[spectre] CFP: Intermedialites, no. 37: Resister/Resisting/Resistir
ab at mikro.in-berlin.de
Sat Jan 18 09:43:04 CET 2020
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»
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:
(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
- 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
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
Authors are requested to follow the journal’s submission guidelines
For more information on Intermédialités/Intermedialities, please consult
the journal’s website: http://intermedialites.com/en/home/.
Bibliographie / Bibliography
- Beatriz Azevedo, Antropofagia – Palimpsesto selvagem, São Paulo, Cosac
- Néstor García Canclini, Culturas híbridas. Estratégias para entrar e
sair da modernidade, tradução de Ana Regina Lessa e Heloísa Pezza
Cintrão, São Paulo, EDUSP, 2015.
- Santiago Castro Gomez, Ramón Grosfoguel (eds.), El giro decolonial.
Reflexiones para una diversidad epistémica más allá del capitalismo
global, Bogotá, Siglo del Hombre Editores, 2007.
- James Cisneros, “Nostalgia das mídias no cinema latino-americano”, in
Márcia Arbex, Miriam de Paiva Vieira, Thaïs Flores Nogueira Diniz
(eds.), Escrita, som, imagem: perspectivas contemporâneas, Belo
Horizonte, Fino Traço, 2009.
- Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and
Modern Culture, Massachusetts, MIT Press, 2001.
- Jonathan Crary, Técnicas do observador: visão e modernidade no século
XIX, Tradução de Verrah Chamma, Rio de Janeiro, Contraponto, 2012.
- Jonathan Crary, 24/7. Capitalismo tardio e os fins do sono, Tradução
de Joaquim Toledo Jr., São Paulo, Cosac Naify, 2014.
- Gilles Deleuze, Pourparlers, Paris, Éditions de Minuit, coll. «
Reprise », 1990.
- Gilles Deleuze, Critique et clinique, Paris, Éditions de Minuit, coll.
« Paradoxe », 1993.
- Thaïs Flores Nogueira Diniz (Org.), Intermidialidade e estudos
interartes: desafios da arte contemporânea, Belo Horizonte, Ed. UFMG, 2012.
- Thaïs Flores Nogueira Diniz, André Soares Vieira (Orgs.),
Intermidialidade e estudos interartes: desafios da arte contemporânea 2,
Belo Horizonte, Rona Editora, FALE/UFMG, 2012.
- Ticio Escobar, El mito del arte y el mito del Pueblo: Cuestiones sobre
el arte popular, Buenos Aires, Ariel, 2014.
- Vilém Flusser, O universo das imagens técnicas, São Paulo, Annablume,
- Vilém Flusser, A escrita: há futuro para a escrita?, tradução de
Murilo Jardelino da Costa, São Paulo, Annablume, 2010.
- Vilém Flusser, Filosofia da caixa preta, São Paulo, Annablume, 2011.
- Vilém Flusser, Gestures, translated by Nancy Ann Roth, Minneapolis,
University of Minnesota Press, 2014.
- Michel Foucault, Dits et écrits, tomes I-IV, Paris, Gallimard, 1994.
- Michel Foucault, Les mots et les choses, Paris, Gallimard, coll. « Tel
- Richard Grusin, Jay David Bolter, Remediation: Understanding New
Media, Massachusetts, MIT Press, 2000.
- Hans Ulrich Gumbrecht, Karl Ludwig Pfeiffer, Materialities of
communication, California, Stanford University Press, 1994.
- Friedrich Kittler, Discourse networks 1800/1900, translated by Michael
Metteer, with Chris Cullens, California, Stanford University Press, 1990.
- Friedrich Kittler, Gramophone, Film, Typewriter, translated by
Geoffrey Winthrop-Young and Michael Wutz, California, Stanford
University Press, coll. “Writing Science”, 1999.
- Friedrich Kittler, A verdade do mundo técnico: ensaios sobre a
genealogia da atualidade, tradução de Markus Hediger, Rio de Janeiro,
- Alex Martoni, Adalberto Müller (Orgs.), Rituais da percepção, Rio de
Janeiro, Oficina Raquel, 2019.
- Alex Martoni, Hernán Ulm, Fernando Pérez Villalón (Orgs.),
“Literatura, Mídias, Materialidades”, Verbo de Minas, vol. 19, n° 34,
- Walter Mignolo, “The darker side of modernity: Coloniality and
Modernity/Rationality”, Cultural Studies, vol. 21, nos 2-3, 2007.
- W.J.T. Mitchell, Mark Hansen, Critical Terms for Media Studies,
Chicago, The University of Chicago Press, coll. “Critical Terms”, 2010.
- Ángel Rama, A cidade das letras, tradução de Emir Sader, São Paulo,
Editora Brasiliense, 1984.
- Ana María Risco, La deriva líquida del ojo: ensayos sobre la obra de
Alfredo Jaar, Santiago de Chile, Catálogo, 2017.
- Silviano Santiago, Uma literatura nos trópicos, Rio de Janeiro, Rocco,
- Gilbert Simondon, L'individuation à la lumière des notions de forme et
d'information, Paris, Édition Jérôme Millon, 2005.
- Gilbert Simondon, Du mode d’existence des objets techniques, Paris,
- Hernán Ulm, “La herida cinematográfica: Daniela Seggiaro y Rithy
Panh”, Revista La Fuga, n° 18, Chile, 2016,
- Hernán Ulm, Alex Martoni, “Rituales de la percepción. Vilém Flusser:
por una fenomenología de los gestos”, Cuadernos del sur, n° 45, Bahía
Blanca, Universidad Nacional del Sur, 2018,
- Hernán Ulm, Sergio Martínez Luna (Orgs.), Dossier: Aproximaciones a un
pensamiento (de lo) técnico, Revista Barda, año 5, n° 8, Universidad
Nacional del Comahue, Centro de Estudios en Filosofía de la Cultura,
- Hernán Ulm, Tatiana Navallo (Orgs.), “Dossier: Tecnologías poéticas en
el arte contemporáneo”, Revista Estesis, vol. 6, año 6, Colombia, Debora
Arango, 2019, https://revistaestesis.edu.co/index.php/revista/issue/view/6.
- Fernando Pérez Villalón, La imagen inquieta: Juan Downey y Raúl Ruiz
em contrapunto, Santiago de Chile, Catálogo, 2016.
- Paul Virilio, Guerre et cinéma. Logistique de la perception, Paris,
Éditions Cahiers du cinéma, 1991.
- Ismail Xavier, Alegorias do subdesenvolvimento: cinema novo,
tropicalismo, cinema marginal, São Paulo, Cosac e Naify, 2012.
- Antonio Candido. “Literatura de dois gumes”, in: A educação pela
noite e outros ensaios, São Paulo, Editora Ática, 2003.
Reference / Quellennachweis:
CFP: Intermédialités, no. 37: Résister/Resisting/Resistir. In:
ArtHist.net, Jan 17, 2020. <https://arthist.net/archive/22430>.
More information about the SPECTRE