Saw this on Twitter via Glenn Lyons, quite a nice parody of the sorts of boosterism and bluster around technologies that are flavour of the month, satirising the difference between bluster and reality.
Everything below is copied from here.
The 3rd International Geomedia Conference: “Revisiting the Home”
Karlstad, Sweden, 7-10 May 2019
Welcome to the 3rd International Geomedia Conference! The term geomedia captures the fundamental role of media in organizing and giving meaning to processes and activities in space. Geomedia also alludes to the geographical attributes of media, for example flows of digital signals between particular places and the infrastructures carrying those flows. The rapid expansion of mobile media, location-based services, GIS and increasingly complex patterns of surveillance/interveillance has amplified the need for critical studies and theorizations of geomedia. The 3rd Geomedia Conference welcomes contributions (full sessions/panels as well as individual papers) that analyze and problematize the relations between the any and all communication media and various forms of spatial creativity, performance and production across material, cultural, social and political dimensions. Geomedia 2019 provides a genuinely interdisciplinary arena for research carried out at the crossroads of geography, media and film studies. It also builds bridges to such fields as urban studies, rural studies, regional planning, cultural studies and tourism studies.
The special theme of Geomedia 2019 is “Revisiting the Home”. It responds to the prevailing need to problematize the meaning of home in an “era of globalized homelessness”, in times of extended mobility (migration, tourism, multiple homes, etc.) and digital information flows (notably social media). While such ongoing transitions point to a condition where home-making becomes an increasingly liquid and de-territorialized undertaking, there is also a growing preoccupation with questions of what counts as home and who has the right to claim something as (one’s) home. Home is a construct that actualizes the multilayered tensions between belonging, inclusion and security, on the one hand, and alienation, exclusion and surveillance, on the other. The theme of Geomedia 2019 centers on how media are culturally and materially integrated in and reshaping the home-place (e.g., the “smart home” and the “home-office”) and connecting it to other places and spaces. It also concerns the phenomenological and discursive constructions of home, ranging from the intimate social interaction of domestic spaces to the popular (and sometimes politicized) media nostalgia of imagined communities (nation states, homelands, etc.). Ultimately, “Revisiting the Home” addresses the home as a theoretical concept and its implications for geomedia studies. The theme will be addressed through invited keynote talks, a plenary panel, film screenings and artistic installations. Participants are also encouraged to submit proposals for paper sessions addressing the conference theme.
Melissa Gregg – Intel Corporation, USA
Tristan Thielmann – Universität Siegen, Germany
“Dreaming of Home: Film and Imaginary Territories of the Real”
Nilgun Bayraktar – California College of the Arts
Christine Molloy – Film director and producer, Desperate Optimists
Les Roberts – University of Liverpool
John Lynch (chair) – Karlstad University
Geomedia 2019 welcomes proposals for individual papers as well as thematic panels in English.
Individual paper proposals: The author submits an abstract of 200-250 words. Accepted papers are grouped by the organizers into sessions of 5 papers according to thematic area.
Thematic panel proposals: The chair of the panel submits a proposal consisting of 4-5 individual paper abstracts (200-250 words) along with a general panel presentation of 200-250 words.
Suggested paper topics include, but are not limited to:
- Art and event spaces
- Cinematic geographies
- Everyday communication geographies
- Epistemologies and methodologies of geomedia
- Geographies of media and culture industries
- Geographies of news
- Geomedia and education
- Historical perspectives of geomedia
- Home and belonging
- Lifestyle and tourism mobilities
- Locative and spatial media
- Material geographies of media
- Media ecologies
- Mediatization and space
- Migration and media
- Mobility and governance
- Policy mobilities
- Power geometries and mobility capital
- Surveillance and spatial control
- Urban and rural media spaces
September 24th 2018: Submission system opens
December 10th 2018: Deadline for thematic panel and individual paper proposals
January 25th 2019: Notes of acceptance and registration opens
February 28th 2019: Early Bird pricing ends
March 15th 2019: Last day of registration
Contact: You can reach us at email@example.com
Organizers and venue:
Geomedia 2019 is hosted by the Geomedia Research Group at the Department of Geography, Media and Communication, Karlstad University, Sweden.
Conference director: Lena Grip
Assistant conference director: Stina Bergman
Director of the Geomedia Research Group and chair of scientific committee: André Jansson
ðŸŽ¶ Tell me more, tell me more
Did you get very far
Tell me more, tell me more
Like does he have a car ðŸŽ¶ pic.twitter.com/wVXTjaJxOw
– Parker Molloy (@ParkerMolloy) July 9, 2017
Photo on the left is making the rounds on social media. Photo on the right is the original Getty Image. pic.twitter.com/E9aoCI6eCu
– Evan McMurry (@evanmcmurry) July 9, 2017
Two tweets, about 12 hours apart. It seems to me, in an entirely unsystematic, morning coffee kind of analysis, that the two posts demonstrate something of the ambiguity of image sharing practices and circulation of images (on Twitter)… at least in my experience of one platform, Twitter.
The “Grease” tweet, through humour, attempts to comment on contemporary geopolitics. The veracity (or not) of the image possibly doesn’t matter.
The ‘fact check’ nature of the later tweet directly addresses the (lack of) authenticity of the image itself. Showing the ‘original’.
So there’s something about ‘fakeness’ of media, the politics of circulation, something about simulacrum and the convening of publics and maybe something about the ambivalence of image making and sharing practices that falls within the “meme” discourse.
In discussing her work as part of the RGS-IBG ‘digital geographies’ working group symposium about 10 days ago, Gillian Rose discussed the ways in which we may or may not malign the ‘everydayness’ of photographic or image practices and why it remains necessary to study and engage with the everyday practices of meaning-making (there’s a course for this, co-convened by Gillian).
This perhaps prompts some questions about the above tweets. For example, what is it we can or might want to say about the images themselves, their circulation and how they fit into wider, everyday, meaning-making practices? The doctored image fits into a particular aesthetic of ‘memes’ and is contextualised in text in the post, which also goes for the ‘fact check’ tweet too, in a way. How do we interpret the (likely) different intentions behind the thousands of retweets of the above? How might we capture the ‘polymedia’ (following Miller et al.) lives of such images? (Is that even possible?) How might we interrogate what I’m suggesting is the ambivalence of ‘sharing’? I suggest this cannot be served by the mass analysis of image corpora (following Manovich), nor is it really reducible to the ‘attention economy’ – it’s not only about the labour of sharing or the advertising it enables. Instead, I guess what I’m fumbling towards is asking for the analysis of the circulation practices for (copies of) a single image within a network (which may or may not span different platforms).
The danger, I increasingly feel, is that we all-too-quickly resort to super-imposing onto these case studies our ontotheological or ideological meta-narratives – so, it may ‘really’ be about affect, neoliberalism and so on… except of course, it isn’t only about those things, and while they may be important analytical frames they may not address the questions we’re interested in, or should be, posing. I’m not saying such framings are wrong, I’m saying they’re not the only frames of analysis.
All of this leads me to confess that I am beginning to wonder if our ‘digital methods‘ (following Rogers and others) are really up to this sort of task… As yet I’ve not read anything to convince me otherwise, which actually sort of surprises me. The closest I’ve got is the media ethnography work of the outstanding Why We Post project – but, of course, that isn’t particularly a “digital” method, which maybe says something (maybe about my own bias). I’d be interested to know if anyone has any thoughts.
A further thing I wonder is whether or not these sorts of practices will remain stable enough for long enough to warrant the ‘slower’, considered, kinds of research that might enable us to begin to get at answers to my all-too-general, or misplaced, questions above. I remain haunted by undergraduate and masters research into now-defunct platforms and styles of media use… friendster and myspace anyone?
Some relevant links:
Via Gary Hall. All of the books are available for free download. Follow links below.
Via John Naughton.