<div dir="ltr">Dear all,<br><br>Apologies for cross-posting! Here is the call for the next Besides the Screen conference, in Brazil. I hope it might interest you and/or your colleagues.<br><br>Best!<br>Menotti<br><br><div>* * *</div><div>
<p class="gmail-MsoNormalCxSpMiddle" style="margin-bottom:0.0001pt"><b><span lang="EN-US">Besides the Screen </span>2019: Graphic Intelligences & Algorithmic Fictions<br></b>A conference about all things GPU<br>Vitória and São Paulo, Brazil, 03-08 June 2019</p><p class="gmail-MsoNormalCxSpMiddle" style="margin-bottom:0.0001pt"><br></p>Call for papers, artworks and other contributions<br>Submission deadline: <b>02 March 2019</b><br><br><span lang="EN-US">The
passage from cinema to post-cinema is often heralded as a cleavage in image
practices. Photography loses its ground to rendering, editing to compositing,
and projection to streaming. New storytelling assemblages and their respective
affects signalize the dissolution of the medium’s operational principles and
their reconstitution in new technical underpinnings. This cinema of graphic
processing, associated to interface design and videogames, allows for an
unexpected epistemic stability. Ever since the – effective, if not symbolic –
abandonment of celluloid film, never did we have a material component as
expressive of the logic of cinematographic representation as in the figure of
the <i>graphics cards</i>. Neither,
paradoxically, so atypical.<span></span></span>
<p class="gmail-MsoNormalCxSpMiddle" style="margin-bottom:0.0001pt"><i><span lang="EN-US">Graphic Processing Units </span></i><span lang="EN-US">have become the unlikely bedrock of
a wide range of prominent industries to emerge in the last decades. Their high
parallel processing power has invited uses beyond the most obvious applications
in fields such as computer vision and virtual reality. These computer
architectures, historically developed to simulate appearances, are currently
employed in the production of statistical truths. Untethered from screens, GPUs
have been used in enterprises as diverse as machine learning and cryptocurrency
mining. In this context, to the same extent they embody a new cinematographic <i>rationale</i>, graphic cards stand as an
important territory of dispute and convergence between media industries and
other contemporary sociotechnical systems.<span></span></span></p>
<p class="gmail-MsoNormalCxSpMiddle" style="margin-bottom:0.0001pt"><span lang="EN-US">The ninth
edition of the Besides the Screen conference takes the economic and cultural
centrality of video cards as the point of departure to explore the
reconfiguration of audiovisual systems and the emergence of new media practices
and politics. We invite abstracts for papers, workshops, single/multi-channel
artworks, audiovisual performances, installations pieces, and/or panels that
explore all things GPU, covering topics such as:</span></p><p class="gmail-MsoNormalCxSpMiddle" style="margin-bottom:0.0001pt"><br><span lang="EN-US"><span></span></span></p>- Procedural cinema, virtual/augmented/mixed reality, and videogames;<br>- Logic and applications of computer vision and cognition;<br>- Special effects, shaders, and new affective assemblages;<br>- Executable, performative, operational, and real-time images;<br>- Desktop documentaries, let’s play videos, and other performative appropriations of GUI;<br>- Probabilistic spaces, frame prediction, and the temporalities of rendering;<br>- Deep dreaming, deepfakes, and other generative forms based on neural networks;<br>- Political bias of artificial intelligence and machine learning;<br>- Cryptocurrency mining and / as infrastructural detours of GPUs.<span lang="EN-US"><span> </span></span>
<p class="gmail-MsoNormalCxSpMiddle"><span lang="EN-US">Submissions
of individual papers, panels and lectures should include an abstract of about 250
words and a short biographical note (150 words). Artwork, demo and installation
proposals should include a short description/ synopsis (250 words), links to
available documentation (videos / pictures / drafts), a complete list of
technical requirements, and short biographical note (150 words). <span></span></span></p>
<p class="gmail-MsoNormalCxSpMiddle"><span lang="EN-US">Proposals
must be submitted by <b>02 March 2019</b>
to the address <i><a href="mailto:besidesthescreen@gmail.com">besidesthescreen@gmail.com</a></i>
with the subject heading <b>2019 CONFERENCE
PROPOSAL.</b><span></span></span><span lang="EN-US"><span> </span></span>
</p><p class="gmail-MsoNormalCxSpMiddle" style="margin-bottom:0.0001pt"><span lang="EN-US">We
strongly encourage submissions from early career researchers and
research-practitioners.<span></span></span></p>
<p class="gmail-MsoNormalCxSpMiddle"><span lang="EN-US">Participants
will not be charged a registration fee.<span></span></span></p><span lang="EN-US"></span><span lang="EN-US"></span><p class="gmail-MsoNormalCxSpMiddle"><span lang="EN-US">
* * *<br>
Besides the Screen is an international research network on the subject of
experimental audiovisual media. It aims to reconfigure the field of screen
studies by refocusing it on the seemingly secondary objects, processes, and
practices that exist within cinema. Besides the Screen also means to promote an
open and horizontal academic environment, favouring practice-based approaches
to research and artist collaborations. I</span>nfo from previous conferences can be found at <a href="http://besidesthescreen.com" target="_blank" style="color:blue;text-decoration:underline"><span style="color:windowtext">besidesthescreen.com</span></a>.<span lang="EN-US"><span></span></span></p>
</div></div>