Linha do Horizonte  (Horizon Line )     

Description
Linha do Horizonte is a new magazine (calling now for it’s n 3) which intends to create a forum for discussing all subjects relating to drawing, images, visual communication, graphic representation, and concerns of graphic conceptualization. It also aims to be a connecting link between various international institutions and publications associated with the teaching of or investigation into drawing.
Linha do Horizonte is published by the Department of Drawing and Visual Communication of the Architecture Faculty of the Universidade Técnica de Lisboa (Technical University of Lisbon, Portugal).
“Drawing is a direct registration of visual perception as well as a way to investigate the perceived visual reality, with a drawing created at almost the exact moment of visual perception. It is a specific form of communication which bypasses verbalization. Via its visual language, drawing mobilizes conceptual intelligence as well as sensuality, creating communicative processes which integrate logical-deductive thought while at the same time embracing subjective and intuitive thought.”
The magazine is published with all articles printed in both the author’s native language and in English. Submitted articles are evaluated by the magazine’s Editorial Committee, comprised of investigators involved on relevant areas from among academics and prominent figures in Portugal, the U.K., Spain, and Italy.
Of the two annual publications, one shall be thematic.
The present call for articles is the for “Linha do Horizonte”, Nº 3. 

Candidacy and Revision of Proposed Articles
The magazine shall consist of the articles which have been accepted by the scientific committee, in a double-blind review, in which the judges of the articles will not know by whom they were written, nor the authors by whom their article was reviewed. In the event that one judge accepts and the other judge rejects a proposed article, the article shall be subject to evaluation by a third judge.

Call for articles for Linha do Horizonte Nº 3
For the Nº3, the theme shall be “Copy/Paste”. 
Copying has long accompanied artistic conception, and although strictly speaking copying occurs only when a previously existing drawing is imitated to produce another which is identical, however, the general idea that a drawing is a “copy” of reality is indissociable from the idea of life drawing.
Actually, in “life drawing”, exact copying—again strictly speaking—never occurs. The transformations involved are so many: from three-dimensional volume to the drawing’s bi-dimensionality, from the natural scale to another, typically much reduced, scale, as well as  transformations via the “interpretation” of contours, simplification or accentuation of what is observed…and so forth.
And yet, the idea of copying remains, as a vestige of the concept of mimesis, on the one hand, and, on the other—in the typical notion of naturalist representation—in the facility with which our brain can identify the subject of a drawn representation from a mere collection of lines and marks.
Copying refers also, as just mentioned, to the idea of mimesis. In the end, perhaps we are copying the paths of synapses in our brain, and a drawing, in fact, shows the history of our perception of the represented object(s).
“Paste”, on the other hand, pertains to the practices of collage and assemblage, where depictions are not formed sequencially (as in the traditional method of drawing), but by using groups of images wherein either the assemblage is in itself an act of drawing, or the group of pre-existent images and hand-drawn images are interconnected in the final object.
Last but not least, we cannot forget that in a drawing using digital tools, any contextualization of the expression “Copy/Paste” becomes unneccessary.
Thus it is suggested that articles to be proposed approach these ideas of the relationship between the observed and its imitation and repetition in a completely free and open way. “Copy/Paste” should be understood as a broad theme, including any other related areas.

Regulations
Proposed articles should be submitted by the author along with the English translation, as per the established norms.
Please state that any images used are legally publishable, without any copyright infringement.
Articles should be sent in a file labeled with the author’s name and the title of the text, compressed (zip file), and including:
- A brief biography (English and native language)
- A summary of the article (English and native language)
- Two separate folders, one with the full text of the article (English and native language), in MS Word, and the other with images, along with their captions, in JPEG format. Images should be sent at 300 dpi, in RBG and TIFF formatting.
Proposed articles should be sent to both of the following two email addresses:
[log in to unmask] 
Deadline for Submission of Articles
All articles should be submitted on or before October 12th, 2012.
EDITING GUIDELINES FOR THE SUBMISSION OF PAPERS
(GABINETE EDITORIAL E DE COMUNICAÇÃO - FAUTL PUBLICATIONS)

*


I. GENERAL GUIDELINES

1. Papers must be submitted both in the author's native language and in English (in English alone, if that is the author's native language), using Word for Windows, and in digital format.

2. The English version must comply with the orthography and other rules of use of British English.

3. Authors must submit each version (native language and English) in separate documents. Author's identification must be previously deleted from Properties.

4. Papers must not exceed 15 pages (including notes, bibliography, pictures, etc.).

5. Papers must include a title in bold, Times New Roman, size 12, centered.

6. The author's identification in the paper must be as follows:
Name(s) SURNAME(S), Academic title, Academic institution of origin, email address.
Example: Pedro António JANEIRO, Professor of Architecture, Auxiliary Professor at the F.A.U.T.L., [log in to unmask] (Times New Roman, font size 12, centred, immediately below the title).

7. The author's identification should be followed by a brief biography of up to 50 words.

7. The body of the paper must be written in Times New Roman, font size 12, 1,5 spacing, margins of 2 cm (top, bottom, left and right), justified. 

8. Documents with manual hyphenation or formatted with Word's Styles will not be accepted.

9. The submitted papers will be considered final; no alteration to their contents will be allowed after submission. 



II. ABSTRACT

1. The body of the paper must be preceded by an abstract of up to 150 words. 

2. The abstract must include a minimum of 3 and a maximum of 6 keywords.

3. When submitting a paper for a comprehensive publication the specific area of expertise should be mentioned (ex: Drawing and Visual Communication; Architecture; History and Theory of Architecture; Design; Industrial Design; etc).


III. ORTHOGRAPHY AND OTHER CONVENTIONS

1. Whenever making a quotation, both in the body of the text and in footnotes, always use inverted commas “...” and never «...».
1.1.	The single quotation mark is used to indicate a quotation within a quotation “ '…' ”, with no exceptions.
1.2.	Emphasis on certain words or double meaning must be indicated through the use of inverted commas (“”) and never italics or bold.

2. Quotations made in a language other than English must be italicized. 
Example: “Los objetos no existen como realidad empírica, sino como seres de razón.” 

3.  "Etc.", at the end of a sentence, is never followed by a full-stop (period mark).

4. The use of the ellipsis (…) at the end of a sentence is never followed by a full-stop (period mark). 

5. Initialisms should not have period marks in between initials (USA and not U.S.A., EU and not E.U.); periods between initials should be reserved for the abbreviation of proper nouns (L. Wittgenstein).

6. Acronyms and initialisms have no plural (PALOP and not PALOP's, NGO and not NGO’s).

7. Non-English terms usually not translated, such curriculum, Zeitgeist, coup de force, must be italicized (marketing, software, curriculum, self, enjeu), but never placed within inverted commas.

8. Names of organizations and institutions must be written without resource to italics, bold, underline or inverted commas and only with an initial capital, exactly as with any other proper noun. 

9. After a colon (:) do not use a capital letter, even when it determines the end of a paragraph and a dash will follow (as when enumerating items). In this case, each item should be separated by a semi-colon (;).

10. When using inverting commas, always use “…” or '…' and never «…».
1.1. The single quotation mark is used to indicate a quotation within a quotation “ '…' ”, with no exceptions.
1.2. Emphasis on certain words or double meaning must be indicated through the use of inverted commas [“”].

11. Whenever you need to use  a dash, do use one (and not an hyphen). Alternatively you can use two consecutive hyphens (--). This is the only case where the use of two consecutive hyphens is justified. 

12. The titles of films or books, or foreign words, must be written in italic, not placed within inverted commas [“”].

13. Avoid capital letters! These should be used exclusively when writing proper nouns  (people, places, countries, etc.) ; so as not to  anthropomorphise concepts, it is even preferable to write “state” instead of “State” (and evidently “family” or “school” and never “Family” or “School”); and never employ consecutive capitals unless for acronyms.

14. Where there is numeric reference to percentages, employ the percent sign instead of spelling it out (25% instead of 25 per cent).

15. Decades and years must be written numerically and not spelled out (“the '40s and not “the forties” and “the decade of the '60s” and not “the decade of the sixties”).

16. When using numbers greater than one thousand use a dot (thousands separator) to separate the thousands (example: 12.500 and not 12 500).

17. A comma should separate the integral from the fractional part of the number (decimal mark) (example: 1,43).

18. Whenever using the greater than (>) and less than (<), these should be written in duplicate (>> or <<).


IV. QUOTATIONS, BIBLIOGRAPHICAL REFERENCES AND BIBLIOGRAPHY

1. Quoted text must be within inverted commas and never underlined, in bold or italics, unless the quoted text itself makes use of any of the aforementioned. 
2. Whenever the end of the quotation coincides with the end of the paragraph, the full-stop (period mark) should follow the inverted commas that mark the closing of the quoted portion of text. If the quotation occupies the whole paragraph, the inverted commas should open and close the paragraph (including the full-stop) and no additional full-stop after the closing inverted commas is required. 

3. Whenever the excerpt the author intends to quote exceeds four lines, the quotation must occupy a paragraph of its own, with no resource to italics or quotation marks, but using Times New Roman size 10 and a 3 cm margin on both sides.

4. Quotations, bibliographical references and bibliography should follow the Harvard System of Referencing Guide (http://libweb.anglia.ac.uk/referencing/harvard.htm). 


V. FOOTNOTES 

1. In footnotes use Times New Roman, font size 10, single spacing, justified.

2. Notes must be inserted at the bottom of the page.
3. Avoid long footnotes, which hinder the fluidity of reading. Always make sure whether a footnote's contents might not harmoniously fit in the body of the text instead.


VI. FIGURE IDENTIFICATION AND ITS PLACE WITHIN THE PAPER

1. Figure captions must be presented as follows:
Figure nº , Author's SURNAME and name, Italicized title, date, location.

2. All figures should also be sent as JPG or TIFF files (minimum resolution of 300 dpi) and named as IMAGE 1, IMAGE 2, etc, according to the order of their appearance in the paper. Bear in mind the legal issues involved in the reproduction of images protected by copyrights.

3. As far as the giving of titles or captions is concerned, “figure” stands for every diagram, graph, photo, drawing, map, illustration and others of similar nature, while “table” stands for all charts contain numeric or quantitative data.

4. Whenever a graph or a table ensue from the use of quantitative data (numerical series, for instance), these figures must be provided by the author, preferably in a document containing the calculus sheet employed in the graphic representation.