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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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PhD scholarships, St. Mary's University (London)
by Jacob Johanssen 15 Sep '21

15 Sep '21

St Mary’s University is offering five Vice Chancellor’s Doctoral studentships. We are looking to recruit exceptional candidates across our research portfolio, with particular focus on the following five Research Pillars in our Research Strategy: - Catholic values and the common good - Health and social wellbeing - Creative industries and wellbeing - Professional practice and social impact - Human dignity and social justice The studentships are available on a full-time basis only and will cover payment of Home* fees and an annual stipend of £14,000 for 3 years. *Home fees will include EU students starting in 2021/22. International applicants will receive a fee waiver at the home fee rate and will be required to self-fund the remaining fees. Closing date: 4th November 2021. More details and how to apply: https://www.stmarys.ac.uk/research/degree-students/phd-opportunities.aspx Academics in the Department of Communications, Media and Marketing have expertise in the full range of Communications disciplines, from political communications and marketing, to film and media industries, from digital and social media, to popular music and sports media. Some of our interests include the UK and European media systems, global and transnational platforms and media, media ethics and politics, subjectivity and digital culture, emerging technologies, visual culture, crime and gender, fandom, popular music culture and film philosophy. We are open to PhD applications in all aspects of media and communications. We particularly encourage enquiries and applications about projects in the following areas: - narratives of exclusion and inclusion - digital culture and ethics: gender, victimhood and scapegoating - rhetorical/civic literacy and effective organizational communication - ethnicity, race and nation in popular media - political cinemas More information about staff and research interests can be found here: https://www.stmarys.ac.uk/research/areas/communications-humanities-social-p…

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Digital Methods Winter School '22 - Univ. Amsterdam
by Richard Rogers 15 Sep '21

15 Sep '21

Digital Methods Winter School 2022 'Social media data critique' 10 - 14 January 2022 Streaming, zoom and in-person (as circumstances allow) New Media & Digital Culture Media Studies University of Amsterdam Turfdraagsterpad 9 1012 XT Amsterdam the Netherlands Call for participation The Digital Methods Initiative (DMI), Media Studies, University of Amsterdam, is holding its annual Winter School on 'Social media data critique'. The format is that of a (social media and web) data sprint, with tutorials as well as hands-on work for telling stories with data. There is also a programme of keynote speakers and a book launch of Controversy Mapping: A Field Guide by Tommaso Venturini and Anders Munk. The Winter School is intended for advanced Master's students, PhD candidates and motivated scholars who would like to work on a digital methods project in an intensive workshop setting. Data critique and platform dependencies: How to study social media data? Source criticism is the scholarly activity traditionally concerned with provenance and reliability. When considering the state of social media data provision such criticism would be aimed at what platforms allow researchers to do (such as accessing an API) and not to do (scrape). It also would consider whether the data returned from querying is ‘good’, meaning complete or representative. How do social media platforms fare when considering these principles? How to audit or otherwise scrutinise social media platforms’ data supply? Recently Facebook has come under renewed criticism for its data supply through the publication of its ‘transparency’ report, Widely Viewed Content. It is a list of web URLs and Facebook posts that receive the greatest ‘reach’ on the platform when appearing on users’ News Feeds. Its publication comes on the heels of Facebook’s well catalogued ‘fake news problem’, first reported in 2016 as well as a well publicised Twitter feed that lists the most-engaged with posts on Facebook (using Crowdtangle data). In both instances those contributions, together with additional scholarly work, have shown that dubious information and extreme right-wing content are disproportionately interacted with. Facebook’s transparency report, which has been called ‘transparency theater’, demonstrates that it is not the case. How to check the data? For now, "all anybody has is the company’s word for it." For Facebook as well as a variety of other platforms there are no public archives. Facebook's data sharing model is one of an industry-academic 'partnership'. The Social Science One project, launched when Facebook ended access to its Pages API, offers web URLs that are posted on Facebook. It is big data -- "57 million URLs, more than 1.7 trillion rows, and nearly 40 trillion cell values, describing URLs shared more than 100 times publicly on Facebook (between 1/1/2017 and 2/28/2021)." To obtain the data (if one can handle it) requires writing a research proposal and if accepted compliance with Facebook's ‘onboarding’ and research data agreement. Ultimately, the data is accessed (not downloaded) in a Facebook research environment, the "Facebook Open Research Tool (FORT) ... behind a VPN that does not have access to the Internet." There are also "regular meetings Facebook holds with researchers." A data access ethnography project, not so unlike ones written about trying to work with Twitter's archive at the Library of Congress, may be a worthwhile undertaking. Moreover, what kinds of research does such a data set suggest? Other projects could evaluate 'repurposing' marketing data, as Robert Putnam's 'Bowling Alone' project did and as is a more general digital methods approach. Comparing multiple marketing dashboard data outputs may be of interest, and crossing those with CrowdTangle's outputs. Facepager, one of the last pieces of software (after Netvizz and Netlytic) to still have access to Facebook's graph API reports that "access permissions are under heavy reconstruction." Its usage requires further scrutiny. There is also a difference between the user view and the developer view (and between ethnographic and computational approaches), which is also worth exploring; 'interface methods' may be useful here. These and other considerations for developing social media data criticism are topics of interest for this year's Winter School. At the Winter School there are the usual social media tool tutorials (and the occasional tool requiem), but also continued attention to thinking through and proposing how to work with social media data. There are also empirical and conceptual projects that participants work on. Projects from the past Summer and Winter Schools include: Detecting Conspiratorial Hermeneutics via Words & Images, Mapping the Dutchophone Fringe on Telegram; Greenwashing, in_authenticity & protest; Searching constructive/authentic posts in media comment sections, Mapping deepfakes with digital methods and visual analytics, “Go back to plebbit”: Mapping the platform antagonism between 4chan and Reddit, Profiling Bolsobots Networks, Infodemic cross-platform analysis, Post-Trump Information Ecology, Streams of Conspirational Folklore, and FilterTube: Investigating echo chambers, filter bubbles and polarization on YouTube. Winter School ’22 organisers: Lucia Bainotti, Richard Rogers and Guillen Torres, Media Studies, University of Amsterdam. Application information at https://www.digitalmethods.net <https://www.digitalmethods.net/>. Webpage has links to sources quoted in the text of the call. Prof. Richard Rogers Media Studies University of Amsterdam Out now: R. Rogers (2019), Doing Digital Methods, Los Angeles: Sage. Just out: R. Rogers and S. Niederer (eds.) (2020), The Politics of Social Media Manipulation, Amsterdam: Amsterdam University Press.

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WEBCAST WED: ‘The Decade of Digital Inclusion: Issues That Keep Us Up at Night’ @MarconiSociety
by Joly MacFie 15 Sep '21

15 Sep '21

After yesterday's excursion into Internet History <https://isoc.live/14520/>, today our attention turns to the future, the task at hand, and the pitfalls that may exist along the way. [image: livestream] <http://livestream.com/internetsociety/marconidecade%20> On *Wednesday September 15 2021* at *11:00-12:00 EDT* (15:00-16:00 UTC) the *Marconi Society <https://www.marconisociety.org/>* will host a panel '*The Decade of Digital Inclusion: Issues That Keep Us Up at Night <https://www.marconisociety.org/events/the-decade-of-digital-inclusion-issue…>*'. Experts from technology, policy, and digital inclusion will join forces to describe what the future could look like, the questions we need to answer, and the different points of view we have to consider. This will set the stage for the forthcoming Marconi Society Master Class and Symposium, *The Decade of Digital Inclusion <https://marconisociety.org/decade>*. *PANEL* *Vint Cerf*, Google *Jane Coffin*, Internet Society *Joseph Kakande*, Facebook *Muriel Médard*, MIT *Colin Rhinesmith*, Simmons University *MODERATOR*: *Sir David Payne*, Southampton University *LIVESTREAM: http://livestream.com/internetsociety/marconidecade <http://livestream.com/internetsociety/marconidecade>* *PARTICIPATE VIA ZOOM https://bit.ly/2WR2LLc <https://bit.ly/2WR2LLc>* *REAL TIME TEXT https://bit.ly/2YYWxKn <https://bit.ly/2YYWxKn>* *TWITTER #DecadeOfDigitalInclusion <http://bit.ly/DecadeOfDigitalInclusion> @MarconiSociety @vgcerf @jane_coffin Joseph Kakande @Facebook Muriel Médard @MIT @crhinesmith Sir David Payne @orctweets #digitalinclusion #internetforeveryone* *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) *ARCHIVE* *https://archive.org/details/marconidecade <https://archive.org/details/marconidecade>* *Permalink* https://isoc.live/14530/ - -- -------------------------------------- Joly MacFie +12185659365 -------------------------------------- -

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WEBCAST TODAY: Internet2 Internet History Webinar: How the US NSNET Regional Academic Networks Evolved to Become the Global Internet (1985 — 1995)
by Joly MacFie 14 Sep '21

14 Sep '21

Anyone who watched last week's Renwick Lecture <https://archive.org/details/renwick2021> will have heard Vint Cerf refer to this important stage in the Internet's development. Today we will learn more! [image: livestream] <http://livestream.com/internetsociety/i2internethistory>Today, Tuesday 14 September 2020, at 13:00 EDT (18:00 UTC) *Internet2 <https://internet2.edu/>* hosts an Internet History Webinar: '*How the US NSFNET Regional Academic Networks Evolved to Become the Global Internet (1985 — 1995) <https://internet2.edu/internet2-internet-history-webinar/>*'. The National Science Foundation’s (NSF) *NSFNET Program <https://en.wikipedia.org/wiki/National_Science_Foundation_Network>* (partially) funded a range of (academic) regional networks1, starting in 1985/86. Over a relatively short period of time, the regional networks developed their customer base and funding models and became Internet service providers (ISPs). Connections to the Federal Internet Exchange(s) (FIXs) and the Commercial Internet eXchange(s) (CIXs) were developed, and some of the regional networks evolved to become global ISPs. The webinar will feature short presentations from some of the Regional Network / ISP pioneers, followed by a panel discussion and Q&A session. *PANEL* *Glenn Ricart*, SURAnet *Elise Gerich*, NSFNET National Backbone *Susan Estrada*, CERFnet *MODERATOR* *Steve Wolff*, NSF Networking Division Director (1986-1995) *LIVESTREAM http://livestream.com/internetsociety/i2internethistory <http://livestream.com/internetsociety/i2internethistory>* *PARTICIPATE VIA ZOOM https://bit.ly/398Itjk <https://bit.ly/398Itjk>* *REAL TIME TEXT: https://bit.ly/3AdSM18 <https://bit.ly/3AdSM18>* *TWITTER #i2online <http://bit.ly/i2online> @Internet2 @gricart #SURAnet @EliseGerich #NSFNET Susan Estrada #CERFnet Steve Wolff #InternetHistory* *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>* *ARCHIVE* *https://archive.org/details/i2internethistory <https://archive.org/details/i2internethistory>* *Permalink* https://isoc.live/14520/ - -- -------------------------------------- Joly MacFie +12185659365 -------------------------------------- -

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SCILP webinar - 1 Oct - Influence Government: Targeted Advertising Use by UK Law Enforcement and Public Bodies
by Angela Daly 14 Sep '21

14 Sep '21

Join us for our next Strathclyde Centre for Internet Law & Policy webinar, on Fri 1 October at 12noon UK time. We will hear from Dr Ben Collier and Dr Daniel Thomas about their new research on how the UK government agencies and law enforcement use targeted advertising: https://www.sccjr.ac.uk/news-events/news/police-and-government-using-online… Their work has received media attention here: https://www.theguardian.com/technology/2021/sep/08/study-finds-growing-gove… More details and RSVP: https://www.eventbrite.co.uk/e/targeted-advertising-ben-collier-daniel-thom… All welcome!

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CFP CONSOLE-ING PASSIONS
by Erika M Heredia 14 Sep '21

14 Sep '21

CFP *CONSOLE-ING PASSIONS* *International Conference on Television, Video, Audio, New Media, and Feminism* *June 23-25, 2022* *University of Central Florida* *Orlando, FL* Console-ing Passions was founded in 1989 by a group of feminist media scholars and artists looking to create a space to present work and foster scholarship on issues of television, culture, and identity, with an emphasis on gender and sexuality. The first Console-ing Passions conference was held at the University of Iowa in 1992. Since then, Console-ing Passions has expanded to become not only the most important conference for scholars studying gender in television but also among the top conferences for scholars of media generally. The 2022 Conference Organizing Committee invites proposals for individual papers, pre-constituted panels, and pre-constituted roundtables that consider television, video, audio, or new media through an intersectional lens including gender, sexuality, race, and/or other systems of inequality. We also welcome proposals for video, audio, or new media creative works related to intersectional approaches to modes of identity. This year’s theme is “Reinvention.” We see this theme as an opportunity for reflection on the influence of the pandemic on both media industries and our own media scholarship, but also as a call to consider the role of a feminist lens in pushing for reimaginings of our institutional structures and inequities. Submissions might also consider the ongoing process of “Reinvention” in the media landscape, from the ubiquitous reboots and revivals to the restructuring of industries. As we return to in-person conferencing, we are cognizant of questions of access, equity, and impact associated with convening in physical space. To support this process of reflection and reimagining, CP 2022 will be a hybrid event, with opportunities for virtual participation as noted in the CFP below. *Submission Guidelines:* The deadline for submissions is 11:59 PM (US Eastern Daylight Time) on *Friday, October 1, 2021.* *Submit here: * https://stars.library.ucf.edu/cgi/ir_submit.cgi?context=cp2022 <https://stars.library.ucf.edu/cgi/ir_submit.cgi?context=cp2022> *Proposal Guidelines:* Participants may submit: one paper *or* creative project, and one roundtable. *Individual Papers:* Individuals submitting paper proposals should provide an abstract of 250 words, a short bio, and contact information. Co-authored papers are acceptable. *Panels:* Panel coordinators should submit a 250-word rationale for the pre-constituted panel as a whole and a 250-word abstract, a short bio, and contact information for each panel participant. Panels should include 3-4 papers. Co-authored papers are acceptable. Panels that include a diversity of panelist affiliations and experience levels are strongly encouraged. *Roundtables: *Pre-constituted roundtables should focus either on scholarly topics in the field or matters of professional interest. We are especially interested in roundtables that are likely to engage wide participation by conference attendees and which reflect our field’s diversity of cultural identities, institutions, methodologies, and professional rank or employment status. Proposals should be submitted by a convener, who will propose a question (<100 words) and solicit brief (<250 words) responses from 5-7 respondents. Proposals should also include a brief bio and contact information for the convener and each participant. *Creative Works:* We invite proposals for video, audio, or new media screenings or exhibits. Each proposal should consist of a 350-word abstract (including the length and format of the work), a short bio of the producer/director, and contact information. If the work is viewable online, please submit a URL. All proposals should be tagged as either “Virtual” or “In-Person.” Submissions themselves should not be hybrid (that is, a roundtable must be in either one category or the other). Please direct any questions about the conference and/or the submission process to the conference organizers: mel.stanfill(a)ucf.edu and anastasia(a)ucf.edu. Follow updates on Twitter using our hashtag: *#CPOrlando *and visit the conference website for updates about events, schedules, travel information, and more: https://cp2022.cah.ucf.edu/ Please help to circulate this announcement among your networks or any interested parties. Regards, Erika M Heredia Texts and Technology PhD University of Central Florida Orlando, Florida, U.S.

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