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Call for Contributions
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The work will be performed under the guidance of Dr. 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. A successful candidate will have an interdisciplinary background and an interest in games for impact. Candidates should ideally also have experience with game design, in particular using game engines such as Unity.
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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. All registered papers will be published by Springer and made available through SpringerLink Digital Library. Papers should be from 6 to 9 pages long and submitted via the Confy submission system.
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Therefore, they welcome submissions related to this ludic transformation of reality under several domains and related but not limited to the following keywords:. Engagement, experience, user types - Education: e. Organizational gamification, gameful work, gamification in leadership - Technology: e. Welcome to the gathering of international gamification research community in the Finnish Lapland, Levi. Levi is a ski resort located in Finnish Lapland, above the Arctic Circle and features incredible Finnish scenery, nature and winter activities.
They hope all of their guests take the time to enjoy the surroundings and activities provided by this unique and exotic location. GamiFIN is a leading international conference for gamification research.
The conference is chaired by the professor of gamification Juho Hamari and gamification scholar Jonna Koivisto. Keynotes of GamiFIN will be announced later.
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GamiFIN conference welcomes 1 paper, 2 poster, and 3 doctoral consortium paper submissions. The aim of the gamification publication track is to increase the predictability and rigorousness of the peer-review and publication processes by providing a concise review continuum and discussion with peers. 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:. 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?
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What is the role of game interfaces on player experience? 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?
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?