Dear all,
This *Call for Papers* might be of your interest.
“*Artivism*: poetics and political performances on streets
and on web”
*Coordinators: Paulo Raposo (ISCTE-IUL, Portugal); John Dawsey (USP,
Brazil)*
*Deadline for submission of papers: 31.1.2015*
Consensus regarding the uses of *artivism*, as a conceptual neologism, is
still unstable in both arts and social sciences. The term appeals to
connections which are as classical as they are prolix and polemical,
between arts and politics, and stimulates potential destinies of arts as
acts of resistance and subversion. The aesthetic and symbolic nature of
*artivism* amplifies, sensitizes, reflects and interrogates themes and
situations in given social and historical contexts, with a view towards
change and resistance. *Artivism* also gains expression as a term for
artistic rupture – by the proposition of alternative settings, landscapes
and ecologies for artistic fruition, participation and creation.
The utilization of countless languages and platforms so as to comment and
express world views, and produce critical thinking, multiplies the spectrum
of *artivism* by which it is possible to intervene poetically and
performatively in the political field: street art, direct action,
performance, video art, radio, *culture jamming*, *hacktivism*,
*subvertising*, urban art, manifestos or manifestations or civil
disobedience, among others. We have recently observed massive popular
mobilizations and insurgent performative actions seeking plural demands,
awakening new geometries of citizenship and political participation,
inventiveness, and creativity.
A question is hereby raised in regard to the type of articulation which
exists between *artivism* and the so-called *novíssimos *(new new) social
movements (Gohn 2009; Raison 2009; Juris et all 2011) or the emergence of
collective citizen groups wishing to participate more actively in decisions
concerning their lives. We will be receiving articles capable of addressing
the following questions: How does *artivism* help establish the right to
“reclaim the city” (the *polis*) or emancipate counter-hegemonic or
counter-cultural discourses (Harvey 2008, Lefèvre 1968, Rancière 2005)? In
the analysis of *artivism*, how does one take into account the specificity
of a form of political insurgence which, notwithstanding its lack of a
plan, properly speaking, of social transformation, serves as a spark in
explosive situations to begin to live one’s dreams (Arditi 2012, Holston
2007)? What connections may be traced between poetics and performances in
public and in cyberspace (Castells 2009, Downing 2001, Reguillo 2005)? Or
how does *artivism* find in the digital world a friendly territory to
become viral and simultaneously to constitute an archive of performative
political documentation (Taylor 2003)?
Information on the journal's different section and submission guidelines
see:http://cadernosaa.revues.org/236
Proposals must be send to: [log in to unmask]
--
Paulo Raposo
Professor Departamento de Antropologia do ISCTE/IUL, Portugal
Investigador do Centro em Rede de Investigação em Antropologia (CRIA)
http://www.cria.org.pt
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