New luddites are needed!! \u270a\ud83c\udffc<\/p>\n
I\u2019m co-editing the next JSTA Journal issue, titled Counteract: practices of artistic resistance, dissidence and furtivity, a Scopus-indexed publication. I hope you resonate with the call. In case the theme(s) aligns with some of your interests, please contribute with your insights, reflections, and critical perspectives. I\u2019d be grateful if you could share the call among your communities, contacts and\/or with anyone you think might have interest in publishing a \u201cCounteract\u201d paper\/essay.<\/p>\n
https:\/\/revistas.ucp.pt\/index.php\/jsta\/announcement\/view\/91<\/p>\n
Call for Papers: Counteract: practices of artistic resistance, dissidence and furtivity<\/p>\n
Posted on 2025-04-14
\nDeadline: June 15th 2025<\/p>\n
Guest Editors: Ver\u00f3nica Metello, PhD (Faculty of Letters \u2013 Coimbra University) and Prof. Andr\u00e9 Rangel, PhD (Faculty of Fine Arts \u2013 Porto University)<\/p>\n
Submit here 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>\n 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>\n 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 \u2013 a global, computational digital ecosystem updated by calculation \u2013 from ecology to society. In this reality subjugated to algorithmic bias and data dictatorship \u2013 which, as Meghna Jayanth states, \u201crobs us of agency, time, self-esteem, connection and fosters addiction, dependence, hatred, fear, insecurity and even social and interpersonal violence\u201d (Jayanth, 2021, as cited in Spies, 2024) \u2013 new \u201cluddites\u201d are needed: who, in an attitude of Marcusian \u201cgreat refusal\u201d[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>\n 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>\n 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 \u201cpsychogeography\u201d [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>\n 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 Jos\u00e9 Miranda Justo shows, more than having a fundamentally discursive characteristic, is, above all things \u2013 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>\n 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 \u2013 in terms of content and accession \u2013 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>\n 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>\n 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>\n Aesthetics Notes<\/p>\n [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>\n [2] \u201cConcretamente, o brutalismo caracteriza-se pelo estreito entrela\u00e7amento de v\u00e1rias figuras da raz\u00e3o: raz\u00e3o econ\u00f3mica e instrumental, raz\u00e3o eletr\u00f3nica e digital e raz\u00e3o neurol\u00f3gica e biol\u00f3gica. Baseia-se na profunda convic\u00e7\u00e3o de que o vivo e as m\u00e1quinas deixaram de se distinguir. Em \u00faltima inst\u00e2ncia, a mat\u00e9ria \u00e9 a m\u00e1quina dos nossos dias, o computador no seu mais amplo sentido, bem como o novo, o c\u00e9rebro e toda a realidade numinosa\u201d (Mbembe, 2022).<\/p>\n [3] \u201cPsychogeography 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\u201d (Debord, 1981).<\/p>\n [4] \u201cArtivismo pode ser pensado como um neologismo complexo e polissem\u00e2ntico que recobre uma vasta gama de pr\u00e1ticas art\u00edsticas com foco pol\u00edtico. A utiliza\u00e7\u00e3o de in\u00fameras linguagens e plataformas para explicitar, comentar e expressar vis\u00f5es do mundo e de produzir pensamento cr\u00edtico, multiplica o espectro do artivismo a partir do qual \u00e9 poss\u00edvel intervir po\u00e9tica e performativamente e construir espa\u00e7os de comunica\u00e7\u00e3o e de opini\u00e3o no campo pol\u00edtico \u2013 arte de rua, a\u00e7\u00f5es diretas, performances, v\u00eddeo-arte, r\u00e1dio, culture jamming, hacktivism, subvertising, arte urbana, manifestos e manifesta\u00e7\u00f5es ou desobedi\u00eancia civil, entre outras\u201d (Raposo, 2015, as cited in Raposo, 2023).<\/p>\n References<\/p>\n Crary, J. (2022). Scorched earth: Beyond digital age to a post-capitalist world. Verso.<\/p>\n Debord, G. (1981). Introduction to a critique of urban geography. In K. Knabb (Ed. & Trans.), Situationist International anthology (pp. 5\u20138). Bureau of Public Secrets.<\/p>\n Fleury, C., & Fenoglio, A. (2022). Charte du Verstholen: Ce qui ne peut \u00eatre vol\u00e9. Gallimard.<\/p>\n 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<\/p>\n Langlois, A., & Dubois, F. (Eds.). (2005). Autonomous media: Activating resistance and dissent. Cumulus Press.<\/p>\n Mbembe, A. (2021). Brutalismo. Ant\u00edgona.<\/p>\n 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.<\/p>\n Raposo, P. (2023). Arte e pol\u00edtica: O artivismo como linguagem e a\u00e7\u00e3o transformadora do mundo? Dossi\u00ea Mundos em Performance: Napedra 20 anos, 8, e-202989. https:\/\/doi.org\/10.11606\/issn.2525-3123.gis.2023.202989<\/p>\n Sierra Caballero, F., & Sola-Morales, S. (2021). El lugar de la cultura en la era del capitalismo cognitivo. Notas para una discusi\u00f3n sobre ciudadan\u00eda digital. Comunicaci\u00f3n y Hombre, 17, 253\u2013269. https:\/\/doi.org\/10.32466\/eufv-cyh.2021.17.591.253-269<\/p>\n Spies, T. (2024). The special laboratory of total refusal. In (un)real data \u2013 ()real effects. Aksioma.<\/p>\n Stiegler, B. (2016). \u201cArs” and organological inventions in societies of hyper-control. Leonardo, 49(5), 480\u2013484. https:\/\/doi.org\/10.1162\/LEON_a_01080 New luddites are needed!! \u270a\ud83c\udffc I\u2019m co-editing the next JSTA Journal issue, titled Counteract: practices of artistic resistance, dissidence and furtivity, a Scopus-indexed publication. I hope you resonate with the call. In case the theme(s) aligns with some of your interests, please contribute with your insights, reflections, and critical perspectives. I\u2019d be grateful if you […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5657","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"yoast_head":"\n
\n\ufffc
\nPosted of the documentary My Name is Janez Jan\u0161a (2012) by Janez Jan\u0161a, Janez Jan\u0161a, Janez Jan\u0161a. Image courtesy of: Aksioma | Institute for Contemporary Art, Ljubljana<\/p>\n
\nArchives, memory and resistance
\nArt and Experimentation
\nArt and New MediaArtivism
\nCommunication \u2013 digital media, alternative media and nano-media as artistic means of dissent and resistance
\nCybernetics
\nData economy
\nDigital humanities
\nDivergent identities and exploratory subjectivities
\nEpistemic disobedience
\nEmergence
\nExperience and experimentation
\nHeterotopia
\nOntology, identity and technology
\nPhilosophy and anarchism
\nPolitical aesthetics
\nPolitical philosophy
\nPolitics and ethics of care, Politics of reparation
\nResistance, dissent and furtiveness
\nStudies of Experience<\/p>\n
\n—
\n# distributed via
\n#
\n# collaborative text filtering and cultural politics of the nets
\n# more info: https:\/\/www.nettime.org<\/p>\n","protected":false},"excerpt":{"rendered":"