Coordenado pela Profa. Glaucia Vilas Boas. Palestra de abertura: Profa. Maria Lúcia Bueno.
quinta-feira, 25 de março de 2010
Seminario da Cultura e da Imagem da UFRJ (8 e 9 de abril)
Coordenado pela Profa. Glaucia Vilas Boas. Palestra de abertura: Profa. Maria Lúcia Bueno.
segunda-feira, 22 de março de 2010
The Life and Work of Jane Webb Loudon - Women & Science in the Nineteenth-Century: Science Fiction and Science Education
The Life and Work of Jane Webb Loudon
Women & Science in the Nineteenth-Century: Science Fiction and Science Education
Leeds Trinity University College 27th-28th June 2011
Call for Papers
Jane Webb Loudon (1807-1858) is a neglected figure of interest to a range of research areas including women’s professional writing, the promotion of science and women’s education and speculative fiction. She is best known for The Mummy! A Tale of the Twenty-Second Century (1827) and Gardening for Ladies (1840). The conference intends to explore the life, work and example of Jane Webb Loudon in the context of women and science in the nineteenth century. It therefore seeks papers from various disciplinary perspectives on fictional and non-fictional contributions by women to the formation of popular scientific awareness during the nineteenth century.
We welcome proposals for contributions on the following topics:
Women’s Science Fiction
Victorian Science Fiction
Women & Scientific Research
Popular Science
Jane Webb Loudon’s Circle
Women’s Magazines
Visualising Social Change
Botany and Horticulture
Children’s Education
Women’s positions and voices within late Victorian science fiction 1850-1910
Nineteenth-century speculative writing Science & Social Reform
Scientific Writing & the Periodical Press
Class & Entry to the Professions
Women’s Education and Science in Popular Fiction
Women’s Gardening
Vivisection Represented in Women’s Writing
Gender debates in Science Fiction
Keynote speakers, Matthew Beaumont, Alan Rauch, Andy Sawyer, Ann B. Shteir
Women & Science in the Nineteenth-Century: Science Fiction and Science Education
Leeds Trinity University College 27th-28th June 2011
Call for Papers
Jane Webb Loudon (1807-1858) is a neglected figure of interest to a range of research areas including women’s professional writing, the promotion of science and women’s education and speculative fiction. She is best known for The Mummy! A Tale of the Twenty-Second Century (1827) and Gardening for Ladies (1840). The conference intends to explore the life, work and example of Jane Webb Loudon in the context of women and science in the nineteenth century. It therefore seeks papers from various disciplinary perspectives on fictional and non-fictional contributions by women to the formation of popular scientific awareness during the nineteenth century.
We welcome proposals for contributions on the following topics:
Women’s Science Fiction
Victorian Science Fiction
Women & Scientific Research
Popular Science
Jane Webb Loudon’s Circle
Women’s Magazines
Visualising Social Change
Botany and Horticulture
Children’s Education
Women’s positions and voices within late Victorian science fiction 1850-1910
Nineteenth-century speculative writing Science & Social Reform
Scientific Writing & the Periodical Press
Class & Entry to the Professions
Women’s Education and Science in Popular Fiction
Women’s Gardening
Vivisection Represented in Women’s Writing
Gender debates in Science Fiction
Keynote speakers, Matthew Beaumont, Alan Rauch, Andy Sawyer, Ann B. Shteir
artigo "Firefly Femmes Fatales: A Case Study in the Semiotics of Deception"
O Prof. João Queiroz (PPGCOM-FACOM e BI-IAD) acaba de publicar [em colaboração com o biologo Charbel ElHani, e Frederik Stjernfelt] o artigo "Firefly Femmes Fatales: A Case Study in the Semiotics of Deception". trata-se de um estudo sobre MIMICRY e DECEPTION, em eventos de comunicação animal.
http://www.springerlink.com/content/x0r28243723863l4/
Abstract
Mimicry and deception are two important issues in studies about animal communication. The reliability of animal signs and the problem of the benefits of deceiving in sign exchanges are interesting topics in the evolution of communication. In this paper, we intend to contribute to an understanding of deception by studying the case of aggressive signal mimicry in fireflies, investigated by James Lloyd. Firefly femmes fatales are specialized in mimicking the mating signals of other species of fireflies with the purpose of attracting responding males to become their prey. These aggressive mimics are a major factor in the survival and reproduction of both prey and predator. It is a case of deception through active falsification of information that leads to efficient predation by femmes fatales fireflies and triggered evolutionary processes in their preys’ communicative behaviors. There are even nested coevolutionary interactions between these fireflies, leading to a remarkable system of deceptive and counterdeceptive signaling behaviors. We develop here a semiotic model of firefly deception and also consider ideas advanced by Lloyd about the evolution of communication, acknowledging that deception can be part of the explanation of why communication evolves towards increasing complexity. Increasingly complex sign exchanges between fireflies evolve in an extremely slow pace. Even if deceptive maneuvers are played out time and time again between particular firefly individuals, the evolution of the next level of complexity—and thus the next utterance in the dialogue between species—is likely to take an immense amount of generations.
Keywords Communication - Deception - Semiotics - Firefly femmes fatales - Evolution
http://www.springerlink.com/content/x0r28243723863l4/
Abstract
Mimicry and deception are two important issues in studies about animal communication. The reliability of animal signs and the problem of the benefits of deceiving in sign exchanges are interesting topics in the evolution of communication. In this paper, we intend to contribute to an understanding of deception by studying the case of aggressive signal mimicry in fireflies, investigated by James Lloyd. Firefly femmes fatales are specialized in mimicking the mating signals of other species of fireflies with the purpose of attracting responding males to become their prey. These aggressive mimics are a major factor in the survival and reproduction of both prey and predator. It is a case of deception through active falsification of information that leads to efficient predation by femmes fatales fireflies and triggered evolutionary processes in their preys’ communicative behaviors. There are even nested coevolutionary interactions between these fireflies, leading to a remarkable system of deceptive and counterdeceptive signaling behaviors. We develop here a semiotic model of firefly deception and also consider ideas advanced by Lloyd about the evolution of communication, acknowledging that deception can be part of the explanation of why communication evolves towards increasing complexity. Increasingly complex sign exchanges between fireflies evolve in an extremely slow pace. Even if deceptive maneuvers are played out time and time again between particular firefly individuals, the evolution of the next level of complexity—and thus the next utterance in the dialogue between species—is likely to take an immense amount of generations.
Keywords Communication - Deception - Semiotics - Firefly femmes fatales - Evolution
sábado, 20 de março de 2010
Joao Queiroz & Daniella Aguiar: guest editors Applied Semiotics
O Prof. João Queiroz, do mestrado em Comunicação (FACOM) e do BI em Artes (IAD) da UFJF, e Daniella Aguiar (doutoranda UERJ) são guest editors do último número Numéro 24; Volume 9) da revista APPLIED SEMIOTICS (Toronto University) sobre Tradução e Tradução Intersemiótica: chass.utoronto.ca/french/as-sa/ASSA-No24/
quinta-feira, 18 de março de 2010
Conference Impure Cinema: Interdisciplinary and Intercultural Approaches to World Cinema, 2-5 December 2010, Leeds Art Gallery
CALL FOR PAPERS
White Rose University Consortium
Mixed Cinema Network
University of Leeds, University of Sheffield, University of York
Co-organised by:
The Centre for World Cinemas, School of Modern Languages and Cultures,
University of Leeds
WREAC – White Rose East Asia Centre, University of Leeds
Conference
Impure Cinema
Interdisciplinary and Intercultural Approaches to World Cinema
2-5 December 2010
Leeds Art Gallery
Conference convenor: Professor Lúcia Nagib, University of Leeds
Key Speakers:
Professor Dudley Andrew, Yale University
Professor Griselda Pollock, University of Leeds
Professor Jacques Rancière, Emeritus Professor University of Paris 8 (tbc)
Professor Robert Stam, New York University
Dr Jonathan Wood, Henry Moore Institute
This will be the first overarching conference organised by the Mixed Cinema Network, an international body devoted to the study of cinema as a fundamentally interdisciplinary and intercultural subject area.
The title of the network, as much as that of the conference, draws on André Bazin’s famous article, ‘Pour un cinéma impur: défense de l’adaptation’. This article has been translated into English simply as ‘In Defense of Mixed Cinema’, probably to avoid any uncomfortable sexual or racial resonances the word ‘impure’ might have. This conference goes back to Bazin’s original title precisely for its defence of impurity, which refers, on the one hand, to cinema’s interbreeding with other arts and, on the other, to its ability to convey and promote cultural diversity.
Cinema has been widely acknowledged as a meeting point of all other arts. Joseph L. Anderson, for example, commenting on the ‘commingling media’ which participated in the genesis of Japanese cinema, reminds us of an old Buddhist saying, according to which ‘all arts are one in essence’. In the same vein, Bazin even prophesied that the critic of the year 2050 would find ‘not a novel out of which a play and a film had been “made,” but rather a single work reflected through three art forms, an artistic pyramid with three sides, all equal in the eyes of the critic’. Bazin’s statement responds to a tendency, prevalent in the 1950s among French new wave critics and future filmmakers, of locating and privileging cinema’s specificity as a medium, through which they hoped to safeguard the director’s status as an auteur. Truffaut, for example, provocatively contended that a literary adaptation was valid ‘only when written by a man of the cinema’. A first question thus derives from this conundrum: would an auteur cinema automatically oppose an ‘impure’ or mixed cinema, that is, one which openly relates to or draws on other arts?
It has also been argued that accepting cinema’s impure nature would automatically reduce it to a ‘weaker’ medium, that is, to a mere ‘stage’ in the development of more stable art forms. On this basis, evolutionist approaches have regularly decreed cinema’s death, first in the early 1980s with the emergence of the videotape, then in the 1990s with the advent of digital recording and editing technologies, and more recently with the spread of the internet as a distribution platform. Would this not be yet another kind of purism, one which glorifies technology above art? Bazin is certainly an example of someone who saw all arts in relation to each other in an evolutionary chain. However, he avoided the purist approach by placing technology at the service of realism. Thus, for example, photography and film, rather than superseding painting, would have simply ‘liberated’ it from its mimetic obsession.
Since poststructuralism, ideas of purity, essence and origin have come under suspicion in film studies, leading, in our day, to favourable approaches to ‘hybridisation’, ‘transnationalism’, ‘multiculturalism’ and cross-fertilisations of all sorts. One could however ask whether cinema’s multidisciplinarity automatically entails cultural hybridity. Stam offers an affirmative answer to this question, by ascribing a ‘multicultural nature’ to artistic intertextuality. More importantly, he defends intertextual approaches to cinema as a means to ‘desegregate’ and ‘transnationalise’ criticism itself. This conference will combine cinema’s interdisciplinary and intercultural aspects as a means to contribute to the deprovincialisation of criticism and bridge the divide between aesthetic and cultural studies. It will necessarily contemplate intermedia translations, including literary and theatrical adaptations, as well as cross-media citations. But it will reach beyond this, by locating and analysing the ways in which multiple media share strategic narrative and aesthetic devices which can only be properly understood if their cultural determinants are taken into account.
The conference will be open to a variety of approaches. Film has been seen as directly derived from painting (Aumont), a perspective which defines the film pioneer Lumière as ‘the last impressionist painter’. As such, the celluloid’s flat surface could be understood as a kind of canvas, whose illusory tri-dimensionality is comparable to painting’s ‘trompe l’oeil’ (Botnitzer). Filmmakers and critics, starting with Bazin and Kracauer, have unearthed from the film medium an indexical element derived from its photographic support, through which cinema becomes ‘truth 24 times a second’ (Godard) – or ‘death 24 times a second’, in Mulvey’s suggestive formulation, referring to cinema’s inherent photographic stillness. However, cinema’s indexical properties cease to offer a safe theoretical base when the celluloid gives way to the digital (Rodowick), suggesting further interdisciplinary approaches to virtual media which challenge the relation between humans and their environment (Manovich).
Moving from the sphere of the visual to that of the aural, cinema finds in music its most kindred spirit, with which it shares the element of time. This so much fascinated a filmmaker such as Eisenstein that he developed his famous theory of vertical montage on the basis of musical scores. Another world opens up when we turn to performance. Japanese cinema could not be imagined without the dancing geishas, the first moving subject to be filmed in the country, and even less without the kabuki theatre, in whose houses it developed. Dance and theatre, together with music and singing, also lie at the core of Indian, Chinese and many other world cinema traditions.
Finally, film and philosophy, a growing subject in film studies, will also be central to the focus of the conference, not least because one of the most influential philosophers of our time, Gilles Deleuze, devoted two volumes to the cinema, which have changed the ways in which film theory is conceived today.
Abstracts are invited on the following sub-themes:
• Film and cross-media intertextuality
• Intercultural aesthetics and narratives in the cinema
• Authorship and hybrid cinema
• Screen adaptations: theory and practice
• Music for film, film to music
• Film and new technologies
• Film and photography
• Film and visual arts
• Film and performance arts
• Film and philosophy
Please send abstracts of between 200-300 words, together with biographic details of 200 words max., to Jenni Rauch, J.S.Rauch@leeds.ac.uk, by 24 May 2010. Selected papers will be announced by 28 June 2010.
White Rose University Consortium
Mixed Cinema Network
University of Leeds, University of Sheffield, University of York
Co-organised by:
The Centre for World Cinemas, School of Modern Languages and Cultures,
University of Leeds
WREAC – White Rose East Asia Centre, University of Leeds
Conference
Impure Cinema
Interdisciplinary and Intercultural Approaches to World Cinema
2-5 December 2010
Leeds Art Gallery
Conference convenor: Professor Lúcia Nagib, University of Leeds
Key Speakers:
Professor Dudley Andrew, Yale University
Professor Griselda Pollock, University of Leeds
Professor Jacques Rancière, Emeritus Professor University of Paris 8 (tbc)
Professor Robert Stam, New York University
Dr Jonathan Wood, Henry Moore Institute
This will be the first overarching conference organised by the Mixed Cinema Network, an international body devoted to the study of cinema as a fundamentally interdisciplinary and intercultural subject area.
The title of the network, as much as that of the conference, draws on André Bazin’s famous article, ‘Pour un cinéma impur: défense de l’adaptation’. This article has been translated into English simply as ‘In Defense of Mixed Cinema’, probably to avoid any uncomfortable sexual or racial resonances the word ‘impure’ might have. This conference goes back to Bazin’s original title precisely for its defence of impurity, which refers, on the one hand, to cinema’s interbreeding with other arts and, on the other, to its ability to convey and promote cultural diversity.
Cinema has been widely acknowledged as a meeting point of all other arts. Joseph L. Anderson, for example, commenting on the ‘commingling media’ which participated in the genesis of Japanese cinema, reminds us of an old Buddhist saying, according to which ‘all arts are one in essence’. In the same vein, Bazin even prophesied that the critic of the year 2050 would find ‘not a novel out of which a play and a film had been “made,” but rather a single work reflected through three art forms, an artistic pyramid with three sides, all equal in the eyes of the critic’. Bazin’s statement responds to a tendency, prevalent in the 1950s among French new wave critics and future filmmakers, of locating and privileging cinema’s specificity as a medium, through which they hoped to safeguard the director’s status as an auteur. Truffaut, for example, provocatively contended that a literary adaptation was valid ‘only when written by a man of the cinema’. A first question thus derives from this conundrum: would an auteur cinema automatically oppose an ‘impure’ or mixed cinema, that is, one which openly relates to or draws on other arts?
It has also been argued that accepting cinema’s impure nature would automatically reduce it to a ‘weaker’ medium, that is, to a mere ‘stage’ in the development of more stable art forms. On this basis, evolutionist approaches have regularly decreed cinema’s death, first in the early 1980s with the emergence of the videotape, then in the 1990s with the advent of digital recording and editing technologies, and more recently with the spread of the internet as a distribution platform. Would this not be yet another kind of purism, one which glorifies technology above art? Bazin is certainly an example of someone who saw all arts in relation to each other in an evolutionary chain. However, he avoided the purist approach by placing technology at the service of realism. Thus, for example, photography and film, rather than superseding painting, would have simply ‘liberated’ it from its mimetic obsession.
Since poststructuralism, ideas of purity, essence and origin have come under suspicion in film studies, leading, in our day, to favourable approaches to ‘hybridisation’, ‘transnationalism’, ‘multiculturalism’ and cross-fertilisations of all sorts. One could however ask whether cinema’s multidisciplinarity automatically entails cultural hybridity. Stam offers an affirmative answer to this question, by ascribing a ‘multicultural nature’ to artistic intertextuality. More importantly, he defends intertextual approaches to cinema as a means to ‘desegregate’ and ‘transnationalise’ criticism itself. This conference will combine cinema’s interdisciplinary and intercultural aspects as a means to contribute to the deprovincialisation of criticism and bridge the divide between aesthetic and cultural studies. It will necessarily contemplate intermedia translations, including literary and theatrical adaptations, as well as cross-media citations. But it will reach beyond this, by locating and analysing the ways in which multiple media share strategic narrative and aesthetic devices which can only be properly understood if their cultural determinants are taken into account.
The conference will be open to a variety of approaches. Film has been seen as directly derived from painting (Aumont), a perspective which defines the film pioneer Lumière as ‘the last impressionist painter’. As such, the celluloid’s flat surface could be understood as a kind of canvas, whose illusory tri-dimensionality is comparable to painting’s ‘trompe l’oeil’ (Botnitzer). Filmmakers and critics, starting with Bazin and Kracauer, have unearthed from the film medium an indexical element derived from its photographic support, through which cinema becomes ‘truth 24 times a second’ (Godard) – or ‘death 24 times a second’, in Mulvey’s suggestive formulation, referring to cinema’s inherent photographic stillness. However, cinema’s indexical properties cease to offer a safe theoretical base when the celluloid gives way to the digital (Rodowick), suggesting further interdisciplinary approaches to virtual media which challenge the relation between humans and their environment (Manovich).
Moving from the sphere of the visual to that of the aural, cinema finds in music its most kindred spirit, with which it shares the element of time. This so much fascinated a filmmaker such as Eisenstein that he developed his famous theory of vertical montage on the basis of musical scores. Another world opens up when we turn to performance. Japanese cinema could not be imagined without the dancing geishas, the first moving subject to be filmed in the country, and even less without the kabuki theatre, in whose houses it developed. Dance and theatre, together with music and singing, also lie at the core of Indian, Chinese and many other world cinema traditions.
Finally, film and philosophy, a growing subject in film studies, will also be central to the focus of the conference, not least because one of the most influential philosophers of our time, Gilles Deleuze, devoted two volumes to the cinema, which have changed the ways in which film theory is conceived today.
Abstracts are invited on the following sub-themes:
• Film and cross-media intertextuality
• Intercultural aesthetics and narratives in the cinema
• Authorship and hybrid cinema
• Screen adaptations: theory and practice
• Music for film, film to music
• Film and new technologies
• Film and photography
• Film and visual arts
• Film and performance arts
• Film and philosophy
Please send abstracts of between 200-300 words, together with biographic details of 200 words max., to Jenni Rauch, J.S.Rauch@leeds.ac.uk, by 24 May 2010. Selected papers will be announced by 28 June 2010.
sexta-feira, 12 de março de 2010
I CONGRESSO INTERNACIONAL TEXTO-IMAGEM
20 a 24 de setembro de 2010
Universidade Federal de São Paulo
Campus Guarulhos
(Teatro Adamastor Pimentas)
Iniciativa conjunta dos cursos de Letras e de História da Arte da Universidade Federal de São Paulo, o I Congresso Internacional Texto-Imagem abrigará as diversas formas de diálogo entre o textual e o imagético, a fim de repensar sua tradicional complementaridade. Em tempos de cultura visual e de virada icônica, permanece na ordem do dia compreender como a imagem dá-se a ler e como o texto dá-se a ver. Dupla tarefa, pois: por um lado, a de denotar os modos pelos quais os textos fundam, interpelam ou justificam e julgam a imagem, modo de tomá-la junto à linguagem, ao discurso, conceder-lhe palavra; por outro lado, a de conotar os atributos de visibilidade que os textos apreendem da e pela imagem, modo de sua confirmação, evidenciação, intensificação retóricas. Assim como a escrita e seus poderes específicos encontram-se excitados e exaltados pela heterogeneidade semiológica de uma nova visualidade que se lhes oferece, hoje, como lugar de todas as possibilidades formais, a imagem encontra-se obsediada por seu reverso, qual seja, um escritural mais do que nunca interpelado pelo narrativo e pelo descritivo.
Assim, o I Congresso Internacional Texto-Imagem procurará surpreender as representações verbal e visual no território um tanto difuso de seus encontros e desencontros. Tal espaço intersticial privilegia leituras comparatistas e multidisciplinares. Donde o convite ao diálogo ─ mesmo que para se assumir dissonâncias e conflitos ─ entre Letras, História da Arte, Antropologia, Filosofia, Psicologia, Artes e Ciências da Comunicação, com o objetivo de expor suas perspectivas críticas. Sem pretender subtrai-las às suas competências particulares e singularidades, procurar-se-á movimentar suas fronteiras para que, em conjunto estimuladas, evidenciem-se interrogações insuspeitas e, quiçá, renovados protocolos de interpretação.
Condições para apresentação de trabalhos
Poderão apresentar propostas de comunicações docentes e pesquisadores de doutorado e de pós-doutorado nas áreas acima discriminadas, e com objetos de reflexão relativos aos diferentes eixos temáticos do Congresso. Aos docentes e pós-doutorandos será concedido um tempo de apresentação de 30 minutos; os doutorandos não deverão ultrapassar os 20 minutos. Reservar-se-á igualmente 30 minutos, ao final de cada sessão, para discussões e debates.
Todas as solicitações de participação deverão apresentar um RESUMO para avaliação que deverá cumprir as seguintes características:
. Extensão compreendida entre 800 e 1200 caracteres (com espaço), em formato Times New Roman 12pts, interlinha simples,arquivo Word;
. Inclusão de: título da comunicação; eixo temático no qual deseja inscrever-se; nome do autor; instituição de trabalho e/ou pesquisa; endereço eletrônico.
As propostas de comunicações deverão ser encaminhadas para os organizadores do Congresso, Profs.Drs. Leila de Aguiar Costa (Letras/UNIFESP) e/ou Osvaldo Fontes Filho (História da Arte/UNIFESP) até o dia 31 de março de 2010 (textoimagemunifesp@uol.com.br).
Eixos temáticos:
1. Imagens no/do texto literário
2. O ut pictura: suas modalidades, seus limites
3. A descrição, da Antiguidade ao século XXI
4. Ilustração e textualidade: nas fronteiras do legível e do visível
5. As artes visuais como vetor da escrita literária
6. O textual e as formas de comunicação visual: protocolos e impasses atuais
7. Questões de iconologia: imagem, texto, ideologia
8. Poéticas e Retóricas do visual: o(s) discurso(s) da imagem e sobre a imagem
9. A imagem sob o olhar das ciências humanas: filosofia, história, antropologia
10. Reflexos da virada icônica nas ciências humanas
11. Cultura visual (ou estudos visuais) e história da arte
12. O imaginário e a experiência visual: questões de psicologia da arte
13. A imagem nos estudos culturais: estratégias, dinâmicas e interrogações
14. Palavra e imagem na mídia digital
15. Imagem, racionalidade científica, atualidade tecnológica
Universidade Federal de São Paulo
Campus Guarulhos
(Teatro Adamastor Pimentas)
Iniciativa conjunta dos cursos de Letras e de História da Arte da Universidade Federal de São Paulo, o I Congresso Internacional Texto-Imagem abrigará as diversas formas de diálogo entre o textual e o imagético, a fim de repensar sua tradicional complementaridade. Em tempos de cultura visual e de virada icônica, permanece na ordem do dia compreender como a imagem dá-se a ler e como o texto dá-se a ver. Dupla tarefa, pois: por um lado, a de denotar os modos pelos quais os textos fundam, interpelam ou justificam e julgam a imagem, modo de tomá-la junto à linguagem, ao discurso, conceder-lhe palavra; por outro lado, a de conotar os atributos de visibilidade que os textos apreendem da e pela imagem, modo de sua confirmação, evidenciação, intensificação retóricas. Assim como a escrita e seus poderes específicos encontram-se excitados e exaltados pela heterogeneidade semiológica de uma nova visualidade que se lhes oferece, hoje, como lugar de todas as possibilidades formais, a imagem encontra-se obsediada por seu reverso, qual seja, um escritural mais do que nunca interpelado pelo narrativo e pelo descritivo.
Assim, o I Congresso Internacional Texto-Imagem procurará surpreender as representações verbal e visual no território um tanto difuso de seus encontros e desencontros. Tal espaço intersticial privilegia leituras comparatistas e multidisciplinares. Donde o convite ao diálogo ─ mesmo que para se assumir dissonâncias e conflitos ─ entre Letras, História da Arte, Antropologia, Filosofia, Psicologia, Artes e Ciências da Comunicação, com o objetivo de expor suas perspectivas críticas. Sem pretender subtrai-las às suas competências particulares e singularidades, procurar-se-á movimentar suas fronteiras para que, em conjunto estimuladas, evidenciem-se interrogações insuspeitas e, quiçá, renovados protocolos de interpretação.
Condições para apresentação de trabalhos
Poderão apresentar propostas de comunicações docentes e pesquisadores de doutorado e de pós-doutorado nas áreas acima discriminadas, e com objetos de reflexão relativos aos diferentes eixos temáticos do Congresso. Aos docentes e pós-doutorandos será concedido um tempo de apresentação de 30 minutos; os doutorandos não deverão ultrapassar os 20 minutos. Reservar-se-á igualmente 30 minutos, ao final de cada sessão, para discussões e debates.
Todas as solicitações de participação deverão apresentar um RESUMO para avaliação que deverá cumprir as seguintes características:
. Extensão compreendida entre 800 e 1200 caracteres (com espaço), em formato Times New Roman 12pts, interlinha simples,arquivo Word;
. Inclusão de: título da comunicação; eixo temático no qual deseja inscrever-se; nome do autor; instituição de trabalho e/ou pesquisa; endereço eletrônico.
As propostas de comunicações deverão ser encaminhadas para os organizadores do Congresso, Profs.Drs. Leila de Aguiar Costa (Letras/UNIFESP) e/ou Osvaldo Fontes Filho (História da Arte/UNIFESP) até o dia 31 de março de 2010 (textoimagemunifesp@uol.com.br).
Eixos temáticos:
1. Imagens no/do texto literário
2. O ut pictura: suas modalidades, seus limites
3. A descrição, da Antiguidade ao século XXI
4. Ilustração e textualidade: nas fronteiras do legível e do visível
5. As artes visuais como vetor da escrita literária
6. O textual e as formas de comunicação visual: protocolos e impasses atuais
7. Questões de iconologia: imagem, texto, ideologia
8. Poéticas e Retóricas do visual: o(s) discurso(s) da imagem e sobre a imagem
9. A imagem sob o olhar das ciências humanas: filosofia, história, antropologia
10. Reflexos da virada icônica nas ciências humanas
11. Cultura visual (ou estudos visuais) e história da arte
12. O imaginário e a experiência visual: questões de psicologia da arte
13. A imagem nos estudos culturais: estratégias, dinâmicas e interrogações
14. Palavra e imagem na mídia digital
15. Imagem, racionalidade científica, atualidade tecnológica
segunda-feira, 8 de março de 2010
SFRA 2010: Call for Proposals
Call for Proposals: http://sfra2010.ning.com/page/call-for-proposals
The 2010 Science Fiction Research Association conference theme, “Far Stars and Tin Stars: Science Fiction and the Frontier,” reflects the conference’s venue in the high desert of Carefree, Arizona, north of Phoenix. The frontier, the borderland between what is known and what is unknown, the settled and the wild, the mapped and the unexplored, is as central to science fiction as it is to the mythology of the American West.
Submissions are invited for individual papers (15-20 minutes), full paper panels (3 papers), roundtables (80 minute sessions), and other presentations that explore the study and teaching of science fiction in any medium. Preference will be given to proposals that engage the conference theme.
Paper and other session proposals should be 200-300 words. Paper panel proposals should include the proposals of all three papers and a brief statement of their unifying principle. Include all text of the proposal in the body of the email (not as an attachment). Please be sure to include full contact information for all panel members and to make all AV requests within each proposal. E-mail submissions by April 15, 2010 to Craig Jacobsen: jacobsen@mesacc.edu
The 2010 Science Fiction Research Association conference theme, “Far Stars and Tin Stars: Science Fiction and the Frontier,” reflects the conference’s venue in the high desert of Carefree, Arizona, north of Phoenix. The frontier, the borderland between what is known and what is unknown, the settled and the wild, the mapped and the unexplored, is as central to science fiction as it is to the mythology of the American West.
Submissions are invited for individual papers (15-20 minutes), full paper panels (3 papers), roundtables (80 minute sessions), and other presentations that explore the study and teaching of science fiction in any medium. Preference will be given to proposals that engage the conference theme.
Paper and other session proposals should be 200-300 words. Paper panel proposals should include the proposals of all three papers and a brief statement of their unifying principle. Include all text of the proposal in the body of the email (not as an attachment). Please be sure to include full contact information for all panel members and to make all AV requests within each proposal. E-mail submissions by April 15, 2010 to Craig Jacobsen: jacobsen@mesacc.edu
A RÁDIO e TELEVISÃO Unicamp está selecionando Estagiários para 2010
Vagas: 01
Carga horária: 20 h semanais
Remuneração: R$ 601,43 + aux. transporte
Requisitos: Nível superior - estar cursando na área de informática, a partir do 3° ano.
Atividades previstas
Conhecimentos em softwares de captura e transmissão de imagem, Hardware, canal web, web designer/home page, manutenção de equipamentos, Intranet
Os interessados deverão enviar currículo no período 03 a 10/03/2010 através do e-mail estagios@rtv.unicamp.br
Carga horária: 20 h semanais
Remuneração: R$ 601,43 + aux. transporte
Requisitos: Nível superior - estar cursando na área de informática, a partir do 3° ano.
Atividades previstas
Conhecimentos em softwares de captura e transmissão de imagem, Hardware, canal web, web designer/home page, manutenção de equipamentos, Intranet
Os interessados deverão enviar currículo no período 03 a 10/03/2010 através do e-mail estagios@rtv.unicamp.br
quinta-feira, 4 de março de 2010
AVANCA | CINEMA Conferência Internacional Cinema – Arte, Tecnologia, Comunicação
Data: 28 a 30 de Julho de 2010
Local: Avanca – Portugal
A Comissão Organizadora do AVANCA | CINEMA, Conferência Internacional Cinema – Arte, Tecnologia, Comunicação tem o prazer de convidá-lo a submeter uma Comunicação.
Envio de resumos até 23 de Abril 2010.
AVANCA | CINEMA juntará perspectivas, singularidades e referenciais históricos a uma avalancha criativa, mental e expositiva, própria do mundo da investigação e do desenvolvimento.
Os investigadores de todo o Mundo e de todas as áreas de desenvolvimento que se aproximam do CINEMA estão convidados a submeterem a sua comunicação.
Em Julho 2010, as melhores comunicações reunirão, em Avanca, investigadores oriundos dos cinco continentes e das mais diversas áreas de investigação, apostados na construção de uma nova Torre de Babel, sem barreiras comunicacionais, fruto da linguagem quase única e universal do CINEMA.
Os autores estão convidados a submeterem trabalhos nos temas abaixo sugeridos (mas não limitados a estes):
Cinema – Arte
- Artes do espectáculo e memória;
- Artes performativas;
- Artes plásticas e cinematografia;
- Crítica e teoria cinematográfica;
- Escrita de argumento e criatividade;
- Estética e semiótica;
- História e cinefilia;
- Literatura e cinema;
- Música e som do cinema;
Cinema – Tecnologia
- Arquitectura de espaços;
- Legendagem, dobragem e audio-descrição;
- Linguagens para minorias;
- Novas tecnologias e cinema;
- O espaço da internet;
- Suportes, formatos e novos “media”;
Cinema – Comunicação
- Cinema e pedagogia;
- Comunicação social, espaço público e sociedade;
- Economia e marketing;
- Formação académica e profissional;
- Internet social e espaço fílmico;
- Política do audiovisual;
Cinema – Cinema
- Cinema documental;
- Ficção entre a imagem real e a animação;
- Percursos, filmografias e géneros;
- Produção cinematográfica e audiovisual;
A submissão dos resumos deverá ser feita até ao dia 23 de Abril de 2010 através do envio de um resumo (abstract) até 250 palavras, para o endereço de e-mail:
conferencia.avanca@gmail.com.
O resumo deverá estar redigido em inglês.
A comunicação poderá estar redigida numa das quatro línguas oficiais da conferência:
Português, Inglês, Espanhol e Francês.
Mais informação em www.avanca.org.
AVANCA | CINEMA
Conferência Internacional Cinema - Arte, Tecnologia, Comunicação Cine-Clube de Avanca
3860-078 Avanca
Portugal
Tel/Fax +351.234.880658
conferencia.avanca@gmail.com
www.avanca.org
Local: Avanca – Portugal
A Comissão Organizadora do AVANCA | CINEMA, Conferência Internacional Cinema – Arte, Tecnologia, Comunicação tem o prazer de convidá-lo a submeter uma Comunicação.
Envio de resumos até 23 de Abril 2010.
AVANCA | CINEMA juntará perspectivas, singularidades e referenciais históricos a uma avalancha criativa, mental e expositiva, própria do mundo da investigação e do desenvolvimento.
Os investigadores de todo o Mundo e de todas as áreas de desenvolvimento que se aproximam do CINEMA estão convidados a submeterem a sua comunicação.
Em Julho 2010, as melhores comunicações reunirão, em Avanca, investigadores oriundos dos cinco continentes e das mais diversas áreas de investigação, apostados na construção de uma nova Torre de Babel, sem barreiras comunicacionais, fruto da linguagem quase única e universal do CINEMA.
Os autores estão convidados a submeterem trabalhos nos temas abaixo sugeridos (mas não limitados a estes):
Cinema – Arte
- Artes do espectáculo e memória;
- Artes performativas;
- Artes plásticas e cinematografia;
- Crítica e teoria cinematográfica;
- Escrita de argumento e criatividade;
- Estética e semiótica;
- História e cinefilia;
- Literatura e cinema;
- Música e som do cinema;
Cinema – Tecnologia
- Arquitectura de espaços;
- Legendagem, dobragem e audio-descrição;
- Linguagens para minorias;
- Novas tecnologias e cinema;
- O espaço da internet;
- Suportes, formatos e novos “media”;
Cinema – Comunicação
- Cinema e pedagogia;
- Comunicação social, espaço público e sociedade;
- Economia e marketing;
- Formação académica e profissional;
- Internet social e espaço fílmico;
- Política do audiovisual;
Cinema – Cinema
- Cinema documental;
- Ficção entre a imagem real e a animação;
- Percursos, filmografias e géneros;
- Produção cinematográfica e audiovisual;
A submissão dos resumos deverá ser feita até ao dia 23 de Abril de 2010 através do envio de um resumo (abstract) até 250 palavras, para o endereço de e-mail:
conferencia.avanca@gmail.com.
O resumo deverá estar redigido em inglês.
A comunicação poderá estar redigida numa das quatro línguas oficiais da conferência:
Português, Inglês, Espanhol e Francês.
Mais informação em www.avanca.org.
AVANCA | CINEMA
Conferência Internacional Cinema - Arte, Tecnologia, Comunicação Cine-Clube de Avanca
3860-078 Avanca
Portugal
Tel/Fax +351.234.880658
conferencia.avanca@gmail.com
www.avanca.org
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