CALL FOR PAPERS
21-22 July 2012
Auckland, New Zealand
The 8th Australasian Conference on Interactive Entertainment
The Australasian Conference on Interactive Entertainment is
a cross-disciplinary conference that brings together
researchers from artificial intelligence, audio, cognitive
science, cultural studies, drama, HCI, interactive media,
media studies, psychology, computer graphics, as well as
researchers from other disciplines working on new
interactive entertainment specific technologies or providing
critical analysis of games and interactive environments.
PLAYING THE SYSTEM
We like to think of play not as an effective tool that is
used to a certain end, but rather, that play is valuable in
itself and has the power to transform our systems and
change our view of the world. Play is close to its players,
free and challenges (external) control. The notion of
playing the system can be associated with counter-culture,
taking on the system, emancipation from domination, change,
doing things differently, unintended use, trying out,
tinkering around and taking control. The struggle over the
control of the computer can be shown in many situations.
Using computers has become mainstream today. Will users be
happy being consumers or will they start to be producers of
the digital medium? Interaction is hard, and without
initiative and considerable skills, the results will be
trivial. The process includes failure. Many so-called
interactive experiences are shallow and narrow, not offering
the user any real participation. Being passive is easy.
But the computer is not used to its full potential if the
users limit themselves to copy, re-do or re-create what has
been done before. The interaction with the computer places
the control over it in the hands of its users, arguably more
so than previous media. Users demand and take ownership of
the digital medium, when they start to (mis-) use it for
producing, extending, changing and creating reality. In this
process media consumers turn into users, artists and
Users who playfully interact with their computers are not
necessarily playing computer games, but fight with the
computer, accept a challenge, try to reach their own goals
and not the ones that were anticipated by somebody else.
Competent users can change the medial form, not only fiddle
with the (arbitrary) content; they can reformat the medium,
and modify the rules of play. The world of media is changing
fast. People who watched TV ten years ago will never go back
to linear media. Their attitude towards technology has
changed. They are not asking for permission, reading the
manual or following orders. They are playing the system.
*Playing Games* The track revolves around game design
methodologies and game development technologies which
includes artificial intelligence, graphics, animation,
gamification concepts, tangible interaction, mixed
realities, augmented realities, phenomenology, embodiment,
place and space, time, tactile interfaces, haptics, motion-
detection games and networked play.
*Playing Art* This track centers around questions on
information, communication and awareness; analogue and
mechanical art meet digital art, game art, engaging people
and offering new perspectives and experiences, and changing
the way we see the world.
*Playing Mobile* This track focuses on mobile gaming,
teams, location-based play, competition, collaboration,
performative aspects, splitting/meeting/joining groups,
making movies with mobile phones and/or cultural remixing.
*Playing Education* Topics in this track are learning,
understanding, exploration, invention and surprise; this
might or might not include outright educational drill
The four tracks overlap, but focus on different aspects of
playing the system. Multiple perspectives allow
interdisciplinary contributions from the areas of media,
play, art, design, science, installations, performance and
film. The more interaction there is between theory and
practice the better. There are many questions that bridge
several tracks, e.g. play and the real world, simulation,
random chance, flow, immersion, complexity, challenge,
medial convergence, collaboration and multiplayer games and
We welcome academic papers and practical works, and
combinations. We expect contributors to develop a strong
vision, explore it, test it, backup their claims; to be
focused and critical. Submissions will only be accepted if
they contain a high level of innovation and research rigor.
Not everything is getting more fun, better and brighter
because somebody claims it is interactive. Note that the
list of topics provided is not exhaustive and top quality
works in areas that have a strong correlation to our themes
are always welcome.
SUBMISSIONS AND REVIEW
IE2012 will only accept submissions via
IE2012 will accept four kinds of submissions; all accepted
submissions will be included in the conference proceedings.
Long Papers: Maximum 10 pages.
Regular papers represents mature work where the work has
been rigorously evaluated. All regular papers will be peer
reviewed for technical merit, significance, clarity and
relevance to interactive entertainment. Accepted papers are
required to give a 15-20 minute presentation at the
Short Papers: Maximum 3 pages.
Short papers represent novel work in progress that may not
be yet as mature as regular submissions, but still
represents a significant contribution to the field. All
short papers will be peer reviewed for technical merit,
significance, clarity and relevance to interactive
entertainment. Accepted papers are required to present a
poster at the conference.
Demo Submissions: Maximum 1 page.
Technical demonstrations show innovative and original
implementations to interactive entertainment. Demo papers
will be reviewed by the conference chair and the program
chair for significance and relevance. Demo presenters are
responsible for bringing the necessary equipment to set up
their own demo at the conference.
Exhibition Submissions: Maximum 3 pages.
Exhibition papers can represent both mature and novel work
related to interactive entertainment. Applicants are to
submit a short write-up outlining and contextualising the
work to be exhibited, including pictures. They will need
provide a clear understanding of the proposed exhibited
design work, its relationship with interactive
entertainment supported by design argumentation. A
detailed description of what and how the work needs to
be exhibited should also be included. Exhibit presenters
are responsible for bringing the necessary equipment to
set up their own exhibit at the conference.
All submissions must be in PDF format, formatted according
to the official ACM proceedings format using templates at
For a submission to appear in the proceedings, at least one
author must register for the conference by the deadline.
All conference papers will be fully peer reviewed using a
double-blind process (i.e., authors names and affiliations
are omitted) by an International Review Panel to ensure
research dissemination of the highest quality. IE2012 will
not accept any paper that, at the time of submission, is
under review for or has already been published or accepted
for publication in another journal or conference.
Successful authors have the opportunity to modify their
papers to include recommendations from the International
Review Panel. All accepted papers are published in the
CD-ROM conference proceedings. Accepted papers will be
published in the IE2012 conference proceedings. Please see
http://ieconference.org for papers from previous years.
IE2012 Honorary Chair:
Yusuf Pisan, University of Technology, Sydney
IE2012 Conference Chairs:
Daniel Cermak-Sassenrath, Auckland University of Technology
Charles Walker, Auckland University of Technology
IE2012 Program Chairs:
Chek Tien Tan, University of Technology, Sydney
Long Paper Submission 31 March 2012
Short Papers Submission 31 March 2012
Exhibit Submissions 31 March 2012
Demo Submissions 31 March 2012
Author Notification 1 May 2012
Camera Ready Papers 31 May 2012
IE Conference, Auckland, New Zealand 21-22 July 2012
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