Announcements

A Revista Vazantes ´é uma uma publicação de fluxo contínuo vinculada ao Programa de Pós-Graduação em Artes e ao Instituto de Cultura e Artes da Universidade Federal do Ceará e aceita contribuições em Português, Espanhol ou Inglês a partir de diferentes formatos que promovam também outras percepções estéticas às propostas acadêmicas:

  • ensaios visuais 
  • escritas experimentais
  • artigos acadêmicos
  • ensaios verbais
  • entrevistas
  • resenhas
  • vídeos
  • sonoridades
  • experimentações artísticas ou
  • intervenções desde outras linguagens

Coordenadora Editorial 2020-2021: Milena Szafir (UFCE). 

Equipe de editoria 2020-2021: Natacha Muriel López Gallucci (UFCA) e Jo A-mi (UNILAB).

SIGA-NOS TAMBÉM NO INSTAGRAM: @revistavazantes

  • PRORROGAMOS ATÉ 02 de NOVEMBRO

    2021-10-25

    Dossiê Urbanidades construídas, urbanidades dissolvidas

    Prazo para submissão de propostas PRORROGADO >> até 02 DE NOVEMBRO de 2021

    :: Propostas serão aceitas em Português, Espanhol ou Inglês :: 

    • Expressões de gênero em diálogo com a cidade;
    • Manifestações decoloniais e multiculturais: as perspectivas indígenas, afro-brasileiras e de povos em situações diaspóricas e/ou periféricas; 
    • Paisagens contaminadas: antropoceno em momento de inflexão;
    • Indignação e emancipação: palavras, corpos e gestos;
    • Ativismo virtual e seus transbordamentos cotidianos: poéticas de provocação e desobediência civil;
    • Hibridismos: materiais e linguagens como possibilidades em aberto; 
    • Inventários e invenções em tempos de pandemia e isolamento social.

    Dúvidas, favor endereçar para: revistavazantes@gmail.com ou diretamente às editoras do dossiê:  brigidacampbell@gmail.com, elisacampos.bh@gmail.com, joami@unilab.edu.br

    SIGA-NOS TAMBÉM NO INSTAGRAM: @revistavazantes

    Read more about PRORROGAMOS ATÉ 02 de NOVEMBRO

  • 2020: CHAMADAS ABERTAS | CALL FOR PROPOSALS | CONVOCATORIA

    2020-06-12

    -> v4n1: Artes da projeção em múltiplos canais: operacionalidades visuais e sonoras 

    El arte de la proyección multicanal: operaciones visuales y sonoras 

    Multi-channel Projection Arts: Sound & Visual Operativities 

    -> v4n2: Fronteiras do projetar: diálogos entre arte e design

    Fronteras del proyectar: diálogos entre arte y diseño

    Frontières de la conception: dialogues entre l’art et le design

    http://periodicos.ufc.br/vazantes/announcement/

    Read more about 2020: CHAMADAS ABERTAS | CALL FOR PROPOSALS | CONVOCATORIA

  • Multi-channel Projection Arts + Frontières du projeter

    2020-06-12

    Multi-channel Projection Arts: Sound & Visual Operativities
    Deadline for Submissions: AUGUST 12, 2020
    :: Proposals should be in English, Portuguese or Spanish::

    Projections continue to proliferate. They have burgeoned beyond the white cubes of art galleries or the dark spaces of cinemas, while emergent technological media have enabled the production of image, sound and hybrid audiovisual artifacts. Perhaps it is the fulfillment, by and large, of the promise heralded by futuristic fables of variegated screens molding our poetics: habitual devices, such as cell phones or digital clocks, are emitters of amplified visual and sound signals, while screens of water, smoke and steam, windows, fabric, wearables, utensils, etc constitute our experience.

    Without requiring a specific surface of projection, thoughts, emotions, habits and behaviors are being shared collectively in our everyday life, in public urban spaces and intimate private ones. As for the question of spectatorship before the projections, classic cinema theory has already problematized the static viewer in terms of embodied passivity in the referent dispositif, while media art studies seem to point towards the critique of technological fascination with digital projection, leaving us attentive to aspects of immersion and/or interactivity inherent (or not) in artistic propositions.

    The motivation behind the present special issue stems as much from laboratory practices developed in our university projects over the past two years, as from on-going discussions with peers about our various experiences. As such, we look for the debate in the reflexions on the modus operandi, on processes of creation, on the gestuality inherent in the montage and assemblage of various forms (Montaner, 2002; Elsaesser, 2018) of projection: what is the difference between the immersivity produced by the cinematographic dispositif and other modes of projection? What “interactive” aesthetics do we experience in video-projection art installations? In what ways do different projections—and their projective activity, in the sense of “to design”—cause different affects in human being?

    Without pitting against each other mental images (be they visual or aural) and real facts, according to Gilbert Simondon (1924-1989),projected images and sounds refer us to those aspects of interiority and exteriority contained in them, uniting imagination (symbolic, mental, dreamlike, emotive) and invention (objects, languages, figures, sounds). There is a circular causality—sometimes regulative, sometimes transgressive—between interiority and exteriority which is concretized within artistic practices, techno-aesthetic objects, monuments and social gestures. Projections, like quasi-organisms that form within a subject, have a certain autonomy: not only do subjects produce images, but moreover, visual and auditory images produce collective subjects.

    From the shadow theater of the 17th century, through the spectacle of the phantasmagoria (1763–1837), the logic of the Magic Lantern (1870), the invention of the cinematograph (1895) and the avant-garde of the early 20th century, we arrive at the contemporaneity of historiographies and debates on the art of animation (Lucena, 2002), illusionism and immersiveness (Grau, 2007), video art, video installation (Rush, 2006), expanded cinema (Youngblood, 1971; Rieser, 2002) and their perpetual actualizations through visual panoramas and/or soundscapes referenced under various terms: Fulldome and assorted 360 projection systems (virtual reality and beyond), live cinema (or VJing), videomapping, multimedia installation, mobile projection, video sculpture, luminous graffiti, non-linear projection, holographic projection, videowall compositions, etc—terminologies which explain the various projection practices and their relational technologies, that explore multiple design aesthetics to immersion, navigation and/or interaction—technē, aesthesis, praxis.

    Between an over abundant exposure of technical images and montage as the basis for all artistic practice, emergent technologies intensify the aspects of composition, reproduction and exhibition, while conveying the necessary referents to new languages and to their modes of production, perception and staging as previously indicated a century ago by Siegfried Kracauer (1889-1966), Walter Benjamin (1892-1940), Dziga Vertov (1896-1954) and Sergei Eisenstein (1898-1948), among others.

    In terms of sound art, audiovisual artists musically revere the articulations between silence, noise and/or the spoken word. From concrete composers to electro-acoustic performers like John Cage (1912-1992), Karlheinz Stockhausen (1928-2007), Robert Moog (1934-2005) and Laurie Anderson (1947-), these artists, along with contemporary electronic music creators such as Amon Tobin and Xerxes de Oliveira, saw their possibilities expanded in light of the "tuning of the world”—between soundscapes, listening and acoustics of objects and environments in this art of time (Schafer, 2001; Wisnik, 2017) in communion with remix practices, such as sampling, looping, scratching, etc. both abroad (Dworkin, 2003; Lessig, 2008; Navas, 2012) and in the Brazil of “sound systems” (Lemos, 2008).

    When exploring different topologies—such as blind walls, CAVEs, domes, planetariums, galleries, and various objects, bodies, vegetation, etc—different artists investigated multiple aspects of the activity of design (Artigas, 2015). For example, while Hélio Oiticica, Bill Viola, Pipilotti Rist, Eder Santos, Willian Kentridge, Eija-Liisa Ahtila and Douglas Gordon work immersively in their installations with multiple screens in gallery black-boxes, artists such as Grahame Weinbren, Myron Krueger, Jeffrey Shaw, Peter Weibel, Golan Levin, Ryoji Ikeda, Lucas Bambozzi, Sandra Kogut and the women’s collective mm não é confete, have instigated their spectators to become participants, interactors and even interactants (Neville d'Almeida, Julio Plaza, Lev Manovich and Bill Seaman) in order to interact on various levels with the works—a call to action from the subject. If artists like Anthony McCall, James Turrell, Marc Lee and Joan Jonas perform other modes of spatial interference in galleries, and Daniela Kutschat, Studio Azzurro, teamLab and Tony Oursler work on projections usingthe CAVE logicof multiple screens on black boxesall the way to video sculptures, artists like Rafael Lozano-Hemmer and Roberta Carvalho, among others, explore everything from relational architectures to interventions in urban or natural landscapes.

    Thus, we propose a special issue for contributions that shed light on methods, structures and practices based on these experimentations and others, related to reflections on the observer and perception (Crary, 2013) or the nature of the viewer in projection (Mondloch, 2010; Simanowski , 2011). In these innumerable abstract machines and artistic practices (Machado, 2001) among the multiple media that are associated through socio-aesthetic experiences and the operations that propagate in the act of projection, we question:

     

    What operations permeate the act of projecting realities?

    For each modality, a projection?

    How are images and sound articulated between observers and/in different media?

     

    When we conceive the act of projection in terms of design (Flusser, 2007), we deviate from identity models and technological determinisms and turn to the relational aspect that constitutes all artistic practice; we turn to the particular modus operandi to the creative process of each projection as the experiential in visual and auditory imagery. The act of projecting extraordinary worlds that we create according to our techno-aesthetic experiences—image/interface/device/projection—is always changing between representation and control through the action of the subject (somatic-spatial activities in the act of projection, of contemplation and participation in interactivity—the game of gestures and gazes of the public).

    Therefore, in addition to the fetishized technological excess (the digital wizardry of the three-dimensional computerized image), we also seek contributions regarding immersiveness, participation or interactivity proposed by topological experiences of projections in architecture: specifically in terms of projection vaults, projectors and sound systems for fulldomes, as well as those characteristically treated as urban interventions and beyond.

    We invite researchers and/or artists to this special issue of Vazantes Journal, “Multi-channel Projection Arts: Sound & Visual Operativities”, to contribute problematizations, experiments and reflections pertinent to these practices in the field of Art, yesterday and today, in order to expand dialogues of knowledge between visual and sound processes in projection:

    .Projections in planetariums, dome architectures or specific locations—the observer's place in simulacra of projection (e.g. fulldome, 360, VR - virtual reality, CAVE, etc.)

    .Political appropriation of urban space—urban projections as citizen resistance(e.g. videomapping, luminous graffiti, mobile projections, VJing - video jockey, etc.)

    .Installations of continuous projections in exhibition spaces (e.g. exhibition cinema and loop logic, data visualization, AI - artificial intelligence, etc.)

    .Sound projection as superseding the imagistic (e.g. sound landscape, acoustic installation, stereophony, sound design, etc.)

    .Collective and collaborative practices in the activity of projection as design (e.g. collective projects and processes for projection in various audiovisual devices.)

    .Architecture and the topology of space in projective deconstructions (e.g. video sculpture, videowalls, video projection, etc.)

    .The relational space of audiovisual projections (e.g. telematic performances, happenings, etc.)

    .Interactive aesthetics in post-cinematography (e.g. remote control displays in the hands of the audience, video installations or sensorial media, projections with assorted sensors for real-time data manipulation, etc.)

    .Aesthetic and/or social aspects of expanded cinema—history, experiments and reflections (e.g. motion graphics, visual music, live cinema, experimental cinema, etc.)

    .Cinematographic timeframes of black-boxes in white cubes (e.g. multiple screens, video installations, etc.)

    .Stereoscopic visuals and sound in different audiovisual media (e.g. kinect typography, visual music, experimental cinema, etc.)

    .Other environments for asymmetric and/or experimental projections—online issues between multiple audiovisual media (e.g. gifs, stories, youtubers, etc.)

    Deadline for Submissions: AUGUST 12, 2020

    :: Proposals should be in English, Portuguese or Spanish::

    Guidelines for submission:

    http://periodicos.ufc.br/vazantes/about/submissions#onlineSubmissions

    Revista Vazantes is a peer-reviewed journal based in the Postgraduate Program in the Arts at the Federal University of Ceará (UFC/Brazil), featuring two issues per year. We invite the submission of scholarly and artistic work in English, Spanish, or Portuguese, aligned to any of the following bibliographic or non-bibliographic formats:

    -Visual essays

    -Audio essays

    -Experimental writings

    -Academic articles 

    -Verbal essays

    -Interviews

    -Book, Film, and Performance Reviews

    -Artistic experiments

    -Multi-genre interventions

     

    Guest Editor: Andréia Machado Oliveira (UFSM).

    Editor-in-Chief: Milena Szafir (UFCE).

    Editorial Team: Jo A-mi (UNILAB), Patricia de Lima Caetano and Deisimer Gorczevski (UFC).

    For further questions, please contact the editorial team at revistavazantes@gmail.com as well as the current issue editors directly on their e-mails: andreiaoliveira.br@gmail.com or profmilena@manifesto21.tv 

    Read more about Multi-channel Projection Arts + Frontières du projeter

  • Fronteiras do projetar: diálogos entre arte e design (REVISTA VAZANTES v.4, n.2)

    2020-06-12

    CHAMADA PARA PUBLICAÇÃO 2020 :: Propostas serão aceitas em Português, Espanhol ou Inglês ::

    http://www.ppgartes.ufc.br/wp-content/uploads/2020/06/CHAMADA-Vazantes-2020-2design1.pdf

    Fronteras del proyectar: diálogos entre arte y diseño

    Frontières de la conception: dialogues entre l’art et le design

    Prazo para submissão de propostas: 12 de AGOSTO de 2020

    Fronteiras do projetar: diálogos entre arte e design

    Editora convidada ao dossiê: Claudia Marinho (DAU/UFC).

    Coordenadora Editorial: Milena Szafir (UFCE). 

    Equipe de editoria: Patricia de Lima Caetano (UFC), Deisimer Gorczevski (UFC) e Jo A-mi (UNILAB)....

    Em meio ao presente distópico da pandemia em que vivemos no ano de 2020, propomos um convite à reflexão sobre as vidas permeadas pelos fluxos e refluxos das “coisas do mundo” - desde uma perspectiva da expansão do design em direção à arte e vice-versa.

    …

    Read more about Fronteiras do projetar: diálogos entre arte e design (REVISTA VAZANTES v.4, n.2)

  • Artes da projeção em múltiplos canais: operacionalidades visuais e sonoras (REVISTA VAZANTES v.4, n. 1)

    2020-06-12

    CHAMADA PARA PUBLICAÇÃO 2020 :: Propostas serão aceitas em Português, Espanhol ou Inglês ::

    http://www.ppgartes.ufc.br/wp-content/uploads/2020/06/CHAMADA-Vazantes-2020-1-V1s.pdf

    El arte de la proyección multicanal: operaciones visuales y sonoras 

    Multi-channel Projection Arts: Sound & Visual Operativities

    Prazo para submissão de propostas: 12 de AGOSTO de 2020

    Artes da projeção em múltiplos canais: operacionalidades visuais e sonoras

    Editora convidada ao dossiê: Andréia Machado Oliveira (UFSM).

    Coordenadora Editorial: Milena Szafir (UFCE). 

    Equipe de editoria: Patricia de Lima Caetano (UFC), Deisimer Gorczevski (UFC) e Jo A-mi (UNILAB).

    As projeções não cessam de se propagarem, seja porque expandiram-se para além dos cubos brancos das galerias ou dos escurinhos dos cinemas; seja porque os meios tecnológicos emergentes têm facilitado as produções de imagem, de som e ambas de artefatos audiovisuais. Contudo, principalmente, porque talvez já chegamos às fábulas futurísticas de écrans diversos a emoldurarem nossas poéticas: dispositivos habituais, como aparelhos celulares ou relógios digitais, são também emissores de amplificados sinais visuais, além de sonoros e experiências de anteparos através de água, fumaça e vapor, vidraças, tecido, vestíveis, utensílios, etc.

    ...

    Read more about Artes da projeção em múltiplos canais: operacionalidades visuais e sonoras (REVISTA VAZANTES v.4, n. 1)