DiGRA | Digital Games Research Association

Time 2020-09-25 10:03:36

Web Name: DiGRA | Digital Games Research Association

WebSite: http://www.digra.org

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DiGRA Call for Conference Hosts Digital Games Research Conference 2021-2022 The Digital Games Research Association (DiGRA) has as a central goal the support of an international conference on digital gaming. Eleven conferences have taken place, with two more already planned for 2019 and 2020.  This Continue reading 2018 DiGRA Distinguished Scholars The 2018 DiGRA Distinguished Scholars: Helen Kennedy and Petri Lankoski In 2016 DiGRA established the Distinguished Scholars program to recognize senior scholars in the field of game studies who have been at the forefront of the development of rigorous scholarship, Continue reading CfP: The 5th Annual Chinese DiGRA Conference Chinese DiGRA is excited to announce the fifth annual conference to be held at the CityU Shenzhen Research Institute from the 7th to the 9th of September 2018.  Conference themes We invite submissions on any aspect of Chinese games, game industries, game Continue reading The DiGRA Executive Board is pleased to announce that the 2021 DiGRA International Conference will be held from April 13th to 18th*  in Guadalajara, Mexico. More information will be coming soon regarding the theme, programmes and speakers.The cancellation of the 2020 DiGRA Conference in Tampere was a deep disappointment to all of us, and we wish to again commend the work of both the local organising committee in Tampere and the programme committee. Everyone who had a paper or abstract accepted to the main conference programme may present their work at the 2021 conference, as per the email which was sent out last month.The local organising committee in Guadalajara is excited to host the 2021 DiGRA International Conference, the first to be held in Latin America. Together, we will build a meaningful legacy through leadership development, by acquiring and sharing knowledge, fostering positive networking, supporting experience exchange and creating a lasting impact on digital games research.We look forward to seeing you in Mexico next year.* We currently expect that the ongoing outbreak will be in a mitigation phase which will allow the event to take place at this time; if this turns out not to be the case, the organizing committee and the DiGRA executive board are prepared to reschedule the event to autumn of 2021.Be Sociable, Share! Digital Games Research Conference 2021-2022The Digital Games Research Association (DiGRA) has as a central goal the support of an international conference on digital gaming. Eleven conferences have taken place, with two more already planned for 2019 and 2020.  This document is a call for proposals for a committee and location to host the next series of DiGRA’s international games research conferences.  We are actively seeking proposals for 2021 and 2022. Proposals for conference hosting in 2023 and beyond are also welcome.We particularly encourage hosts from countries which have historically been under-represented in games research, and from regions which have not yet hosted a DiGRA international conference (including the “global south”), particularly for 2021. Institutions wishing to put themselves forward should consider the following aims of DiGRA when putting their proposal together and highlight how the event they would organize would achieve these:To support games research as an interdisciplinary fieldTo encourage dialogue between researchers, practitioners, commercial organizations and policy makersTo support students and curriculum developmentTo disseminate work produced by the association’s communityDiGRA is keen to receive proposals that tackle these issues in an innovative manner and build upon established conference practices. It is envisaged that DiGRA conferences will each have a central theme but that this will in no way compromise the inclusiveness of research into games from a wide range of researchers, disciplines and empirical domains. The official language of the conference will be English.DiGRA establishes a program chair (separate from the local hosting committee), who will ensure rigorous and appropriate peer review for abstracts submitted to the conference and the support of ethical practice. The successful hosting institution will be provided with key guidelines for the management of the planning and preparation of a medium-sized conference: hosts should be prepared for as many as 500 attendees (usually the conference has between 300 and 400 attendees.)  There is no compulsory format for conference hosting proposals, but we recommend that they deal with the following:1. VenueLocation: Institution, town/city, country.Background: What is the host city like? Attractions for visitors?Entertainment options: Location for visiting other areas before/after conference? Proximity to local game industries or other relevant sites?Venue: Description, facilities, access, lecture theatres, meeting rooms, exhibition space, technical resources, translation services etc.2. ConferencePotential theme ideas *Potential keynote/plenary speakers*Special events: any special thematic days and/or collaborative events organized in connection to the conference?Social events: What? When? Where? Are they particularly digital gaming relevant or locally typical?  Commissioning a conference game or suitably ‘playful’ activities would lend specificity to the event.Delegate packs: Contents. ProceedingsThe DiGRA executive committee has a responsibility for ensuring the quality of the delegates conference experience and the academic credibility and reputation of the conference. As such it will be involved, and have the right of veto, in the final decisions about programming and other aspects of content.  Once hosts are decided a programming committee will be formed with representatives from the hosts and nominated members acting on behalf of the DiGRA executive board.3. Travel and AccommodationDistance from international airport/sAccess by bus, cab, coach, train, etcTravel between conference venue and accommodationEstimated travel costs from a range of major citiesCosts Finance (in €, US$ as well as in local currency)Conference registration: full and day rates, student rates, DiGRA member rates (DiGRA membership is included in the DiGRA conference registration fee, with those membership monies directed afterwards to the association by the organizer, thereby guaranteeing its basic funding and continuity.) Registration fees should be tiered to reflect varying levels of affordability for different countries of origin: the board will work with the local organizing committee to determine the appropriate rates.Accommodation: Description, university/hotel options, location in relation to conference venue, facilities, capacity, etc. Per person, room share options? Discount for DiGRA delegates?Meals/Conference DinnerHow will booking be handled?What bursaries or discounts will be offered to graduate students in the field?4. OrganizationConference committee: Details of organizers, responsibilities, administrative support, etc. If working with a PCO, they should be named. It is expected than key individuals in the proposal and proposed conference committee will hold current DiGRA membership, Identify one member of the host team who is the main contact with DIGRA.Outline means of keeping in regular, consistent communication with the DIGRA board.Short research biographies. Plan for coordination of duties within committees as well as with DiGRA executive board; estimate of deadlines for conference planning schedule.Institutional support: Level and nature of department/institution involvement and funding.Additional support: Details of finance, facilities, sponsorship or other involvement from additional organizations at a regional, national or international level.Dates: Proposed conference dates, deadline for abstracts, etc. (It is strongly recommended that proposers avoid dates conflicting with events such as AoIR, DAC, Future Play, FDG , etc.)5. Publicity DisseminationConference proceedings: How will they be made available – in book format and/or electronically? When will they be available to delegates? (Note that all DiGRA conference papers need to be archived in the online DiGRA Digital Library, and conference organizers are expected to collaborate in this. Likewise, the ToDiGRA journal editors will be collaborating with the Program Chair to publish a subset of best papers from the conference.)Publications: Are special editions of journals planned for after the conference? Are publishing contracts for edited collections planned? Who will edit these? What is the planned timescale?How will conference publicity be planned?6. Other ConsiderationsIt is recommended that proposers produce a basic business plan to estimate incoming and outgoing monies for the conference depending on different levels of attendance and financial support. Issues such as how any loss will be accounted for should be dealt with, as DiGRA cannot currently offer any financial guarantee. Procedures should be in place so that in the event that the conference makes a profit DiGRA will receive 30% of this. The association will use this towards developing funds to support conference costs for some students or researchers coming from economically unstable countries.A Conference License Agreement will need to be signed by the representatives of the conference organizer and the DiGRA. This will detail all the arrangements and specifications of the planning and execution of the Conference. The Agreement must be signed before the actual conference arrangements are set in motion.The DIGRA executive board requires a letter of intent by May 1, 2019 and a full proposal by July 15, 2019.Letters of intent, completed proposals or general enquires about the conference hosting call, and details of the License Agreement etc. should be directed to William Huber (w.huber@abertay.ac.uk).Be Sociable, Share! Keywords in Play” is a monthly interview series about game research supported by Critical Distance and the Digital Games Research Association. As a joint venture, “Keywords in Play” expands Critical Distance’s commitment to innovative writing and research about games while using a conversational style to bring new and diverse scholarship to a wider audience.Our goal is to highlight the work of graduate students, early career researchers and scholars from under-represented groups, backgrounds and regions. The primary inspiration comes from sociologist and critic Raymond Williams. In the Preface to his book Keywords: a vocabulary of culture and society, Williams envisaged not a static dictionary but an interactive document, encouraging readers to populate blank pages with their own keywords, notes and amendments. “Keywords in Play” follows Williams in affirming that “The significance is in the selection”, and works towards diversifying the critical terms with which we describe games and game culture.In this episode we speak to Emilie Reed. Emilie is a recent PhD graduate researching the history of displaying videogames in museums and other arts contexts. Her academic background includes art history, museum studies and creative writing. She is interested in creating exhibitions which highlight overlooked elements of the history and artistic practice behind videogames, and developing more experimental approaches to game criticism. https://emreed.net/Emilie s paper Exhibition Strategies for Videogames in Art Institutions: Blank Arcade 2016 is open access: http://todigra.org/index.php/todigra/article/view/91Please consider supporting Critical Distance at https://www.patreon.com/critdistanceProduction Team: Darshana Jayemanne, Zoyander Street, Emilie Reed.Audio Direction and Engineering: Damian StewartDouble Bass: Aaron StewartBe Sociable, Share! DescriptionThey are seeking one or two Post Doctoral Research Associates (Post Docs) to join our fast-growing game research group. The research position involves assisting in developing games for impact, empirical studies using quantitative and qualitative data, and writing research papers on the main topic of gaming and decision making. Additional responsibilities include grant proposal preparation, lab management, and supervision of graduate and undergraduate students.Playing games is about making decisions. The Post Doc will be involved in advancing the use of games as a research environment to study how people make decisions as well as to improve their decisions and develop tools to assist in this. We also find it of great importance to educate the next generation of problem solvers and, therefore, a significant amount of our work is dedicated toward improving existing education. We are currently pursuing these topics across a dozen projects: from a crowdsourcing game where players can participate in and create social experiments (httsp://studycrafter.com) to the development of a curriculum where students create games about climate change. A complete list of projects can be viewed at http://www.northeastern.edu/casperharteveld.The work will be performed under the guidance of Dr. Casper Harteveld, an Associate Professor of Game Design. As most projects will involve collaborations with faculty from across Northeastern University (Computer Science, Engineering, School of Law, School of Public Policy, and Marine Science Center), the Post Doc will experience a wide variety of interactions with researchers and students.QualificationsThey seek candidates who have a PhD in Computer Science, Human-Computer Interaction (HCI), Cognitive Science, Learning Science, Management Science, Industrial Engineering or related areas. A successful candidate will have an interdisciplinary background and an interest in games for impact. Although they will consider a wide range of candidates, we welcome candidates with strong technical expertise in empirical research (quantitative preferred) or in machine learning/data science. Candidates should ideally also have experience with game design, in particular using game engines such as Unity.DetailsDeadline: July 1st; applications after will be consideredStart date: Very flexible but looking at Sept 1, 2019Funding is for one year, renewal contingent on performance and funding Brain-computer interfaces (BCI) have been used for entertainment, gaming, and artistic expression. These application areas for BCI have been explored in the previous decades. Although commercial applications hardly exist, the general public has been able to get acquainted with BCI and use BCI in artistic installations in urban public spaces, in museums, or during public scientific events. There are also BCI games. Such games can serve different purposes: entertainment (just fun), treatment of mental disorders, or rehabilitation. Affordable BCI devices and BCI software platforms have made it possible for artists and game designers to develop ideas and design installations and applications that do not require them to invest extensive and frustrating time in getting a BCI to work or tuning it to their application. Whether it is about games or artistic BCI installations, multiple users are often involved, and there is direct two-sided interaction between the user(s) and the BCI controlled environment. Moreover, in contrast to clinical BCI research, efficiency and robustness are not the most important issues.The aim of this workshop is to review current (research) activities in BCIs for games, entertainment, and artistic expression and to identify research areas that are of interest for both BCI and HCI researchers as well as for game designers and media artists using BCI for their interactive installations. Hence, in addition to BCI researchers, game designers, artists, and performers are asked to contribute to this workshop with papers, presentations, and demonstrations.Topics of the submissions may include, but are not limited to:Design, implementation, and evaluation of BCI games and artistic BCIs;Affective BCI in game, art and entertainment environmentsBCI, Augmented and Virtual Reality, serious games;The impact of BCI Hackathons on research and applications;Multi-brain and multimodal interaction in game and artistic environments;BCI environments for self-reflection, empathizing, and therapy;BCI control of instruments and tools for games and artistic expression; andAgency in BCI games and interactive art installationsPublicationAll registered papers will be published by Springer and made available through SpringerLink Digital Library.ArtsIT proceedings are indexed in leading indexing services, including Ei Compendex, ISI Web of Science, Scopus, CrossRef, Google Scholar, DBLP, as well as EAI’s own EU Digital Library (EUDL).SubmissionPapers should be from 6 to 9 pages long and submitted via the Confy submission system. See: http://artsit.org/DeadlinesSubmission Deadline: 10 August 2019Notification Deadline: 10 September 2019Camera-ready Deadline: 10 October 2019Be Sociable, Share! Conference website: http://gamifinconference.com/Full CFP: http://gamifinconference.com/cfp2020/=== IMPORTANT DATES- October 20, 2019:  Submissions deadline for papers- December 20, 2019: Notifications of acceptance sent to authors of papers- January 15, 2020: Submissions deadline for posters and doctoral consortium- January 31, 2020: Acceptance for posters and doctoral consortium entries- February 28, 2020: Registration deadline for authors- March 8, 2020: Deadline for camera-ready- April 1-3, 2020: Conference=== THEMESGamification is a multi-faceted phenomenon that affects many domains ofhuman life. Therefore, they welcome submissions related to this ludictransformation of reality under several domains and related (but notlimited) to the following keywords:- Users: e.g. Engagement, experience, user types- Education: e.g. Gamification in education, serious games, game-basedlearning, games math- Media: e.g. Esports, streaming, social media and gamification,gamification in journalism media- Commerce: e.g. Business models, free-to-play, gambling, gamification inmarketing/advergaming- Work: e.g. Organizational gamification, gameful work, gamification inleadership- Technology: e.g. Virtual reality, augmented reality, Internet of things,wearables, AI, machine learning- Toys play: e.g. Toy play, toy design/creation, toys in education,internet of toys, toyfication- Health: e.g. Quantified self, games gamification for health- Culture: e.g. Ludification, history of games and gamification,gamification in society- Theories/concepts/methods: Contributions to science around gamification- Critical approach to gamification: e.g. detrimental effects ofgamification, metrification, aspects of poor quality of gamification andgamification research, extrinsic control, panopticon society=== GENERAL INFORMATION4th Annual International GamiFIN conference, April 1-3, 2020, Levi, Lapland,Finland!Welcome to the gathering of international gamification research community inthe Finnish Lapland, Levi. Levi is a ski resort located in Finnish Lapland,above the Arctic Circle and features incredible Finnish scenery, nature andwinter activities. They hope all of their guests take the time to enjoy thesurroundings and activities provided by this unique and exotic location.Organized winter activities before and/or after the main conference dayswill be announced later.GamiFIN is a leading international conference for gamification research. Theconference is chaired by the professor of gamification Juho Hamari andgamification scholar Jonna Koivisto. The conference is organized by theGamification Group and past keynotes have included notable scholars from thefield of Gamification such as Lennart Nacke, Frans Mäyrä, SebastianDeterding, Richard Landers and T.L. Taylor. Keynotes of GamiFIN 2020 will beannounced later.GamiFIN 2020 conference welcomes 1) paper, 2) poster, and 3) doctoralconsortium paper submissions.The GamiFIN conference will offer an entry to the Gamification PublicationTrack (http://gamifinconference.com/gamification-track/). The gamificationpublication track is a one of a kind, “gamified” way to develop yourresearch paper through GamiFIN conference, HICSS Gamification Track andtoward the eventual publication in an associated journal issue. The aim ofthe gamification publication track is to increase the predictability andrigorousness of the peer-review and publication processes by providing aconcise review continuum and discussion with peers.=== PROCEEDINGS, PUBLICATIONS PRESENTATIONSAccepted papers will be sent for consideration for publication in CEURWorkshop Proceedings in the GamiFIN Conference volume. CEUR-WS.org is a freeopen-access publication service and recognized ISSN publication series, ISSN1613-0073. (In the Finnish classification of publication forums,CEUR-WS-proceedings are classified as JUFO1).=== SUPPORTED AND HOSTED BYGamification Group, Tampere University, University of Turku and UniversityConsortium of Pori (UCPori)=== CONTACTEmail: info@gamifinconference.comWebsite: http://gamifinconference.com/Be Sociable, Share! The 13th International Conference on the Philosophy of Computer Games: The Aesthetics of Computer Games Conference Committee: Program Chair:Feng Zhu (King’s College London)feng.zhu@kcl.ac.ukConference Chairs:Alina Latypova (St Petersburg State University)latypova.al@gmail.comKonstantin Ocheretyany (St Petersburg State University)kocheretyany@gmail.comInviting submissions to the 13th International Conference on the Philosophy of Computer Games, organised by the Game Philosophy Network, together with the Centre for Media Philosophy and Laboratory for Computer Games Research, in St Petersburg, Russia, on October 21–24, 2019. The theme of this year’s conference is ‘The Aesthetics of Computer Games’. Playing games yields particular kinds of playful experiences or perceptions through the senses, which can be studied with an aesthetic focus, emphasising aísthēsis over noêsis. Computer games can be regarded as playful media that organise our perceptions and modify our sensibilities. For this conference, they welcome submissions on (but not limited to) the following themes and questions:1. Aesthetics as aesthesis (aísthēsis). Is there an aesthetics or mode of experience that is specific to computer games? How do their visual, audio, and haptic aspects come together to produce distinctive experiences? How are ‘experience’ and ‘perception’ explored in computer games and shaped by them? Can concepts such as ‘affect’, ‘atmosphere’, and ‘rhythm’ be productively applied to computer games? What is the role of game interfaces on player experience?2. Games as art? What are the conditions of possibility of games being art? How do computer games fit into established categories or conventions of aesthetics, and how do they contribute to new ones? Do games recognised as having a claim to artistic status differ from mainstream games? How do accounts of art based on necessary and sufficient conditions match up against anti-essentialist accounts in terms of gauging the status of computer games?3. The aesthetics of gaming practices. Are games collaboratively authored? How do different kinds of play, or player-game conjunctions, bring about different kinds of gaming pleasures or aesthetic experiences? How do different bodies encounter computer games and what can be said about the way in which gameplay experience is mediated by our bodies?Do some kinds of gameplay or extra-gamic player practices have an aesthetic orientation? Are computer games performances?4. The ethical, political, and social dimensions of game aesthetics. What is the transformative potential of computer games and how does this compare to the transformative capabilities ascribed to artworks? How do aesthetic issues interconnect with ethical, social, and political ones – what is the autonomy or heteronomy of the aesthetic domain? How are taste, sensibility, and habit acquired with respect to gameplay and what are the social implications of this?In addition to this central theme, the conference also features an open category, for which they invite welcome contributions that do not fit this year’s theme, but that nonetheless offer a valuable contribution to the philosophy of computer games.Submitted proposals should have a clear focus on philosophy and philosophical (including media philosophical) issues in relation to computer games. They should also refer to specific games rather than invoke them in more general terms. Submissions should be made in the form of extended abstracts of up to 1000 words (excluding bibliography). Please indicate if you intend your paper to fit in the open category. The deadline for submissions is 23:59 GMT, Sunday, 11th August, 2019. Please submit your abstract through review.gamephilosophy.org. All submitted abstracts will be subject to a double-blind peer review process.Notification of accepted submissions will be sent out in late August 2019. A full paper draft must then be submitted by Monday, 14th October 2019 and will be made available on the conference website.They also invite proposals for themed panels and workshops that will take place on the 20th and 24th October, 2019. Please contact the program committee chair if you are interested in organising one.They cannot provide grants or subsidies for participants. There will, however, be no conference fee.For more information about the conference please visit http://gameconference.mediaphilosophy.ru/pcg2019.html and gamephilosophy.org.Be Sociable, Share! Application deadline: 17th of JuneNew digital tools provide novel opportunities for interactive digital narratives (IDN) in mixed reality environments, performance art and analogue immersive spaces. But does this mean that we can tell existing stories in a better way in these environments? Or should we change our way of thinking about how we perceive our world in order to create more comprehensive narrative experiences? In a recent keynote (ICIDS 2018 conference) Janet H. Murray – author of the groundbreaking volume Hamlet on Holodeck – the Future of Narrative in Cyberspace (1997/2016), reminds us that “a kaleidoscopic habit of thinking” can help us “envision a more integrated transformational future” and “open up the possibility of expanding our understanding of the world and our cognitive capacity” (Murray, 2018:17). To better grasp the complexity of the world, it is important to enhance emerging artistic practices in order to create opportunities for critical reflection while acknowledging the changed relationship between creators and audiences turned participants/prosumers/experiencers.This conference aims to investigate whether XR/extended reality (VR/AR/MR) works will acquire a status comparable to film, performing arts and video games in the near future. On this basis, we are looking forward to papers that address narrative experiences enabled by XR and especially VR technologies. Papers should address either one or several of the following questions:What kind of narratives can be used to create possibility spaces in such immersive productions?How much engagement with and control over the narrative path is desirable for the audience turned participants?What design strategies can guide these participatory experiences: for example, live performers, orchestrators, and set designers using the sensorium of New Horror (see Ndalianis, 2012) or somaesthetic design concepts (see Höök, 2018) to create novel forms of immersion in these environments?What kind of design strategies can we use to provide a satisfying level of agency to participant audiences and provide opportunities for co-creation?What is the current status of interactive digital narrative experiences, have they completed their evolution from being media of attraction (see Rouse, 2016) or there is still a long way for them to go in order to find the right direction?What can we learn from a comparison of site-specific live arts productions with those of VR projects?How can we explore free-form play and rule-based gaming as different types of performances within mixed-reality theatre and immersive theatre?In addition, we want to challenge established storytelling strategies and instead more thoroughly analyze ways of creating engaging experiences:What kind of principles of video game design do XR productions make use of (e.g. puzzle dependency charts and plot-shaped level design see Short, 2019)?What design strategies createed the experience of full immersivity and presence for their users-turned-participants (see 2018/4 issue of the journal of Performance Arts and Digital Media).Further developing Murray’s perspective on the ‘kaleidoscopic habit’, we expect presentations that engage with the practice of transdisciplinary creators to adapt video game mechanics, various sensorium settings and interactive narrative design strategies in order to create fully immersive environments. Possible analyzes can be on topics such as overall aesthetics authorial affordances, design principles and conventions (Koenitz et al, 2018) as well as the audience’s experience (especially engagement and empowering mechanisms) and, last but not least, as interactive narratives. Some possible perspectives include Murray’s affordances and aesthetic qualities of the digital medium, Bogost’s procedural rhetoric, Kwastek’s “aesthetics of interactivity”, somaesthetic design concepts (Höök), guiding strategies based on New Horror’s sensorium (Ndalianis, 2012) the trajectories offered by them (based on Benford-Giannachi’s concept) and interactive narrative systems (Koenitz, 2015).Conference themes:Interactive storytelling methodsInteractive videosVideo gamesLocation-based technology (with augmented reality)Virtual reality experiences moviesAugmented reality in interactive storytellingGames-based performing arts practices using new technology toolsInteractive MuseumImmersive environments (media archeology and phenomenological approach)Transmedia storytellingProposals may be for a paper or a panel and should be related to at least one of the conference themes. Deadline for submitting the proposals is June 17, 2019. Please send us your abstract (max 350 words) and a short bio (max. 300 words) to the address: zipscene@mome.hu and please in CC: bakk@mome.hu. The papers will be reviewed by the conference committee. If your proposal will be accepted you will be given 20 minutes for your presentation.Registration fee: EUR 50The organizers cannot cover travel, accommodation and lodging costs. Upon request we can provide you invitation letter.For WhomThe conference addresses scientific researchers, game professionals, programmers, artists, scholars and professionals from the field of performing arts, game studies, interactive storytellers, experience designers, narrative designers, VR-professionals and philosophers concerned with the conference topics. The conference aims to bring together emerging scholars, professionals and creators in order to create a joint platform which would later help individuals to understand and to develop these types of productions.Be Sociable, Share! 27-29 November 2019, Aveiro, Portugalhttp://videojogos2019.web.ua.pt/*** SCOPE ***Ten years, and ten years moreThe 11th Conference on Videogame Sciences and Arts will be held on November 27-29, organised by the Departament of Communication and Art of the University of Aveiro, and the Society of Video Games Sciences (SPCV). The annual conferences of the SPCV promote the scientific gathering of researchers in Portugal. These conferences are attended by researchers and professionals in the expanded field of videogames — Multimedia, Communication, Technology, Education, Psychology and Arts — to disseminate work and exchange experiences between the academic community and with the industry.In 2009 the conference was held at University of Aveiro. 2019 will mark the coming back after 10 years. They intend then to show a thorough roadmap of the evolution of the national and international game research during these 10 years, as also ideas and speculations for the next 10 years.Also, this time they plan going full international, using as working language English, for the CFP, the website, as the Proceedings. Therefore, if you ve never participated in one Videojogos, this may be the best time to do it. They are calling for papers on games research from all over the world.*** TOPICS ***They welcome research proposals, long and short papers, and demos. All presenting new scientific results, innovative technologies, best practices, or improvements to existing techniques and approaches in the multidisciplinary research field of Games Research.Suggested research topics for contributions include, but are not limited to:Tabletop GamesHybrid GamesGamificationTechnologyAestheticsCultureDevelopmentLearningMethodologyDesignCriticismTransmediaNarrativeSerious Games*** SUBMISSIONS ***Papers (short and full) must be in English. Only submissions that receive high ratings in the review process will be selected for publication by the Program Committee.All submissions should follow the Springer Communications in Computer and Information Science (CCIS) format (see “Information for Authors of Springer Computer Science Proceedings” at https://www.springer.com/gp/computer-science/lncs/conference-proceedings-guidelines) use the Word Template https://resource-cms.springernature.com/springer-cms/rest/v1/content/7117506/data/v1.Link for submission: https://easychair.org/my/conference?conf=vj2019*** IMPORTANT DATES ***Submission deadline (full and short paper): July 31, 2019Author notification of the review: September 15, 2019Submission of the print-ready version: October 1, 2019VJ2019 conference: November 27-29, 2019*** PUBLICATION ***Full papers: 12-15 pagesShort papers: 12 pagesThe proceedings are planned to be published by Springer in their Communications in Computer and Information Science series, pending of final approval.The Communications in Computer and Information Science is a book proceedings series by Springer and Indexed by SCOPUS, SCImago, and ISI Proceedings. More info at https://www.springer.com/series/7899*** Contacts ***Ana Veloso, aiv@ua.ptNelson Zagalo, nzagalo@ua.ptBe Sociable, Share! The Inria group in Rennes working on character animation, crowd simulation, interactions and avatars in VR, is recruting PhD candidates and research fellows on several of these topics. Here are some of the positions currently open, with more details available on the corresponding job offers.PhD position:Realistic, Reactive and Interactive Virtual Humans for Virtual Reality (H2020 ICT 25 PRESENT), https://jobs.inria.fr/public/classic/fr/offres/2019-01713Postdoc positions:Personalising Virtual Character Motions for Crowd Animation (ANR JCJC PER2), https://jobs.inria.fr/public/classic/fr/offres/2019-01750Physio-synchronised 3D virtual avatars (INRIA IPL AVATAR), https://jobs.inria.fr/public/classic/fr/offres/2019-01477Video-based crowd motion analysis, https://jobs.inria.fr/public/classic/en/offres/2019-01722R D technical positionProject manager for Robotics and Smart environments (H2020 ICT 25 CROWDBOT), https://jobs.inria.fr/public/classic/fr/offres/2019-01630Engineer for video analysis of crowd movements, https://jobs.inria.fr/public/classic/en/offres/2019-01722Be Sociable, Share!

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