Issue 20 ("Ecologies") and new review solicitations
Call for Papers Date:
InVisible Culture: An Electronic Journal for Visual Culture invites papers that consider “ecologies” for Issue 20. We imagine ecologies primarily as organizational spectrums. Political philosopher Jane Bennett argues that attuning our critical sensibilities to the animism of images and objects might “induce a stronger ecological sense.” Similarly, art historian David Joselit suggests that relations between images amount to ecologies of form. Following such thinking, this call for papers signals a desire to flesh out the ecological metaphor vis-à-vis image relations. How do images generate connections? How does an ecological engagement with the visual world alter definitions of life?
This issue theme explores the complex relations of nature and culture, image and thing, subject and object, rooted in liveliness. Visual culture scholars have long asserted that things lead social lives, linking up and separating as they traverse networks. Yet notions of life – of objects and things, their power to define and destabilize us as subjects, as well as the liveliness of nature – animate networks, creating ecological systems of thingly relations. How can we understand the ‘ecological’ turn in contemporary visual culture not merely in relation to crisis and catastrophe, but as potentially generating new ways of thinking about the relationship between images and nature? More than conceiving ‘the ecological’ as exclusively biological or solely tied to the environmental movement, how can this term itself animate visual culture? Moving beyond an entrenched discourse of “media ecologies” in media studies, Issue 20 seeks to explore the formation of ecologies in a way that is more attuned to the generative capabilities of images, networks, and things.
Topics could include:
thing theory and ecology; habitats and dwellings; seriality, collage, montage as ecological frameworks; translations between media; circulation and relationships between modes of image production; liveliness vs. the living; figures of the natural; posthumanism; thinking the organic outside of “the natural”; systems and network theory in relation to the ecological metaphor; the visual culture of science; organization and “the natural”; grids, archives, and morphologies
Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to ivc[dot]rochester[at]gmail[dot]com by March 15th, 2013 at 11:59pm EST. Inquiries should be sent to the same address.
In addition to written materials, Invisible Culture is for this issue accepting work done on other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. For more details concerning acceptable formats, visit: http://ivc.lib.rochester.edu/contribute/
The journal also invites post submissions to its blog feature, which will accommodate more immediate responses to the topic of the current issue. For further details or submission ideas, contact us with “blog submission” in the subject at http://ivc.lib.rochester.edu/contact/
IVC seeks writers for 1000-1500 word book reviews. For books of interest, consult our list of reviewable books at: http://ivc.lib.rochester.edu/contribute/reviewable-books/
IVC welcomes substantive and insightful film reviews from emerging and established scholars that address aesthetic and/or sociocultural content of a particular film, a filmmaker’s oeuvre, or series of films. The journal accepts both contemporary and historical works of film criticism, and submissions should be between 1000 and 1500 words. Submissions that engage with current academic and popular discourses in film, media, visual and cultural studies and place particular aspects of film and filmmaking within broader social, political, and historical contexts are especially encouraged.
IVC also welcomes submissions that critically consider production, distribution, exhibition, organizing, curating, archiving, and research within film and media studies. IVC welcomes critical assessments of museum and gallery exhibitions from emerging and established scholars that address the organization, presentation and curatorial rationale of a particular exhibition. Exhibition reviews should also consider how viewers engage with the exhibition, focusing on specific artworks and themes within the exhibition. Comparative reviews and critical essays on histories, theories, and practices of artmaking, exhibition, and curatorial models – biennials, retrospectives, social practice in the public sphere, politics of display and so on – are also welcomed. As such, exhibition reviews that engage with contemporary debates in art history, visual culture, museum studies, and material culture are especially encouraged.
Only original, previously unpublished submissions will be considered. Book, film, and exhibition reviews submissions are published on a rolling basis within the concurrent IVC issue. Submissions should follow IVC style guidelines. Interested reviewers should contact our reviews editors by visiting http://ivc.lib.rochester.edu/contact/
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