeHPswdaiv4aoC6s8. Further details are on the workshop website: https://sites.google.com/view/futureofcarework/submit. Please do consider applying! On behalf of our wonderful team of organizers: Naveena Karusala, Azra Ismail, Karthik Bhat, Aakash Gautam, Sachin Pendse, Neha Kumar, Richard Anderson, Madeline Balaam, Shaowen Bardzell, Nicola Bidwell, Melissa Densmore, Elizabeth Kaziunas, Anne Marie Piper, Noopur Raval, Pushpendra Singh, Austin Toombs, Nervo Verdezoto, and Ding Wang For questions/extension requests: email azraismail(a)gatech.edu<mailto:azraismail@gatech.edu> or naveenak(a)uw.edu<mailto:naveenak@uw.edu> Thanks! Karthik S. Bhat PhD Student, School of Interactive Computing, Georgia Institute of Technology https://ksbhat.com

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