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<td>Call for Papers: Counteract: practices of artistic
resistance, dissidence and furtivity | Journal of Science
and Technology of the Arts</td>
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<th valign="BASELINE" nowrap="nowrap" align="RIGHT">Datum: </th>
<td>Tue, 15 Apr 2025 13:56:07 +0100</td>
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<th valign="BASELINE" nowrap="nowrap" align="RIGHT">Von: </th>
<td>Andre Rangel <a class="moz-txt-link-rfc2396E" href="mailto:a@3kta.net"><a@3kta.net></a></td>
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<div class="Apple-Mail-URLShareUserContentTopClass">Hello,</div>
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<div class="Apple-Mail-URLShareUserContentTopClass">New luddites
are needed, submit your essays and share away!!</div>
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<div class="Apple-Mail-URLShareUserContentTopClass">Best
greetings,</div>
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<div class="Apple-Mail-URLShareUserContentTopClass">André Rangel</div>
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<title>Call for Papers: Counteract: practices of artistic
resistance, dissidence and furtivity | Journal of Science
and Technology of the Arts</title>
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for Papers: Counteract: practices of artistic
resistance, dissidence and furtivity</h1>
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Posted on 2025-04-14</small></div>
<p style="max-width: 100%;"><strong
style="max-width: 100%;">Deadline: </strong> June 15<sup
style="max-width: 100%; line-height: 1; font-size: 0.75em;">th</sup>
2025</p>
<p style="max-width: 100%;"><strong
style="max-width: 100%;">Guest Editors:</strong>
Verónica Metello, PhD (Faculty of Letters – Coimbra
University) and Prof. André Rangel, PhD (Faculty of
Fine Arts – Porto University) </p>
<p style="max-width: 100%;"><a
href="https://revistas.ucp.pt/index.php/jsta/about/submissions"
style="color: rgb(65, 110, 210); max-width: 100%; text-decoration: underline;"
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style="max-width: 100%;">Submit he</strong></a></p>
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<p style="max-width: 100%;"><strong
style="max-width: 100%;">Posted of the documentary <em
style="max-width: 100%;">My Name is Janez Janša</em>
(2012) by Janez Janša, Janez Janša, Janez Janša.
Image courtesy of: Aksioma | Institute for
Contemporary Art, Ljubljana</strong></p>
<p style="max-width: 100%;">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.</p>
<p style="max-width: 100%;">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.</p>
<p style="max-width: 100%;">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.</p>
<p style="max-width: 100%;">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.</p>
<p style="max-width: 100%;">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).</p>
<p style="max-width: 100%;">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.</p>
<p style="max-width: 100%;">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).</p>
<p style="max-width: 100%;">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).</p>
<p style="max-width: 100%;">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:</p>
<p style="max-width: 100%;"><strong
style="max-width: 100%;">Aesthetics</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Archives, memory and
resistance</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Art and
Experimentation</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Art and New
MediaArtivism</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Communication –
digital media, alternative media and nano-media as
artistic means of dissent and resistance</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Cybernetics</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Data economy</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Digital humanities</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Divergent identities
and exploratory subjectivities</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Epistemic
disobedience</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Emergence</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Experience and
experimentation</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Heterotopia</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Ontology, identity
and technology</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Philosophy and
anarchism</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Political aesthetics</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Political philosophy</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Politics and ethics
of care, Politics of reparation</strong><br
style="max-width: 100%;">
<strong style="max-width: 100%;">Resistance, dissent
and furtiveness</strong><br style="max-width: 100%;">
<strong style="max-width: 100%;">Studies of Experience</strong></p>
<p style="max-width: 100%;"><strong
style="max-width: 100%;">Notes</strong></p>
<p style="max-width: 100%;">[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).</p>
<p style="max-width: 100%;">[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).</p>
<p style="max-width: 100%;">[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).</p>
<p style="max-width: 100%;">[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). </p>
<p style="max-width: 100%;"><strong
style="max-width: 100%;">References </strong></p>
<p style="max-width: 100%;">Crary, J. (2022). <em
style="max-width: 100%;">Scorched earth: Beyond
digital age to a post-capitalist world</em>. Verso.</p>
<p style="max-width: 100%;">Debord, G. (1981).
Introduction to a critique of urban geography. In K.
Knabb (Ed. & Trans.), <em
style="max-width: 100%;">Situationist International
anthology</em> (pp. 5–8). Bureau of Public Secrets.</p>
<p style="max-width: 100%;">Fleury, C., & Fenoglio,
A. (2022). <em style="max-width: 100%;">Charte du
Verstholen: Ce qui ne peut être volé</em>.
Gallimard.</p>
<p style="max-width: 100%;">Jayanth. (2024, March 18).
White protagonism and imperial pleasures in game
design. <em style="max-width: 100%;">Medium</em>.
<a class="moz-txt-link-freetext" href="https://medium.com/@betterthemask/white-protagonism-and-imperial-pleasures-in-game-design-digra21-a4bdb3f5583c">https://medium.com/@betterthemask/white-protagonism-and-imperial-pleasures-in-game-design-digra21-a4bdb3f5583c</a></p>
<p style="max-width: 100%;">Langlois, A., & Dubois,
F. (Eds.). (2005). <em style="max-width: 100%;">Autonomous
media: Activating resistance and dissent</em>.
Cumulus Press.</p>
<p style="max-width: 100%;">Mbembe, A. (2021). <em
style="max-width: 100%;">Brutalismo</em>. Antígona.</p>
<p style="max-width: 100%;">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.),<em style="max-width: 100%;"> Philosophy as
experimentation, dissidence and heterogeneity</em>
(pp. 2-33). Cambridge Scholars Publishing.</p>
<p style="max-width: 100%;">Raposo, P. (2023). Arte e
política: O artivismo como linguagem e ação
transformadora do mundo? <em style="max-width: 100%;">Dossiê
Mundos em Performance: Napedra 20 anos, 8</em>,
e-202989.
<a class="moz-txt-link-freetext" href="https://doi.org/10.11606/issn.2525-3123.gis.2023.202989">https://doi.org/10.11606/issn.2525-3123.gis.2023.202989</a></p>
<p style="max-width: 100%;">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. <em
style="max-width: 100%;">Comunicación y Hombre, 17</em>,
253–269.
<a class="moz-txt-link-freetext" href="https://doi.org/10.32466/eufv-cyh.2021.17.591.253-269">https://doi.org/10.32466/eufv-cyh.2021.17.591.253-269</a></p>
<p style="max-width: 100%;">Spies, T. (2024). <em
style="max-width: 100%;">The special laboratory of
total refusal. In (un)real data – ()real effects</em>.
Aksioma.</p>
<p style="max-width: 100%;">Stiegler, B. (2016). “Ars"
and organological inventions in societies of
hyper-control. <em style="max-width: 100%;">Leonardo,
49</em>(5), 480–484.
<a class="moz-txt-link-freetext" href="https://doi.org/10.1162/LEON_a_01080">https://doi.org/10.1162/LEON_a_01080</a></p>
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