Research Tracks

The following tracks welcome research contributions. The submission should follow the specific track recommendations, ranging from extended abstracts to short and long papers. 

The peer review will be double-blind and, as such, all submissions should be fully anonymised (see format guidelines).  Submissions will be assessed by their scope with the conference and track, potentially desk rejected or re-allocated in a different track. All not rejected submissions will receive at least two full reviews or more in case of edge cases. Acceptance or rejection is final and accepted contributions will be published as they are (minimum changes about tips or recommendations from reviewers). 

The review process will not include a rebuttal stage. Rejected papers of great significance or relevance will be invited to the practitioner tracks without further reviews. Authors who accept this alternative form of participation must adapt their submission to the extended abstract format.

Submissions are to be submitted via EasyChair.

Intelligent methods for content creation and curation 

Track chairs: Dr Paul Mulholland (Knowledge Media Institute, The Open University), Dr Andrew Garget (School of Languages and Applied Linguistics, The Open University) 

This track invites research about algorithms, pipelines and infrastructures powering hypertext systems – like digital archives, web applications or digital exhibitions – or supporting the study, management, and analysis of hypermedia systems.

Topics include, but are not limited to:

  • Content-based analysis for the automatic or assisted augmentation, understanding or composition of hypermedia systems
  • Semantic web, ontologies and recommender systems for the curation, realisation and management of documents, collections or hypermedia systems
  • Artificial intelligence methods for the processing and generation of hypermedia content

Authoring and publishing of interactive and social media content

Track chairs: Dr Elisa Bastianello (Bibliotheca Hertziana), Dr Sally Blackburn-Daniels (Teesside University)

This track is dedicated to exploring how hypertext has transformed authoring and publishing by disrupting, subverting, or complementing book and media culture and practice. Submissions may focus on specific case studies or theories of new emerging practices, rhetorical analyses, or methodological reflections that take inspiration from fields such as book history, digital humanities and/or media studies.

Topics include, but are not limited to:

  • Authorship: Contextualising the production of hypertexts.
  • Book history: Historically-informed frameworks, theories, and concepts for understanding hypertextual production, dissemination, and reception.
  • Digital scholarly editions and adaptations: Hypertextual representations and reconceptualisations of extant texts.
  • Text, paratext, and multimodality: Manifestations and effects of digital forms of intra- and intertextual connectivity.
  • Human-AI co-authoring: case studies of assisted writing based on automated summarisation and text generation
  • Encoding and Presentation: digital publication and the debate around stable format versus browser-ready content. 

Readership and experience with interactive and social media

Track chairs: Dr Lovro Škopljanac (University of Zagreb), Dr hab. Anna Nacher (Jagiellonian University)

This track welcomes studies on readers and new modalities of their experience and potential authorship of interactive hypertext media. Submission may present studies on specific communities of users, with a focus on emerging practices, or on new forms of engagement based on emerging technologies. 

Topics include, but are not limited to:

  • Digital storytelling and electronic literature: How hypertexts are used to communicate ideas and facilitate alternative textual experiences.
  • Reading practices and reader response: How hypertexts are read (or skimmed, browsed, misread) and interpreted.
  • Rhetorics and poetics: How hypertexts are framed in popular and scholarly discourse, as well as theoretical considerations on forms of expression supported by hypertextual formats.
  • Textual intelligence: How hypertexts change the preconditions and affordances of what it means to interact with a text, ranging from searchability to human-AI conversations.
  • Platform interaction: How hypertexts negotiate the politics of platforms within platformized creative practices.

Communities of digital practices

Track chairs: Dr Alessandro Adamou (Bibliotheca Hertziana), Dr Edmund King (The Open University)

Interactive intelligent media often either result from, or give rise to, communities that shape the practice with such media. What is usually triggered by a shared interest engenders forms of collective participation that manifest themselves through creative expression. Examples include the impact that studies on computing hardware and on software cracking methods had on the tech demo scene; creative writing exercise and horror story readership on the Creepypasta phenomenon; retro computing/gaming elites on “small web” site counts being on the rise. The ways in which enthusiasts and practitioners connect to one another could then be regarded as hyperlinking in its own right. This track encourages technical and phenomenological reflections beyond that of mere social media. Submissions may focus on the growth, management and activities of such communities: how, for what purpose and with what outcomes these communities operate and the tools they use.

Due to the creative and oftentimes artistic nature of these communities’ production, submissions are welcome either as short papers or as running demos, including those requiring specific systems to run them; demos must be accompanied by extended abstracts documenting their specifications and openly accessible ways to reproduce the (possibly emulated) environment required to run them.

Topics:

  • Analysis of interactions and Web syndication in well-established themed virtual communities (e.g. the WELL, DeviantArt)
  • Retro computing, peer-to-peer networks, gaming, “creative” piracy, and video game history
  • Artists and books market and distributions as social networks
  • The demoscene, MUDs and interactive fiction communities as a practitioner network
  • Novel and rigorous ways to (re-)present tech demos, hypermedia traversals, playthroughs etc. as structured, publishable and citable scholarly items
  • Creative networks in the Vernacular Web, e.g. GeoCities, MySpace and Usenet
  • Communication protocols, historical (e.g. BBS, Gopher) or contemporary (e.g. gemini:// spartan:// titan://), alternative/parallel to the HTTP Web or to the internet; their understanding and usage in modern-day knowledge exchange and the creative communities to which they cater.

Foundations of Creative Intelligence

Track chairs: Dr Monika Górska-Olesińska (University of Lodz),  Dr Sam Brooker (College of Arts London, University of London)

This track focuses on reflections, theories and visions about technology for creativity. Submissions may focus on synergies between tools and creative work, new paradigms that inspire the next generation of tools for art, and constraints and influence of technology in cultural heritage and production.

Topics include, but are not limited to:

  • Blue sky ideas about future systems and provocations about established assumptions around the use of hypertext systems for creative work and cultural heritage
  • Training programmes for artists and developers 
  • Theories explaining current phenomena and trends concerning the use of hypertext and social media in performance and creativity