Intermedial Networks: The Digital Present and Beyond

23 October

8.30-9.00 Registration, building H, outside Linnésalen

9.00-9.30 Conference opening

9.30-11.00 Keynote 1: Maria Engberg: “Who’s Afraid of the Metaverse?”
Building H, Linnésalen, chair: Birgitte Stougaard Pedersen

11.00- 11.30  Coffee break

11.30- 13.00 Parallel sessions

• Panel 1a Mediated intimacy, K1073 Chair: Anne Holm

Lisa Grahn and Jana Rüegg: Commercial Intimacies. Influencer Culture and Digital Capital in the Contemporary Book Market

Vadim Keylin: Networks of intimacy: The lyric “you” of ASMR poetry (online)

Matei Kos: From International to National, from Online to Offline: The Case Study of One Meme                    

• Panel 1b Handling networks, K1074 Chair: Charlie Järpvall 

Stanislava Fedrová: Challenges in intermedial thinking: Contemplating the database as an expression of the world

Erik Ljungberg: Remediating Indexical and Iconic Signs: Intertwining Transmission, Capture, Storage in Satellite-Based Forest Information Systems

• Panel 1c New theoretical networks, K2084 Chair: Nafiseh Mousavi

Mattia Petricola: On Transcodification: A Proposal for a Code-Oriented Approach to Adaptation and Intermediality 

Ana Cláudia Munari Domingos: Inter/archi/para/meta/hyper/transmediality

Erik Erlanson: An intermedial perspective on elemental media: The virtuality of environments beyond the digital

13.00–14.00 Lunch

14.00-15.30 Parallel sessions 2

• Panel 2a (Inter)media archeologies and ecologies, K1073 Chair: Erik Erlanson

Charlie Järpvall: Reformatted writing. Style guides, writing practices, and information infrastructures in Sweden around 1970

Márcia Arbex Enrico: From Cut and Paste to CTRL+C and CTRL+V:Tracing montage in contemporary digital media

Per Israelson: Ontogenetic machines: the transindividuation of American Superhero Comics

• Panel 2b Digital aesthetics of video games, K1074 Chair: Mikael Askander

Péter Kristóf Makai: From Colonialist Boardgames to Radiocomputer Wizardry: Investigating Disco Elysium’s Intermedial World via Media Archaeology

Matilda Davidsson: An Exploration of Multimodal Method for Digital Game Analysis

Anna Ishchenko: Transmediation of Anthropocene Temporalities in Narrative Video Games

• Panel 2c Digital memories or amnesia, K2084 Chair: Miriam Vieira

Katarzyna Ruchel-Stockmans and Zoë Kennis: ”Remediating photography in community archives and the question of epistemic reparations” (online)

Leo Hansson Nilsson: Image Circulation Struggles: The George-Floyd Uprisings and the Intermedial Infrastructures of Contemporary Capital       

Giulia Borrini: Transmedial Cultural Praxis: Towards the Dissipation of Italian Colonial Amnesia

15.30-16.00 Coffee break

16.00-18.00 Parallel sessions 3 (four-paper panels)  

• Panel 3a Mediating “identity”, K1073, Chair: Beate Schirrmacher

Emmanuelle Caccamo: Intermediality of lifelogging (online)

Nafiseh Mousavi: Forming neurodivergent, networked selves across, within, and all over media

Miriam de Paiva Vieira: Preserving Image Heritage and Affective Memories: digitalizing dwellings of a Brazilian community

Martin van der Linden: The Aesthetics of Authenticity: Mediated Sincerity and the Edited Reality of Video Essays

• Panel 3b Connecting past and futures, K1074 Chair: Heidrun Führer

Dominika Bugno-Narecka: Intermedial Digital Wunderkammer in the 21st Century

Lina Vekeman: Art striving to otherness: Walter Pater’s Anders-streben as a Historical Precursor to Intermediality

Cristine Mattos: Literature for a Non-dystopian Digital Future: A Brazilian Example

• Panel 3c Reading the digital in fictions, K2084 Chair: Birgitte Stougaard Pedersen

Jørgen  Bruhn: Weaving a history of our current connectedness: Amalie Smith’s hybrid text Thread Ripper (2020) as a techno-philosophical treatise

Regina Schober: Postdigital Entanglements and Intermedial Critique: US-American Novels on ‚The Digital Banal‘

Mansi Tiwari: The Narrative is Out of Joint: Fragmented Perspectives in A Ghost Story and How to be Both

Elin Ivansson: Reading the fictional database            

18.30  Reception, K-gallerian

24 October

9.00-10.30 Keynote 2: Eleni Timplalexi: The Theatre-Machine Relationship in the Digital Age: An Intermedial Approach, building H, Linnésalen, chair: Heidrun Führer

10.30-11.00 Coffee break

11.00-12.30 Parallel sessions 4

• Panel 4a Intermedial Alternative Media Logics, K1073 Chair: Kristoffer Holt and Beate Schirrmacher

Andreas Önnerfors and Emma Ricknell: Performing the populist media critic: Contestations of journalistic authority in right-wing alternative media

Gunilla Byrman, Pernilla Johnson Severson, and Emelie Kempe: Exploring gendered and xenophobic news frames 

Gilbert Ambrazaitis, Martin Knust, Ari Nykvist and Mats Wahlberg: An intermedial media production analysis of television morning shows in alternative and mainstream media

• Panel 4b Bodies in media, K1074 Chair: Nafiseh Mousavi

Jan Sjölund and Sara Skoog Waller: Violence against women as an AI-driven business model

Sufia Sultana: Commodification and breast-cancer-ization: Multimodal interaction analysis of advertising campaigns in Pakistani apparel fashion discourses (online)

• Panel 4c Digital Self-Reflexivity in Poetry and Performance, K2083 Chair: organised panel

Tara Brusselaers: Poetry in the Digital Present: Multimodality and/as Self-Reflexivity in Instapoetry

Ruben Vanden Berghe: No Hands: (Dis)Embodied Avatars and Reflexivity in Dutch VR-poetry (online)

Janine Hauthal: Remediations of the Theatre in the Zoom Works End Meeting for All and The Apple Family: A Pandemic Trilogy

12.30-13.30 Lunch, K-gallerian

13.30-15.00 Parallel sessions 5

• Panel 5a Access, presence, heritage, K1073 Chair: Anne Holm

Anna Calise: Presencing absence. The modalities of reclaimed heritage in Minne Atairu’s Igùn (2020) and To the hand (2023)

Anne Holm: Digital Deixis, Passing Poeticity

Øyvind Eide: Feedback processes in modelling: when media transformation becomes a dialogue

• Panel 5b Truthfulness and manipulation, K1074 Chair: Beate Schirrmacher

Melinda Blos-Jáni: Lengthening and Enhancing the Image: the Documentary Hybridity of the Digitally Edited Found Footage (online)

Jean-Marc Larrue: Strategies of Deception in the Digital Age

Kamilla Simor: Colourized Histories and “Presentification” of the Past (online) 

• Panel 5c “Text” adaptations, K2083 Chair: Jonathan Rozenkrantz

Yikun Wu: Aging Queer and Transmediated Exclusion in Ang Lee's Brokeback Mountain

Anna Gutowska: Amazing Year 2023: Recent Remakes of Polish Film Classics and their Reception (online)

Ro Lawrence: Text Messaging in Narrative Film: Intermedial Intertemporalities

• Panel 5d Mediated realities and histories, N2040 Chair: Yagmur Atlar

Anna Klishevich: Digitalising Ekphrasis: Can Virtual Reality Represent?

Jonathan Rozenkrantz: The Emergence of "Cinematic Games": An Intermedia Archaeology of Lens-Based Game Design

Silvia Kurr: Intermediality and new metaphors for plastic pollution in the VR project Ripple: The unintended life of plastics in the sea (2019)

15.00-15.30 Coffee break, K-gallerian

15.30-17.30 Parallel sessions 6 (four-paper panels)

• Panel 6a The digital lives of literature, K1073 Chair: Silvia Kurr

Jasmine Mattey: “Dear Africa/You have many narratives”: Emerging forms of e-literature beyond the South African Novel

Anita Purcell Sjölund and Zita Farkas: Mediations of Literary Reception and Theory/Critique in the Digital Space

Maddalena Carfora: The Contemporary Fruition of Literature between Media Representation and Transmediation: A Comparative Analysis in the Anglophone Context (online)

Gyongyi Domokos: The Vital Narrative Dimensions and Its Intermedial Features

• Panel 6b Analogue/digital interactivity, K1074 Chair: Birgitte Stougaard Pedersen

Marta Pizzagalli: Reenacting the Past. Visual Displays Through Literature and Theater: Guido Gozzano and Milo Rau

Asima Sarker: Digital Art and the Book Covers of Pinaki De as Response Text (online)

Youngmin Kim: Weaving as the Metaphor for Intermediality in Digital World Literature

Mikael Askander: Checkmate IRL! Checkmate online! A few words on the digital and playing (chess)

• Panel 6c Audiovisual popular culture, K2083 Chair: Anne Holm

Saana Sutinen: Film music and media literacy: case Captain America

Luan Araujo: Resonant Icons: The Role of Music in Shaping Video Game Characters

Maria Viana Pinto Coelho: “Paint me a word picture” – the role of ekphrasis in livestreamed tabletop role-playing games (online)

Kamil Kocyigit: More than Play: Videogames as Platforms of Agency¨

• Panel 6d Walking, dancing, escaping: network movements, N2040 Chair: Jørgen Bruhn

Heidrun Führer: Deus ex machina in continuous and discrete motion in dance

Elodie Burle-Errecade and Valérie Gontero-Lauze: Into the medieval manuscript: what digital knowledge medium to “reopen” the book?

Ola Ståhl: Radical Mediation, Psychogeography and the Hodologies of Urban Forestness   

19.00 Conference dinner at PM & Vänner, Västergatan 10, Växjö 

25 October

9.00-10.30  Keynote 3: Bernard Geoghegan: “The World Screened: Generative AI and Us.” Building H, Linnésalen Chair: Beate Schirrmache

10.30-10.45 Coffee break, K-gallerian

10.45- 12.15 Session: 7

• 7a Transforming media practices, K1073 Chair Kristoffer Holt

Katja Schupp: Journalist, Influencer – Infoencer. More than just a Term? Blurring Boundaries of Journalism on the Example of TikTok

Jarkko Toikkanen: Ukraine War Stories as Experience Technology

Pauline Brooks: The school of the digitized dancer: Learning to dance with a virtual partner (online)

• Panel 7b Intermedial Studies and Digital Humanities, K1074 Chair: organised panel

Barbara Tramelli: The Lyon 16ci – A visually searchable database as instrument of knowledge for book illustrations printed in Lyon between 1480 and 1600

Giuditta Cirnigliaro: Renaissance Word and Image Tales in light of the Digital: An Intermedial Reconstruction (online)

Marco Maggi: Writing the history of Intermedial Studies through the Digital Humanities

Alexandra Huang-Kokina: Artificial Emotional Intelligence: AI perspectives on emotional transmediation in contemporary science-fiction opera

Co-chair: Leonardo Impett

• Panel 7c Everyday digital cultures, K2083 Chair: Mikael Askander

Sebastian Rozenberg: Generic and Flat Ensembles – The Appearance of Discretisation in Everyday Visual Media

Lisa Källström: Digital Street Art as a Public Arena (online)

Cecilia Victoria Muszta: Sustainable? Looking at Intermedial Expressions of Sustainability in the Social Media Content of Copenhagen Fashion Week

12.15-12.45 Lunch wrap, K-gallerian

12.45-14.15 Concluding round table discussion: Pulling threads together, venturing beyond the now, building H, Linnésalen Chair: Jørgen Bruhn

Download Book of Abstracts, via Lnu Open here. 

The conference has a hybrid format throughout. Due to this, there are some practical matters regarding the conference set-up that are important for all participants to be aware of. Please review the below instructions and let us know (intermedial-networks@lnu.se) if you have any queries.

General set-up

• The paper presentations are organized in parallel sessions led by a chair. By default, each paper is followed by questions and comments from on-site and online participants. However, there is some variation in the number of papers per panel, and in pre-arranged panels there may be a joint discussion at the end.
• As a presenter, please ensure that you keep to the allotted time (20 minutes per paper presentation) to allow for sufficient discussion time. Chairs will provide timekeeping reminders as additional support (if you are a chair, see below for further details).
• Please note that changes to the programme are possible. While any last-minute changes will be announced on-site, we recommend attending panels from the very beginning to avoid surprises.
• The Zoom links for all sessions will be included in the final version of the programme, distributed among registered participants by 22 October. Please do not share the links anywhere.

If you are presenting on-site

If you have a PowerPoint presentation or any other material that you would like to share with the audience, please bring it on a USB drive and prepare to upload it to the desktop computer in the room that you are set to present in. This can be done during a break or prior to the keynote each morning (8.30-9). There will be somebody to assist you in the rooms during these times.

It is of course also possible to use online presentation tools or to show videos or similar via the internet. Please go to the room you are presenting in at least 10 minutes prior to the start of the panel session to allow time for opening and checking your presentation/material.

In order to ensure that the hybrid format runs as smoothly as possible, using the stationary computers in the rooms is the preferred format. If you would like to present using your own laptop instead, please be advised that in this case you will be required to log in to Zoom for the duration of your presentation. For this, you need to download the latest version of the Zoom client beforehand and to take precautions in order to prevent feedback loops in the room. For more information on this, please get in touch with us in advance.

If you are presenting online

All online presenters are kindly asked to download the Zoom app and log in using a Zoom account (as opposed to joining via a browser or another app). If you need any assistance with this, please see this link.

The use of a headset or a similar set-up is highly recommended to ensure sufficient sound quality. Please test this and the functionality of your camera prior to the session. We also ask that all online presenters complete a quick technical check pre-conference, on one of the dates listed below. This simply involves joining us on Zoom using the link provided and testing your microphone, camera and presentation software together with the assistant present. Note that your presentation does not need to be finished by this time – the check will only take a few minutes. If you cannot attend during the listed times, please get in touch with us.

If including any notes in your PowerPoint, we recommend printing them or saving them on another device as back-up. This is because Zoom’s screen sharing mode may hide them from view if using a single-screen set-up during presenting. Another precaution we recommend taking is emailing us your PPT (or similar) ahead of the conference. This way we can help with sharing the file during the presentation if need be.

The scheduled technical check times are:

• Thursday 17 October 3.30-4 pm (CEST)
• Monday 21 October 9.30-10 am (CEST)

Zoom link: https://lnu-se.zoom.us/j/67157526970

The registration to participate on site has closed. You can register to participate online, until October 18. Follow this link: Registration 

If you choose to participate online you will receive the Zoom links a couple of days ahead of the conference to your registered email address.

Submission of proposal opens December, 2023.

Deadline for submissions is April 20, 2024.

Notifications of acceptance will be sent out at the latest by May 31, 2024.

Maria Engberg, Malmö University, Sweden

Maria Engberg is docent and an Associate Professor of media technology at Malmö University. During the past five years she has directed the research program Data Society at Malmö University, which focuses on advancing the understanding of the social and cultural impact of digitalization and AI. Her research interests include emerging media technologies, digital reading practices, and multisensory media. Recent publications include the edited volume The Digital Reading Condition (2023, Routledge, with Iben Have and Birgitte Stougaard Pedersen) and Reality Media: Augmented and Virtual Reality (2021, MIT Press, with Jay David Bolter and Blair MacIntyre).

Bernard Geoghegan, Gothenburg University, Sweden and King’s College, UK

Bernard Dionysius Geoghegan is a media theorist and historian of technology based in Gothenburg and London. An overarching theme of his research is how “cultural” sciences shape—and are shaped by—digital media.This concern spans his writing on the mutual constitution of cybernetics and the human sciences, ethnicity and AI, and the role of mid-twentieth century military vigilance in the development of multimedia interactivity.  His attention to cultural factors in technical systems also figured in his work as a curator, notably for the Anthropocene and Technosphere projects at the Haus der Kulturen der Welt. His book Code: From Information Theory to French Theory examines how liberal technocratic projects, with roots in colonialism, mental health, and industrial capitalism, shaped early conceptions of digital media and cybernetics. It offers a revisionist history of "French Theory" as an effort to come to terms with technical ideas of communications and as a predecessor to the digital humanities. His current book project, Screenscapes: How Graphics Render Territories, draws on infrastructure studies and format studies to offer a radical account of how digital screens produce global space. Bernard received a binational (cotutelle) PhD in media studies from Northwestern and Bauhaus Universities.

Eleni Timplalexi, National & Kapodistrian University of Athens, Department of Communication and Media Studies, NTLab, Greece.

Eleni Timplalexi teaches at the Department of Communication & Media Studies, NKUA. She holds a post doc in Digital Media and Theatre, Department of Theatre Studies, NKUA, awarded with the IKY Fellowship of Excellence for postgraduate studies in Greece-Siemens Program (2015-16).

She completed her PhD in the same department with an IKY PhD scholarship (2010-14). She was a Alexander C. Onassis Public Benefit Foundation Scholar in Theatre Practice (2005-07). Recently, a post doc guest researcher with Linnaeus University Centre for Intermedial and Multimodal Studies and with the Division of Intermedia Studies, University of Lund, Sweden.

She also is an awarded playwright, theatre director and artist, currently involved in Magenta Artistic Collaboration and collaborating with the Spatial Media Research Group.

Digital media are no longer new; in the present mature digital condition, they are an integrated, constantly changing part of contemporary media use. However, digital media types, platforms and practices call for more intermedial and multimodal attention. This is especially important as current developments such as artificial intelligence (AI) and virtual and augmented realities (VR, AR) are about to transform communication fundamentally.

The inaugural conference of the Intermedial Society of Intermedial Studies in Cluj in 2013 called for Rethinking Intermediality in the Digital Age. We now explore the topic further to understand communication as grounded on intermedial modalities in a society that increasingly relies on digitized technologies. From an intermedial perspective that explores relations within and between different media, we aim to highlight intermedial intersections regarding how we use, create, and access texts, images and sounds, news, films, music, literature, games, or music.

We ask how a specifically intermedial perspective can develop and add nuance to the understanding of networks, interactions, codes and programming, virtual realities, concepts and processes that we associate with the digital condition but are not restricted to the digital.

How can the intermedial study of media modalities expand to meet the challenges of present and future media ecologies? Can an intermedial approach to the body help us understand the digi-physical intersections in virtual and augmented reality or the fusions of techno- and biosphere? We strive for an understanding of the digital as an integrated part of contemporary media use and consider media in society from different cultural studies perspectives.

We invite scholars from a wide range of disciplines, as well as practitioners from journalism, media production, arts and education, among other fields, to explore past, present and future (inter)medial networks. To understand media as processes, objects, and networks, we also aim to bring together intermedial, multimodal and communication theory perspectives. For the conference, we look forward to papers and presentations on the digitized and the intermedial that include but are not restricted to the following themes (this list is not exhaustive):

• Intermedial and multimodal perspectives on digitalization. How do intermedial and multimodal approaches shed light on digitally borne media types like memes, or digital practices, such as sharing, as well as digital technologies such as VR, AR and AI? What is being digitized, how and why? What is the relationship between digital transformation and previous media revolutions?  
• Media representation of digitalization. How are digital media represented in literature, visual arts, lyrics, film, TV series, and journalism? What kind of intermedial perspectives on the digital are to be found in artistic media use and media production?
• Historical perspectives, or the history of the internet, media archaeology and other perspectives on digital media forms. What kind of protodigital predecessors can we trace for technologies and experiences of the digital age? Do interpretation and knowledge communication change in the age of computation?
• Online interactivity and gamification as they draw attention to the phatic role of communication and the social role of games in general.
• Networks, cyberspaces, metaverses: Intermedial perspectives on the concepts and metaphors of digitization.
• Social and affective media. The emotional/affective turn as it manifests in connections between media and emotional mobilization.
• Sociopolitical aspects. How does digitalization contribute to the formation of society and culture?
• The digitized school. Digitization, intermediality, and networks in education and learning.
• Authenticity and identity in a digitized society. How do virtual realities function across media?

We plan this conference as a stimulating and mainly in-person event; therefore we encourage you to come and join us in the debates. Nevertheless, in case you cannot come, we will accept a limited number of online presentations.

INDIVIDUAL PAPERS

Individual papers will be allocated a time slot for 20 minutes, plus 10 minutes for discussion. When submitting your proposal, please make sure to use the compulsory word template for abstracts.

PRE-CONSTITUTED PANELS

In order to ensure the coherence of the panels, we encourage the participants to submit proposals for pre-constituted sessions composed of, e.g., three 20-minute papers.

When submitting your proposal, please make sure to use the compulsory word template for abstracts and include a short presentation (up to 200 words) of the panel as a whole.

WORKSHOPS

We welcome proposals for workshops and other session formats. In general, workshops will promote active participation while exploring new ideas. The duration can be up to 2 hours. If you would like to propose a workshop or another session format, please contact the organisers by email  intermedial-networks@lnu.se.

Please submit your proposal via the conference homepage under the headline “Abstract submission.”    

Submission of proposal opens December 4, 2023.

Deadline for submissions is April 1, 2024.

Notifications of acceptance will be sent out at the latest by April 30, 2024.

The conference organizers at Linnaeus, Lund, and Århus Universities

We welcome proposals for individual papers, panels, workshops or practice-based presentations.

We plan this conference as a stimulating and mainly in-person event; therefore we encourage you to come and join us in the debates. Nevertheless, in case you cannot come, we will accept a limited number of online presentations.

Please submit your proposal via the conference homepage under the headline “Abstract submission”. Please submit an abstract of max 250 words, 3–5 keywords and a short bio of the presenter (150 words max). Make sure to use the compulsory word template for abstracts.  

Please submit your abstract here. Make sure that you use the abstract template that can be downloaded below. Accepted abstracts will be published open access in LnuOpen with the Creative Commons licens CC-BY .

Download abstract template here.

Travel to Växjö

There are a number of different ways to travel to Växjö. You can either take the train to Växjö Central or travel by air to Växjö Småland Airport.

If you travel by train to Växjö you will reach Växjö Central located in the city centre. Travelling by train from Stockholm Central to Växjö Central takes roughly 3.5 hours.

If you instead choose to travel by air, you can choose to travel either from Bromma Stockholm Airport or Amsterdam Airport Schiphol to Växjö Småland Airport. You can also reach Växjö via flight to Copenhagen Airport/Kastrup and connecting direct train to Växjö Central (roughly 2.5 hours).

Travel in Växjö
For travel from Växjö Central or Växjö Småland Airport to Linnaeus University we recommend either bus or taxi.

By bus
When travelling by bus from Växjö Central to Linnaeus University, bus number 3, direction “Universitetet”, is the best option. However, there are also other bus routes that pass by one of the university’s bus stops or bus stops nearby, for instance, route number 1 and 5, which take you to Teleborg Centrum, some 8–10 minutes’ walk from the university’s campus.

Bus number 4 will take you from Växjö Småland Airport to Växjö Central where you can change to bus to get to Linnaeus University.

Bus tickets are purchased either on the bus with a debit card or you can download the travel app “Länstrafiken Kronoberg” and purchase your ticket in the app, which will give you a 10% discount on your ticket. You use your debit card to pay in the app.

Click here to perform a search on Länstrafiken Kronoberg.

By bicycle
In case you prefer a bicycle, many hotels can offer this. It takes roughly 20 minutes with a bicycle from the city centre to Linnaeus University’s campus.

By taxi
Most taxi companies start from Södra Bantorget at World Trade Center which means you can find available taxis here.

By car
There is a relative shortage of parking spaces on campus and all are subject to a charge. Parking spaces are marked on the map below.

Here you will find a map of Linnaeus University in Växjö.

Linnaeus University is a creative and international knowledge environment that promotes curiosity, creativity, companionship and utility. More than 44,000 students are registered at Linnaeus University.

Linnaeus University is located in Växjö and Kalmar and offers 150 degree programmes and 1,300 single-subject courses. Linnaeus University was established in 2010 through a merger between Växjö University and Kalmar University College.

With some 2,100 employees and 44,000 students it is a modern university with Småland as its base and the world as its arena. Studying and working at Linnaeus University involves being part of an environment that is characterised by knowledge and development. Students acquire new knowledge and learn to have a critical approach. Researchers make new discoveries that can bring change to our society. Employees share stories of a workplace with both challenges and opportunities. Linnaeus University is a university where people can reach their full potential.

Learn more about Linnaeus University.