[spectre] Fwd: Call for Papers: Counteract: practices of artistic resistance, dissidence and furtivity | Journal of Science and Technology of the Arts

[Andreas Broeckmann]

-------- Weitergeleitete Nachricht --------
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 at 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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