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Call for Papers2018-06-12T19:24:46+00:00

2019 Highlighted Theme

Latin America from the Image: the Historical Narrative and Visual Culture

Although in historical narration it is very easy to recognize the use of the written document, with the purpose of reconstructing the past, there are efforts aimed at experimenting with visual resources. There has been an interest in analyzing these sources as productions elaborated and disseminated with intentionality, in certain periods and spaces. Studies on visual culture, by the way, have provided theoretical and methodological basis, to experiment with material artifacts with symbolic, aesthetic, political-ideological, ritualistic purposes, which seek, precisely, to attract the gaze. Without being limited to them, this is why research on cartography, photography, film, television, cyberspace, surrealist and conceptual art and architecture, among others, takes priority.

In this way, this congress proposes a dialogue between history and visual culture, in order to reflect “visually” issues applicable to that great reality called Latin America, such as political propaganda, the configuration of collective memories, the construction of the nation, the articulation of identities and subjectivities, among others, using the principle of scrutinizing the image from production to reception and consumption. This effort will have three central goals:

1. reflect on the possibilities of the image to give visibility both to the generalities and to the particular aspects of human actions
2. provide disciplinary insights that are not restricted to the interpretation of the historian and
3. demonstrate the relationship between the historical relevance of the image, the pertinence of visual culture and the revisionist nature of historical studies.

Recurring Themes

Image and Society

  • Mass media. Culture industry.
  • The society of the spectacle.
  • The phenomenon of ‘second screen.’ Multitasking viewers.
  • Media influence and political world.
  • Visual sociology. Visual dimensions of social life.
  • Cultural dimensions of the image: race, ethnic origin, gender, age, sexuality, bodies.
  • Advertising. Rhetoric of the image.
  • Propaganda: forms, psychological mechanisms, and political agendas.
  • Global and local images.
  • Galleries. Museums. Achaeological sites.
  • Cultural heritage.
  • Fashion. Design. Cosmetics.
  • Body image. Cosmetic surgeries. Eating disorders.
  • The impact of social media on male/female body image.

The Image Industry

  • Cultural policies.
  • Film industry. Film festivals.
  • Painting and sculpture exhibitions.
  • Auction houses. Agents and agencies.
  • Local and international trade.
  • Digital distribution platforms. Streaming.
  • Self-publishing and self-promotion. Youtubers.
  • Digital devices: smartphones, tablets, augmented reality.
  • Media and education. Edumedia.
  • New business models and new processes.
  • Copyright and intellectual property.
  • Graphic design tools.
  • Interactive multimedia content.
  • Video games.

Visual History and Philosophy

  • History of art.
  • Philosophy of art. Aesthetics.
  • The visible and the invisible.
  • Images and material culture.
  • Technologies of the image.
  • Analyzing images.
  • Iconographic documents. Image archives.
  • Image and social networks. Images on the cloud. Internet.
  • Webcams. Privacy and surveillance.
  • Intellectual property rights. Creative Commons. Reusability.
  • Authorship. Co-authorship. The author-function concept. Death of the author?
  • Elements of the image: perspectives, colors, lines, sight.
  • Visual ethics I: religious images, philosophical images and metaphors, photo and video journalism, filmaking.
  • Visual ethics II: ethics of visual production, ethics of visual reception. Codes of ethics and self-regulation.
  • New visual ecologies. New philosophies.

Visual Culture

  • The substance of the image.
  • Visual form vs visual function.
  • Static images: photography, painting, drawings, comics, sculptures.
  • Dynamic images: cinema, TV, videos, documentaries, animation.
  • Visual rhetoric: charts, paintings, diagrams, webpages, advertising, movies, newspapers, magazines, photographs, newsreels.
  • Explicit images. Hidden messages. Ways of seeing.
  • Visual learning. Visual literacy. Interpreting, negotiating, and making meaning from images.
  • Visual fine arts: drawing, painting, sculptures, photography, video, cinema, ceramics.
  • Visual applied arts: industrial design, graphic design, fashion design, interior design, decorative art, architecture.
  • Visual communication. Semiotics.
  • Visual storytelling: channels, archetypes, emotions, and engagement.
  • Transmedia storytelling.
  • Visualization technologies.
  • Geographical Information System (GIS). Conceptual maps.
  • Digitization and visualization of cultural objects. 2D and 3D.
  • Medical images. Images in/of science.

Sessions

Communication

This type of session is best suited for works about investigations already undertaken or academic papers. The authors will present a summary of their work (purpose, procedures, results or products). The formal oral presentation of the work should be limited to 15 minutes. Presentations will be grouped according to the theme or perspective of these thematic sessions (which can be 60, 75 or 90 minutes) with a question/answer time and group discussion after all presentations. All rooms will be equipped with projectors for presentations in PDF or PPT.

Poster

This format is ideal for presenting the preliminary results of work in progress or for projects that are rendered in posters or panels. In these sessions (usually about 40 minutes), the authors have the opportunity to exhibit their work and participate in an informal discussion with other attendees. Each poster must include a brief summary of the purpose and work procedures. The dimensions of the poster should not exceed 85 cm wide by 110 cm long.

Workshop

This type of session is best suited to teach or demonstrate certain procedures, skills or techniques. Some considerations that are appropriate for this session format are for example: a demonstration, performance, presentation, discussion or dialogue with the public. These sessions are usually scheduled for about 30 minutes and should be structured so that any explanatory information or input is provided and there is sufficient time for interaction with the public time, participation and involvement.

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