Synaesthetic Syntax ‘Watch Party’ at IKLEKTIK London

Come together on Sun 13th Sept for a Synaesthetic Syntax ‘Watch Party’ at IKLEKTIK London. At this socially distanced event, a small group of attendees can watch the online symposium from the final day of the Expanded Animation events for Ars Electronica on a big screen together. The presentations explore the interrelationships between audio and animation, between sound and vision. It is hosted by co-organiser Birgitta Hosea of the Animation Research Centre and a few of the UK speakers will be in attendance. This event is supported by the University for the Creative Arts. For more information and to book a free place, go to: https://synaesthetic-syntax-watchparty.eventbrite.co.uk.

Synaesthetic Syntax: Sounding Animation / Visualising Audio is a one-day symposium that brings together animators, musicians, artists, technologists and academics to discuss the interrelationships between audio and animation. Papers cover topics such as synaesthetic connections between sound and image, the role of gesture, improvisation and presence in live performance and the creative use of geometric and algorithmic patterns.

Our Keynote speaker is media artist, Rose Bond, who produces work at the juncture of cinema, animation and experiential design. She will be presenting her latest animated collaboration with the Oregon Symphony Orchestra on a live performance of Luciano Berio’s Sinfonia.

Due to the COVID-19 pandemic, the Ars Electronica festival is mainly taking place online this year with a number of small events taking place at different associated venues around the world. The Expanded Animation strand will have a series of small, socially distanced Watch Parties in Linz, London and Portland.

Synaesthetic Syntax Symposium Schedule:

 10:15–10:45    Keynote: Rose Bond (CA/US), Sounding Together – Choreographing the Unpredictable

11:00–11:05    Welcome: Birgitta Hosea (UK), Juergen Hagler (AT), Harry Whalley (UK)

 11:05–12:40    Panel I: Hearing Colour Seeing Sound
11:05–11:10    Introduction: Birgitta Hosea (UK)
11:10–11:30    Vicky Smith (UK), Expanded Cinema and Para Animation: More than Audio and Visual
11:30–11:50    Alexander Stublic (DE), Presence and interaction in synaesthetic space
11:50–12:10    Sama Mara (UK), A Hidden Order – Revealing connections between geometry and music through harmony and mathematics
12:10–12:40    Panel Discussion (Chaired by Birgitta Hosea)

12:40–14:00    Break            

14:00–15:30    Panel II: In front of your eyes and ears
14:00–14:05    Introduction: Harry Whalley (UK)
14:05–14:25    Giusy Caruso, Bavo Van Kerrebroeck, Pieter Jan Maes (BE), PIANO PHASE for two pianists in VR
14:25–14:45    Umut Eldem (BE), Towards a “Live Synaesthetic Visualisation”? Considerations in Artistically Visualised Sound
14:45–15:05    Jānis Garančs (LV), Algorithmic conflation and re-configuration of audiovisual space and movement in the series of experiments with financial data audio-visualisations as immersive artworks.
15:05–15:30    Panel Discussion (Chaired by Harry Whalley)

15:30–16:00    Break            

16:00–17:30    Panel III: The Kinaesthetics of Music and Vision
16:00–16:05    Introduction: Juergen Hagler (AT)
16:05–16:25    João Pedro Oliveira (US), Gesture Interaction Between Sound and Image
16:25–16:45    Fred Collopy (US), A hypothesis-based approach to visual synthesizer design
16:45–17:05    Eric Dyer (US) Physical Presence and Material Desire: Eric Dyer’s sculptural and performative animation art practice
17:05–17:30    Panel Discussion (Chaired by Juergen Hagler)

17.30-18.00    Closing Note: Rose Bond (CA/US), Birgitta Hosea (UK), Juergen Hagler (AT),

Further information: 

Expanded Animation events at Ars Electronica: www.expandedanimation.com

Animation Research Centre at UCA: https://www.uca.ac.uk/research/arc

Audio Research Cluster at UCA: https://www.audio-research.com

Research Degrees at UCA: https://www.uca.ac.uk/research/research-degrees

 

 

Call for Papers – Ecstatic Truth V: The Age of the Absurd

George Grosz - The Voice of the People is the Voice of God from The Face of the Ruling Class

Ecstatic Truth V: The Age of the Absurd
27-28th April 
2020 (in conjunction with Under_the_Radar, Vienna)

plus 29th  April – Under_the_Radar symposium, Vienna

Call for papers deadline: 16th February 2020

Ecstatic Truth is an annual symposium that explores issues arising from the interface between animation (in all its forms) and documentary (conceptualised very broadly as non-fiction), with a particular interest in the questions raised by experimental and practitioner perspectives. According to Werner Herzog, mere facts constitute an accountant’s reality, but it is the ecstatic truth (a poetic reality) that can capture more faithfully the nuances and depths of human experiences. Given that animation (or manipulated moving image in all of its expanded forms) has the freedom to represent, stylize or reimagine the world, it lends itself well to this aspirational form of documentary filmmaking.

For this, our 5th symposium, held in collaboration with the Under_the_Radar Festival, Vienna, our theme is the Absurd. George Monbiot has described our contemporary age of increasing social and economic inequality, mass extinction and impending climate breakdown as deliberate disaster capitalism in which the ultra-rich benefit as institutions, systems of taxation and democratic processes implode. Everywhere the killer clowns and kleptocrats are taking over, he argues, with ludicrous strongmen dominating nations that would once have laughed them off stage. Absurdity is what they seek in order to take advantage. Chaos becomes the profit multiplier for the disaster capitalism on which they thrive. Every rupture is used to seize more of the assets on which our lives depend.[1]

So how can we imaginatively and creatively respond to these killer clowns and the absurdity of a world being run to continuously make profit regardless of its sustainability? What is there to stand for if the world is perceived as meaningless and how to fight this complacency ? Can we use animation for activism, to re-animate our conscience?  How can we creatively challenge all this doom and gloom, and use our creative practice to navigate and challenge the absurd of our everyday lives? What is the role of humour, surrealism, the historic strategies of the Absurd and Central European Existentialism? Why does animation matter?

We invite speakers to respond to these ideas in order to reflect, speculate and imagine how the animated (or expanded manipulated image) form might elicit different facets of poetic truth through its unique language. We welcome proposals for 20-minute presentations, speculations, poetic reflections, rigorous questioning, even fierce creative opposition from both academic and practitioner-led perspectives. Selected papers will be published in a themed issue of the International Journal of Film and Media Arts.

The proposal should include an abstract of not more than 500 words and a short biography of no more than 200 words. Please send it to: ecstatic.truth.symposium@gmail.com

Further details of the Under_the_Radar Festival 2020 will be released in January.

Call for papers deadline: 16th February 2020


Ecstatic Truth is organised by: Birgitta Hosea, Animation Research Centre, UCA Farnham, UK; Pedro Serrazina, Universidade Lusófona, Lisbon, Portugal; Tereza Stehlikova, CREAM, University of Westminster, UK

With thanks to Under_the_Radar: Barnaby Dicker, Martina Tritthart, Holger Lang

[Image: George Grosz, ‘The Voice of the People is the Voice of God from The Face of the Ruling Class’ (1920)]


[1] George Monbiot, ‘From Trump to Johnson, nationalists are the rise – backed by billionaire oligarchs’, The. Guardian, 26/07/19

CFP: Ecstatic Truth IV

Selected papers from this symposium  are published in the International Journal of Film and Media Arts, Feb 2020 issue:
https://revistas.ulusofona.pt/index.php/ijfma

[Image by Dryden Goodwin]

Ecstatic Truth IV. Truth of Matter: process and perception in expanded animation practice – CALL FOR PAPERS

Our 4th Ecstatic Truth symposium will be at the University of Westminster on Thurs 16th May, with Keynote speaker Dryden Goodwin.
We seek proposals for presentations that address the potential of animation, in its most expanded form, to make sense of our realities.
Selected papers will be eligible for publication in a dedicated issue of the peer reviewed International Journal of Film and Media Art.
DEADLINE: 29th MARCH
More information: https://bit.ly/2XyCiOh
Notes from Ecstatic Truth I-III: https://expandedanimation.net/tag/ecstatic-truth
Ecstatic Truth organising committee:
Dr. Tereza Stehlikova, University of Westminster
Dr Birgitta Hosea, Animation Research Centre, UCA
Dr. Pedro Serrazina, Universidade Lusófona

Call for Papers: Animation in Virtual and Augmented Environments

Paper Submission Deadline: January 7 2019

The overall goal of this event is to identify the opportunities and challenges for animated content in AVR environments.

Topics of interest include (but are not limited to):

  • Animated reality vs. mixed reality content
  • Animation techniques in AVR environments
  • Hardware/Software support for animation in AVR
  • Interdisciplinary and intermedia approaches (e.g. games, film, theatre, fine arts etc.)
  • Motion and/or performance capture
  • Tools/methods/use cases for Interactive dissemination of animated AVR content
  • Use Cases and Applications of animated content in AVR environments
  • User Acceptance of animated AVR contents

For more information go to: https://anivae.fhstp.ac.at/call-for-papers/

 

Ecstatic Truth III symposium on animated documentary

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Ecstatic Truth III – Making Sense: Between Fantasy and Fact is the third in a series of symposia exploring the edges and areas of overlap between animation and documentary. We are interested in exploring the widest possible conceptualisation of documentary in conjunction with the widest possible interpretation of animation. This year, the organising team of Birgitta Hosea and Tereza Stehlikova has been joined by Pedro Serrazina and, therefore, the event will take place in Lisbon at the Universidade Lusófona.

The keynote speakers come from a range of approaches to documentary. Susana Sousa Dias is a documentary filmmaker, José Miguel Ribeiro is an animation director and Joan Fontcuberta a photographer: each engages with a notion of the ‘truth’ in differing ways within their practice. The other speakers have been selected through peer review to give presentations on topics ranging from the depiction of war and trauma, working with participants to create work that captures their own experiences and experimentation with a range of techniques from magic lanterns through to VR and drones.

To see more details and book a free place: https://www.eventbrite.co.uk/e/ecstatic-truth-making-sense-between-fantasy-and-fact-tickets-45640588228

Here is the programme of events:

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Expanded Animation in Linz

Expanded Animation V:

Daydreams and Nightmares: Amalgams of Technology and Aesthetics in Animation

expandedanimation

A fascinating symposium on September 8th – 9th 2017 that looks at hybrid technologies and collapsing boundaries in digital animation will take place at the Central Linz in Austria as part of the Ars Electronica Festival.

Organised by Hagenberg Campus of the University of Applied Sciences Upper Austria, the Ars Electronica Festival and Central Linz.

For more details about the event and the speakers: http://www.expandedanimation.com.

 

 

Ecstatic Truth II: the schedule

Ecstatic Truth II – Lessons of Darkness and Light, 27th May, 2017, Royal College of Art

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9.30 – 10.00    Arrival

10 -10.15         Intro/Welcome by Professor Teal Triggs, Associate Dean of the School of Communication; Dr Birgitta Hosea, Head of Animation; Dr Tereza Stehlíková, Visiting Tutor,

10.15 – 10.45   Keynote: Bella Honess Roe

Dr Bella Honess Roe is a film scholar who specialises in documentary and animation. Her 2013 monograph Animated Documentary is the first text to investigate the convergence of these two media forms and was the recipient of the Society for Animation Studies’ 2015 McLaren-Lambart award for best book. She also publishes on animation and documentary more broadly and is currently editing a book on Aardman Animations (I.B. Tauris), co-editing a volume on the voice in documentary (Bloomsbury) and co-editing the Animation Studies Handbook (Bloomsbury). She is Senior Lecturer and Programme Director for Film Studies at the University of Surrey.

For more info on her work: https://bellahonessroe.wordpress.com

10.45 – 11.45 Traversing the terrain of space, time and form

  • Rose Bond “Broadsided”

Must documentary be confined to a single screen?  How does the siting of a screening influence its perception?  This screening/talk focuses on documentary strategies in Rose Bond’s multi-screen animated installation Broadsided! which was sited in the windows of the Exeter Castle.  A screened excerpt from Broadsided! documentation provides the basis for brief examination of documentary methods used to convey a point of view: research, reenactment, data visualization and parataxis.

Broadsided! (Exeter, UK) from Rose Bond on Vimeo.

Rose Bond creates monumental, content driven animated installations. Rear projected in multiple windows, her themes are often drawn from the site – existing as monuments to the unremembered. Her installations have illuminated urban spaces in Zagreb, Toronto, Exeter UK, New York City, Utrecht, Netherlands and Portland, Oregon.

To see more of her latest work: http://www.opb.org/television/programs/artbeat/segment/portland-oregon-animator-rose-bond/

  • Carla MacKinnon “Immersion and alienation: animated virtual realities”

This presentation will explore how animated documentaries are pioneering creativity in virtual reality (VR). I will propose that animated documentary is a good fit for VR technically and creatively, and that the distancing quality and ‘absence and excess’ (Honess Roe, 2013) of animated documentary complements the duel sensation of immersion and alienation evoked in the dreamlike experience of VR.

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Carla MacKinnon is a filmmaker and practice-based PhD candidate at Arts University Bournemouth, whose moving image work has been exhibited widely. Carla has a Masters in Animation from Royal College of Art and has worked as a festival producer and manager of technology projects. She is also director of interdisciplinary events organization Rich Pickings.

11.45 – 12.00  BREAK

12.00 – 1.00    Deeper strata

  • Vincenzo Maselli: “Deeper strata of meanings in stop-motion animation: the meta-diegetic performance of matter”

Can puppets’ skin materials express deeper levels of signification in stop-motion animation cinema? The paper suggests the concept of autonomous performance of matter in stop-motion animation and aim to demonstrate that matter can express a sense of tactility and metaphorically act autonomously from the diegetic narrative, staging a second level of narrative (meta-diegetic).

Vincenzo Maselli is a PhD student in design at Sapienza University of Rome. His research aims to demonstrate how materials and puppets’ building techniques can communicate narrative meanings in stop motion animation cinema. In October 2016 he moved in London, where he is continuing his research at Middlesex University.

  • Sally Pearce “Can I draw my own memory?” A visual essay

I try to use my pencil as a scalpel to extract a memory whole, but the memory will not be drawn out like a lump of tissue, instead it changes as soon as the pencil touches it. As my memory changes under the pencil, I am changed, I redraw myself.

Sally Pearce studied philosophy at Cambridge, then became a nurse. She started making films while studying Fine Art at Sheffield Hallam, followed by an MA in Animation Direction at the NFTS. Her films have screened and been awarded at Festivals around the world. She hopes to start her PhD in October 2017.

  • Barnaby Dicker “A Quivering Terminus: Walerian Borowczyk’s Games of Angels, animated documentary and the social fantastic.”

This paper explores how Borowczyk’s Games of Angels (1964) utilises a fantastic topography to play with tropes of documentary and fiction in an effort to engage with painful social history in a direct, but far from literal way; its design and structure conveying, through a disturbing momentum, the experience of a quivering terminus.

Dr Barnaby Dicker teaches at Cardiff School of Art and Design. His research revolves around conceptual and material innovations in and through graphic technologies and arts.

1.00 – 1.30       Panel discussion chaired by Birgitta Hosea

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1.30 – 2.30      LUNCH

2.30 – 3.00      Keynote: Lei Lei

In his experimental animated works, Lei Lei always pays particular attention to collecting and collating historical texts and images and trying to search for elements of the poetic and dramatic between reality and fiction. In Hand colored No.2, through the use of manual painting, Lei Lei and Thomas Sauvin try to connect black and white images of different people, attempting to construct a fictional character, narrating his personal history.

LeiLei 雷磊, Artist / Filmmaker. Born in Nanchang, Jiangxi Province, 1985 and is an experimental animation artist with his hands on video arts, painting, installation, music and VJ performance also. In 2009 he got a master’s degree in animation from Tsinghua University. In 2010, his film This is LOVE was shown at Ottawa International Animation Festival and awarded the 2010 Best Narrative Short. In 2013 his film Recycled was selected by Annecy festival and was the Winner Grand Prix shorts – non-narrative at Holland International Animation Film Festival. In 2014 he was on the Jury of Zagreb / Holland International Animation Film Festival and he was the winner of 2014 Asian cultural council grant.

3.00 – 4.00      Animation: Lessons of Darkness and Light

Guli Silberstein: ‘The Schizophrenic State Project’

The Schizophrenic State Project, which started in 2000, contains a series of videos that appropriate mass media footage of violence, war, and protest, in the context of Israel, Palestine and the region. The images are processed via digital means in diverse ways, creating poetic works that formulate news media critique.

Guli Silberstein is an artist and video editor, based in London UK since 2010, born in Israel (1969). In 2000 he received his MA in Media Studies from The New School NYC, and since 2001, he creates work shown and winning awards in festivals and art venues in the UK and worldwide.

Becky James: “Expanding the Index in Animated Documentary”

Documentary animation examining mental state is a robust subgenre; often these works try to recreate an unusual psychological state to promote empathy and understanding. Using patient records and contemporaneous film strips, Betina Kuntzsch’s 2016 animation Spirit Away avoids speaking for, explaining, or diagnosing the female patients at the Heidelberg Psychiatric Clinic. Kuntzsch does not use the index to provide truth claim or to promote understanding, but instead the index acts as metaphor and distancing mechanism in this work about isolation.

Becky James explores the intersection of the individual and social through animation. She has exhibited in galleries throughout the US and at film festivals including SXSW, Jihlava Documentary Festival, Filmfest Oldenburg, and IFF Rotterdam. A native New Yorker, James graduated from Harvard and received her MFA from Bard. She currently teaches at Parsons School of Design.

Susan Young: “Bearing Witness: Autoethnographic Animation and the Metabolism of Trauma”

This presentation and short film screening examines my use of autoethnographic animation methodologies (which include myself as an experimental case study), in order to excavate and bear witness to the memories and lived experience of psychological trauma, and to challenge their related, often stigmatising and ‘othering’, psychiatric diagnoses.

Susan Young is an animation director who has worked principally in advertising, commissioned films and music promos. Her current RCA PhD research is based on personal experience of psychological trauma, and includes a series of short experimental films that explore how animation might ameliorate trauma symptoms.

4.00 – 4.15      BREAK

4.15- 5.00pm   Screening: Films

Lei Lei, “Recycled” (6 min)

Sheila Sofian, “Truth has Fallen” (15 min excerpt)

Peter Bo Ruppmund, “Tectonics” (20 min excerpt)

TECTONICS preview from Peter Bo Rappmund on Vimeo.

5.00-5.30         Concluding panel discussion, chaired by Barnaby Dicker

5.30                 Reception

For more information about studying MA Animation: Documentary at RCA: http://www.rca.ac.uk/schools/school-of-communication/animation/documentary-animation-pathway.

Video documentation of this event will be archived on our Vimeo channel at:

https://vimeo.com/channels/documentaryanimation.

This event is supported by the Society for Animation Studies, an international organisation dedicated to the study of animation history and theory since 1987. For more information and to become a member:

https://www.animationstudies.org.

 

Ecstatic Truth II: Lessons of Darkness and Light

“Fact creates norms, and truth illumination” Werner Herzog 

Date: Saturday 27th May, 2017
Location: Stevens building, Royal College of Art, Kensington Gore

This second animated documentary symposium at the RCA will to continue with the examination of how animation can contribute to, challenge and push the boundaries of what documentary film can be.

Our keynote speakers are Annabelle Honess Roe, author of ‘Animated Documentary’ and filmmaker Lei Lei.

For more information and to book a FREE ticket: https://www.eventbrite.co.uk/e/ecstatic-truth-lessons-of-darkness-and-light-animated-documentary-symposium-tickets-33257461964

Call for Papers: Ecstatic Truth II

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Ecstatic Truth II: Lessons of Darkness and Light

“Fact creates norms, and truth illumination” Werner Herzog 

Date: Saturday 27th May, 2017
Location: Stevens building, Royal College of Art, Kensington Gore

The second animated documentary symposium at the RCA is back!

We want to continue with the examination of how animation can contribute to, challenge and push the boundaries of what documentary film can be. We will consider animation in the most expanded sense and are interested in proposals that may challenge and redefine the boundary of animation itself. We can also confirm that Annabelle Honess Roe, author of ‘Animated Documentary’, will be one of our keynote speakers.

In the last symposium, one of the themes that emerged was one of archaeology and excavation. According to Herzog: “There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.”

We invite speakers to present projects that roam the landscape (whether real or imagined), dig through the sediments of reality, explore vertical time of poetry, examine hidden histories, project visions of future, or trace new connections between concepts, use fabrication and imagination to touch upon vital issues: whether these are social, political, philosophical, or personal.

At a time of polarised political views and a deep sense of division, it seems to be a relevant moment to question the concept of darkness and light, aesthetically, politically, ethically, imaginatively. How can our work be of relevance, help us understand where we have been, where we are, and where we might go? How can the notion of ecstatic truth cast light on the shadowy concept of post-truth and what contribution can animated documentary bring to this debate? How can animation documentary, in its most expanded form, illuminate us?

We are opening this call for paper to PhD students, researchers (within animation but also beyond), filmmakers and other practitioners, who use animation as part of their methodology, their way of trying to understand the world.

Proposals should be for either:

  • a 20 minute conference paper;
  • an alternative discussion/presentation format as appropriate for practice-based research (this can include practice based work in a form of short films, images etc.)

 

Proposed themes:

Deeper Strata

Vertical time and poetic image, landscape and memory, shared or personal history, embodiment

Visions of Future

Imagination and fabrication, science-fiction, art & science dialogue, role of technology

Lessons of Darkness and Light

Human condition, social issues, society, social commentary, religious or spiritual, re-contextualizing documentary footage, post-truth/ecstatic truth/animated form

 

To submit your proposal or any related questions please contact dr Tereza Stehlikova:

tereza.stehlikova@network.rca.ac.uk

The deadline for submissions is 7th April 2017

Facebook event: https://www.facebook.com/events/1326409527421972/

Call for Papers: ANIMATION AND MEMORY

International Conference at Radboud University, Nijmegen, 22-23 June 2017

Confirmed keynote speakers

• Dr. Annabelle Honess Roe, University of Surrey
• Professor Suzanne Buchan, Middlesex University London

Invited artist

• Ülo Pikkov, animator and PhD candidate at the Estonian Academy of Arts

Call for Papers

The past thirty years have witnessed the emergence of memory studies as a field that has yielded a rich body of research into practices of remembering and forgetting in art, popular culture, and everyday life. While live action cinema and documentary films have been studied extensively, the interrelation between animation and memory has so far received much less attention. This lacuna in scholarship is particularly pertinent in light of the increasing number of animation films dealing with various forms, methods, and contexts of remembering and forgetting.

Our conference seeks to address this lacuna. We use the word animation in the broadest possible sense, from stop motion to computer animation and gif files, from cell animated cartoons to painted animation. Cognizant of the medium’s inherent differences from (as well as similarities to) live action cinema, we are particularly interested in the ways in which animation can operate as a medium and a technology of memory and forgetting.

The main questions we will explore are as follows: How do animation films bring forth personal and collective pasts, as well as traumatic, repressed or tabooed memories? What role does the materiality (or immateriality) of the medium play in representing the past and processes of remembering and forgetting? What is the role of found footage, objects, and sound in animation? What role does animation play in disseminating information about the past and how does it serve political ends?

We welcome proposals for 20-minute papers, as well as three-paper panels. Although the conference focuses on animation and memory in a broad sense, we especially seek contributions that address animation in relation to:

Ø documentary
Ø reenactment
Ø recollection
Ø adaptation
Ø the archive
Ø aide mémoire
Ø lieux de mémoire
Ø communicative / cultural memory
Ø postmemory
Ø multidirectional memory
Ø prosthetic memory
Ø performances of memory
Ø real and imagined pasts
Ø commemoration, memorials and monuments
Ø personal and collective trauma
Ø forgetting and amnesia
Ø found footage / objects
Ø tabooed and repressed memories
Ø affect, nostalgia and melancholia
Ø materiality and new materialism(s)
Ø worldmaking
Ø theories of memory studies
Ø the history of the medium
Ø museums, exhibitions, education
Ø miniaturization and enlargement
Ø festivals and distribution of films

Please send an abstract of about 250 words and a bio of 100 words to the organisers at <animationandmemory@let.ru.nl> by February 15, 2017.

Conference website: www.ru.nl/animationandmemory

Selected papers will be considered for publication.

Conference committee Maarten van Gageldonk, László Munteán, Ali Shobeiri, Cansu Soyupak, Josette Wolthuis