[spectre] CFP: Intermedialites, no. 37: Resister/Resisting/Resistir

[Andreas Broeckmann]

From: Intermédialités
Date: Jan 17, 2020
Subject: CFP:  Intermedialites, no. 37: Resister/Resisting/Resistir


Intermediality. History and Theory of the Arts, Literature, and Technologies
n° 37 (Spring 2021)
«Résister / Resisting / Resistir»

Issue editors:
Alex Martoni, Centro de Ensino Superior de Juiz de Fora (CES/JF), Brazil
Hernán Ulm, Universidad Nacional de Salta (UNSA), Argentina
Roberto Rubio, Universidad Alberto Hurtado (UAH), Chile

Deadline for submitting a proposal: March 15, 2020
Announcement of proposal selection results: March 30, 2020
Submission of completed texts for peer review: September 1, 2020
Publication of the texts approved by the journal’s editorial board: 
Spring 2021

RESISTING
(Technocultures in Latin America)

Deeply rooted in Latin America’s political and cultural foundation, the 
act of resistance is now part of the emerging directions in contemporary 
artistic thought and production. If resistance has traditionally been 
understood as a foundational act by which the colonized oppose the 
colonizer—and the latter’s gaze, which determines how the colonized 
perceive themselves—it should no longer be seen as a simple opposition 
between these two figures; rather it  should be analyzed on the basis of 
a reflection on the principles underlying this opposition. In this 
sense, we consider the development of different reconstructions of the 
ways in which resistance has operated and still operates in Latin 
America to be a productive endeavour, which will allow us to think of 
the decolonizing experience of our current moment as a reinterpretation 
of the oppressive past. This is the perspective from which this special 
journal issue invites reflection on the multiple meanings of the 
experience of resistance in Latin America, considering its 
possibilities, connections, displacements and emancipatory potentialities.

If, to a large extent, the act of resistance has marked the political 
and cultural experience of Latin America throughout its history, it has 
therefore been understood, initially, as an oppositional movement: 
resisting the armed forces of occupation, the prevailing political and 
economic models, the imposition of a language and a culture, but also, 
in the context of art, resisting certain expressive mediums, culturally 
established discourses, and configurations of sensibilities that have 
the power to organize communities. Thus, the Brazilian sculptor 
Aleijadinho instilled in soapstone a particular vision of the world; the 
Tropicalists proposed a wild mix between the archaic and the modern as a 
way of translating their own culture; writers like Guimarães Rosa or 
Macedonio Fernández have compelled the Portuguese and Spanish languages, 
respectively, to express other languages from within themselves in order 
to bring to light “new grammatical or syntactic powers” (Deleuze, 1993, 
p. 9). Secondly, the variety and singularities of Latin American 
artistic production have motivated its effort to describe this balance 
of power beyond the simple reproduction of the colonization model. From 
this point of view, the act of resistance could be thought of as a 
process of transculturation (Ángel Rama), hybridization (Néstor García 
Canclini), construction of an inter-place (Silviano Santiago) or as a 
form of anthropophagous swallowing (Oswald de Andrade). In fact, 
contemporary artistic and political practices allow us to rethink 
resistance as a decolonizing practice that refuses the recognition of 
the Western gaze and its claims to universality (Walter Mignolo, Anibal 
Quijano, Arturo Escobar and Ticio Escobar).

 From this system of powers emerges a tense and complex negotiation 
between the Latin American experience and how that experience is being 
organized by media infrastructures (this can be traced historically and 
archaeologically through an analysis of the various ways in which 
intermediality has been shaped on our continent). Thus, confronted with 
the circulation of the written word (either the word of the new 
theological order or the watchword of the State), the founding 
experience of Latin American resistance reverts to other media whose 
capacities for writing become overloaded: the practices of oral culture, 
with incorporated images, and its specific modes of survival as 
organizer of those memories that escape the rules of the text. 
Specifically, the reception of Aby Warburg’s work in Latin America 
allowed us to consider the image as a space of thought (Denkraum) that 
remained outside of the colonizing order and that enabled the survival 
(Nachleben) of experiences predating the colonizers’ arrival on American 
territory (Burucúa, Ulm, Navallo). We can therefore understand the Latin 
American experience of resistance as a means of creating a specific 
intermediate and intermedial space that challenges where the normalized 
status quo and its role in the formation of traditional ways of thinking.

The changes brought about by new technologies for recording, storing and 
reproducing information during the last decades of the twentieth century 
have deepened this problem, insofar as they have highlighted the 
question of the politico-aesthetic dimension of contemporary modes of 
sociotechnical design. For example, Vilém Flusser showed us how linear 
writing irrevocably imposes the force of historical time on us; Jonathan 
Crary stressed the importance of technical devices in the archaeological 
construction of observation as a mode of subjectification that emerged 
between the late eighteenth and early twenty-first centuries; Friedrich 
Kittler radicalized our thinking about technological determinism by 
showing how our instruments for writing, inscription and recording 
affect our thinking. Thus, the question posed by media and its 
intermedial potentialities is the following: How to create alternative 
configurations of sensibility in a world where subjectivities are 
constructed within sociotechnical information systems?

In this sense, resisting, as expressed in contemporary Latin American 
artistic production, means engaging in the construction of forms of 
intelligibility and expressions of sensibility through the 
transformation of the materiality of their mediums and forms of 
codification in order to modify the relationships between literature, 
images, audiovisual arts and digital culture. Directors such as Paz 
Encina from Paraguay and Albertina Carri from Argentina question the 
capacity of the cinematographic system to establish itself as a place of 
storage and memory preservation; Chilean documentary filmmaker Tiziana 
Panizza explores the intersections between individual and collective 
memories through the use of the found footage technique; the Brazilian 
writer and visual artist Nuno Ramos thrives on the tension between 
artistic borders; audiovisual or digital artists and Latin American 
photographers and popular activists (Mídia Ninja, among others) use 
technical devices in ways that are inimical to their conventional 
operation and, in this manner, produce new forms of perceptibility. 
These artworks and actions demonstrate that resisting can no longer be 
understood only as an act of opposition but is, also and above all, an 
act of interruption (that diverts, suspends, cuts, intersects) or 
decolonization of the flows of a normalized sensibility by the new 
devices for the production of the sensible.

This issue of Intermedialities aims to gather contributions that reflect 
precisely on the aesthetic and political dimension of technocultural 
production in Latin American literature and the arts. The texts may 
address, but are not limited to, one or more of the following 
objectives:  - To analyze the different concepts of resistance produced 
in Latin America through artistic and political debate with the aim of 
illuminating new ways of understanding the act of resistance beyond the 
binary oppositions that traditionally inscribe it within Western 
thought; - To map resistance as an intermedial process specific to the 
Latin American context;
- To analyze artistic and political practices that bring to light the 
cultural mechanisms of power historically imposed in Latin America;
- To analyze how contemporary Latin American artistic and literary 
production allows us to reflect on the social and cultural impact of new 
information technologies;
- To analyze the aesthetic and political consequences of new 
sociotechnical devices in terms of the production of subjectivity;
- To think about strategies of resistance to the imposition of 
stereotypes produced by new algorithmic systems;
- To analyze works that, based on the use of technical devices, offer 
other regimes of visibility, by carrying out counter-power exercises and 
seeking interstitial territories of resistance;
- To think about how the migration of literature, cinema and the visual 
arts on different media platforms has led to the need for a renewal and 
expansion of the categories and discourses within which they are inscribed;
- To create concepts that break with the colonizing binaries of Western 
thought, and decolonization, in order to fracture and question the fixed 
positions occupied by the colonizer and the colonized.

Intermédialités/Intermediality is a biannual scholarly journal, which 
publishes articles in French and English evaluated through a blind peer 
review process.

Proposals (max. 700 words) can be written in either English or French 
and should be sent to the issue editors at the following email address:
alexmartoni at cesjf.br; hernan_ulm at yahoo.com; rorubio at uahurtado.cl

The results from the selection process will be announced on March 30, 
2020 and the deadline to submit the full texts of the articles will be 
September 1, 2020. The articles will then be evaluated through a blind 
peer-review process. The journal’s editorial board will make a final 
decision on the publication of articles over the summer months. The 
selected articles will be published in Spring 2021.

Final submissions should be no longer than 6,000 words (40,000 
characters, including spaces) and can incorporate illustrations (audio, 
visual, still or animated) whose publication rights should be secured by 
the authors.

Authors are requested to follow the journal’s submission guidelines 
available at:
[FR] 
http://intermedialites.com/wp-content/uploads/2016/01/Protocole-de-r%C3%A9daction-Intermedialites-mai-2017-FR.pdf;
[EN] 
http://intermedialites.com/wp-content/uploads/2016/01/Submission-Guidelines-2017-EN-May-2017.pdf.
For more information on Intermédialités/Intermedialities, please consult 
the journal’s website: http://intermedialites.com/en/home/.

———

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Reference / Quellennachweis:
CFP: Intermédialités, no. 37: Résister/Resisting/Resistir. In: 
ArtHist.net, Jan 17, 2020. <https://arthist.net/archive/22430>.