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Betreff: Call for Papers: Counteract: practices of artistic resistance,
dissidence and furtivity | Journal of Science and Technology of the Arts
Datum: Tue, 15 Apr 2025 13:56:07 +0100
Von: Andre Rangel <a...@3kta.net>
Hello,
New luddites are needed, submit your essays and share away!!
Best greetings,
André Rangel
Call for Papers: Counteract: practices of artistic resistance,
dissidence and furtivity | Journal of Science and Technology of the Arts
https://revistas.ucp.pt/index.php/jsta/announcement/view/91
Call for Papers: Counteract: practices of artistic resistance,
dissidence and furtivity
Posted on 2025-04-14
*Deadline: * June 15^th 2025
*Guest Editors:* Verónica Metello, PhD (Faculty of Letters – Coimbra
University) and Prof. André Rangel, PhD (Faculty of Fine Arts – Porto
University)
*Submit he* <https://revistas.ucp.pt/index.php/jsta/about/submissions>
<snip>
*Posted of the documentary /My Name is Janez Janša/ (2012) by Janez
Janša, Janez Janša, Janez Janša. Image courtesy of: Aksioma |
Institute for Contemporary Art, Ljubljana*
We appeal to those who are the operators of dissident practices, to
those who use dominant modes to affirm them as divergent, to those who
resort to the common to unfold it in the singular, to those who
incorporate and underline repetition to reveal it with the difference.
We call for the submission of essays that explore practices in the
scope of performance art and theory, of new media and autonomous and
alternative media that operate and focus on the creative power of
dissident, resistant and furtive modes in shaping the world in the
face of power and normativity.
In the post-digital Anthropocene in which we live, statistical
probability and the economies of data and attention shape the emerging
contemporary condition in which we live – a global, computational
digital ecosystem updated by calculation – from ecology to society. In
this reality subjugated to algorithmic bias and data dictatorship –
which, as Meghna Jayanth states, “robs us of agency, time,
self-esteem, connection and fosters addiction, dependence, hatred,
fear, insecurity and even social and interpersonal violence” (Jayanth,
2021, as cited in Spies, 2024) – new “luddites” are needed: who, in
an attitude of Marcusian “great refusal”[1] are capable of
reconfiguring the relationship with the instruments of calculation,
surveillance, governance and arbitration of truth, using them as
instruments of expression and emancipation.
In this present, of simultaneous temporalities in overlapping and
repetitive iterative rhythms, we call on those involved in radical
artistic and scientific practices and in cultural subversion to submit
their contributions to this issue of JSTA.
As Achille Mbembe points out and Jonathan Crary describes, the current
landscape of experience, in a world governed by the experience
economy, operates in the tension between the living and the machines
(Mbembe, 2021; Crary, 2022). What Mbembe called brutalism [2] affects
the entire set of fundamental relationships between human beings and
the world. Furthermore, in a movement of assimilation, technology and
its coincidence with media in the structuring spheres of life has
become central, reconfiguring the “psychogeography” [3] of encounters,
modes of presence, the articulation of subjectivity, mobilization and
social emancipation. The social, the artistic and the political,
digitally transmediated and mobilized by information capital (Sierra
Caballero & Sola-Morales, 2021), is thus configured in a
hyper-controlled network of relations (Stiegler, 2016) in which the
capacity to create the conditions and the experiences of dissidence is
formatted, conditioned and blocked by the means themselves (Crary, 2022).
At the intersection of art and politics, artivism conjures up
dissident and furtive, powerful and political articulations, operating
in a fluid and extensive space that makes minorities visible, imposing
deviations, shaping subjectivities, empowering and creating
alternatives. Dissidence, as José Miranda Justo shows, more than
having a fundamentally discursive characteristic, is, above all things
– political (Justo, 2021), operating with experimentation and the
exploration of difference, evolving from a decentralized or minority
perspective, in the face of dominant modes and forms of thought and
action.
Artivism, Paulo Raposo defines, results from a porosity between art
and politics, designing a plane of inscription where the imagination
of alternatives and a consequent intervention in the world converge
(Raposo, 2015 as cited in Raposo 2023). In this regard, also the
autonomous or alternative media operate as powerful vehicles of
dissent and stealth, subverting the social order through
appropriation, liberating the media and public space from the private
domain. Autonomous media are defined by their openness – in terms of
content and accession – and their goal is to amplify the voices of
groups and individuals who do not normally have access to the media,
involving them in the production and dissemination of contents
(Langlois, & Dubois, 2005).
The furtive mode acts as a denormalization, designing strategies and
modes of affirmation that are estranged to the exercise of power and
norm, operating through a destabilization and reconfiguration of the
relations and articulations of the conceptual, the sensitive and the
aesthetic in experience. Cynthia Fleury and Antoine Fenoglio propose
this concept as a formalization of a way of exfiltrating oneself from
reality, creating alternative ways of inhabiting it (Fleury &
Fenoglio, 2022).
Given the urgency and the above coordinates, we intend to highlight
the magmatic and political power of counteracting, bringing to the
discussion and making visible exploratory, dissident, furtive and
resistant theoretical and artistic practices in the scope of
performance art, new media and autonomous alternative media, in a
broad field that crosses:
*Aesthetics*
*Archives, memory and resistance*
*Art and Experimentation*
*Art and New MediaArtivism*
*Communication – digital media, alternative media and nano-media as
artistic means of dissent and resistance*
*Cybernetics*
*Data economy*
*Digital humanities*
*Divergent identities and exploratory subjectivities*
*Epistemic disobedience*
*Emergence*
*Experience and experimentation*
*Heterotopia*
*Ontology, identity and technology*
*Philosophy and anarchism*
*Political aesthetics*
*Political philosophy*
*Politics and ethics of care, Politics of reparation*
*Resistance, dissent and furtiveness*
*Studies of Experience*
*Notes*
[1] Thomas Spies evokes the great refusal described by Herbert Marcuse
as the radical practice that involves cultural subversion and
recognizes the mark of social repression in traditional cultural
expressions and technological progress. Following Marcuse's line of
thought, Spies emphasizes that for cultural subversion to drive
change, it must involve radical political practice. (Spies, 2024).
[2] “Concretamente, o brutalismo caracteriza-se pelo estreito
entrelaçamento de várias figuras da razão: razão económica e
instrumental, razão eletrónica e digital e razão neurológica e
biológica. Baseia-se na profunda convicção de que o vivo e as máquinas
deixaram de se distinguir. Em última instância, a matéria é a máquina
dos nossos dias, o computador no seu mais amplo sentido, bem como o
novo, o cérebro e toda a realidade numinosa” (Mbembe, 2022).
[3] “Psychogeography sets for itself the study of the precise laws and
specific effects of the geographical environment, whether consciously
organized or not, on the emotions and behavior of individuals”
(Debord, 1981).
[4] “Artivismo pode ser pensado como um neologismo complexo e
polissemântico que recobre uma vasta gama de práticas artísticas com
foco político. A utilização de inúmeras linguagens e plataformas para
explicitar, comentar e expressar visões do mundo e de produzir
pensamento crítico, multiplica o espectro do artivismo a partir do
qual é possível intervir poética e performativamente e construir
espaços de comunicação e de opinião no campo político – arte de rua,
ações diretas, performances, vídeo-arte, rádio, culture jamming,
hacktivism, subvertising, arte urbana, manifestos e manifestações ou
desobediência civil, entre outras” (Raposo, 2015, as cited in Raposo,
2023).
*References *
Crary, J. (2022). /Scorched earth: Beyond digital age to a
post-capitalist world/. Verso.
Debord, G. (1981). Introduction to a critique of urban geography. In
K. Knabb (Ed. & Trans.), /Situationist International anthology/ (pp.
5–8). Bureau of Public Secrets.
Fleury, C., & Fenoglio, A. (2022). /Charte du Verstholen: Ce qui ne
peut être volé/. Gallimard.
Jayanth. (2024, March 18). White protagonism and imperial pleasures in
game design. /Medium/.
https://medium.com/@betterthemask/white-protagonism-and-imperial-pleasures-in-game-design-digra21-a4bdb3f5583c
Langlois, A., & Dubois, F. (Eds.). (2005). /Autonomous media:
Activating resistance and dissent/. Cumulus Press.
Mbembe, A. (2021). /Brutalismo/. Antígona.
Miranda Justo, J. (2021). Heterogeneity, Experimentation and
Dissidence in a Contemporary Understanding of Philosophy. In J.
Miranda Justo, E. M. de Sousa, & F. M. F. Silva (Eds.),/Philosophy as
experimentation, dissidence and heterogeneity/ (pp. 2-33). Cambridge
Scholars Publishing.
Raposo, P. (2023). Arte e política: O artivismo como linguagem e ação
transformadora do mundo? /Dossiê Mundos em Performance: Napedra 20
anos, 8/, e-202989.
https://doi.org/10.11606/issn.2525-3123.gis.2023.202989
Sierra Caballero, F., & Sola-Morales, S. (2021). El lugar de la
cultura en la era del capitalismo cognitivo. Notas para una discusión
sobre ciudadanía digital. /Comunicación y Hombre, 17/, 253–269.
https://doi.org/10.32466/eufv-cyh.2021.17.591.253-269
Spies, T. (2024). /The special laboratory of total refusal. In
(un)real data – ()real effects/. Aksioma.
Stiegler, B. (2016). “Ars" and organological inventions in societies
of hyper-control. /Leonardo, 49/(5), 480–484.
https://doi.org/10.1162/LEON_a_01080
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