Especially since the digital shift, animation is increasingly pervasive in moving image practice. Its conventional definitions, technique-based corpi and technical limitations are dramatically changing as it becomes ubiquitous in a wide band of genres, formats and media. Lev Manovich’s widely debated 2001 claim that ‘digital cinema is a particular case of animation that uses live-action footage as one of its may elements’ effectively states that all is now animation, and cinema is but a subset of animation. The discourse around film’s loss of the indexical relates to animation’s unlimited potential to visually represent events, scenarios and forms that have little or no relation to our experience of the ‘real’ world. From synthespians and mobile telephony to ‘live action’ features that are mainly created through computer animation, in its myriad forms and applications across a wide band of disciplines, creative and professional practice and industrial implementation, animation will increasingly influence our understanding of how we see and experience the world through these fields.

The themed issue is based on the Pervasive Animation symposium held at Tate Modern in March 2007, a project deeply reflective of the journal’s aims. It united world-renowned academics and artists from a wide range of research agendas and creative practices not usually associated with animation: Tom Gunning, Norman Klein, Michael Snow, Vivian Sobchack, Anthony McCall, George Griffin, Beatriz Colomina, Siegfried Zielinski, Lisa Cartwright and Esther Leslie. It was obvious to all who attended that there is an enormous gap in the dialogues between animation and its critical counterpart. (The webcast of all speakers is available at: (www.tate.org.uk/onlineevents/webcasts/pervasive_animation_across_disciplines/default.jsp)

The special issue of animation: an interdisciplinary journal will feature essays that contribute to filling this gap with new insights, approaches and methodologies that take cause with, for instance:

• the pervasive nature of animation in the moving image;
• its impact on film and television and game studies and practice;
• medium specificities and cinema’s increasing loss of a medium with the digital;
• radical contemporary practice;
• hybridity and mixed media;
• creative innovations foregrounding specific disciplines and their interrelations with animation.

We especially welcome submissions that aim to break with clichéd conceptions about animation and facilitate much-needed dialogue centred on its ubiquitous and multidisciplinary nature, its future development and its implications for spatial politics and moving image culture.

If you would like to discuss your submission with the Editor, please send an email to:
sbuchan@ucreative.ac.uk

See the journal’s website for submission details and guidelines: http://anm.sagepub.com/

Editor: Marcus O’Donnell
Publisher: Sheffield Phoenix Press
Series: Apocalypse and Popular Culture
Series Editor: Dr John Walliss
Publication date: late 2009

Contributions are required for a new collection of essays that explores the apocalyptic and prophetic in contemporary television drama and news reportage. It will form part of the Sheffield Phoenix Apocalypse and Popular Culture Series which is being produced in association with the Hope Centre for Millennialism Studies at Liverpool Hope University.

The volume will explore the intersection of apocalyptic and prophetic archetypes, story patterns, motifs and characters in contemporary televisual storytelling and reportage. Although the volume is specifically focused on essays which analyse the manifestations of these biblical genres in contemporary popular form we are interested in a wide variety of interdisciplinary perspectives that draw upon the resources of cultural studies, screen studies, journalism and media studies, sociology, political science, religious studies, anthropology, theology and biblical studies.

While a number of collections have explored cinematic representations of the apocalyptic, comparatively little work has been produced on the specifically televisual dimensions of contemporary apocalyptics. This volume aims to begin to map this area. One of the unique approaches of this volume is the decision to survey both television drama as well as news and current affairs. Raymond Williams famously described television production and consumption as “flow” which incorporates a collage of televisual experience ranging through drama, news and advertising. One of the underlying assumptions of this volume is that there are a range of important connections that deserve sustained analysis in the flow between apocalyptic images of the nightly news and apocalyptic scenarios of contemporary TV drama. We are interested in contributions which treat either of these domains separately but particularly welcome essays which seek to draw connections between the dramatic and the documentary. In either case authors should address the current cultural and political context as well as the aesthetic and biblical dimensions of contemporary television productions.

The volume will focus on post 2000 productions although space will be given to important 1990’s precursors to the current crop of apocalyptic television series. Consideration will be given to essays which focus on earlier works if the proposal is particularly strong and includes an analysis which draws out connections/contrasts with contemporary productions or issues. Essays which focus on a single series or moment of reportage as well as essays which follow a particular theme across a number of different programs or television genres are both welcome.

The following general areas have been identified as a possible structure for the volume but at this stage it is only indicative and should not be read as precluding other concerns:
1. The monstrous and strange: revelations, visions and supernatural signs
2. The final conflict: good versus evil and apocalyptic violence
3. Remnant communities in apocalyptic times
4. Comings and goings at the end: the raptured and the returned
5. Fate and fatalism in contemporary televisual apocalyptics
6. Prophets and preachers of the end: contemporary jeremiads

Essays dealing with one or more of the following television series are particularly welcome but again it is an indicative rather than a prescriptive list:
• 24
• Angel
• Babylon Five
• Battlestar Galactica
• Buffy
• Carnivale
• Jericho
• Lost
• Millennium
• Revelations
• Supernatural
• Star Trek
• The 4400
• The Second Coming
• Twin Peaks
• X Files

Essays dealing with one or more or of the following aspects of contemporary television news reportage are also particularly welcome but again the list is indicative only:
• News of wars and rumours of wars: apocalyptic nightly news
• The fate of the earth: science and nature documentaries
• Journalistic jeremiads
• Reporting of Hurricane Katrina and other natural disasters
• Reporting environmental crisis
• Televising terror: live broadcast journalism after September 11
• Routine television news values and the apocalyptic
• Reporting from the developing world: othering the apocalypse

Timeline

Email proposals should be sent to the editor (marcuso@uow.edu.au) by 5 May 2008. Proposals should include a chapter abstract of up to 500 words and a brief biographical note that details the author’s academic affiliations and relevant publication history. Where possible copies of previously published articles in the area or thesis chapters should also be included. Confirmation of acceptance should be finalised by early August 2008 and initial drafts of chapters will be expected by March 2009 with a publication date of late 2009. Final contributions should range between 6,000 - 10,000 words with more space applying to those who take a broad comparative approach.

Preliminary email enquiries and/or early proposals to the editor are welcome and encouraged.

Marcus O’Donnell
School of Journalism and Creative Writing
University of Wollongong
marcuso@uow.edu.au

Apocalypse and Popular Culture Series is a sub-series of the Sheffield Phoenix Bible and Society series. As such, the focus of each volume is on the ways in which Biblical apocalyptic texts, themes and dramatis personae are drawn upon, transformed and consumed within aspects of popular culture. Five volumes are currently under development dealing with film, television, cyberculture, music and literary/graphic texts. The series is being produced in association with the Hope Centre for Millennialism Studies at Liverpool Hope University under the general editorship of the centre’s director Dr John Walliss.

===================================================================
CALL FOR PAPERS

3rd International Conference on Digital Interactive Media in Entertainment and Arts
DIMEA 2008

10-12 September 2008
Athens Information Technology (AIT), Athens, Greece
Conference Web site: http://www.dimea2008.org

Paper and Art/Demos Submission Deadline: April 30ieth, 2008
===================================================================

The advances in computer entertainment, multi-player/online gaming, technology-enabled art,
culture and performance have created new forms of entertainment that attract, immerse and
absorb their participants. The phenomenal success of such a “culture” to initiate a mass
audience in patterns and practices of its own consumption has supported the evolution of
an enormously powerful mass entertainment, digital art and performance industry extending
deeply into every aspect of our lives, leading further to major societal and business
contacting changes.

The International Conference on Digital Interactive Media in Entertainment and Arts (DIMEA),
in cooperation with ACM, is the premier forum for the presentation of societal, business
and technological advances and research results in cross-disciplinary areas related with
digital interactive media in entertainment, art and creative technologies. This conference
is dedicated to build common ground between research, design and development, learning
and collaboration in its myriad digital media forms: one of its many objectives is the
exploration of ‘play & learn’, demonstrating new arenas and applications for digital
gaming and incorporating leading edge technologies, designs and models in our changing
views about what is involved in gaming.

DIMEA 2008 is jointly organized by Athens Information Technology (AIT), ACM Special
Interest Group on Computer Human Interaction (ACM SIGCHI, Singapore Chapter) and the
Society for Excellence and Innovation in Interactive Experience Design (InExDe)

DIMEA 2008 will bring together academics, technologists, artists, designers, and
industry representatives to address and advance the leading edge of new digital and
interactive media. Who should attend: Academics, Animators, Artists, Designers,
Developers, Educators, Engineers, Game Designers, Industry Professionals, Media Industry,
Video Producers, Directors, Writers, Performers, Photographers, Videographers,
Researchers, Students. Anyone who wants to be inspired to adopt advanced ways in
industry, society, business, research and teaching, expand their knowledge on a wide
variety of topics within the field of digital media, network with cross-disciplinary
experts from digital media professionals to academic experts, and evolve with this
ever-changing field!

The following, non exclusive, topics are called for:

- Entertainment, Art and Technology
Location-based and Pervasive Gaming, Mobile Entertainment, Digital Games in Practice,
Computer Entertainment Research, Open-Source Gaming Engines, Implications for Multimedia
and Web Design, Artistic Games, Commercial Games, Edutainment, Educational/Serious Games,
Interactive Games, Games as Pedagogy, Analysis of Games, e-Performance (e-Opera,
e-Theatre, e-Concert, …), Virtual Exhibitions and Museums

- New Media Emerging Technologies
Personal Broadcasting (Podcasting and Vlogging), Novel Applications for Mobile Phones,
Social and Interactive Computing Applications, Collaborative Spaces/Environments,
Innovative Applications of Technology in the Arts, Mixed Reality and Enhanced Visualization,
Context-aware Environments and Devices, Immersive Learning Experiences, Communication
Technologies and Systems for Digital Media, Advanced Authoring and Composition of Media,
Advanced Interaction, Targeted/Personalized Media, Adaptable Media and AI

- Code Art
Algorithmic Art, Software Art, Net Art, Installation Art, Tangible Computing, Sonic Art

- Digital Visual and Auditory Media
Digital Photography, Digital Imaging as Art, Advances in 3D Modelling, Digital Printing,
Non-Photorealistic Rendering, Digital Sound and Music, Digital Music Synthesis and
Composition, Graphics and Animations, Digital Comics

- Moving Media
Digital Video, Distance Collaboration/Performance, Computer Animation, Interactive Movies

- Culture of New Media
Network Culture, Philosophy of New Media, Digital Identity

- Interactive Stories
Digital Narrative, Digital Asset Management, Semantic Web Technologies, Interactive
Television and Cinema, Game Design and Storytelling

SUBMISSIONS

Full Paper Submissions
======================
Prospective authors are invited to submit full technical papers of not more than
8 pages, including tables, figures and references. Papers should present original
research related to the above mentioned scientific areas, not published elsewhere.
Full paper submissions should adhere to the ACM SIG Proceedings style guidelines.
The respective templates may be found at:

http://www.acm.org/sigs/pubs/proceed/template.html

Please use the style “Strict Adherence to SIGS style - (Sheridan Printing)” on that
page.

Demo/Art/Game Submissions
=========================
Practitioners in the DIMEA2008 areas are invited to submit not more than 1 page
short description of their Digital Art Work/Demo/Game to be considered for
demonstration at DIMEA2008.

Papers or Demo/Art/Game short descriptions may be submitted electronically at the
DIMEA2008 online paper submission service. Until the online paper submission system
is opened up to prospective authors and practitioners, papers or demo/art/game short
descriptions may be submitted by e-mail to: sots@ait.edu.gr

In either submission process, authors are advised to contact the Conference Organizers
(sots@ait.edu.gr), in case they have not received an acknowledgement of paper receipt
within two days of submission.

Full papers will be peer-reviewed by at least two reviewers from the International
Technical Program Committee in a single-blind process. Demo/Art Work/Game submissions
will be reviewed by the respective Chairs and their formulated committees.

Tutorials and Seminars, Special Sessions, Exhibitions and Industrial Demos will
additionally be organized during DIMEA2008.

IMPORTANT DATES

Full Paper Submission: April 30, 2008 Demo/Art Work/Game Submission: April 30, 2008
Notification of Acceptance: May 30, 2008 Camera-ready Paper Submission: June 15, 2008

CONFERENCE SPONSORSHIP CALL

Sponsorship offers an effective way of demonstrating your interest in and commitment
to digital interactive media technologies and their impact in diverse applications
fields spanning the entertainment and art areas. Corporate sponsorship can offer
companies publicity and the ability to influence current and future leaders in digital
interactive media technologies research and development. We will recognize and acknowledge
the generosity of all of our sponsors on the DIMEA 2008 website (www.dimea2008.org) and
in the conference program (to be available in print and on-line).

Please send an e-mail to sots@ait.edu.gr , kpro@ait.edu.gr , mpal@ait.edu.gr if you would
like to pledge your sponsorship. More details can be found at: http://www.dimea2008.org

ORGANIZING COMMITTEE

Honorary Conference Chair
Christos Halkias, AIT, Greece

General Conference Chairs
Sofia Tsekeridou, AIT, Greece
Adrian David Cheok, ACM SIGCHI, National University of Singapore, Singapore
Konstantinos Giannakis, InExDe, Greece
John Karigiannis, InExDe, Greece

Technical Program Chairs
Ryohei Nakatsu, Kwansei Gakuin University, Japan
Kevin Wong, Murdoch University, Australia
Thanassis Tiropanis, University of Southampton, UK

Special Sessions Chairs
Krzysztof Walczak, Poznan University of Economics, Poland
Nikos Nikolaidis, Aristotle University of Thessaloniki, Greece

Art & Demos Chairs
Naoko Tosa, Kyoto University, Japan
Manthos Santorineos, School of Fine Arts, Fournos Center for Art and New Technology, Greece
Thomas Rist, University of Augsburg, Germany

Local Arrangements Chairs
Sofia Tsekeridou, AIT, Greece
Aristodemos Pnevmatikakis, AIT, Greece
Konstantinos Giannakis, InExDe, Greece
John Karigiannis, InExDe, Greece

Publications Chair
Aristodemos Pnevmatikakis, AIT, Greece

Exhibitions Chairs
David Fuschi, Giunti Interactive Labs, Italy
Vassilis Kyriazis, Telmaco S.A., Greece

TECHNICAL PROGRAM COMMITTEE (tentative)

Antonis Argyros, University of Crete, FORTH, Greece
Stephen Barrass, University of Canberra, Australia
Philip Branch, Swinburne University of Technology, Australia
Andrew Brooks, MIT Media Lab, Cannytrophic Design LLC, USA
Marcello Carrozzino, IMT Lucca Institute for Advanced Studies, Italy
Andrew Chiou, Central Queensland University, Australia
Angelo Ciarlini,Federal University of the State of Rio de Janeiro, Brazil
Nuno Correia, New University of Lisbon, Portugal
John Dack, Sonic Arts, Middlesex University, UK
Abdennour El Rhalibi, Liverpool John Moores University, UK
Chek Yang Foo, Temasek Informatics & IT School, Singapore
Lance Fung, Murdoch University, Australia
Anastasia Georgaki, University of Athens, Greece
Yutaka Ishibashi, Nagoya Institute of Technology, Japan
Arnav H. Jhala, North Carolina State University, USA
Carmen Juan, Technical University of Valencia, Spain
Haruhiro Katayose, Kwansei Gakuin University, Japan
Dimitrios Kontarinis, Velti SA, Greece
Michael Kwok, IBM, Canada
Peter Loh Kok Keong, Nanyang Technological University, Singapore
Artur Lugmayr, Tampere University of Technology, Finland
Moises Manas, Polytechnical University of Valencia, Spain
Nipan Maniar, University of Portsmouth, UK
Panos Markopoulos, Eindhoven University of Technology, Netherlands
Carsten Matysczok, UNITY AG, Germany
Ramon Molla Vaya, Technical University of Valencia, Spain
Peter Nelson, University of Edinburgh, UK
Elina M.I. Ollila, Nokia Research, Finland
Samir Otmane, Evry University, France
Narcis Pares, Universitat Pompeu Fabra, Spain
George Pavlidis, Cultural and Educational Technology Institute, Greece
Yusuf Pisan, University of Technology, Australia
Lazaros Polymenakos, Athens Information Technology, Greece
Cristina Portales, Polytechnic University of Valencia, Spain
Shri Rai, Murdoch University, Australia
Christian Reimann, Siemens AG, Germany
Gemma San Cornelio, Open University of Catalonia, Spain
Shigeru Sakurazawa, Future University-Hakodate, Japan
Nobuya Suzuki, Institute of Advanced Media Arts and Sciences, Japan
Isis Truck, University Paris 8, France
Lucia Vera, University of Valencia, Spain
Charles Woodward, VTT Technical Research Centre, Finland
R. Michael Young, North Carolina State University, USA
Sebastian Zander, Swinburne University of Technology, Australia
Suiping Zhou, Nanyang Technological University, Singapore

______________________________
Dr. Sofia Tsekeridou
Assistant Professor
Athens Information Technology - AIT
Building B7, 19.5 km Markopoulo Ave.
PEANIA 190 02, Athens, Greece
Tel: +30 210 6682804 (Int.: 5804)
Fax: +30 210 6682703
E-mail: sots@ait.edu.gr
www.ait.edu.gr

——————————————————————————–
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From bands at The Bronze in Buffy the Vampire Slayer to Angel
singing karaoke at Caritas to the traditional-style fiddling and
guitar playing in Firefly, music is an integral part of Joss Whedon’s
universes. This collection seeks essays from both established and
emerging scholars on the uses of and contributions made by music in
the Whedonverse. Discipline-specific and interdisciplinary views are
encouraged to address issues of power, relationships, identity,
gender, communication, religion, multiculturalism, sanity and
madness, and other topics present in Buffy the Vampire Slayer, Angel,
Firefly, and Serenity. Topics might include, but are not limited to:
* Music and performance
* Gender/identity/race and music (including traditional identity
topics as well as those of non-human characters)
* Genre representations
* Scoring for action sequences
* Music and communication
* Musical characterization
* Music and camp
* Music and transformation
* Character vocality
* The use of silence and music in unique ways
* Levels and mixing of diegesis and non-diegesis

The deadline for submissions is August 15, 2008. The collection will
be published by Scarecrow Press with an anticipated publication date in 2009.

Essays should be between 7,000 and 9,000 words and follow Chicago
Manual of Style format. Only electronic submissions sent in a .doc
(Word) formats will be accepted. Authors are encouraged to include
photographs, but will be responsible for acquiring all materials and
permission for use. Please send a cover letter including the title of
the essay, an abstract of not more than 200 words, an author c.v, and
author biography of not more than 100 words along with the complete
blind essay (author’s name should not appear) to Kendra Preston
Leonard at caennen@gmail.com

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